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  • NaNoWriMo Week 1: First Letter Home

    To my dearest love,

    My heart still aches, having left you behind yet again. Each day we are apart, I miss you all the more. I hope you will not forget me while I am away.

    I am writing this note on Day 4 of our tour. We nobly marched into the trenches this past Saturday, and we are all ready to do our part. Emotions are running high for everyone. There is a great deal of excitement and bravado, but also plenty of anxiety and dread. I, myself, have tried to inspire those feeling trepidation, since this is my tenth tour. My veteran status lends me a bit of respect in the trenches, and they often look to me to lead. I do my best not to let my men down, all the while ensuring I fulfil my own duties, as well.

    The food is terrible and sleep is fleeing, but all of this is as expected. We have made progress. We will soldier on. I will write again next week and let you know how we fare.

    Know that I think of you every day, and that we will be reunited again in less than a month.

    Ever-faithfully yours,

    S

  • NaNoWriMo 2014, Very Dangerous People Week 1

    thumbNaNoWriMo is often a lesson on how hard the life of a writer can be. A lot of our deadlines are self-imposed. Unless you have a multi-book contract or have something you’ve sold that is currently in the editorial process, you work on your own. NaNoWriMo presses upon us a one-month, fifty thousand word deadline. Usually, in this career, you get paid for such an experience. In this case, though, it is all in fun.

    This month has been rough from the get–go. I have a very demanding day job, and it has been a nightmare time-consumer over the first week of November. I am a very productive writer, and a quick-typer. Even with those things going for me, I have only just kept my fifty thousand word pace. It’s required some quick typing, not wasting a moment, but it has also required getting up early, working my entire lunch break, and variety of other tactics.

    At this writing, a post that was supposed to go up Monday, mind you, I stand at 5,700 words. I’m not totally happy with the quantity of the writing, but I have been happy with the quality. I am three chapters in to writing Very Dangerous People, and I am enjoying it, so far. The supernatural elements that will be a big part of the story haven’t come in to play, but will probably be showing up in the next chapter. I’m comfortable with my protagonist, and his “origin story” worked out pretty well. I was surprised by some of the things that came up.

    The first three chapters have been the easy ones. It has been a free-flow of ideas to the keyboard, because they were all my ideas. However, this novel is not one containing only my ideas. Very Dangerous People is the story of a social group of professional killers who get caught up in a plot to release Lovecraftian elder gods upon the world. As a horror scholar, it is important to me to do the mythos justice, and to also write a good story.

    I imagine that the pace will slow for me as I enter into the realm of Lovecraft’s creations, having to weave them in to the world that I have established in present-day Salem. However, I think the story has a lot of potential and will have some surprised in store for me.

    I look forward to seeing how Dick and his band of killers deal with a dark Lovecraftian cult and the monsters that they release upon the world. Hopefully, I will be back on Monday with good news about their efforts, which in the case of fiction, often means bad news for my protagonist.

    Week 1: 5700 words

  • Death by Inches

    Jack was sitting at his coffee table stripping down his double-action revolver. Gin was lounging on his couch behind him, a tablet in her hands and a leg flopped over an armrest. Apart from the blank TV set into the front wall and a small nightstand next to the door, the apartment was barren.

    Gin glanced down from her screen. “Why do you carry that old thing?” She asked. “Do they even make guns like that anymore?”

    (more…)

  • John Hornor Jacobs’s Fierce as the Grave (Book Review)

    12372484I first read John Hornor Jacobs after seeing him at ConQuest last year in Kansas City. After listening to him talk about writing in a panel, I had a feeling that I would enjoy his work. The way he spoke about writing, and about the horror genre, made me think he would be a force to be reckoned with for some time to come. It didn’t hurt that he was a cool guy and said very supportive things about my own writing. As far as first novels go, Southern Gods is hard to beat. It’s a great blend of classical literary writing and horror.

    Jacobs’s Fierce as the Grave: A Quartet of Horror Stories continues the sort of writing that made me love Southern Gods. The regional flavor permeates everything. This is a guy that knows his setting. The South and the rural world, in general, flows through the work.

    The plots are all simple. If you were to name them off, they wouldn’t come as much of a surprise. There is a story about vampires, another about zombies, a couple about ghosts. They are the same basic tropes that we have been writing about since the late 19th century. However, Jacobs tackles them with a style and flavor that make them his own.

    The magic of John Hornor Jacobs is that he is able to see past the trappings of our genre to find the universal themes that transcend horror. The stories of the characters themselves become more interesting than the fact that there are monsters of any kind. In fact, life might just be the worst of the monstrosities described in these stories. Concepts like sanity, guilt, and identity are themes addressed throughout literature. Unfortunately, we can sometimes get so hung up on writing what is scary that we forget to write about the larger things. It is possible to do both.

    I saw a Reddit interview with Peter Straub recently in which he said that while putting together his spectacular collection American Fantastic Tales, he was struck by how little the modern genre stories differed from modern literary writing. He saw this as a very good thing, as do I. It’s the thing that allows writing to transcend genre expectations, and allows our genre to infect every other aisle of the bookstore.

    John Hornor Jacobs’s horror writing falls into the genre of modern literary horror, and provides good evidence of our genre’s potential for solid writing, great characters, and universal themes. His writing has a nostalgic feel and takes its time establishing the norms of the story world. Only when those norms have been established can we transgress against them. Only then can we truly have horror.

    Overall, the collection was a very fast read and confirmed to me that Jacobs is the type of writer that the horror genre should be proud to have. For .99 cents as an e-book, it is a definite bargain. I am glad to have read it.

  • Writers & Exercise

    There seems to be some evidence that people sit too much.

    Well, that’s some low-hanging fruit there, but it’s true and it’s something that we don’t think about. When we’re in the car we don’t think “I’m sitting down”, we think “I’m heading somewhere”. Or something like that.

    I’m here to tell you that I spent the summer of 2012 essentially on my butt. The entire summer. This matters because I didn’t think I was just sitting around. No, I was writing. Creating new stories, revising others and surfing the Internet. Watching TV. Visiting with friends. Worse, I’d broken the habit of walking every morning for 2.5 – 3 miles. A habit I’d acquired over five years. Every morning out for a walk. Unless it was too cold (under 45*F) or there was lightning or I had to be somewhere before 8 AM.

    I fooled myself into believing I was being creative, learning, vegging out, whatever. I never considered that it would cause me problems. My knees started hurting. There were little aches and pains that developed. I thought nothing of them. Come fall when I became more active, much more active, I didn’t notice that I was having troubles.

    My knees got worse. I didn’t notice that I was actually slowing down when I walked places. I failed to see that I had begun to have trouble breathing.

    That was the beginning of the trouble that would eventually land me in the hospital with massive bilateral pulmonary embolism. The trouble that nearly killed me.

    I was living with untreated (and at that point undiagnosed) ulcerative colitis. My failure to move about I’m sure contributed to the problem. It had to. Thankfully it appears the colitis is heading towards remission. I’m walking regularly and things are much, much better. Doesn’t mean I don’t worry, that I don’t take note of every little ache and pain that pops up but I keep track of the ones that don’t exist any more, too. There are more of the latter than the former.

    But when I’m writing, when I get in The Zone, it’s hard to remember that I need to get up and walk around. I mean, I don’t want to lose the roll I’m on and I don’t want to have to come back in fifteen or twenty minutes and remember where I was. I’m sure the same thing applies to you.

    My own experience tells me that I do need to do that, though. That’s why I modified my old drawing table and turned it into a standing desk. At first I didn’t think it would be for me but it turns out one of the benefits of standing is that when I get frustrated and need a break from the screen I can walk away instead of leaning back in my chair.

    Sounds simple but it’s effective. I don’t lose The Zone and I move around for a couple of minutes. It rests my eyes, gets the blood flowing and burns a couple of calories. Another side benefit is that I tend not to snack when I’m standing. I still drink coffee or whisky, let’s not be silly, but the snacking and the moving around are good for me.

    This may not be for you. I exhort you to consider, though, the report I linked to above. What can it hurt?

    (Note: I cross posted this from my blog because the Cafe is an appropriate venue to discuss this.)

  • Online Publishing: A Quick Overview

    Selling your writing online is only getting easier. Low overhead, cheap startup costs and fast setup time means it’s easy to make money. However, it can be just as easy to lose money, and that’s because of piracy. I’m not going to get into the debate of corporate, pirate and indie interests here, but the fact is that piracy exists and, if you want to sell on the internet, it’s something you have to deal with.

    There are many ways to publish content online, all with different strengths and weaknesses when it comes to potential profit and loss. I’ve picked out four of the most common to see what their potential risks and rewards are.

    (more…)

  • Dear Comics

    It’s not you, it’s me.

    I want to fall in love with you, I really do. All of my friends say that you’re really great. And you are great, really. I’m just not feeling it.

    I just can’t get into the way that you tell stories.

    As far back as I can remember, I’ve always been attracted to text. I like well built paragraphs, with broad metaphors and strong descriptions that can carry a story safely across the great divide between author and reader. A clever simile, a well-crafted pun, will always make me smile. I have kind of a Thing for a confident narrative that introduces me to fascinating characters and takes me to exotic places. The right novel comes along, and I’m lost.

    I have experimented with comics in the past. Some of my favorite authors, particularly Neil Gaiman, are bi-genre, and in their company I’ve dipped my toe in the graphic waters. But I can’t pretend any more.

    When I open a graphic novel, I’m faced with page after page of lavish illustration, but all I can really see is the text. Unfortunately the text isn’t quite enough to carry the story. It’s mostly just dialog, with perhaps a dash of exposition. The lion’s share of description, mood, and theme are carried by the artwork, and I just don’t see it. Instead of carefully examining each page, each panel, I’ll find myself madly flipping pages, looking only at the speech bubbles, and by the end of the book I’ll be groaning in unfulfilled expectations, crying out, “That’s it? That’s all you can give me?” Excited by the prospect of a great story, only to have it come to a premature and unsatisfying end.

    Sometimes, on a second go around, I can force myself to go slow, carefully examine the artwork. I know you’ve worked hard on your appearance, comics, and I’d like to give you mad props for it, but I’m just not that kind of a girl.

    A novel, on the other hand, is long, and thick, and carries the promise of great satisfaction. A novelist knows how to create the mood, set the pace, and tickle my fancy just right.

  • What the Finale of How I Met Your Mother Can Teach Us about Writing

    Monday night, CBS ended the long-running series How I Met Your Mother with a much-hyped finale. The way the series ended brought to mind a major point about writing.

    Series finales are always heavily-contested. For one, people have come to know and love the characters and will miss them. In the case of How I Met Your Mother, the finale is the entire narrative structure of the show, the meeting of the mother. Viewers are conflicted. They want to see the climax, but their relationship with the characters is over. It’s a tough position for a series writer, because there isn’t a follow-up episode to redeem any mistakes. This is the same situation you face as a fiction writer. If you haven’t seen the show yet, and spoilers matter to you, do not go any further. (more…)

  • Meals on Wheels

    Kendra enjoyed being a Meals on Wheels volunteer. She hadn’t lived in the city long, and her freelance job kept her busy working from home. Meals on Wheels gave her a reason every day to get dressed, go outside, and talk to people.

    She shared her usual route with Ryan, a beefy man with a rich round laugh and teeth that shone brightly against his brown skin. He was fond of telling stories, but as he told Kendra, it was far more important to listen. Particularly to their clients. “Some of them have family they haven’t seen in years. Some haven’t any family at all. For some, we are their family.”

    So Kendra made a point of always listening. Saul Kensington liked to regale her with bawdy tales of his misspent youth, probably hoping to shock her. Phoebe Sutherland— Ryan always called her Miss Phoebe— talked about the doings of her plethora of nieces and nephews. A few clients were chronically grumpy, speaking only to complain. Kendra tried to give them a sympathetic ear anyway. After a few months, Kendra felt she knew her clients better than she knew the people she had grown up with.

    Time had not been kind to the street. It had once been bustling and Victorian bourgeois elegant, but now the shop fronts that weren’t boarded up advertised mostly liquor, cigarettes, and lottery tickets. The rents weren’t quite cheap enough to attract the artists who were often the precursors to gentrification. At least three developers had drawn up grandiose plans to level the neighborhood in favor of some postmodern tribute to capitalism, but so far those schemes had gone nowhere.

    There was one resident who caught Kendra’s eye. A tiny, elderly woman, hunched with age, whom Kendra sometimes saw walking a little dog up and down the block. Other times the woman could be seen through her window, gazing down at the street, one hand caressing floppy ears.

    “Who is she?” Kendra asked Ryan. “She’s not one of our clients.”

    “That’s Miz Richards,” Ryan said. “She’s lived in that apartment for almost 70 years now, ever since she was a little girl. I’ve tried to get her to sign up a few times, but she always refuses. Too proud, perhaps.”

    “She looks lonely,” Kendra said.

    “Honey, the only people ’round here who aren’t lonely are you and me, and that’s because we have so many of our friends to visit before the end of the day.”

    One day Kendra was in that same building, trying to deliver a meal, only to be turned away by the man’s son, come to take him to Athens, Georgia, to die near his family. On impulse, with the meal in her hand, she knocked on Miz Richards’ door.

    “Who is it?” called the voice from within.

    “Ma’am, my name is Kendra. I’m with Meals on Wheels.”

    The door cracked open slightly. “I don’t take Meals on Wheels.”

    “I know that you’re not one of our usual clients, ma’am, but I happened to have an extra meal today and I wondered if you would like to have it. It would be a shame to let it go to waste.”

    The old lady opened the door a little wider and Kendra saw her pet. “What a sweet little dog! What’s her name?”

    “This is Greta. She’s been mine for a long time. Won’t you come in?”

    It was that simple. A kindly face, a meal, and a dog with floppy ears. After that, Kendra managed to add Miz Richards to her regular route. Any time she got a chance, she would sit and listen for a bit to stories of the street from long ago, of neighbors long gone or dead, of the tiny boutiques and shops that once lined the street.

    It wasn’t very long afterwards that when Kendra knocked, the only response was Greta whining and scratching at the door. Mindful of some of the stories she had heard from other Meals on Wheels volunteers, Kendra and Ryan called the building superintendent and asked to be let in for a welfare check.

    It looked as though Miz Richards had died peacefully in her sleep, and not too long ago. Kendra made sure that Greta’s food and water bowls were filled as the men from the coroner’s office carefully removed the body.

    One of the men asked if she was the next of kin.

    “No, I volunteer for Meals on Wheels. She didn’t answer her door today— that’s why we called it in. She has some family, but I don’t know who they are or how to contact them.”

    The building manager shrugged hopelessly at a lifetime of accumulated clutter. “All this is going to have to be cleared out,” he said. “I don’t have time to go through it all.”

    “Do you mind if we look?” Kendra asked. He gave her a key, and told her they had until the end of the week.

    She and Ryan spent a whole day looking through Miz Richards papers. The story they pieced together was a sad one. Her husband had died young. One son in prison, another had moved overseas. A daughter whose last Christmas card had been sent in 1995.

    They finally found the name and address of a grandson. When called, he said he hadn’t seen his grandmother since she was a child. He hadn’t even known she was still alive. He had no opinion on what to do with Miz Richards belongings— couldn’t they take care of it? He did agree to take the coroner’s phone number and make arrangements.

    Kendra ended up taking Greta home with her. The little dog sleeps at the end of her bed now. On rainy afternoons, Kendra will sit by her window, gazing down at the street, one hand caressing floppy ears.

  • Stephen Graham Jones’s The Least of My Scars (Book Review)

    51FEhkZbqNL._SY344_BO1,204,203,200_The horror genre has a lot of good lyrical writers and a lot of good visceral writers. Most of the time, those traits are exclusive. I don’t know why. Perhaps those who write with a more visceral style use conversational tone in order to maximize the effect. Brian Keene and Jack Ketchum are two examples. Their books are well-written, but so linguistically relaxed that the words disappear. On the other end of the spectrum, writers like Ramsey Campbell and Peter Straub write lyrically and specialize in so-called “quiet horror.” Much like the artist who works with negative space, these writers use what isn’t on the page as much as they do the written words.

    There are several writers who are exceptions to the rule, and one of the best among them is Stephen Graham Jones. His novel The Least of My Scars serves as an example of what can be done when lyrical writing meets visceral imagery. It is an exceptional example of that grey area between horror and noir fiction.

    William Colton Hughes is a serial killer. He lives in an apartment complex, supported by a mob boss. His job is simple. When the boss sends someone to the door, Hughes kills them and disposes of the body in a methodical way that has to be read to be believed. The apartment exists as Hughes’s little chunk of paradise, an island where he settles in to a homicidal dream-come-true. That dream crumbles, along with Hughes’s sanity, as the story progresses.

    The novel is told from Hughes’s perspective. Using an unreliable, unsympathetic narrator is tricky, but Jones pulls it off masterfully. Another reviewer/writer, Caleb J. Ross jokingly called the book “Native American Psycho.” Certainly, The Least of My Scars reminds you of Bret Easton Ellis’s book, as well as Joyce Carol Oates’s Zombie. You feel no empathy for Hughes. It doesn’t matter. All the other characters are just as rotten as he is, but without the excuse of insanity. (more…)