September 28, 2016

An excerpt of James Carpenter's "No Place to Pray"

Two young men, one bi-racial and the other white, meet in an overnight lockup and begin their shared twenty-year downward spiral into alcoholism and homelessness. LeRoy and Harmon work together, drink together, brawl together, and as Harmon suffers from his final illness, they both bed Edna, a wealthy widow who, out of pity, curiosity, and loneliness, takes them into her vacation home by the river. Through episodes rendered from shifting, multiple points of view, a series of flashbacks, and LeRoy's adventure stories this very smart but uneducated man's attempts at fantasy writing we learn of the people and tragedies that shaped their lives and those whose lives unravel along with theirs at the seams of race, class, and religion, and where no one ever quite tells the truth.


AN EXCERPT OF NO PLACE TO PRAY
BY JAMES CARPENTER

Whiskey awakened once more from the same nightmare: the heat charring his face, the blue flames pulsing in the systole and diastole of fire, scorching him to the black of soot and scarring him with a many-pointed star clinging to his neck and face. He touched the star’s webby threads to assure himself that the burning had been only a dream, that the star was indeed a scar and not a fresh wound. But then he thought only-a-dream don’t matter, because the hurt in a dream is as bad as any hurt you can get in the world.
Sometimes in his dreams the star on his neck was a primal leech-like thing risen up from the muck of a swamp to suck the blood out of him and all of his strength with it. Every time the dream went that way, he awoke feeling like the star was humping him and he felt beaten and diminished and afraid to go back to sleep.
He reached out in the dark and rested his fingers on Agnes’s bare milk-white shoulder, lightly so as not to disturb her sleep, the touch a kiss sent through his fingers and just that hint of a kiss was enough to whip up his heart so that it raced in his chest and he had to clench his fists tight and roll the other way to keep from cloaking himself around her and to keep the sound of his heart from awakening her.
He slipped from the covers and sat on the side of the bed and listened to the dark, not the sounds of the things that lived or came alive in the dark, the insects and night birds, the house’s clapboards creaking, the soughing of the air as it eddied and rose in pockets of warmth and chill, setting the trees gently shaking and coughing like a sick old woman. But listened to the dark itself, the groaning so low that Whiskey had to still his own breath to hear it, how it opened up cracks in itself, inviting him in, murmuring come unto me and lay your burden down. When he let go his breath again, it warbled from his throat like an injured bird, bruised and swollen.
He stood up and gathered his clothes and picked up his shoes but then laid the shoes back down on the floor and slipped barefooted into the kitchen and set the clothes on the table and stood there naked, not moving, feeling the darkness seep into his skin and down through his flesh, marking him deep inside like ink drawing itself on his bones. Standing in the dark he thought of all of the dead things he ever saw in his life, dead animals and dead people, those newly dead and those dead for a long time, and it came into his head that every time he had seen a dead thing, it seemed to be looking up at him from a deep well of misery and what the dead thing wanted above all else was to still be alive. Whiskey wondered how it could be that such creatures could be so wrong, how they could have forgotten the pain of being alive and how could it be that they might wish to be in such agony ever again.
He dressed in the dark and went to the screen door and let the cool night air waft about him and the smells of the night with it, the damp smell of grass and the thick sweetness of honeysuckle and the terrorized smell of small prey animals being put to bay. The screen door creaked as he opened it and he hesitated, listening to hear if his opening of this door into the world outside had awakened either of them, but the house remained quiet. He stepped onto the porch, the grain of its worn wooden floor speaking to him through the soles of his feet like a letter someone had written to him in delicate, swooping handwriting. Whiskey thought about how in his entire life, he had never written a letter to anyone. What was that like? To sit at a table with a pencil and put down the day and say in the letter Dear Agnes. And then wonder what to say next and then to say it. What if it was wrong what you said? What did people do after they sent a letter and then thought that what they said was not what they really meant, knowing there was no way to take it back once it was in the mail? It wasn’t just the words in letters you can’t take back. You can’t take back mistakes either, undo an unkind word or heal the bones you just broke in another man’s face or what you stole from somebody you didn’t even know. Or what they stole from you.
He picked up the shotgun lying across the arms of the rocker and leaned it up against the house’s yellow clapboards and sat down and began the endless rocking that was all that filled his days now, rocking through the long dark winter and through spring and into this dead summer of air too thick to breathe. He flexed his bare toes so that they lifted him and rolled him back. He shooed a mosquito away from his face and thought of all of the things in the world his rocking mimicked, the baby in its cradle, the waves in the ocean, a dragon y swaying at the top of a long thin weed. He remembered the different ways he had himself rocked in this life. As a child lying in the bottom of a boat, lulled into daydreams lled with sun and water. Staggering home from a night in town, the stars spinning when he looked up and the road under his feet seesawing when he looked down. Him and Agnes locked together, the slickness of being inside her and the slickness of their sweat mingling as they slid back and forth across one another. Her and LeRoy rocking him in the dirt to snuff out the pale blue re, its ravenous tongue lapping up all of the parts of him that he had been proud of and leaving him forever stained with this ragged scar.
A blackbird tentatively chirped from the plum tree, the center of its eye black within the orange circle of its gaze, its eyes like polished stones liquid with black light, hard as his used-up soul, the bird shaking its voice like a ghost trebling a warning in a corridor that ran the long course of distance between everything that was alive and everything that was dead, as if the bird were saying I am the archangel’s shadow come to lead you home. The bird shaking out its voice meant the day was almost here and the inevitability of its coming was nothing he could stop, not a thing that could yield to his will even if he had any will left.
Whiskey got up from his chair and took up the shotgun and reached into the rafters of the porch roof where he kept his just- in-case shells and took two down and loaded both of the gun’s chambers as the blackbird released itself into full song, the pale light of the sun beginning its pitiless odyssey across the sky. Whiskey stepped from the porch onto the damp grass, the dew baptizing his feet, and walked straight and tall to the springhouse, through the door with its still un-repaired hinge, now a thing that would never be made right. Whiskey thought of all of the things in his life he had left undone, each of them a broken promise. He went into the springhouse and sat on the bench, the smell of vegetables and fruit rotting on the shelves around him beckoning him on to this thing he was about do to. A cricket chirped. A frog splashed into the well. The swamp maple gently brushed a branch against the wall outside as if it were trying to reach in and caress Whiskey’s cheek and croon gently like a mother that it was all right, just go ahead. She would hold him in her arms while he did it. Whiskey stood up and stuck the gun’s cold muzzle beneath his chin and pulled both triggers.


Born and raised in rural Mercer County, PA, James Carpenter made his way through college working various eclectic jobs and, after graduating, taught middle and high school English. He then retrained as a technologist, eventually developing the Erica T. Carter software system that composed the poetry anthologized in the Issue 1 dustup. Erica’s poetry has been published in several dozen literary journals and he’s presented Erica at international conferences, including at the University of Pennsylvania, Brown University, and the e-poetry 2007 conference in Paris.

Carpenter spent fourteen years as a member of the affiliated faculty of The Wharton School, where he lectured in computer programming, system design, and entrepreneurship before retiring to write fiction. Since then, his writing has appeared in numerous publications including The Chicago TribuneFiction International, Fifth Wednesday JournalNorth Dakota Quarterly, and Ambit. His novel, No Place to Pray, is forthcoming from Twisted Road Publications in September.

Learn more on his website, or through FacebookTwitterLinkedIn, and Goodreads
No Place to Pray can be purchased on Twisted Road PublicationsAmazon, and Barnes & Noble.

September 27, 2016

Stories with a Secret, Never to Be Told: an interview with Robert J. Wiersema, author of "Seven Crow Stories"

In his debut collection Seven Crow Stories, best-selling novelist Robert J. Wiersema draws on myth and folktale, ghost stories, and fairy tales to share a glimpse of the worlds bordering our own. With his short fiction, Wiersema explores the mysterious realms of the shadows, the mirrorlands where time runs strange.




Gef: What is the allure to folktales for you? Was there a specific mythology that influenced you in your writing early on?

Robert: Folk tales are alluring to me on a couple of levels. First, and primarily, they’re a source of wonder, of magic, of hints of another world, or more worlds. The realistic and the fantastic exist side by side, sometimes comfortably, sometimes less so. And that approach, I think pretty apparently, has shaped my writing in a profound way. The other way they are alluring is that they form something of a common language, a language that transcends tongues and borders, rich in symbols and deep meanings which, in many cases, transcend the rational altogether. As far as early influences (vis a vis folktale and myth), I would love to say Celtic mythology, or the folklore of television, but I think it would probably be the Bible. The Bible, for a kid in Sunday school, isn’t a collection of proscriptions and restrictions, it’s a font of stories, many of which have stuck with me my entire life (long after any sense of organized faith had been abandoned).

Gef: How did this collection come about? Was this something you originally envisioned as a complete book or did the stories kind of lend themselves to being collected like this?

Robert: Seven Crow Stories has been a long time coming, but in an odd way. About 25 years ago, listening to the Counting Crows first album, I made a connection: in the traditional counting rhyme, seven crows stands for a secret, never to be told. That struck me as describing a particular kind of story, a story in which questions are raised which aren’t always answered, or are answered in ways which may not seem like answers. Stories in which the main narrative may (or may not) wrap up, but there are elements unresolved lurking beneath the surface. I began to refer to those types of stories – in my own writing – as “seven crow stories”, stories with a secret, never to be told. And I knew that if I ever published a collection of stories, it would be that kind of story, with that title. And seven stories only. (I’m a fan of the symmetry.) I’m not a frequent short story writer, so I was surprised by the number of stories I actually had, once I started pulling them out of drawers and off old hard drives. Seven Crow Stories is a very tight selection, guided by the types of stories, and the stories I wanted to tell between the stories, and between my work as a whole. There are characters in these stories, for example, who also appear in Black Feathers, and in the forthcoming The Fallow Heart (a Henderson novel), the links between them being another kind of secret. (The other thing that was important to me was that I couldn’t mess with the stories. In a sense, this collection is like archeology, each story reflective of a moment in my life, a particular time, and I didn’t want to lose that by revising to this current moment. I edited and polished and scrubbed off egregious burrs, but I didn’t do any wholesale revision – these are the final versions of stories as much as twenty-five years old.)

Gef: How have you found your progression as a writer thus far?

Robert: I’m probably not the right one to answer this, if only because any answer I can give is liable to be made up of contradictions. Writing has become easier for me, even as it has become much more difficult. I’m much more conscious of the process, though I work better when I ignore any rational thought. Planning is the best approach; I am a terrible planner. It’s the best thing in the world; it’s a misery.

That’s not very helpful, is it?

Gef: How intensive does the research process get for you?

Robert: I was at an author breakfast last year, on the same bill with a couple of non-fiction writers, and I cracked the audience up by saying that the reason I wrote fiction was because I didn’t have to worry that much about research; I could just make things up. Which was perfect, for someone as inherently lazy as myself. They didn’t know I wasn’t kidding.

Gef: Who do you count among your writing influences?

Robert: There are so many, and it’s a constantly evolving list, even today. John Irving’s The World According to Garp told me it was okay to be messed up, and to live a writer’s life. In no particular order, and they inspired in different ways: John Crowley, Stephen King, Neil Gaiman, Alice Munro, Charles de Lint, Jonathan Carroll, Michael Moorcock, Helen Oyeyemi, Joan Didion, Elmore Leonard, Elena Ferrante...

Gef: Is there any kind of a gear shift writing-wise for you when switching story lengths?

Robert: There isn’t actually, and that’s somewhat problematic. I approach every piece of fiction in precisely the same way, which means I write stories in the same why I write novels, rather than as their own form. It also means that concepts I think would make good stories end up as novellas or novels...

Gef: What is the worst piece of writing advice you ever received? Or what piece of writing advice do you wish would just go away?

Robert: I tell this to my students early in every semester: “write what you know” is a terrible piece of advice, as far as people understand it. What I don’t tell them is that that advice hamstrung me for a long time, limiting me to a regressive circle of autobiographically inspired works... I shudder to think, actually. Far better is the addition of one word: “writer from what you know”. Or better yet, and my default approach: “writer (from) what you fear.”

Gef: What kind of guilty pleasures do you have when it comes to books or movies or whatnot?

Robert: I don’t actually believe in the concept of guilty pleasures. Why should pleasure be guilty? There are some folks who think my comic book reading should be a guilty pleasure – I ignore those people as much as possible. I subscribe to Entertainment Weekly AND the Paris Review, I read Batman and Fables and Saga and The Wicked & The Divine, and I read Marlon James and AS Byatt and Robertson Davies and Carol Shields and Edward St. Aubyn (I’m looking at the shelf to my immediate left, too lazy to get up to make the point) and I don’t feel guilty about any of them. Nor should anyone. Read/watch/listen to what you want, to what makes your heart sing, to what makes you think.

Gef: What projects are you cooking up that folks can expect in the near future, and how can folks keep up with your shenanigans?


Robert: My webpage is long-neglected, and should perhaps be ignored, but people can find me on Facebook or Twitter. That’s where I’ll be talking about things like The Fallow Heart, the first novel set in Henderson, a love story about death and a mythic story about two small, seemingly unimportant people, which I’m revising now, and Cold Roses, the novel still in handwritten manuscript, and Strayed, which I’m about to leap (back) into, as my project for the fall.

September 26, 2016

Why Writing Fantasy Books is like Cricket: a guest post by AJ Smith, author of "The Black Guard (The Long War)"


Why Writing Fantasy Books is like Cricket: Writing the Long War, Part Four.
by AJ Smith

Being a lover of English cricket, I have spent much of my young life in various states of extreme disappointment. It’s something I’m used to, something I even enjoy, for the endless disappointment makes the moments of elation all the more acute. That is what it means to be a lover of English cricket - constantly hoping for the best, against history and cynicism. We were always the underdog, the underachiever, the plucky long-shot. But, somehow, over the last few years, this has changed. We’re actually quite good.
I started writing fantasy on a whim. My writing CV up to that point was a varied mix of journalism and pitch-black comedy. Nothing to suggest I could produce a four-book series of somewhat epic fantasy. I was the underdog, the underachiever, the plucky long-shot. Granted, I didn’t have a cut-shot like Alistair Cook or an in-swinger like Jimmy Anderson, but I had some ability. I had a world, given life by thousands of hours of role-playing games, and I had a stubborn confidence that I could actually do this.
My first book appeared out of nowhere, after a few months of cloistered inspiration. I read it through, chopped it up a bit, bought a copy of The Writers’ and Artists’ Yearbook, and sent The Black Guard to an agent. I had a sense of inevitable disappointment all ready to go when I got my first rejection. But I’d weathered worse, the English cricket team of the mid-nineties for example. When my second submission got accepted, I genuinely thought it was an elaborate practical joke. I’d somehow wormed my way onto an agent’s client list. My disbelief continued as I got a publishing deal and saw my first novel in print. It was a surge of elation, sudden, but not entirely trusted, very much like the 2005 Ashes (the biennial cricket series between Australia and England). Something was bound to go wrong.
I didn’t quite screw everything up straightaway like the England cricket team. But I certainly didn’t get comfortable. I carried-on writing, trying to stay in the same bubble that had produced my first book, but I never lost the sense that it was all somewhat unreal, like Paul Collingwood’s England team winning the world cup in 2010. Both myself and Mr Collingwood had done well, but the world still seemed to sneer, as if nothing had changed. We were still the underdog, the underachiever, the plucky long-shot. It was a good start, but little else.
The next year or so was a blur. My second book was finished, edited and published in a bizarre whirlwind of imminent cynicism. I preferred The Dark Blood (my second book) to The Black Guard - but still wasn’t comfortable. It still felt like an elaborate practical joke, and I feared I’d be found out any minute. When I exited my writing-bubble and surveyed the reaction, I found something that scared me – people liked my stuff. I’ve never been comfortable with compliments, but this was new. This mattered. One book could be a fluke, but two... Beating Australia for the Ashes happened occasionally, but to win three in a row spoke of consistency. I hung on to this belief as my third book, The Red Prince was wrestled into shape.
When Australia visited England in 2013, the home side were the favourites. They’d won the previous two Ashes, home and away, but every true English cricket fan thought something was bound to go wrong. It didn’t, we won easily. The Red Prince was my home series against Australia; I was convinced it would be rubbish, eclipsing any goodwill I’d built-up with the first two. Then something strange happened – it received close to universal praise. It was good, probably my best work, and began to speak of consistency.
The only way to conclude this tenuous analogy is to say that, with the publication of my fourth book, The World Raven, I’m finally starting to believe that I’m quite good at writing; and with the English cricket team winning against every other team, I’m finally beginning to accept that we’re good at cricket. However, both situations are ongoing.

AJS

By A.J. Smith, author of The Black Guard (October 1, 2016) and The Dark Blood (December 1, 2016) from Head of Zeus, distributed by Trafalgar Square Publishing, www.ipgbook.com

The first in a major new fantasy series set in the lands of Ro, an epic landscape of mountain fortresses, vast grasslands, roiling ocean and slumbering gods. The city of Ro Canarn burns. With their father's blood fresh upon the headsman's sword, Lord Bromvy and Lady Bronwyn, the last scions of the house of Canarn, face fugitive exile or death. In the court of Ro Tiris, men fear to speak their minds. The Army of the Red marches upon the North. Strange accidents befall those who dare question the King's new advisors. Those foolish enough to speak their names call them the Seven Sisters: witches of the fire god; each as beautiful and as dangerous as a flame. And, called from the long ages of deep time by war and sacrifice, the children of a dead god are waking with a pitiless cry. All that was dead will rise. All that now lives will fall.

September 22, 2016

Keeling Me Softly With His Words: an interview with Ian Donald Keeling, author of "The Skids"

They're called the Skids. They've got three eyes, tank treads, and a bucket-full of attitude. They play the games and the few that don't get vaped in the first weeks still die at five years old. Game over, thanks for playing. Johnny Drop's the best skid the Skidsphere's seen in generations, but he won't get to enjoy it. Because his world is going to die.



Gef: What was the impetus behind The Skids?

Ian: This is going to sound ridiculous, but…it came to me in a dream. No really. About 20 years ago, I woke up and wrote down what I identified at the time as the first chapter of the weirdest novel I was never going to write. Sometime not long after that, I added a second chapter on a whim. Those two pieces are the bones of the first two chapters.

Then I didn't even think about it for a decade, until I hit a period where I didn't have any new short stories to send out for submission. I dug through my files, found The Skids and realized that the first chapter was actually self-contained and just needed a little world-building to make it a decent short-story. And while I was doing that world-building, I realized that I kinda liked the world I'd built. So that sat for a while, I wrote couple of other novels, and then one day—again between projects—I realized I wanted to actually write the novel. So I did…and here we are.

Gef: With a debut novel under your belt now, how would you gauge your progression as a writer thus far?

Ian: Ha. Well, I started pursuing this dream when I was 12 and now I'm 45 and I'm finally releasing my first novel, so, uh…slow? ☺ No, really, I'm thrilled to finally hit this milestone. It's been a long road—I wish I'd worked harder when I was younger. If I had any advice to young writers, it's this: work hard, then work harder. This isn't an easy career, but it's worth it.

Gef: Who do you count among your writing influences?

Ian: Whew…lots of people? My first was Gordon Korman (there's a bit about that in the acknowledgements of the book). Douglas Adams was a huge influence when I was younger—my first novel is basically a Hitchhiker rip-off. Guy Gavriel Kay is my favourite author and a big influence, but really, it comes from all kinds of places. Authors from Neil Gaiman to Robert Charles Wilson; screen-writers like William Goldman, Aaron Sorkin, or Charlie Kaufman. A lot of graphic novelists: Alan Moore, Frank Millar, Brian Michael Bendis. Heck, video games. I hope someday I write something as funny as Borderlands 2.

Gef: How much emphasis do you place on setting as character?

Ian: I tend not to think of setting that way, although I think setting is huge and influences everything. I like to give the reader enough to inspire their imagination, but that's it, especially when it comes to world-description. Still, with The Skids, the setting often drives the narrative, and yeah, you could argue it's a character.

By the way, you asked about influences in the previous question: I gotta give a nod to Tron, new and old. It was a big influence on how I perceived the setting.

Gef: Is theme something you have in mind when your writing the story, or is that something that kinds of reveals itself later in the process?

Ian: I usually don't have any idea of theme for the first draft, I'm just trying to tell a story. During the second draft, I start to get a feel for themes that might be present and then I might start trying to make some connections here and there. I try not to be heavy-handed when it comes to message, I really am just trying to tell a kick-ass story, first and foremost.

Gef: What do you consider to be the biggest misconception of YA fiction?

Ian: That it exists? That probably seems weird given the novel I'm putting out, but I'm a bit old-school, so I remember when The Hunger Games would've just been a great science fiction novel. I get that labels help the market and also can help readers find books they might like, but sometimes I feel that it can also get in the way of a book and a reader finding each other. In YA, the misconception is that the writing is only for teens, and I think that's so wrong.

Gef: What is the worst piece of writing advice you ever received? Or what piece of writing advice do you wish would just go away?

Ian: That there are ways you shouldn't write. I hear it a lot at conventions; the one that's affected me the most is that you're only supposed to write in the 3rd person, past tense. Don't use 1st person, and don't even think about writing in the present tense—which I like to do sometimes in my short fiction.

To me, there are only two rules with regards to what style you want to use in your writing. 1) Be aware of the current trends and respect them: if you're going to write outside the norm, you better get darn good at it. Also don't think you're re-inventing the wheel if you do, everyone thinks they're a genius when they discover something for the first time. 2) If you do know of a particular editor or publisher who hates a particular style, then respect that. Don't try to change their mind. Send them your best thing, great, take the shot. After that, respect their choice.

But however you want to write, give'r. You can write a novel in the 2nd person, past-future tense if you want, with every character named Stanley The Firth. Just make sure it's a really good book.

Gef: Do you have any guilty pleasures when it comes to books or movies or whatnot?

Ian: Craptacular movies. If a movie establishes early on that it's just going to take the rules and say screw it—especially if it does it with verve—I'm in. Armageddon, Reign of Fire, Road House…so good.

Gef: What projects are you cooking up that folks can expect in the near future, and how can folks keep up with your shenanigans?

Ian: I'm working on the 2nd draft of the sequel to The Skids now (the third book terrifies me), so that's the big thing. I'm terrible with social media, but I'm working on it. You can follow me on Twitter at @KeelingIan. My website is a work in progress, but it's at, iankeeling.com.


Thanks so much for having me here, super-fun.

September 21, 2016

The Hills Have Tentacles: an interview with Nathan Shumate, editor of "Redneck Eldritch"



Gef: How did you come about on creating an anthology of Appalachian-themed Lovecraft stories??

Nathan: Well, I had previously spearheaded the anthology Space Eldritch, and then its follow-up Space Eldritch II... and while I enjoyed working with all of the contributors to those two volumes, I think that we were pretty much done with the space-opera-crossed-with-Lovecraft flavor of those stories. So I tried to find a theme that could still play off the “Eldritch” brand, but was pretty much the opposite... and I realized that, because we had concentrated on the cosmic scope of Lovecraft’s stories, we had pretty much ignored one of his other themes: that of the human propensity for superstition and social regression. So Redneck Eldritch would allow us to play with ideas that intersected with Lovecraft’s suspicion of “degenerate” people.

Gef: What was it about this book, if anything, that you approached differently from your previous anthologies?

Nathan: When doing the first Space Eldritch anthology, I found that even though we had literally the breadth and depth of the interstellar cosmos to inspire us, Brad Torgersen and I almost wrote the same story. With Redneck Eldritch, I realized that the same ideas and themes would occur to multiple contributors, so I structured the project for communication to head that problem off: I put all of the invited contributors in a single Google Group, I asked them to PLEASE broadcast their story ideas before writing, and I posted their drafts, once I had seen them, back to the group with the plea to keep abreast of what their co-contributors were doing. I think doing this allowed the stories to each stake out their own territory under the umbrella theme; it also spared me from having to say, “Great submission, but I’ve already got this story.”

Gef: When going through the submissions for something like this, what is the biggest stumbling block you see for writers when tackling Lovecraftian/cosmic short fiction?

Nathan: Well, here’s the thing: A good Lovecraft-inspired story can be exquisite, but there’s nothing worse than bad Lovecraft pastiches. I had done several open-submission anthologies prior to this, so I had dealt with a slush pile full of writers at all levels of craft, and there was no way I was going to subject myself to Lovecraftian slush! That’s why all of the Eldritch anthologies have been by invitation only — I’ve come to know several writers whose skill set is adequate to the task, so if they agree to be in the anthology, I know something of publishable quality will be the result.

But more than that, none of the writers in these anthologies are primarily writers known for their Lovecraftian output — a few of them had never attempted anything with a conscious Lovecraftian bent, and one of them even had to go out and “cram” to feel he was up to the task. Too many beginning writers who love Lovecraft love only Lovecraft — they bring nothing to their stories save their retreads of what they learned from the Old Gentleman himself, and the result is that their stories are simply more of the same. (I did the same thing in high school, so I know whereof I speak.) The world doesn’t need another writer generating inferior copies of Lovecraft stories — we’ve already had one August Derleth, and we don’t need another.

Gef: How have you found your progression as an editor thus far?

Nathan: I’m pretty awesome. :) Seriously, though, I’ve grown quite confident in my ability to recognize a good story, and also to act as a second set of eyes to point out an early draft’s weaknesses so that they can be shored up. And the fact that I’m getting more and more experience doing that with other people’s output means that I can bring the same skills to bear on my own

Gef: What kinds of stories resonate with you as a reader?

Nathan: What really grabs me first and foremost is storytelling ability: confidence with using the language and stringing together a narrative. A good storyteller can hold my attention for forty-five minutes recount his trip to the supermarket to buy green olives. If the story is engaging right in the here and now — if what I’m reading from page one is interesting in its own right, not just something I need to know so that the later scenes will make sense — then you can probably slip all sorts of plot holes past me.

Gef: Horror can get a bad rap a lot of times, so what do you consider to be the saving grace of the genre? For someone not reading it, what are they missing out on?

Nathan: I’ve been thinking a lot about what the definition of “horror” is, aside from a category under which things can be shelved at Barnes & Noble. I think that a big clue to what it actually is, at least as far as I define it when I write it and I publish it, is the fact that many people instinctively lump it in with the other “speculative fiction” genres of science fiction and fantasy, without being able to articulate why.

What I see is that “horror” is the flip side of the “sense of wonder” that results from good SF and fantasy. It’s not just being scared — you can get that from a realistic novel about struggling with cancer or with marital betrayal, neither of which I want to see shelved under “horror” — it’s being scared in a way that cracks and expands your paradigm. It can be, very literally, consciousness-expanding; and, as my friend Michaelbrent Collings points out often, it can possibly lead to the most uplifting, goodness-affirming catharses in fiction, as characters are pushed to discover just who they really are when everything around them has been taken away.

Gef: What kind of guilty pleasures do you have when it comes to books or movies or whatnot?

Nathan: I’m busy enough that I don’t have time to read “guiltily” anymore (I recently sent my gargantuan collection of Mack Bolan paperbacks to the thrift store) but I’ll often indulge in a SyFy-style creature feature — “Enigmasaur vs. Tentilicus” or whatever — if only because I’m interested to see just how far a high concept title can carry an otherwise lackluster production.

Gef: When you read outside your chosen genre, what kinds of books do you gravitate towards?

Nathan: Hm... I don’t know that there’s one thing that ties together any disparate reading I do, aside from research. I guess what hooks me about the out-of-the-ordinary reads is the same thing that grabs other readers when they read outside their familiar genres: There was something in the back cover blurb or in the first page that was so intriguing, so captivating, that you can’t help but keep turning pages.

Gef: What other projects are you cooking up that folks can expect in the future, and how can folks keep up with your shenanigans?


Nathan: Let’s see. I’ve been doing some woodcut art prints on Lovecraftian themes which are visible on my personal site, NathanShumate.com — I’ll have an Etsy store set up once I’m stocked on shipping supplies — and I’m working on a second edition of The Golden Age of Crap, a cross-section survey of VHS-era B-movies (now with full-color posters!). My next fiction project is a post-apocalyptic adventure with Lovecraftian overtones. Everything I’ve shepherded to publication through my publishing company Cold Fusion Media is at ColdFusionMedia.us. And I’ll probably be distracted by another shiny thing soon enough.

September 20, 2016

All Things Chizine: an interview with Sandra Kasturi, co-publisher for Chizine Publications

CZP publishes the same kind of weird, subtle, surreal, disturbing dark fiction and fantasy that ChiZine has become known for since 1997, only in longer form—novels, novellas, and short story collections. - chizinepub.com



Gef: So ChiZine has been at it for some years now and just seems to build up steam each year. Has there been much time for you or Brett to reflect on the progress and growth you've accomplished with ChiZine, or is it constantly an "on to the next one" attitude?

Sandra: Honestly, we barely have time to eat or sleep, so, not much time left for reflection! But once in awhile we get a great moment of "Hey... I think we really did something..." That happened a few months ago when we moved to a new city--our cover artist Erik Mohr gave us this great housewarming present--it was a framed poster of the covers of the first 100 ChiZine books we published... we hit that benchmark last year. Seeing all the covers laid out like that in (literally) one big picture--kind of made us a little verklempt. Oh, and I guess winning the World Fantasy, British Fantasy and HWA Specialty Press Awards didn't hurt either! But then, yeah, it was "on to the next one...holy shit, that has to get to press, like now."

Gef: Looking back, how big of a learning curve was there for you in terms of starting and running and growing a small press into what it is now?

Sandra: Oh, had we but known!!! Well, Brett had worked in publishing, and we'd both been through it from the author side--we knew it would be a lot of work, but really, the day to day grind and work poor publishers do... Like I said, had we but known. Well, okay, yeah, if we'd known, we'd still have done it, but maybe we'd have been a little more organized about it, especially as the press took off. Feels like a constant game of catch-up. But every publisher I've talked to feels the same way, so I guess this constant hysteria is normal? Heh.

Gef: Over the years you've published some greats like Tom Piccirilli and Steve Rasnic Tem, as well as featuring some bright up-and-coming talent like Gemma Files and most recently Ed Kurtz. When it comes to featuring established authors and newer authors, does either get you fired up more than the other as a publisher, or is that too much of a Sophie's choice?

Sandra: Well, it's quite something when you get to publish an established author. We were so honoured that people like Steve Tem and the late Melanie Tem and Tom Piccirilli, and other folks with such great pedigrees took a chance on us. I mean, who the hell are we, anyway? Some Canadian upstarts or something. But they couldn't have been nicer, and it was such a pleasure to work with them. Melanie and Tom and Phil Nutman are greatly missed. That's a whole heartbreak in publishing you're not really prepared for--when your authors, who have become your friends, or were your friends to start with, pass away. To witness those lights being extinguished and to know there won't be any more words coming from them--that's an awful sorrow.

Gef: What kinds of stories resonate with you as a reader?

Sandra: Brett likes weird, allegorical SF and horror, stories with ambiguous endings, that sort of thing. He's not really much of a fantasy reader. Whereas I read SF, fantasy, horror, magic realism, fairy tales. I'm much more in favour of narrative and story arc with definite beginnings, middles and endings, though. But we both like strange things, and weird storytelling and fucked-up ideas. We both just like to read. I love that moment when you've found something extraordinary. Better than heroin. (Oooh! A heroine is better than heroin! See what I did there? See? : ) )

Gef: How much of a role do you see Canada playing these days in speculative fiction at large? Are we holding our own, need to do more to make our voices heard? How instrumental has the ChiSeries played in this regard?

Sandra: I think we've got a whole bonanza of weird writers coming from Canada whose voices are being heard outside our borders. I think David Nickle, Gemma Files, Ian Rogers, Michael Rowe and Helen Marshall are great examples of that happening. I think we're holding our own, but hey--it'd be nice to have all the Canuckites get 6-figure movie deals from Spielberg, no?

As for the ChiSeries--and I should be very clear here that CZP is a sponsor of the ChiSeries across Canada, but the two are separate organizations; the ChiSeries (Chiaroscuro Reading Series) is publisher-neutral--I think ChiSeries helped create a community of genre folks that was already coalescing or waiting to happen. I mean, there's been a strong genre community in cities all over Canada for decades--but I think the ChiSeries, particularly in Toronto, ended up becoming a sort of monthly hub for a lot of folks--writers, artists, readers, publishers, agents, you name it. Drinkers! Madeline Ashby described it as being akin to the Paris salons in the 1920s. Well, maybe with less absinthe. And ChiSeries is now in six cities: Toronto, Peterborough, Guelph, Ottawa, Winnipeg and Calgary. 7 if you count Vancouver, but that's on hiatus for the time being. Hoping to launch Edmonton and Montreal and maybe Halifax in the next year or so. Coast to coast! I mean, why not? Writers reading their work and hanging out in bars... what could be more fun?

Gef: What was the draw in starting up ChiGraphic? Were there existing graphic novels or artists out there that prompted you to think ChiZine could offer a platform?

Sandra: I've always loved comics, especially those Boris Karloff horror ones from the 1970s. Just adored those. Scared the living shit out of me as a kid, but there you go: that stuff stays with you. So we always thought we'd like to get into that area. And weird stories and weird art together seem like a natural fit for ChiZine, so why not? I'm not sure how it all came together, but our first graphic novel was Infinitum by Greg Chomichuk...whom we met at...Fan Expo? TCAF? Maybe our managing editor, Sam Beiko met him as they're both from Winnipeg? I honestly can't remember. Sometimes it seems like we've all known each other forever. And maybe we have? Greg has time travel in that book... And after we published one graphic novel, we now get regular queries from comic writers/artists, so... it's quite exciting! My early love, come to fruition.

Gef: Along with ChiGraphic, there's also ChiTeen and its lineup of titles, one in particular catching my eye from the titles coming out this fall called Parasite Life by Victoria Dalpe. What can you tell us about that title and delving into YA fiction? What would you say is thebiggest misconception of YA?

Sandra: Parasite Life is a YA vampire novel, but for those who are turned off by that--this isn't Twilight, folks. It's a strange, elegaic novel that feels like... The Moth Diaries meets The Radleys. With maybe a seasoning of Twin Peaks for atmosphere and flavour.

I read kids books when I was a kid (duh), and this was before there was such a thing as YA--so again, this is kind of harkening back to an early love of mine. And I still read YA, so we thought, hell, why not publish it? Biggest misconception...hmm... Oh, I know! That you have to dumb things down for kids/teens. They're not stupid. They get it. Even when it's complicated, they get it. I mean, I was reading Lord of the Rings and adult SF when I was 11. So that's our audience--kids/teens who are doing that.

We're thinking of venturing into the middle-grade book market too. Still hammering out some details, but... I think it's gonna happen!

Gef: How much of a difference have you seen in ChiZine 's productivity since bringing on Samantha Beiko as your managing editor, taking over for you and Brett? I imagine the team growth has given you some semblance of breathing space as far as the day-to-day goes.

Sandra: Well, Brett and I cry a lot less. And my wine and Cheeto intake has gone down. Heh. Seriously, I don't know how we survived before Sam. She makes the ship go. If we could get one more person like her, then I could swan around in my garden drinking gin & tonics all day.

Gef: The news recently came out that ChiZine will be publishing Brian Hodge's next collection of stories in early 2018, so it looks like there's little chance of ChiZine slowing down anytime soon. Is there anything in particular that you are keen on readers discovering from ChiZine in the years ahead?

Sandra: I'm hoping our poetry imprint, KQP does well. I'm a poet myself, but I also hate a lot of poetry. I'm sure it's very annoying for people who want to submit, but basically, I like what I like. Terrible, isn't it? So maybe those books will resonate with other cranky readers of verse like myself. We've got Jason Taniguchi'sVery Sensible Stories and Poems for Grown Persons coming out this fall. As well as David Clink's The Role of Lightning in Evolution and Courtney Bates-Hardy's House of Mystery. They're all genre collections, and odd little books... but hey, that's what we do. Really, it's a very selfish imprint to run--I'm just publishing the stuff I like to read. Hell, ChiZine itself is pretty selfish--it's books we feel like reading, and we're forcing them onto you, the poor unsuspecting public. Oh dear!

September 19, 2016

Pulped Fiction: a guest post by K.H. Koehler, author of "Dinosaur Valley"

Lady Anna Rutherford, scholar and intrepid archaeologist, has crossed the Atlantic to launch an expedition into the Sonora Desert to find her missing twin brother, Edmond. But the unforgiving Sonora is only the beginning of their troubles, because soon enough, the search party encounters an ancient, forgotten valley full of primeval creatures with the power to rend grown men in half. Before long, their hunt for Edmond becomes a tooth-and-nail fight for survival when the ancient, man-eating creatures of the valley begin hunting them. It will take their combined knowledge, courage and survival skills if they are to escape Dinosaur Valley.



Pulped Fiction
a guest post by KH Koehler

There was an interesting discussion on Facebook the other day—where all the most interesting discussions take place. To paraphrase, fellow pulp writer William Meikle stated that he was frustrated by how easily some people dismissed his work, which made me think how, yes, pulp writers have often had a long, hard time of it in the past.

The consensus seems to be that unless you’re an author of literary fiction—that is, works that hold high literary merit in society, whether it touches on social commentary, political criticism, or a focus on the human condition—that somehow you are a substandard writer, a hack, a purveyor of what was commonly known as “pulps” in the not-too-distant past, and, going even further back in history, “bloods,” or “penny dreadfuls.”

Pulps and penny dreadful have long been the literature of the “common people,” and many writers like H. Rider Haggard and Robert E. Howard (and, more recently, James Patterson) have built long-lasting careers—and even legacies—on them. But, let me tell you, they are hardly common pieces of work. Anyone who insists that such literature is unworthy of accolades or, god help us, is easy to write, is plain wrong and has never written a pulp in their life.

First of all, the vast majority of pulp fiction is written in some kind of series format. It can be a format that is created by the author in the form of a commissioned original series, by the company or publisher of the books themselves, or even by a large corporation. Commissioned original pulps are the kind of series where the publisher, be in small press, mid-sized or large, requests a series from an author and the author maintains the full Copyright and some control over the direction of the series. Essentially, the author creates the series for the publisher but continues to own it. Then there are publishers who offer work-for-hire to authors who want to write in already long-established, open-ended series where the author does not hold Copyright or other control over the project. These would include novelizations for movies, TV series, and the like.

There is a long, historical precedent for this style of mass-production literature. Going back to the nineteenth century, Street & Smith Publications, the publishers of such popular pulps as The Shadow and Doc Savage, specialized in inexpensive magazines and dime novels—often printed on “pulp” paper, which is how such publications came by their name. Their series could run for hundreds of volumes, written by dozens of different writers, which may sound easy in theory, but creating and establishing a series—and successfully continuing it for years or even decades—requires an inordinate amount of work. World-building can be vast and complicated, and trying to keep one or more (or even many) authors onboard with the way the world works takes effort. Plus, different writers have different styles, thus, over time, the tone of a series can change drastically.

Even if a series only has one author, that author has to maintain continuity over what may come to be dozens of books. Books, by their very nature, progress over a series of obstacles toward a climax and denouement, imitating the way real life works. And yet the author has to maintain a certain amount of inertia in order to maintain the interests of his or her readers. At the same time, original ideas and interesting new twists are expected to crop up organically and at almost every turn. In other words, series need to progress, but not end. Otherwise, what’s the point?
Modern day pulps—and I’m including series fiction like Star Trek, Star Wars, Doctor Who, and Supernatural tie-in novels—operate pretty much the same way as they did decades ago, establishing new stories, characters and ideas, but without tipping the giant, top-heavy boat in any way.

Now, aside from that challenge, there are others in writing in this format. If an author is writing their pulp series in any kind of semi-traditional way, there’s a good chance they may wind up writing about a different time period than their own. Many modern pulps are set in Victorian England, or the Wild West, or any number of different, colorful historical periods. Writing in historical periods requires its own ziggurat of research just to get the period technicalities right. There is no room in writing for sloppy research, and if you think you can “fake it until you make it” in historical fiction, then you are sadly mistaken, because I guarantee you that no matter how well you think you know a time period, there will be at least one reader out there who knows it better than you, has a Ph.D. in it, and can point out all your errors, probably in a spotlight review that’ll be seen around the web.

Most pulps also deal with esoteric subjects: science fiction, firearms, crime, historical locales and conflicts, and the social issues of the time period they are written in—all subjects that require additional research to pull off effectively. Even if a writer’s pulp consists of some form of magic realism, it still requires that the author create guidelines for magic usage, or a theological belief system, or any number of complicated world-building blocks to create a fictional reality that doesn’t feel sloppily cobbled together. Many writers even extend themselves to real-world research in order to make their writing more authentic, including speaking to law enforcement, firearms expert, historians, language experts, librarians, and the list goes on.

There really is no such thing as a thrown-together book, and pulp novels, though they may appear “easy” to write, are hardly the exception. In many ways, because the subjects of pulps are so diverse and colorful, it requires an exceptional amount of effort to pull together a series that readers are willing to come back to and read again and again. Yet pulp writers are often given tight deadlines, and their books experience fast turnarounds, meaning that for a writer to make a proper living by writing pulps, they need to be churning out an extraordinary number of words.

Contrary to what some people believe, pulp writers don’t usually have the advantage of going to writers’ retreats, or escaping to lakeside homes to tap away at their next work in the comfort and silence of a controlled environment. Since they are responsible for writing quick, punchy books in relatively short periods of time—sometimes only a few months, and sometimes only a few weeks—they have to produce a plethora of wordage and still manage to maintain the quality that their reader’s have come to expect.

No matter how fast a read or seemingly simple a concept, I promise the next pulp novel you read, whether it’s an old-time mystery novel, or the latest release from your favorite modern pulp wordsmith, represents only the smallest percentage of the time, effort and research the writer put into it. But I hope you will read the next one, and the one after that, and come to appreciate it for the dedicated art form it is.

And who knows…you may be inspired to write your own someday.


K.H. Koehler is the author of various novels and novellas in the genres of horror, SF, dark fantasy, steampunk and young and new adult. She is the owner of KH Koehler Books and KH Koehler Design, which specializes in graphic design and professional copy-editing. Her books are widely available at all major online distributors and her covers have appeared on numerous books in many different genres. Her short work has appeared in various anthologies, and her novel series include The Kaiju Hunter, The Mrs. McGillicuddy Mysteries, Anti-Heroes, Planet of Dinosaurs, the Nick Englebrecht Mysteries, and The Archaeologists. Visit her website at https://khkoehlerbooks.wordpress.com.

Purchase Dinosaur Valley (The Archaeologists #1) the latest pulp adventure from K.H. Koehler, at Severed Press and Amazon: https://www.amazon.com/dp/B01LRQNNAO/


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