Look at the numbers: Weapons just stunned industry watchers with its breakout success, following in the footsteps of Sinners. Both remind us what the business has known for years — horror is one of the most reliable engines for audience engagement and return on investment.
But here’s the deeper pattern: many of the most successful horror films of the past decade started not as screenplays, but as novels.
The Ring (from Koji Suzuki).
The Exorcist (from William Peter Blatty).
The Mist and Gerald’s Game (from Stephen King).
The Black Phone (from Joe Hill).
Bones and All (from Camille DeAngelis).
Books allow horror worlds to breathe, build mythology, and establish a loyal audience before cameras roll. By the time they hit the screen, they arrive with a built-in fanbase and thematic depth.
That’s where my novel HUSHER comes in.
Set on a haunted Indiana farm in the 1970s, it blends cosmic horror with intimate family tragedy — Lovecraft for the 21st Century. It’s about inheritance, madness, and the cost of holding back gods that dream us into being.
At 55,000 words, it’s lean, cinematic, and tailor-made for adaptation. Like The Fisherman (John Langan) or Revival (Stephen King), HUSHER delivers literary dread with a commercial hook.
And like Weapons and Sinners, it’s proof that audiences are hungry for stories that push horror into new territory while keeping it grounded in human emotion.
The next wave of horror is coming. HUSHER is ready for the screen.
Publishers, agents, and producers — if you’d like to learn more about this new IP with an expansive world to explore and exploit, feel free to reach out.