​First of all, let's get one thing straight: there are countless ways to support me without spending money. These include borrowing my books from your local library (yes, we authors do get paid for that - no need to feel guilty!), sharing my social media posts or watching my YouTube videos.

If you're willing and able to go further, though, there's always Patreon, which allows you to support me with a monthly pledge! Here are some reasons why you might well enjoy doing that...

1) I'll give you the most time-sensitive reason first! I'm running a special offer, which sees eligible new patrons receive a specially-designed, glossy, full-colour Christmas card dedicated and signed by me - or by Jack Sparks, or indeed by any of my other fictional characters. All you have to do is pledge to support me at Patreon, at the Oh Dear God, What's That At The Window? tier or above, before 6pm GMT on Friday 9 December. Naturally, my existing eligible patrons are each getting a card too - here's how I broke the news to them the other day, in this rare example of a post that I've made public. 

2) Patreon has allowed me to foster a fun, fenced-off community, where you can get involved as little or as much as you like. I love that I can write and chat directly to my patrons, soliciting their opinions on things like YouTube video thumbnails, or posting exclusive diary entries or vlogs for them to read among lots of other exclusive content. I even tell them the odd thing that I wouldn't post on a public forum.

3) My Patreon backers who pledge at the Terrifying tier or above get an onscreen credit at the end of all my videos on the aforementioned Jason Arnopp's Terrifying House Of Obsession channel on YouTube!

4) Last summer, I got together with writer James Moran (Doctor Who, Torchwood, Spooks, Severance, lots more) to shoot a Zoom video about writing, specifically for our respective patrons. The theme we decided to cover was the difference between writing prose and scripts. The result was really interesting and often quite funny into the bargain. The video ran for 50 minutes, and remains for patrons' eyes only! You can see the video thumbnail at the top of this article, although you'd probably figured that out already. 

5) When you back me at Patreon, you achieve two truly astonishing things. You help me to support my family and to feel more secure in a bizarre and unpredictable career like writing, which if I'm honest, can often feel like feast or famine. And that means the world to me. I do my best to treat my backers like royalty!

6) Also! When you back me at Patreon, the system pings an email into my inbox AND makes a notification pop up from the Patreon app on my phone. Whichever of these I happen to see first, it gives me a real buzz of happiness and indeed surprise! It's an amazing feeling that someone wants to back you, regardless of whether they pledge £2 or £10 or £25 or even more per month.

7) When backers support me at the Terrifying tier or above (this one is £5, in case you were wondering - you can see all the tiers here), I record a personalised welcome video for them, usually while sitting at my desk, just as I do in my YouTube videos. I then upload this video to YouTube, keeping it unlisted (private), and personally send my brand new patron the link via Patreon DM. The end result looks like a YouTube video that talks to them, which tends to be a pretty fun effect!

8) My backers get to see my YouTube videos early, before the rest of the world. Sometimes, for one scheduling reason or another, this may not be possible, but I do my damndest to make sure that happens. I also often tell backers about YouTube videos I'm thinking about making. 

9) Doctor Who fans: I created a combined PDF of both parts of my Doctor Who Magazine interview with Tom Baker, which I conducted at his home in 2009. I then wrote a new foreword for the epic piece and made this available to patrons only.

10) I make a monthly vlog exclusively for my supporters, titled Walking With Patrons. At the time of writing, this series has been running for one year. 

11) I know, from my own experience of supporting people at Patreon (YouTubers like Steve Benway and Atari Archive, for instance) that it really makes me happy to back people who bring value to my life. Perhaps if I've somehow managed to bring value to yours, you might feel similarly good cheer if you support me via the Patreon route.

12) I'll often make exclusive videos for patrons only, generally off the cuff. Last summer, for instance, I attended a car boot sale for the first time since the pandemic began, and immortalised this visit with a video for patrons only. On another Sunday, I shot a video while walking from my home to Brighton train station, as an intro for the diary entries I then wrote for them on the train.

13) Every year, I send patrons at the Terrifying level or above a seaside Brighton postcard, to wherever they are in the world, to say thanks! At the next tier up, I can get my friend Jack Sparks to write the postcard for me...

You can find my Patreon page, and check out the various tiers, right here at this link. Thanks for reading!

Hey there, O reader of the blog.

A quick but cool update to tell you that two more of my books are now FREE for Amazon's Kindle Unlimited readers! These books are as follows:

AUTO REWIND
My disturbing retro-thriller, featuring Doctor Who, the Atari 2600 console and a nail gun. A child of the 80s takes ever more extreme steps to protect his family. 

TAKEN OVER BY SOMETHING EVIL FROM THE TV SET...
A collection of my horror journalism including essays on video nasties and John Carpenter's The Thing, plus interviews with Rob Zombie, Sean S Cunningham and horror FX legend Tom Savini.

You can find handy Amazon links on my site pages for Auto Rewind and Taken Over By Something Evil...

Hope you enjoy! Please leave a review for these books if you enjoy them, because trust me, it really helps an author like me out. 

What follows is the entire introduction to my non-fiction book From The Front Lines Of Rock.

“YOU LOVE it you slaaaaags!”

The Cult’s Ian Astbury slams his foot on the accelerator pedal.

I’m on the back seat of this car which Astbury is driving so enthusiastically around the Hollywood Hills at night.  Now, I’m sure he’s completely and utterly sober at this point, but the man’s fast and furious driving alone makes you think that this is a very foolish place for me to be.  It’s exciting, though.

Whoosh!  We turn another corner, narrowly missing a tree and hitting a wheelie bin, which goes flying.

Also in the vehicle are a record company press officer, an MTV producer and an unidentified man, right beside me, who is high on magic mushrooms and panicking, his eyes like saucers.  “Man,” he pants, grabbing my leg, “I can’t go to jail again!”

This is circa 1997. And even as I grip my seat, I think how deeply bizarre the situation feels. Only 10 years ago, I was a teenage rock fan, buying The Cult’s singles Lil Devil and Wild Flower on seven-inch vinyl. And here I am in Hollywood, quite possibly about to be killed by their frontman.
 
I never wanted to be a journalist, rock or otherwise. I mean, it was never a childhood dream. No, the childhood dream was telling stories for a living.  A great deal of my young life in Lowestoft, Suffolk consisted of writing fiction, drawing comic strips and reading Choose Your Own Adventure and Fighting Fantasy books. I didn’t get into rock music until I was well into my teens.

Europe’s classic single The Final Countdown was the one that hooked me in. Say what you will about that parping gem, but it sucked in a whole new generation of rock fans. It was a gateway drug to the hard stuff. After that, I graduated to Bon Jovi’s Slippery When Wet album, then to the works of Dio, followed by Metallica, right up to the churning madness of Slayer’s mighty 1986 masterpiece Reign In Blood, which initially just sounded like white noise. I quickly became obsessed with heavy metal, exploring the entirety of its broad church.

I was especially taken with the more extreme end of the spectrum: the subgenres known as thrash metal (primarily fixated on speed and crunchy guitars) and death metal (fixated on morbidity, with a charnel house sound to match, plus glottal, growly vocals.)

One day, in the pages of UK rock weekly Kerrang!, I saw an advert for a new vacancy in the freelancing writing department. Kerrang! had realised they needed a new specialist in thrash and death metal – someone who actually understood that stuff. Over the last couple of years, as those genres gained strength in the marketplace, the magazine’s reviewers had often treated the bands with contempt, much to the dismay of fans who didn’t want to see their favourites dismissed in a ‘comedy’ fashion by snooty journos. Not all of Kerrang!’s writers looked down on thrash – the likes of Xavier Russell and Paul Miller were proper fans – but it certainly happened on a regular basis at that time.

I was still in high school and so hadn’t yet reached the crossroads where I felt any pressure to find a job. Nevertheless, I wanted this one. So I sent a couple of writing samples, as requested, along with an arrogant letter. This letter told editor Geoff Barton that he did indeed need me on board, because none of the other writers knew anything about thrash and death metal.

Obviously, this approach could have backfired, but it didn’t. I was blown away to get a call from reviews editor Alison Joy a few days later, who said she was going to send me a couple of records to review.

“What...,” I stuttered, suddenly not quite so cocksure, “so these reviews will be in the magazine?”

“Yeah!” said the jovial northern typhoon. “We don’t hang around at Kerrang!, matey boy!”

Indeed they didn’t. Within days I was listening to my first two albums for review – a Peel Sessions mini-LP by Birmingham’s rising Bolt Thrower and an album by the super-obscure Mallet-Head, who were destined to split a few years later – and excitedly typing out my verdict. Yes, typing, on an electronic typewriter. I also sent these reviews through the post in physical form. Later, I would graduate to a more hi-tech method.

You know what that new method was?

Faxing. The stuff of dreams.
 
In 1989, I did my first interview for Kerrang! It was a phoner with Morbid Angel, a band I really loved at the time and retain a real fondness for. I’m pretty sure I kept singer/bassist David Vincent and guitarist Trey Azagthoth on that conference call for way longer than the average interview should last. I had no experience at this game, and so no real sense of how many quotes I needed to fulfil the word count. So I just asked everything. Luckily, Morbid Angel were very talkative, being passionate about their craft. They were great first interviewees.

That same year, I made my first journalistic trip abroad, to Copenhagen for Sepultura.  The Brazilian metallers were very much on the rise with their brilliant Beneath The Remains album and I was blown away to get to write about them. My inexperience showed through, though, when my tape recorder didn’t work for some reason – maybe I even forgot batteries – and I had to borrow one off the boys’ tour manager and fellow journo Borivoj Krgin, who went on to spearhead the rock news site Blabbermouth.

1990 saw my first US trip. It was a bumper affair, covering the bands Nocturnus, Carcass, Massacre and Morbid Angel, because Earache Records wanted to make sure they got the most out of their airfare costs (there were no paid-for hotels, so photographer David Willis and I were sleeping on band’s sofas). Hilariously, I was terrified on the first night in Tampa, Florida, having taken Willis’ joke about drive-by shootings seriously. There’s a home video of that first night, in a restaurant, where I look like a rabbit in a headlights, as if I’m expecting Uzi-toting raiders to burst in at any second. 

From that jaunt onwards, the interviews and trips multiplied. In 1993, I moved from Lowestoft to a flat in London’s Queen Park, only slightly unnerved when Alison Joy asked what had made me decide to move (uh... writing more stuff for Kerrang!?)

I was gaining experience, but still pretty green. Whenever I scored an interview that dragged me out of my extreme metal comfort zone, I would feel nervous, but do my best to step up to the challenge. 

I found myself writing cover stories on more mainstream acts like the Red Hot Chili Peppers and Black Crowes. By the mid-90s I was hopping back and forth across the Atlantic every couple of weeks. The photographer and I would enjoy several drinks on the plane, followed by plenty more when we arrived. After a while, travelling around, staying in hotels and visiting nice restaurants and bars without paying for anything, life became slightly unreal – a big, enticing bubble of carefree fun.

The photographer and I would almost always be accompanied by a record company PR, whose credit card would receive a bashing throughout each trip. We didn’t have to work much out for ourselves – airport and hotel check-in desks would be handled by the PR, as we handed over our passports. I suppose I got a glimpse of what it must be like for a rock star, being pretty much permanently ensconced in that lifestyle, with all the fiddly real-life stuff conveniently taken care of.

I used to love interviewing people. The freedom of it! Sometimes, you found yourself sitting in front of a proper rock icon, with your brain screaming, You can ask them anything you want! Do it! I would always try and push the envelope just a little, by hitting them with a surprising question. Something which had never been asked before and might shake them out of the stupor sometimes induced by multiple interviews.

The selection process for this book has been based on two factors. I wanted the pieces in From The Front Lines Of Rock to concern bands most people would have heard of, but I also wanted to represent some of my favourite interviews. So the features gathered here fulfil one or both of those requirements. Maybe one day, if the demand is there, I’ll release a follow-up, perhaps gathering my interview work in the extreme metal department.  For now, in these pages, it’s the bigger-sellers, who often also have the biggest personalities.

This book has taken five years to assemble, on and off. I’ve written footnotes during each feature – sometimes in ‘real time’, as I re-read the piece for the first time in aeons – and then an afterword for each. It’s been interesting to look back and not only remind myself of things I said and did, but also consider how differently I might do things now. Some of this stuff makes me cringe, frankly, but I’ve also really enjoyed most of it.

As tempting as it sometimes was to edit these interviews, I’ve left them as they were upon publication, with the odd exception of some formatting. I couldn’t bring myself to leave titles surrounded by quotation marks. I’ve also removed the asterisks from the swearing, because we’re all adults here and we don’t need protecting.

Because an interview is only as good as its subject, I don’t think it’s immodest of me to say that there are some real crackers here. The Manic Street Preachers in Japan, back when Richey Edwards was in the band. A feisty two-part Pantera interview in Baton Rouge, Louisiana. Jon Bon Jovi talking about drugs, the mafia and money in Los Angeles.  Getting arrested by armed guards at the Vatican with Cradle Of Filth. All particularly great fun.

I very much hope you enjoy From The Front Lines Of Rock, whether it’s loud nostalgia you crave, or are leafing back through history as a curious newcomer with a My Chemical Romance tattoo on your forehead. Maybe you’ve read my 2016 novel The Last Days Of Jack Sparks and wonder what else I used to write. Whatever the reason: thanks!

Oh, and that ridiculous motor experience with Ian Astbury? Eventually, we came to an abrupt halt, having bumped into a wall – thankfully not too hard. The mushroom-paranoia guy claimed we’d hit the LA sheriff's house. I think this was implausible, to be honest, but would like to think it true. 

Yes, getting into a car with a ludicrous but loveable rock star was a really stupid thing to do. But then rock ‘n’ roll is so often stupid, and I’m glad I had a taste of that bewitching foolishness before moving on to slightly safer pastures in the worlds of prose, film and TV. The whole experience would also help me write a convincing journalist in the shape of Jack Sparks.

A quick word on how Kindle footnotes operate, in case you’ve never encountered them before: tap each number to be taken to the corresponding footnote at the end of the book, then tap the number again to be magically whizzed back to where you were in the text. 

Right, then. Let’s go. Crank your eyeballs up to 11...

Check out From The Front Lines Of Rock, you li'l devil. And please share your favourite Kerrang! memories down in comments right here!

Auto Rewind is my e-book novelette published in 2016.

What's a novelette, you may conceivably ask? It's a story with a word count higher than a short story, but lower than a novel or a novella.

If I had to nominate one of my short-form fiction works as having been somewhat overlooked (or the more positive spin, my best-kept secret!), it would be Auto Rewind. But then, it's probably odder and harder to categorise than, say, Beast In The Basement (twisty thriller) or A Sincere Warning About The Entity In Your Home (ghost story). 

Auto Rewind is also probably even harder to discuss openly than the notoriously tricky Beast In The Basement, without committing major spoiler sins. 

Suffice to say, Auto Rewind is about a child of the '80s who takes ever more extreme measures to protect his family's lifestyle.

I still really like this book and believe it to be quite emotionally powerful by the end.

It also features Doctor Who VHS, a nail-gun and a man being beaten to death with an Atari 2600 video game console. Pretty retro. 

Cover note: the one on the right above is the finished cover, while the one on the left is an alternate version which was ultimately discounted because I really liked the white purity of the design. Actually, I wonder if it might look too bright and 'un-horror' for some folk? That would certainly be ironic, seeing as it might be my most violent book, second only to The Last Days Of Jack Sparks.  

If you're solely into the scary supernatural elements of my novels The Last Days Of Jack Sparks and Ghoster (thank you!), then the grittier nature of Auto Rewind may not quite be for you. But if you like the sound of a punchy, twisty, freaky and ultimately melancholy tale, then I'd really appreciate you giving this one a shot. In some ways, it might be my most personal book.  Step this way and take a look. 

Have you already experienced Auto Rewind? Let me know how you liked it in comments here. Thanks!

An earlier version of this piece was first read last month by subscribers to my newsletter The Necronoppicon, which brings my readers updates at the end of each month. Oh, and you get a free book when you sign up!

Hello! Here are some things I've learned about how the YouTube algorithm works, during my time as a creator there.

Perhaps the most important thing to remember is that YouTube is the second biggest search engine in the world. Creators should approach it accordingly.

The more niche a video, the better the algorithm likes it, so it can show your videos to people likely to be interested. YouTube will like you more if each video is about one thing and one thing only, because this makes searchable keywords easier too.  A title like How To Wrangle Geese is stronger, SEO-wise, than How To Wrangle Geese AND Make Them Sleep. (Do geese sleep? They must, surely.)

An ideal video title has a searchable keyword in its first half, perhaps then followed by an enticing non-searchable phrase if you have the stomach for that. For example: How To Wrangle Geese - EVERYTHING You Need To Know!

The algorithm looks at the title (the first half especially), then at your video description (bonus marks if the main keyword in your title, i.e. How To Wrangle Geese, is repeated here.) Then it looks at your video tags, where the main keyword should be repeated once again, among various other related keywords.

As soon as YouTube feels confident that your video is about something, it shows your video to potentially interested parties. If the click-through rate (the percentage of people who click your video thumbnail - so make it good!), watch time (percentage of video viewed before viewers switch to a cat video instead) and viewer engagement (likes and comments) are decent, it will show the video to a bigger bunch of people, and so on until virality ensues. Hopefully.

So, how are we supposed to know how to optimise our YouTube videos, to maximise views and watch time? I strongly recommend that creators use a desktop browser app called TubeBuddy - and not just because I can offer you a 20% discount.

Using TubeBuddy, you can work out what the best keyword(s) will be for any given video. Using the Keyword Explorer tool (see interface below), you type in a potential keyword phrase and TubeBuddy gives you a score out of 100, based on several factors, such as how many people search YouTube for that keyword and how much competition there is. You can do this in the free version, but a subscription gives you an added advantage, because the result is 'weighted' to your channel, i.e. specific to your own channel's strengths.

There's a free version of TubeBuddy that you can check out and see how you like it. If you choose to join me in subscribing, be sure to use my special coupon code ARNOPPBUDDY for a huge 20 PER CENT off! Furthermore, TubeBuddy offers a special Rising Star discount to YouTubers whose channels have fewer than 1000 subscribers. 

Full disclosure: I'm a TubeBuddy affiliate, and so if you sign up using my link, then decide to subscribe, I receive a commission at absolutely no extra cost to you.

Lastly, look out for my new goose-wrangling channel, coming soon! *

My newsletter subscribers read this article first, getting it straight to their inboxes. Consider joining them.

* Lies, obviously.