Joe Knetter

Joe Knetter is a writer originally birthed in the blustery cold of small town Minnesota. From a young age, Joe immersed himself in the horror genre, loving the feeling of being scared and creeped out. Lucky for him, the 80's were a powerhouse time for horror films with the advent of the home video market. Joe watched everything he could get his hands on, taking in the craft of proper storytelling. While most kids his age were reading children's books, Joe found solace in Stephen King and Clive Barker. It was a natural progression for him to begin to write as a way to share the emotions he felt with others. His short story, about an airplane crash, garnered him the attention of the school psychologist, who thought his brutal story about death and survival, while well written, was something that needed to be addressed in counseling. To eleven-year-old Joe it was simply a story. There was no underlying motive. It was meant to shock. To others it was something to be concerned about. What Joe took from it was the feeling of making an impact, affecting people. In 2003 Joe sold his first short story to a small, now defunct publisher called Splat books. The collection titled Self-Mutilation was mentioned in Fangoria Magazine. At the time it was the bestselling and most prodigious horror magazine in the world. Striking out on his own, Joe later released multiple short story collections, a novel and toured the US signing books at horror conventions and meeting fans. His last book, Diabolical Dissertations of the Damned, put out by Great Old Ones publishing, is a greatest hits collection of his short stories, the publisher's favorites of the last ten years. The book featured an introduction by WGA member Todd Farmer. It was during this time that due to connections he had made on the horror scene, he began to get work polishing screenplays and writing his own. He developed a writing style, heavy on characters that feel real, that allowed him to move quickly, sometimes completing a screenplay in a single day. His focus shifted from writing fiction to working almost exclusively on film.