Nipping Them in the Bud is a gripping tale of extreme horror, showcasing Edward Lee’s mastery in blending visceral terror with thought-provoking themes. Prepare yourself for a journey into darkness, where every decision carries the weight of eternity, and every action challenges the soul’s very essence.

No train has run on this railroad since the end of the Civil War—a railroad built by the servitude to perfect evil—and its trusted tracks run right behind the house. Justin Collier expects his respite in Gast, Tennessee, to be relaxing if not a bit dull, but he will find out soon enough that those same train tracks once led to a place worse than Hell.

Crick City is a small hick town. Violent, mean, and dirt-poor, it's a place nobody wants to call home. But for homicide cop Phil Straker, it is home. And now someone—or something—is turning his boyhood town into a bloody sideshow of mutilation and gruesome carnage. They're called Creekers. Centuries old, driven by rage and lust for revenge, they move through the deep, dark woods—deformed, shadowy outcasts with twisted faces and blood red eyes. Now, as the moon hangs low over their ancient house, they're gathering for a harvest of terror and death Crick City will never forget....

Rick Richardson was a writer. He was good, too, despite what the reviews might've said. They said his writing was bad, but Rick knew that wasn't true. He knew the real reason they didn't like his books was because of the content. You see, Rick wrote "splatterpunk"...it was understandable that people might be triggered by the graphic nature of his stories. But then again, that's what the trigger warnings were for.

To serial slayer Andrew Compton, murder is an art, the most intimate art. After feigning his own death to escape from prison, Compton makes his way to the United States with the sole ambition of bringing his “art” to new heights. Tortured by his own perverse desires, and drawn to possess and destroy young boys, Compton inadvertently joins forces with Jay Byrne, a dissolute playboy who has pushed his “art” to limits even Compton hadn’t previously imagined.