Latest
Joe Rockey: Ghostwriting His BookFree BooksHow to Turn Your Expertise Into a Book People Want to Read | The Expert MethodWhat’s New at The Writing King: Week of October 25, 2026Challenger Remembrance Day: The Engineer Who Wouldn’t SignJoel Salomon: The Truth About MoneyReddit Is Putting Up a Login Wall. Wikipedia Won’t Be Far Behind.Victoria Chemko: The Body Is the First TechnologySir Patrick Stewart: A TributeA Year in the Bank: ADHD, Face Blindness and the Freedom to Walk Out | The Impossible Puzzles Show, Episode 326A Yale Economist Says We Won’t Be Missed. He Forgot the Bread Line.Walter Koenig: A TributeI Don’t Post Bad ARC Reviews. I Send the Author a Note.AI Has Paid Off Outside Tech. Apollo Is Reading the Wrong Scoreboard.The Little Red Book of Stuff That Works!Your Kids Are Your Own FaultGrow a PairYou’re Broke Because You Want to BeIt’s Called Work for a Reason!No Time for TactShut Up, Stop Whining, and Get a LifeWilliam Bessette: AI Enablement and Child Welfare TechnologyFree Book Planning ToolsWhat’s New at The Writing King: Week of October 18, 2026Ghostwriting by the Numbers: Timelines, Word Counts and the First CallPromising Young Woman (2020) ReviewBillions for AI, Pennies for the Plumbing: AI Companies Should Pay to Keep PHP AlivePHP2Shell: AI Found a 22-Year-Old Crack Under Your Website in Two DaysKindle Unlimited Is Now Kindle+. AI Audiobooks Just Joined the BuffetPetrov Day: The Officer Who Didn’t Believe the ComputerWhen to Quit Writing a Book: I’ve Abandoned Dozens, and I’d Do It AgainChina Is Using Bots to Fan the Data Center Backlash. The Backlash Is Still Real.The Society of Authors Signed an Ethical AI Charter, Then Ran From It in Eight DaysMo Gawdat Says the AI Dystopia Starts in 2027. Read the List, Skip the DatesGetty Images Filed for Bankruptcy. Can You Prove You Licensed Your Book’s Images?Fluff Words: Cut Them From Your Prose, Keep Them in Your DialogueWhere Are the Independent Bookstores and Public Libraries Worth Visiting in Tampa Bay? Author Richard Lowe Profiles 44 of ThemWhere Can Writers Learn Storytelling From Movies? Richard Lowe Publishes 1,226 Film and TV Reviews With Writing Craft NotesWhere Can You Hear Founders and Executives Tell Their Own Stories? Richard Lowe’s Leaders and Their Stories Publishes Every Unscripted Interview With a Full TranscriptWhat Should You Know Before Hiring a Ghostwriter? The Writing King Publishes 57 New Answers, Including What to Do When It Goes WrongAuthor Richard Lowe Publishes Eight Volumes of Enemies of You, a Researched Series on the Forces Working Against Ordinary AmericansThe Jackal (1997) ReviewThe Day of the Jackal (2024) ReviewYour First Novel Is an Apprentice Piece: What Beta Readers and Editors Can’t FixWhen the Cloud Gets Bombed: What the AWS Data Center Strikes Teach About BackupsHuman-Written Book Labels Are Gatekeeping With a FeeThe Enshittification of Microsoft Office: Why I Switched to a Free CloneGlobal Encryption Day: The Padlock Every Writer Depends OnWriting Your Worst Moments in a Memoir: Show the Evidence, Skip the VerdictHow to Register a Copyright for Your Book (and What Doesn’t Count)

Under Pressure

Death, Murder, and Zombies

Not rage. Not desperation. Logic, applied to a premise that’s wrong.

Content warningGraphic violence, murder, animal cruelty, and serial killing shown from the inside.

I understood in that instant that everything people believe about life and death is wrong.

Karl, from the novel

Not rage, not poverty, not trauma. Careful, patient, internally consistent logic applied to a premise that happens to be false. Karl works it out step by step, and every step follows from the one before it.

The zombie apocalypse doesn’t arrive until late. Most of the book is the descent, narrated by a man who’s always wrong about himself and always right about the facts. That’s the most uncomfortable combination available.

Death, Murder, and Zombies at a glance
Detail From the page
Format Standalone, 204 pages
Narrator Karl, in first person
Genre Psychological horror with a supernatural structure
When the zombies arrive Late; most of the book is the descent
Original title How to Create Your Own Zombie Apocalypse
For readers of Joe Hill, Paul Tremblay and Thomas Tryon
Content warning Graphic violence, murder, animal cruelty, serial killing

For readers of Joe Hill, Paul Tremblay, and Thomas Tryon.

How does Death, Murder, and Zombies open?

Meet Death

I stopped dead in my tracks. The wrongness hit me. Something was coming. Something bad.

I’d felt this before, this sense that the cosmic order was about to get royally fucked. Tonight it pressed harder than usual, like a migraine building behind my eyes.

I stood on cracked pavement in the worst part of the city, surrounded by condemned buildings and broken glass. The wrongness didn’t come from any one place. It was everywhere. A sour note in a symphony I’d been conducting for millennia.

Something is coming, I thought. These feelings were never wrong. Just annoyingly vague.

A siren wailed in the distance. Ambulance. Someone was dying. I’d work to do. I pushed the wrongness to the back of my mind and headed toward my destination: a crack house that had been killing people for the better part of a decade.

The building leaned against its neighbor like a drunk needing support. Graffiti covered every surface in layers. Gang tags, love notes, and curses in four languages competed for space on walls that had once been yellow.

I walked through the front door without opening it. Physical barriers stopped mattering to me long ago. The living locked themselves in. Death walked through walls.

The smell hit me first. Sweet approaching death mixed with burned chemicals and human waste. Somewhere in this building, a soul was getting ready to leave, and I felt the familiar pull of duty.

The first floor was a maze of collapsed walls and improvised rooms. Bodies lay scattered on stained mattresses and bare concrete. Some breathed in shallow gasps. Others had fled into chemical oblivion, their minds escaped to whatever landscapes their drugs provided.

None of these were ready for me yet. I could sense the difference. These souls still clung to their flesh, unwilling to let go despite the poison in their veins. They’d die eventually. But not today.

I stood in the hallway. I’d been here long enough for the drug in her arm to do its work. The hunger said it had been too long. The part of me that was still Karl said I should go.

I climbed the stairs. The wood sagged under weight it was never meant to bear. On the second floor the dying was more advanced. Six souls hovered at the threshold, their connections to life growing weaker by the hour.

But the pull I felt came from higher up.

The third floor had been chopped into smaller rooms, each one a private hell where addiction played its final hand. I followed the sensation to a corner room where a young woman lay on a mattress that had seen better decades.

Tina Morrison. Seventeen years old, though her body looked twice that. Born to a mother who sold food stamps for crack and a father whose name appeared on no documents. On the streets since thirteen, trading pieces of herself for escape from a world that never wanted her.

Now the bill was coming due.

I settled beside her, invisible to any living witness. Her breathing had turned irregular, each breath requiring more effort than the last. Her heart fought against the poison she’d shot into her arm. Pure heroin, purer than her tolerance could handle.

This part never got old. Every death was unique, every soul’s departure a singular moment. Some fought to the end, raging against the inevitable. Others welcomed me like an old friend. Most just accepted what they’d always known was coming.

Tina’s eyes fluttered open, pupils pinpoints despite the dim light. For a moment I wondered if she might sense my presence, as a rare few could. But her gaze fixed on something beyond the stained ceiling, maybe seeing the life she might have lived.

Her heart stuttered, paused, then beat once more like an engine running on fumes. Then it stopped.

I waited. Death wasn’t a single moment but a process. The brain would keep trying for several more minutes, firing neurons in chaotic patterns as oxygen ran out.

When the last electrical impulse faded and true death claimed her, I reached into her chest. My hand passed through skin and bone like mist, searching for the essence that had animated this collection of matter for seventeen hard years.

There. Tucked between liver and spine, a sphere of light no bigger than a pearl, pulsing with its own glow. Tina’s soul, ready to continue its journey.

As I extracted her essence, she appeared beside her abandoned body. Not as the ravaged girl who’d just died, but as the bright spirit she’d been beneath all the damage.

“Who the hell are you?” she asked, her voice rough despite being freed from her damaged throat.

A friend. I’m here to help you move on.

“Am I dead? Shit, I’m dead, ain’t I?”

Your body is. You’re not. You can never die, Tina. You’re more than flesh and bone. Now it’s time to burn bright again.

She looked down at her corpse with relief. “Damn thing hurt so bad.”

I know. But that hurt stays with the body you’re leaving. Where you’re going, there’s no pain.

I opened the small pouch hanging from my belt, woven from space itself, capable of holding infinite souls in comfort. You ready for this?

Tina nodded and let herself be drawn into the pouch, where she’d rest until Fate could weave her into a new life, new body, new chances to learn and love.

As I sealed the pouch, the wrongness hit me again, stronger than before. I paused in the doorway and expanded my senses, trying to find the source.

Somewhere in this city, maybe right now, choices were being made that would ripple through time. Someone was planning something that would threaten everything I’d spent eternity maintaining.

Who should read Death, Murder, and Zombies?

► Behind the Book: Death, Murder, and Zombies
How this one got written, what went wrong, and what got cut.

How did Death, Murder, and Zombies come about?

Richard Lowe, the Writing King

This was the third novel I wrote for myself. The original title was How to Create Your Own Zombie Apocalypse, which tells you exactly what I was doing: working out, step by step, how a person would go about starting one.

I came up with an answer, and the answer turned out to be a man reasoning carefully from a premise that’s wrong. No rage, no trauma, no excuse. Just consistency.

What drives KarlA two column comparison of what the book rules out as Karl's motive and what it puts in its place. Rage, poverty, trauma and desperation are not the cause. Careful, patient, internally consistent logic applied to a false premise is.What drives KarlNot the causeRageDesperationPovertyTraumaThe causeCareful, patient logicEach step follows the lastInternally consistentBuilt on a false premise
What drives KarlA two column comparison of what the book rules out as Karl's motive and what it puts in its place. Rage, poverty, trauma and desperation are not the cause. Careful, patient, internally consistent logic applied to a false premise is.What drives KarlNot the causeRageDesperationPovertyTraumaThe causeCareful, patient logicEach step follows the lastInternally consistentBuilt on a false premise

Karl's horror comes from reasoning, not rage: sound logic built on a premise that is wrong.

I wrote it snarky and funny at the same time, because a book this dark that takes itself completely seriously is unreadable, and because Karl thinks he’s being reasonable, which is funnier than anything I could put in on purpose.

What do people ask about Death, Murder, and Zombies?

What is Death, Murder, and Zombies about?
Death, Murder, and Zombies is a novel built around a man named Karl who reasons his way into killing one careful step at a time. There’s no trauma driving him and no excuse offered. Every step he takes follows logically from the one before it. That’s what makes him so unsettling. The only flaw in his thinking is the premise he starts from, and he never questions it. That’s the whole horror of the book: a mind that’s careful and internally consistent, applied to something false.
What genre is Death, Murder, and Zombies?
I wrote this as psychological horror with a supernatural structure underneath it. It works as an origin story for an apocalypse, told from the point of view of the man who caused it. The horror comes from Karl’s reasoning and not from monsters jumping out at you. I kept the tone snarky and funny in places, because Karl believes he’s being reasonable, and that self-assurance is funnier and more disturbing than anything I could have written straight.
When do the zombies show up in Death, Murder, and Zombies?
Late. Most of the book is Karl’s descent, not the aftermath. I narrate that descent through a man who’s always wrong about himself but always right about the facts. That’s an uncomfortable combination to spend a novel with. The zombie apocalypse only arrives once his reasoning has run its full course. By the time it shows up, the real damage has already been done.
Is Death, Murder, and Zombies graphic?
Yes. I included graphic violence, murder, and animal cruelty, and I show serial killing from the inside and not from a distance. This is written for adult readers who want horror that doesn’t soften what it depicts. If you want the violence implied and not shown, this isn’t the book for you. I wrote it to sit inside the discomfort, not to spare you from it.
What horror novels have a villain narrator?
I wrote one, Death, Murder, and Zombies, built entirely around that kind of narrator. Karl is precise, self-justifying, and factually accurate about everything except himself. That’s what keeps readers locked in even when they want to look away. If you enjoy Joe Hill, Paul Tremblay, or Thomas Tryon, this sits in that same territory. It’s horror that comes from reasoning and not monsters, carried by a voice you can’t fully trust but can’t stop listening to.

Also in Under Pressure

Every step follows from the one before it

The first step is the only one that was wrong.

BUY FROM INGRAMSPARKAMAZONKOBOREAD A CHAPTERTABLE OF CONTENTS

Paperback and ebook.

Filed underFiction

Attack of the Zombies

Death, Murder, and Zombies

Three days after our whiskey session, Mike returned with pizza and a twelve-pack of beer. The whiskey had been a mistake. Too much too fast. Beer was better for an afternoon of gaming.

I didn’t argue. The hangover from our last session had lasted two days, and I wasn’t eager to repeat the experience. Besides, Mike seemed happy when I agreed to hang out again. It felt good to make someone happy, even if it was just agreeing to waste time together.

The living room looked marginally better than it had during his last visit. I’d cleaned up some of the trash and opened a window to air out the smell. Small improvements, but Mike noticed and said nothing.

“You want to pick up where we left off?” he asked, gesturing toward my gaming setup.

“I was thinking we could try something different. You ever play Dead Rising?”

Mike’s face fell slightly. “The zombie game? I thought we were done with zombies for a while.”

“This one’s different. Co-op mode. We can work together instead of competing.”

“I don’t know, man. Those games are pretty intense.”

“Come on. Trust me. It’ll be fun.”

I’d been thinking about our conversation from the other day, about trying new things and not giving up. Maybe zombie games weren’t the problem. Maybe the problem was playing them alone, using them to escape instead of connect.

Mike cracked open a beer and settled into the chair I’d moved next to mine. “All right, but if this turns into another one of your obsessive gaming marathons, I’m out.”

“It won’t. I promise.”

I loaded up Dead Rising and created a co-op session. Mike’s character spawned next to mine in the middle of a shopping mall overrun with zombies. Unlike my usual solo sessions, where I methodically cleared every area with tactical precision, this felt different. Lighter.

“Holy shit, there’s a lot of them,” Mike said as his character swung a baseball bat at a group of approaching zombies.

“That’s the point. You’re not supposed to kill them all. You’re supposed to survive.”

“What’s the difference?”

“Killing them all is about control. Surviving is about adaptation.”

Mike gave me a look. “Did you just make that up, or is that game philosophy?”

“I made it up. But it sounds good, right?”

We played for an hour, our characters working together to rescue survivors and gather supplies. Mike’s approach was completely different from mine. Where I’d carefully plan each encounter, he charged in swinging whatever weapon he could find. Where I’d memorize zombie spawn patterns, he improvised and adapted on the fly.

It was chaos, but it was fun chaos. The kind of fun I’d forgotten existed.

“Oh shit, oh shit, oh shit,” Mike chanted as his character got surrounded by a group of fast zombies.

“Hold on, I’m coming,” I said, maneuvering my character through the crowd with a shotgun.

The rescue went perfectly. My character arrived just as Mike’s health bar hit critical, blasting away the zombies and clearing a path to safety. Mike’s character limped to cover while mine provided covering fire.

“That was awesome,” Mike said, taking a long pull from his beer. “Like an action movie.”

“See? Teamwork makes it better.”

“Yeah, but what happens when we run out of ammo?”

“Then we improvise.”

Both our characters ran out of ammunition at the same moment. The game forced us to scavenge for makeshift weapons: golf clubs, kitchen knives, a potted plant. Everything became a potential zombie-killing tool.

“This is pretty fun,” Mike admitted after his character killed three zombies with a traffic cone.

“I told you.”

“But don’t you usually play this solo? Doesn’t that get depressing?”

I paused the game and looked at him. “What do you mean?”

“I mean, killing zombies by yourself for hours. That’s got to mess with your head after a while.”

“It’s a game.”

“Is it? Because you talk about it like it’s training for something real.”

Mike had a point. I did think about zombie games differently than he did. For him, they were entertainment. For me, they were preparation. But preparation for what?

“You ever think about what you’d do in a real zombie apocalypse?” I asked.

“Not really. It’s not going to happen.”

“But what if it did?”

Mike set down his controller and looked at me seriously. “Karl, zombies aren’t real. You know that, right?”

Table of contents

Death, Murder, and Zombies

  • Meet Death
  • Gaming Life
  • Family Fractures
  • The Accident
  • Attack of the Zombies
  • Close to Death
  • Awakening
  • The Theory Forms
  • I Want to Shoot Zombies for Real
  • Research Phase
  • Making Money
  • Setting Up Shop
  • Animal Experiments
  • Mike Returns
  • Recruitment
  • Gwynn’s Story
  • The First Test
  • Experiment
  • Death’s Patterns
  • Building the Cage
  • Dad Comes Home
  • The Bait
  • The Trap Springs
  • The Ultimatum
  • The Standoff
  • Transformation
  • Karl’s New World
0 comments

No comments yet. Yours can be the first.

Was this useful?