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  • Untitled (flash fiction)

    The server placed Melinda’s stack of strawberry and banana pancakes— with extra fruit and whipped cream— in front of her, and she prepared to dig in.

    “So what happened with Ryan last night?” Bella wanted to know from behind her own stack of cheesecake pancakes.

    “Well, I had called him to come over and help out, right? And when he shows, he’s dressed up really nicely and he’s holding a single red rose. When I answered the door, he was like, you’re not going out dressed like that are you? Dude thought we were going out on a date.”

    “But you weren’t?” Darlene asked. She sipped her diet soda.

    “Oh, come on! Ryan knows the score. There’s monsters to slay, and I’m supposed to do it in pantyhose and heels?” She took a bite of pancake. “I am starving. I’m always hungry after a kill.”

    “Hence the IHOP girls’ night and after action review,” Bella said. “So, Ryan didn’t approve of your outfit…”

    “I will have you know that I picked my outfit very carefully. Also, I did my hair special. I braided it and pinned it up on top of my head– there was no way any fiend from hell was going to be able to grab it.”

    “Good thinking,” Bella said, “especially after last time.”

    (more…)

  • Throwing in the Towel

    I groaned as the last box thudded to the ground. Sweat pooled uncomfortably in my bra. All I wanted was to take a long shower and scrub away the evidence of my hours of physical labor. I’d forgotten how much I hated moving, but when you catch your former roommate fucking the guy from the truck stop in your bed, you know it’s time to part ways.

    Two weeks later I had paid the deposit on a two bedroom house for rent over by the old churchyard. The place was a bargain, it had been empty since the previous tenants moved out in the middle of the night, leaving behind all of their possessions. Some minor trouble with the law, the landlord had said, but he wouldn’t quite meet my gaze when he said it. It didn’t matter. The place was available and within my budget, especially after I had to shell out nearly a grand to get out of my previous lease.

    Six days later, I had packed all of my belongings. Everything fit into the back of my SUV. I’d left the bed behind—some stains just don’t come out—and didn’t have any other furniture to move. She’d already had everything when I’d moved in with her two years earlier. (more…)

  • Dreams: The Free-loading Bitches Who Won’t Help Me Write

    For whatever reason, my dreams refuse to be helpful.

    I know there are some authors who claim they get brilliant ideas from dreams. I don’t necessarily hate those people, but I haven’t met them in person either, so I’m not prepared to say we’d be friends.

    I’ve also read at least one article that recommended sleeping as a way to work through your plotting problems. The idea was that you should think about your story, specifically focusing on those areas that were causing you trouble, as you were lying in bed at night. Presumably, you’d eventually fall asleep (after you finally got over the agony of being stuck on a scene that clearly just wanted to be an asshole), and your brain would continue to search for solutions while your body got the rest it needed.

    Then, at some point, either by dream or some early morning/late night revelation, you’d experience a breakthrough. You would have the answers you so desperately needed, and you and your story would live happily ever after, or at least experience some mild feelings of contentment until the next time it decided to dig in its heels and act like a fuckhead.

    That’d be nice, wouldn’t it? To be able to lay your head down on the pillow and then wake up in the morning with fresh ideas and a clear outline of your plot. It would be like some awesome version of the tooth fairy. One whose visit didn’t require a painful, bloody sacrifice followed by the inevitable letdown when you realize her cheap ass is on a one-quarter-per-tooth kind of budget.

    I’d love to be wired that way. But I’m not. My dreams are lazy, free-loading bitches who contribute almost nothing to my fiction.

    (more…)

  • Genesis

    In the beginning, God created the heaven and the earth, and thought, huh, that was easy.

    He realized that telling the difference between the two in the eternal darkness was trying, so he went to work and created light. And He saw that it was good, so he kept going. Working quickly now, he caused waters to fall and land to rise, giving Him someplace to rest while keeping dry. But the land was barren, and boring, so after a nap, God decided to spruce it up.

    So He made grass, and trees, and fruits, and vegetables, and all matter of plants, and set them about the land. Just for kicks, he put some in the waters too. Wanting a little more change, He created the Sun, and the Moon, and in an act of legendary juggling, He set them all spinning about each other, creating Day and Night. For a whole day He was content with his creations. (more…)

  • Writing It Down For Later

    The Mad Thinker is a Marvel Comics character created by Jack Kirby and Stan Lee back in the day.
    The Mad Thinker is a Marvel Comics character created by Jack Kirby and Stan Lee back in the day.

    Inspiration is a tricky thing to describe. Kind of like trying to capture scents with a mason jar underwater.

    I mean to say that one never knows when something will strike the flint and and an idea will erupt into flaming life. It’s part and parcel of being a writer that one must keep records of lots of things.

    Of course one runs across so many things in the Age of the Internets. It used to be that I’d just write stuff down as I came across it when I read something else. It all starts, as these things do, in the beginning. The formative years, when we begin to realize that being an astronaut or a fireman isn’t going to be what we really want to do, is when we find something that really connects the dots. One of the first things I wrote down came from Chris Claremont, the writer of Uncanny X-Men:

    “What you do not comprehend is that we are dying from the moment of birth, indeed, from the instant of conception. Creation bears within itself the seeds of its own destruction.

    Our lives are finite things. We live our allotted span and are no more. Regardless of what we may do, how hard we try, the best we can hope for is a brief delay of the inevitable. It is sad. Even cruel. But it is our most fundamental reality to be faced and accepted.”

                                         –Colossus, Uncanny X-Men 165 (vol. 1)

    That really affected the teenaged me. It was a point of view I hadn’t considered before. It’s something that I have referred to often despite being one of the most overwrought pieces of comic book writing ever. It’s a moment between two people and the feelings are genuine and there are true things said. It’s a philosophy.

    It affected me enough to want to be a writer and to, as often as I can, tell the truth as I see it.

    As I’ve become more and more a storyteller, I have collected quotes about writing that mean a lot, that keep me moving forward. The Cult of Done has been one of the biggest, most influential pieces, too. I blog about it a lot.

    DONE IS THE ENGINE OF MORE.

    — Bre Pettis

    But then there’s the curmudgeon Harlan Ellison who might sue anyone who quotes him. Still, this bit, from an interview conducted during the release of Dreams With Sharp Teeth (which you should watch often) over at Comic Book Resources, gave me a quote that gets me through every single day:

    “You can either seek the approbation of the monkeys or you can continue to produce your art at the level at which you do it best.”

    — Harlan Ellison

    Since I’ve got a bum ring finger as I type this, I’m going to wrap up with my favorite quote about writing and the process of writing:

    “Finish your shit.”

    That’s good ol’ Chuck Wendig.

    Yeah. So moving from the philosophy of Claremont’s most human character to the foul-mouthed-but-sensitive Wendig, the things that inspire me to write are pretty varied. I have a quote for just about any occasion, should I need something to pull me through a tough spot of writing.

    Of course every spot of writing is tough. All those scraps of paper tacked to the bulletin board over my desk are there to distract me from the hard work and at the same time remind me that it’s hard work.

    Ah, the life of a writer…

  • Steampunk and Sea Monsters

    I wrote this story for the Story In A Bag contest at ConQuest last year. For the contest, you pull index cards from five different paper bags (plot, character, item, first line, and setting) and you have one hour to compose a story that uses all five elements. This story won me the contest last year. Forgive the silliness – it hasn’t undergone much editing since its inception a year ago.

    My head felt like it was going to explode. I was still suffering from the ill-effects of Sulfur’s spell. I had spent four hours in the form of a rat because, as he explained to me: “Morton, you are a dirty, wretched rat for stealing Isabel’s affections from me.”

    Now to be frank, I did, in fact, steal the evil wizard’s girlfriend, but in my defense, he only ever met her because I foolishly introduced the two of them. Unfortunately “I saw her first” doesn’t carry much weight with a nefarious wizard such as Sulfur.

    You may be wondering what kind of idiot I am, stealing a wizard’s girl, and you’d have a good point. I am a huge idiot.

    (more…)

  • A View from a Park Bench

    bw4Imagine a story as a living, breathing planet. A lot of people live on it, and each one has his or her own perception of life. Everyone sees everything differently. In theory, every story has just as many perspectives. How do you know which one is important?

    There are a lot of things to consider, but when writing a first draft considerations are meaningless. Sitting at a keyboard to write a story is a lot like sitting on a bench in Central Park. Lots of people walk by without giving you the slightest bit of attention. Depending on your methodology, you either wait for someone to sit down and start a conversation, or you scream profanities at them like a nut-job. I know people who sit down to write, and if it isn’t coming that day, they get back up and go do laundry. I am on the opposite end of the spectrum. My park scenario is chasing people down, screaming “You can’t get away from me!”

    Whoever I manage to tackle becomes my perspective. Like most predators, I tend to pick off the weak. My characters generally have a multitude of issues. They are fragile, emotionally and sometimes physically. I hold them down and make them cry. A lot of times, that means that the point-of-view of my first draft is decided for me. It belongs to whoever wanders too close to my particular park bench.

    After the first draft is finished, I have to start worrying about actual technique and theory. My story may or may not be best served by the perspective I have discovered. In “Flute of the Dead,” which will be appearing in Bete Noire Magazine’s anniversary issue this coming Halloween, I follow Len, a tribal musician, in his exodus from his home as he flees cannibalistic invaders. In the original story,  Len died about three pages in. The story revolved around his 8 year-old sister. After the first draft, I completed a major reconstruction of the story, which included the deletion of my original protagonist.

    There is no loyalty in fiction. Writing is a solitary profession. Editing is a cruel business. You write from your heart, pouring your soul onto paper. You edit with your brain. Every element has to carry its own weight. Those that don’t must be cut, no matter how beautiful or clever they seem.

    Things like POV and perspective are tools for the creation of art. It is my duty as a writer to use those tools as efficiently as possible. Sometimes, as with “Flute of the Dead,” that means drastic restructuring of story elements, eliminating characters and scenes, creating new ones in their place, and various other modifications.

    The goal is strengthen the story as much as possible. Trial and error will help me to do that. Ultimately, it fortifies both my story and my career. The important thing is to find a voice and hold it down long enough to get the story out, but still be willing to tackle the next guy if need be.

  • Donation

    There’s supposed to be a rush of euphoria. His heart should begin to beat faster.

    Abram sighs and turns the infant’s metal skeleton over in his hands, waiting for something. Maybe after he adds the muscles and skin, he’ll feel it.

    He reviews the video again, for what must be the hundredth time. There’s blood and fluid — so much that Abram would say the mother is at risk of death — but the woman’s eyes soften when the infant first cries. Its head is malformed. The skin is wrinkled and flaky. But the woman reaches out for it with shaking hands, pulls it to her breast and trembles as she sobs.

    He checks his sensors. No rush, no euphoria, and certainly no tears.

    Perhaps the infant also needs a heart. The human mother keeps the human child near hers.

    Abram walks through the cryo-chambers again, checking the vitals of each sleeping crew member. The first one is too broad, too tall — his tissue would go to waste. The second is too old, her skin thin and her muscles weak. This child will need to sustain Abram for several decades until the crew wakes and begins their mission anew.

    The third is perfect. Sixteen, barely more than a boy himself. He’s the child of the first mate — perfect. Surely the man will appreciate the reappropriation of the boy’s tissues, understand Abram’s need as a father. The read-out says the boy’s name is Stefan.

    Abram pulls the stasis tube from the refrigeration unit, cradling it to his chest as he carries it to his work station. The glass of the tube grows condensation the gel within warms. With the speed and precision he was programmed for, Arbam slides the tube into the treatment bay.

    Stefan thaws in just under six hours, his first noises something akin to the mewl of a kitten. His skin is slick from the gel, but bright and healthy.

    Abram floods the bay with the gasses to treat the tissue for donation. He looks at his own skin as he does so, curious as to who donated these tissues. The programmers had not added the information to the hive. They never did. Stefan would not be erased.

    The tissues are treated and separated from Stefan’s skeleton. First the skin, carefully cut, shaped and hung from clips along the wall. Until it could be connected to the living mechanism, the wall kept it damp. The muscles and organs rest in solution to keep them active.

    Abram first deconstructs the heart — it’s too large to fit into his child’s chest. Then he rebuilds it, stretches and sews the muscles over the pumps that will cause it to beat. When stimulated with a live wire, the little heart flutters to life.

    Abram’s lips twitch with a small smile, until he pulls the electricity away and watches it go dead.

    He rests his hand on the smooth metal of the baby’s skeleton, the whole chest fitting under his outstretched fingers. He tilts it to one side and pulls the saw down from its hook.

    The metal is strong but thin; it only takes minutes to slice through the soldered seams and lift the front of the chest away. The heart fits into the hollow of the infant’s chest, nested in the nervous wiring and connected to the limited network that would be his child’s brain.

    It’s the work of three more hours to wire in the little heart and seal the chest again.

    Abram pulls the infant to his chest, and feels the gentle thump reverb through his being. His own heart stops for a second, a curiosity before it starts again, moves in unison with that of the little metallic thing in his arms.

    The euphoria hits as he stares at gaps where his child will have eyes, the frame made from the same metal of his own. He cradles the head carefully as he sets his child down and begins to wind together its muscles.

  • The More Things Change

    I once got to spend a year reading 100-year old newspapers. Things haven’t changed as much as you think they have.

    Sure, now we’ve got the Internet and cable television and pictures of the Earth from the Moon, but as far as human nature goes, not to mention the things considered “newsworthy,” we’re pretty much the same as we ever have been.

    Stupid wars are the same— the justifications for getting into the Spanish American War sound an awful lot like the justifications for invading Iraq. They had patent medicine ads— we have weight loss tips. As far as celebrity gossip goes, only the names have changed. Political partisanship was just as rancorous— the other party’s candidate was always a lying cur and untrustworthy jackanape. If you had more than one paper in town, one would be the Democratic paper, the other the Republican one, and they’d have flame wars like you wouldn’t believe. Sensationalism sold, especially in crime stories— a ghastly murder on the other side of the country was always going to get published.

    A surprising amount of the news back then was very local. On a typical day there would be an announcement that Miss So-and-so has returned from visiting her aunt in Chicago. I always wondered how that got in there— did the newspapers employ roving gossip-teers to fill those column inches, or did Miss So-and-so visit the newspaper office herself to tell them? Was this the early 20th century equivalent of a Facebook update? Was the entire town on her friends list? Sometimes the newspaper would reprint parts of letters sent home from those who were traveling abroad, describing their adventures; a form of early blogging. I remember seeing ads placed by manufactured gas companies, saying that if enough households in town pledged to become customers, they would build a gas plant and bring modern heat and lighting to town— Kickstarter for the analog era. A major factory might have a daily or weekly column devoted to it, describing how good their business was and telling stories about the workers, announcing hiring or layoffs as appropriate. And you know how Facebook likes to sneak ads into your newsfeed? Newspapers would do the same, publish ads that looked like news until you read it closely.

    Things changed during WWI, though. The war news, the national news, began to crowd out the local news. The Associated Press and other news services had been around for fifty years, but now the invention of the teletype put news items into local newsrooms in almost real time. Soon there was usually only one newspaper per town, often only one per county. You couldn’t become a newspaperman by buying a secondhand press and a barrel of ink anymore. The local gossip stayed around for quite a while (you can sometimes still find it in rural small-town weeklies), but by the 1950s, the papers were more “professional,” more worldly, and much more staid. Syndicated columns by “experts” replaced locally sourced, seat of your pants content. In the 1970s and 1980s, there was almost no local content at all.

    Today hometown newspapers are going back to their roots and finding stories in the communities where they live. They’re also writing in a folksier, less polished voice. In an era where everybody knows what’s happening around the world in real time, the local stuff is what is unique and interesting again.

  • Perplexing the Perspective

    When I’m reading books, I recognize the importance that point of view can have on the story. Having something written in first person creates an automatic connection with the reader, while a story in third person allows the reader to leap from one head to another. Multiple character viewpoints can be used to create a broader look at the world, allowing the reader to put together their own theories based on what they know about the beliefs of the characters.

    While I recognize the importance that point of view can have in the telling of a story, it rarely factors into my decision about what perspective to write from. Sometimes I just feel like a story needs to be written from a certain point of view, but generally it’s not even that sophisticated a reasoning. (more…)