Universal Cable Productions and producer Roy Lee (THE RING, THE GRUDGE, THE DEPARTED, BATES MOTEL, THE WOMAN IN BLACK, et al) have optioned TV rights to Ian Rogers’ novelette, “The House on Ashley Avenue,” from his debut collection EVERY HOUSE IS HAUNTED.

The story, published in late 2012 by Toronto’s ChiZine Publications, follows the exploits of the Mereville Group, an insurance company that secretly investigates the supernatural. The Group has in its possession a collection of haunted buildings that are so dangerous that their existence must be kept from the public. These properties are known as The Eight.

“The House on Ashley Avenue” was nominated for the prestigious Shirley Jackson Award, and was reprinted in Ellen Datlow’s THE BEST HORROR OF THE YEAR, VOLUME 5. The collection won Canada’s ReLit Award in the short fiction category.

Lee will supervise development and executive produce, while Rogers has signed on as a consultant for the show.

EVERY HOUSE IS HAUNTED received a strong blurb from Andrew Pyper, whose novel THE DEMONOLOGIST was optioned by Robert Zemeckis and Universal for feature film treatment: “Ian Rogers’ stories are old-fashioned in the very best sense: classic chillers in the spirit of Shirley Jackson and Richard Matheson. EVERY HOUSE IS HAUNTED is full of well-crafted, satisfying twists, a fine companion for any reader of literate horror.”

Rogers’ and ChiZine Publications’ TV/film rights are repped by Jeff Alpern at The Alpern Group (jalpern@alperngroup.com), and Rogers’ literary rights are repped by Ron Eckel of Cooke International (REckel@cookeinternational.com).

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Random Writing Quote

"If you’re a newcomer submitting to top-drawer anthologies or magazines, you need to bear down, work hard, and get about as serious as a heart attack, because the simple truth is that your story doesn’t have to be as good as the submissions from the “name” writers you’re competing against, it has to be BETTER… and I’m talking better by a long shot, not by a hair. Otherwise, why should an editor take a chance on you, an unknown, rather than give the slot to an established pro with a name readers will recognize when they eyeball the table of contents page? (Simple editorial equation: name recognition = Joe Reader reaching for his wallet. It may not seem fair, but that’s the Law of the Jungle when it comes to selling short fiction. Get used to it.)"
Norman Partridge

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