From Zombos Closet

Authors

The 4 Stages of Your Writing Career
By Scott M. Baker

SCOTT_BAKER

There’s an old joke that states an author has four stages in his or her career. There’s the first stage when a reader walks into a bookstore, lifts your book off of the shelf and asks, “Who the hell is Scott M. Baker?”

There’s the second stage when a reader walks into the bookstore and asks the sales clerk, “Do you have the latest book by Scott M. Baker?”

There’s the third stage when a reader walks into the bookstore and asks the sales clerk, “Do you have any books by authors who write like Scott M. Baker used to?”

And finally the fourth stage when a reader walks into a bookstore, lifts your book off of the shelf and asks, “Who the hell is Scott M. Baker?”

For anyone who has been published, there’s too little humor and too much reality in that joke.

Every author has to endure that first stage. Even Stephen King and J. K. Rowling were unknown entities at one time, at least until readers became aware at how incredibly adept they were at story telling. Now they’re household names. If only the rest of us were that lucky.

The sad truth, however, is that most authors will never make it beyond the first stage. If they’re really fortunate. If they’re good at telling a story, or developing great characters, or writing catchy dialogue. If they’re lucky enough to find a publisher who will distribute their books nationally. If the day their book comes out they’re not competing with an instant bestseller such as a kiss-and-tell book from one of Tiger Wood’s mistresses, or the latest Dan Brown tome, or a diet plan on how to lose weight by eating red velvet cheese cake, or the biography of a pet the cover of which is adorned with an incredibly cute ball of fur. And if, over time, they are fortunate enough to develop a small, loyal cabal of readers who will follow them regularly and read everything they write, then an author might pull in enough money annually to make ends meet (as long as they have an understanding spouse with a really good day job).

Depressed yet?

If you said no, then you truly are a writer. Not necessarily a good writer. Or a prolific writer. Or a rich and famous writer. But a writer, nonetheless. Someone consumed by the hunger of putting words to paper. Someone who can listen to a quirky story on the news or spot a unique looking individual on the street, and within an hour have the plot of a story or novel mentally outlined. Someone who brings their laptop on vacation because you can’t relax and enjoy yourself if you haven’t written something that day. For us, the writing is the passion, and seeing a complete story or novel in print is reward enough (though none of us will shut the door on fame and fortune if it comes knocking).

For those of you following me, you know that I have entered that dreaded first stage of the writer’s career. The first two books of my vampire trilogy are in print, with the third scheduled for publication this October. My first zombie novel should be out in 2012. Now I have to come to grips with the reality that writing the first novel and getting it published was the easy part. There will be plenty of work in the months ahead to market myself and attract readers, with the goal of reaching stage two. It’s going to be a long road, with no guarantee I’ll reach my goal.

For those of you who are just starting your writing career, over the next few weeks I’ll be offering some words of advice on how to get that first novel written and published. Will it guarantee you success as a writer?  No. Will it be depressing yet irreverent? Yes on both counts. My goal is hopefully to encourage beginning authors to pursue their passion and to let you know you are not alone.  

So get your notebooks ready.

 

About Scott M. Baker

Born and raised outside of Boston, Massachusetts, I’m a horror/urban fantasy author who now lives in northern Virginia. I’ve authored several short stories, including “Rednecks Shouldn’t Play with Dead Things” (which appeared in the autumn 2008 edition of the e-zine Necrotic Tissue); “Cruise of the Living Dead” (which appeared in Living Dead Press’ Dead Worlds: Volume 3 anthology); “Deck the Malls with Bowels of Holly” (which appeared in Living Dead Press‘ Christmas Is Dead anthology); “Denizens” (which appeared in Living Dead Press’ The Book of Horror anthology); and the e-chapbook “Dead Water” by D’Ink Well Publications.

My most recent works include The Vampire Hunters trilogy, which is being published both in electronic format (by Shadowfire Press) and print (by Pill Hill Press). Recently, I signed a contract with Permuted Press to publish in 2012 my first zombie novel, Rotter World, which details the struggle between humans and vampires during a zombie apocalypse. And I’m finishing up my fifth novel, which will be a homage to the monster movies of the 1950s set in northern New Mexico.

Please visit my website at http:\\scottmbakerauthor.blogspot.com.

Meet the Author: Paul Bibeau

SundaysPaul Bibeau’s Sunday’s With Vlad is a monsterkid’s dream journey, a wild carnival ride, and a sheer delight as Jeffrey Lyons would say. Spend a Sunday or two with Paul and Vlad, or while away a weekday at his Goblin Books blog, or meet him right now…in his own words…near a dark desk.

 

Let me tell you about the dead men hidden in my office.

Twenty years ago when I was a recent graduate from college I took a job as a reporter for a small town newspaper. I lived over the bingo hall of the local Catholic church, I smoked a pack a day of Camels unfiltered, and when the night came over that place and it turned a rich country dark…I went out walking. I talked to vagrants, drug dealers, and cops. I snagged a dinner invitation from a man who’d turned his property into some kind of paramilitary fortress, like he was ready for an attack. The local criminals threatened me because they thought I was an undercover cop. And the real undercover cop, standing nearby and wearing a wire, recorded it all. I saw things and did things I will never forget.

Ten years ago, when I was a magazine writer living in New York City, I took a trip back to the town, took notes, and began writing a novel about my experiences. It was filled with death and crime and sexual perversion, and the sharp-sweet and terrible smell of that paper mill that dominated the whole region. I hated it and I miss it. The novel took three years of my life and went through four drafts. It was a piece of crap.

Seriously. My best friend took me out for drinks and told me how bad it was as gently as he could. I still have some of the rejection letters from agents — there were more than a hundred. The novel had great parts, but they didn’t add up to a great novel. Someone once said you write a good novel twice and a bad novel over and over.  That’s exactly right. I am a big proponent of rewriting and editing, but a novel has a window of time in which you can either make it right or fail forever. How many of our life’s moments are like that? How many perfect near-misses do you have?

Anyway, now I look at the thing and I see the 20 year-old man I once was, who lived in this world and let it break his heart… and the 30 year-old man who tried to write about it and couldn’t. Those men are gone. I can’t get them back.

But someday soon, I promise you, friendly reader…I will write the story of a 40 year-old with a stack of paper in a dark desk drawer. He has his secrets and his regrets, and he realizes to make this story right, he will have to solve the mystery at the heart of it — a murder, actually. But isn’t every failed story a bit like a murder? I will write it as boldly as I can, until the old authors come back to me and speak their secrets. I need to do it soon.

My time is running out.

Interview: On Writing Horror With Lee Thomas

Lee Thomas Author

Author Lee Thomas writes horror, queer horror, slightly bent horror, and more than horror. If you've read his I'm Your Violence short story in Unspeakable Horror: From the Shadows of the Closet, I don't really need to tell you how he writes it. In that story he brought guilt, retribution, pasty gore, and gruesome death from under the pillow, leaving a nasty stain of reflection to think about. 

In an interview you said writing has always been a part of your life. Why is that?

I'm not sure of the "why" of it. It probably had something to do with childhood insecurity. I wasn't (and am still not) very comfortable around people, and I didn't express myself well verbally; but if I had the opportunity to write an idea down and tinker with it, I was able to convey my thoughts with some form of clarity. In the third grade I wrote short stories and puppet show scripts. I wrote my first novel when I was sixteen. It was a really bad werewolf novel and the character names kept changing, but a lot of it ended up informing my first published novel, Stained.

Though I've been writing most of my life, I didn't really try to sell my work until about eight years ago, and since then I've seen dozens of my short stories published, along with 10 novels (for adults and young adults) and a handful of non-fiction pieces.

You like to write horror fiction: tell us about your monsterkid influences as you grew up, and how they affected your writing.

I think my first exposure to horror was catching Frankenstein on television. There was that moment when the "monster" turned to the camera from a doorway and it scared the hell out of me. I liked it. So, I spent a lot of time looking to repeat that thrill. I watched anything with a creature in it, from Hammer films to Toho giant monster flicks. When I started reading "real" books, around 10 or 11 years old, I jumped in head first, reading Stoker's Dracula, Blatty's The Exorcist, and anything else I could get my hands on. Then I was exposed to James Herbert and early Stephen King, and a whole slew of really awful mass-market novels, some of which were brilliantly bad.

The older I grew, the more discriminating I became in what I read, and the sheer pulpy fun of the bulk of those mass-market titles took a backseat to more accomplished writing with greater depth of character and intricacy of plot (a la Peter Straub). Then Barker came along and brought a different sensibility to the genre that blew me away. Joe R. Lansdale was another great influence. In my own writing I keep trying to find the balance between intellectual and emotional engagement and the extremely fun gut-punch of the pulps I loved as a kid. One of these days, I'll get it right.

What is your daily routine for writing?

Oh that I had one. I've been writing full time for about 5 years now, but no pattern has emerged, except that I wake every day intending to write and I usually get something done everyday. Sometimes my entire day's production will take place before noon. Other times, I need some TV, reading or video game action to wake the brain up, so it might not be until afternoon or evening before I get to work. Some projects, like The Dust of Wonderland, come in a flood and I'm obsessed from the time I wake up until I crash, and I spend every available minute on them. Others move at a more leisurely pace. If I'm researching, which I've found I enjoy, a whole day can pass as I follow one thread of
information to another.

dust of wonderland Really important question: having grown up in Seattle, are you a tea or coffee drinker?

Coffee. Morning, noon, and night. There aren't enough hours in the day for all of the coffee I want to drink.

Which authors does Lee Thomas read and why should we read them too?

I covered the early influences above (and I'm still reading most of them). I discovered Thomas Tessier, Graham Joyce, and Jack Ketchum more recently (in the last 10 years or so), and I've gone back and devoured their work. Newer authors I enjoy include Joe Hill, Tim Lebbon, Sarah Langan, Brian Keene, Tom Piccirilli, Laird Barron, Gary Braunbeck, Jim Moore, David Wellington, and a handful of emerging folks like Nate Southard, Joe McKinney, Paul Tremblay, John Langan, Nick Kaufmann, Joel Lane, and others I'm sure I'm forgetting.

Outside of genre I'm reading James Lee Burke, Russell Banks, Michael Cunningham, Armistead Maupin, John Irving, Ken Bruen, and going back, as I always do, to Hemingway, Steinbeck, Capote, and Baldwin.

What about horror movies?

Wow, just about everything, from ultra-bad slashers to brilliant mind-screws. Universal classics, particularly The Wolf Man; Hammer Studios; Italian horror from Bava, Fulci, and Argento; The Evil Dead trilogy; The Exorcist; The first few Romero zombie films; Carpenter's The Thing, Halloween, and The Fog; Stuart Gordon's work (with a soft spot for his film Dolls); about one-third of Wes Craven's films; a good amount of Asian Horror with big love for Ringu, Ju-On, and Cure. Of the recent spate of remakes I've enjoyed My Bloody Valentine 3-D, Friday the 13th, and Dawn of the Dead.

parish damned What does it take to become a successfully published author in today's market?

I imagine it takes what it always has: hard work, which includes pushing yourself to improve your craft; persistence in sending your work out; and a bit of luck in getting the right story in front of the right eyes (which can be managed through persistence). Beyond that it can take a good amount of patience. This is the thing that's tough for a lot of new writers to get their minds around.

Authors sign bad–sometimes pure-crap–deals on their work just to have it out there fast (I know I did early on). This does them, their careers, and their readers a great disservice. Granted some authors have found short cuts with online publishing, podcasting, self-publishing, and other new media, and for some it has translated into success, like Monster Island author David Wellington who first published his books as blog posts. Eventually the publishing dynamic is going to shift dramatically as a result of new media, but right now, the traditional route to publication is still firmly in place, and that means an author may have to wait a very long time to see his/her work reputably published.

What can we expect from you in the future?

My short story collection, In the Closet, Under the Bed, which collects 15 of my queer-themed short stories, will be out December 15th from Dark Scribe Press. I'm thrilled about this one; it's a unique horror collection to be sure. Plus, I have some new short stories coming out, including "Nothing Forgiven," which will appear in Darkness on the Edge from PS Publishing, and "Inside Where It's Warm," a zombie story I wrote for a forthcoming anthology edited by Joe McKinney.

There are a couple of others I can't talk about right now. My novella The Black Sun Set will be released next year by Burning Effigy Press out of Canada, and a novella collaboration I did with Nate Southard called Focus will also be hitting in 2010. Other things are in the works but I can't comment until contracts are signed.

Interview: Classic Hollywood Horror-Comedies
With Paul Castiglia

BorisBoogie Paul Castiglia has been writing and editing comic books and pop-culture articles for 20 years, most notably overseeing the Archie Americana paperback series of classic Archie Comics reprints. His past forays into horror-comedy include providing a chapter for the book MIDNIGHT MARQUEE ACTOR SERIES: VINCENT PRICE covering Price’s comedic horror films with Peter Lorre, and writing the comic book based on the animated series Archie’s Weird Mysteries. He has also edited the upcoming Archie Comics Haunted House trade paperback collection of spooky stories.

Paul’s blog, Scared Silly, will post its first review at midnight tonight, kicking-off his adventure writing about classic horror comedies for his upcoming book, Scared Silly: Classic Hollywood Horror-Comedies.

Here’s my interview with Paul to wet your appetite.

 

How does a writer and editor for Archie comics wind up doing a book on classic horror-comedies?

Simple, I’ve always been a fan of the horror-comedy genre, and I’ve always wanted to read a book that provided an overview of the entire genre. Since none existed, I figured the only way I’d be able to own a book like that would be to write it myself!

It really goes back to my childhood. I was a child in the 1970s, when movies and TV shows from past decades were routinely rerun. I grew up watching the classic comedians on TV, particularly Laurel & Hardy and Abbott & Costello; and I grew up watching a lot of cartoons. Both of those pastimes fed into my love of comic books.

Originally I was scared of films like “Abbott & Costello Meet Frankenstein” (heck, when I was real little I was also scared of Herman Munster!), but ultimately the comic relief alleviated the scares and somewhere along the line I developed a particular fondness for the “spooky” comedies.

This fondness served me well when it came time to write the “Archie’s Weird Mysteries” comic book series (based on the TV cartoon of the same name) and a chapter in a book about Vincent Price films covering the horror-comedies where he was teamed with Peter Lorre.

Ghost chasers Horror and comedy seem to be opposites; so why do you think horror-comedies have always enticed audiences?

Psychologists will tell you that the difference between a laugh and a scream is slight. In fact, sometimes people laugh when they should be screaming. “Nervous laughter,” they call it. Both are a form of release, and when combined they make a formidable pair: what better way to relieve the tension of just being scared than with a laugh right on top of the scare?

In the end, it goes back to the basis of all stories – the idea that being a hero means conquering a problem. If you can laugh at your fears, you are that much closer to conquering them.

Interview: Kevin James Breaux

Lambwolfweb Artist and author Kevin James Breaux is about to be snatched up by Dark Quest Books for his Fantasy novel Soul Born, making it his first published novel. Before he becomes famous and it all goes to his head, let's interview him about his horror, his fantasy, and his art. He writes short stories and novels about zombies, vampires, and fairies with equal ease, and his artwork can be seen in Zombie CSU: The Forensic Science of the Living Dead and They Bite!

 

What's a typical writing-day-in-the-life of Kevin James Breaux like?

Basically I like to break my writing into two hour segments. If I have editing to do; that is normally done first and as early in the day as possible. Normally I work at my writing from 10-noon and again noon to 2pm. If I'm lucky and there are not too many distractions I will try and work later in the day as well, but that's normally less structured, kinda like guerrilla warfare style writing; mobile and hit and run.

You tend toward thriller-styled horror and urban fantasy in your writing. Are there differences between the two?

I like to write stories that are character driven. I started off as a fantasy writer, because it was what I knew from growing up playing all the RPG games. Then after being challenged to write outside my normal comfort zone, by Jonathan Maberry after joining his chapter of the HWA, I realized I could do what I wanted in almost any genre. I tend to lean towards things of the fantastic nature. Thriller-Horror and Urban Fantasy are, in my opinion, very closely related. Both deal with subject matter outside our daily reality. I would love to write a comic book story some day, something with super heroes.

Interview With The Sleeping Deep’s J. B. Palmer

The Sleeping Deep Jeffrey Blake Palmer’s Lovecraftianesque The Sleeping Deep screenplay is winning a lot of film festival awards these days. Before his head swells bigger than a blowfish–what with all those kudos and attention–I thought it best to snatch him away from his busy schedule and lock him in the closet for a bit, until he answered a few questions about his work and his inspirations.

 

Tell us about the young monsterkid who grew up to be Jeffrey Blake Palmer.

Ooohh, perhaps my mother would be better suited to answer that question…

FADE IN:

I was born and grew up in the quaint New England mill town of Dover, New Hampshire, which I would later capture on film in my feature On the Fringe. It was idyllic, charming, safe. I was fond of dismantling anything electronic (radios in particular), doodling in my notebooks, goofing off around the neighborhood. Seems I was always lost in thought, my head cluttered with artsy-fartsy ideas all vying for attention. Definitely was a bit of a daydreamer. But I never terrorized the neighbors’ pets, only my younger brother.

I do have fond memories of spending Saturday afternoons during the summer watching Creature Double Feature on Channel 56 in our cool basement entertainment room. Man, those were the days.

Where does your ambition to film and script movies come from?

I think my ambition really boils down to embracing an artful life. Film and filmmaking is a collaboration and combination of so many disciplines, from composing musical scores to special effects to acting, costume design, writing… it’s truly a celebration of the spice in life.

The deal was sealed when I stumbled onto a film class in college and was surrounded by freaks, nerds, weirdos and misfits. I immediately decided to pursue a film degree at Keene State College, a small state school in south-western New Hampshire and I’ve been at it since.

Interview With Jonathan Maberry
Vampire Hunters and Other Things

Maberry 2009 It is always a pleasure to speak with Jonathan Maberry, one of the hardest working authors on the scene today. He stopped by the closet recently to discuss comic book writing and his other projects…and pay close attention to that brief mention about a novelization in the works for an upcoming movie. It’s something to howl with delight about…

I was all set with a bunch of questions regarding your Marvel Comics scripting, but you’ve answered them already in another interview. There is one thing I’m curious about, though: how did you handle the panel by panel flow of the comic story, and how detailed were your scripts for the artist?

In the gap between Marvel reaching out to ask me if I wanted to write for them (world’s dumbest question) and getting my first assignment, I read a boatload of comics and studied the modern form. Comics have evolved since the days when I first read them. I took a few and practiced writing the scripts for them. Kind of a retro-engineering approach. Then Marvel sent me some sample scripts. Turns out I was pretty close to the mark.

But there’s more to it than that, of course. Like anything there are tricks to the trade that the most experienced comic book writers know. Guys like Garth Ennis, Steve Niles and Alan Moore make it look effortless, but there’s a lot that goes into it.

WolverineAnniversary It’s also a team process. The writer pitches a story to the editor, who usually makes a few changes to more smoothly fit it into the long-range plans for that title and to work it into the overall continuity of Marvel. Then the writer hands in a beat sheet that outlines the story based on where the story points will fall on the pages. When that’s approved, the writer does the script. My first story was a 32-page special (Punisher: Naked Kill), my second was an 8-page Wolverine short (Ghosts, the back-up feature in Wolverine: The Anniversary).

The writer decides on the number of panels per page and gives the artist an idea of what should be in the panels. That sounds simple, but it isn’t. For some panels you can be very simple, like:

Tight on Black Panther as she reacts.

Some panels require much more direction, like:

Inside Deadalus Tower MICKEY FANE is introducing the place to some prospective customers. He’s tall, handsome in an oily way. A Tony Stark on the Dark side of the Force. Nicely dressed, big smile, rings, expensive watch. He’s center stage talking to two Middle Eastern-looking men in dark suits. Behind him we see Frank and Dirtbox coming through the revolving door. The lobby of Deadalus Tower is polished marble, brass, huge windows. Lots of people, a security desk with guards.

Interview With Anton Strout
An Urban Fantasy

Deader Still

It was around midnight when author Anton Strout left the Penguin Group offices. Hustle and bustle, bustle and hustle, had filled his day, and now he was heading to the Cafe Borgia on Bleecker Street to coax a little more bustle from his tired brain, hoping to finish book three of his four book contract for Simon Canderous, the Department of Extraordinary Affairs’ lone psychometrist, and his series of urban fantasy adventures.

With thoughts of Earl Grey, Oolong, and perhaps even–would he be so adventurous?–green tea buzzing around his gray cells as he briskly walked through the streets of Greenwich Village, he did not notice one of his shoelaces had come undone; that is, until he tripped head first onto the pavement. As he regained his composure and tied the lace with a tight double-knot, he noticed the edge of a bright gold disc sticking out from under his heel. He moved his foot, picked up the disc, and adjusted his glasses and his position to the street light to get a better view. Well I’ll be…it’s a gold coin, he thought, moving his lips as if he were about to whistle.

“Ow! Yer got me fer sure, that’s the truth.”

Anton Strout looked around, then down. A two-foot tall fellow looked up at him. He wore a bright green jogging suit, large Nike Air Zoom Dunkesto Blue sneakers–he had unusually large feet for such a small fellow–and a bright yellow cap covered his blazing red hair. Anton Strout re-adjusted his glasses, blinked his eyes a few times, and moved his lips in a soundless whistle again.

“If’n it’s not Madoff makin’ off with all me savin’s, and this blasted recession puttin’ the touch onta me investments, now I’ve gone an’ spilled a coin of me precious realm and you’s there at the wrongest of moments. Well, I spose you’ll be wantin’ me treasure, then? C’mon man, close yer mouth and exercise yer wits, I hain’t got all night.” The small fellow tapped his big right foot with impatience.

A cell phone started ringing. They looked at each other.

“Well, t’isn’t mine. I got Flogging Molly’s Black Friday Rule on mine, yer know.”

“Oh, sorry.” Anton Strout answered his cell phone. “Yes, this is he. Who? ILoz Zuc? What’s that? Oh, you mean you’re ILoz Zoc, Zombos’s butler. What’s that? Sorry, valet then. From where? Oh, I see, you want to do an interview? Sure, how about I call…what? You want to do the interview now? Well, I’m in the middle of…? Okay, look, give me a minute and I’ll call you right back, ok? Okay, fine.”

The small fellow stopped tapping his right foot and started tapping his big left foot. Faster.

“Now what’s this about your treasure? Are we talking hundreds, thousands?” asked Anton Strout, putting his cell phone away. Thoughts of cool ocean breezes, frothy banana daiquiris, and sleep-filled nights joined to leisurely-paced days replaced those of teas and slushy piles.

“Now t’would a self-respectin’ gentleman like me self, who’s been round these parts fer many a summer, be frettin’ o’er a measlin’ thousands? Me fine young man, t’is the overflowin’ pot o’gold you’ve tripped into, and wealth beyond yer beyondist dreams. Enough to keep yer in honey and clover, ten times ten times ten times over. And just me luck, too. I knew I should’a not been so stingy and taken a cab. Oh, well. But time’s a wastin’ and I got–”

Anton Strout’s cell phone rang again. “Sorry.” He answered it. “Hello? Oh, listen Ilzoc–sorry, Zoc then. I’m kind of busy right now and, what’s that? You’ve sent the questions by text message? Alright. Alright, I’ll take a look and get back to you.” As he flipped the cell phone open to view the message, the gold coin slipped out of his hand. Before it could drop to the pavement, the little fellow snatched it away with a smile bigger than his feet. Like the Chesire Cat, that smile lingered a long moment after the rest of him vanished in a puff of smoke.

“Oh, dear,” said Anton Strout to no one in particular.

His cell phone started ringing again. He looked down at the pavement one last time before continuing his walk to Cafe Borgia. When he got there, he ordered Earl Grey tea and poured lots of honey into it. It still tasted bitter. He answered the interview questions, worked some more on his third novel, and always kept his eyes glued to the pavement when he walked the long way home every night from then on.

 

How did a nice writer like you get caught up in urban fantasy? Why not write some nasty horror, or high-brow sci-fi epic?

I never set out with a goal in mind or even a genre-oriented thought. I just had an idea about a guy who had this power of psychometry, but he wasn’t the best at controlling it. It’s not the first thing I wrote, but it’s probably my favorite and I was lucky when I finished because I looked at it and said, “Oh, huh! There’s a genre called urban fantasy that this falls into… neat!” That, and I really missed Buffy, so I wanted to do some horror with humor.

What was Anton Strout like as a kid?

I was devilishly handsome and the star quarterback of the football team who made the winning touchdown at the state championship. Or not. I was an only child who loved watching those Americanized bad imports of Star Blazers and Battle of the Planets. I built Lego starships with the two other nerd kids in my hometown. Around ten my friend introduced me to my now lifelong love affair with Dungeons and Dragons. We were the kind of kids who would put on motorcycle helmets to beat on each other with fake swords we made behind the teacher’s back in woodshop. We’d get together with friends and shoot Roman Candles at each other’s cardboard armor, casting “Magic Missile.” Good times… it’s amazing I don’t have more scar tissue. Warning: Kids, don’t try this at home! Everyone else, don’t do it either… apparently–and this is a little known fact–cardboard is VERY flammable!

Writing is a tough job. How do you keep up your motivation and your energy?

I have these things called deadlines and they pay me money for turning my books in. Those are pretty good motivators… that and the fact that since my day job is in publishing, my editor happens to be just down the hall and will come kill me if I don’t deliver. Also, it’s a tough job, but it’s a job I love to do. It would be like paying me to play D&D for a living. And there’s also the reward of sharing my stories and having discussions with people about them… it’s a very driving force.

That said, there are days I just tell myself to sit the hell down and write cuz ya gotta. But more often than not, I’m happy to be doing it and feel lucky that I get to share the stories in my brain meat with others.

As an editor, can you give us some insight into the pitfalls a newbie should watch out for when writing that great first novel? And also some advice from your author’s side?

I’m only an editor when I’m working on my own books to turn them in in a writer’s capacity. My day job is in paperback sales.. but here’s some advice to the newbie.

Your brain hates you. It will go to great lengths to try and stop you from writing with many a distraction. Tough. Sit your ass down and write. It doesn’t have to be perfect, or even close to perfect, as long as it gets down on the page. It’s a lot easier to edit and rewrite 300 pages of something than it is 0 pages of nothing. It’s okay to suck when you’re writing your book. It’s called a FIRST draft for a reason, implying many other drafts to follow. So go get your suck on!

Where do you see the book publishing field in ten years, given the Internet, ebooks, and the print on demand aspects of our modern age?

I think paper books will always be around. I think there’s something about the tactile sensation of holding a book in your hands that just won’t go away. We see magazines going only digital because of production and distribution costs, but I think books are safe for now. My day job is in the sales department at Penguin Group, and I see the industry as a whole looking at ways to expand into the digital markets. It’s a slow build because it’s uncharted water for a lot of them, but I think certain formats will hold. Kindle, Sony Reader, iPhone apps… also, with the current economy, the mass market price point is looking really good to people right now who had declared its death knell in the face of abundant trade paperbacks.

Who are your favorite authors and how have they influenced your writing?

I think my humorous writing style is a blend of my love of Douglas Adams, Robert Asprin, and Joss Whedon. I’m also a huge Lovecraft and Stephen King fan, which I think explains the darker side of what I write in urban fantasy. I think if I saw any of the horrors in those books in real life, I’d have to quip and make fun of them to keep my own sanity, which is what a lot of my characters do to keep from the darkness.

Tell us about your blog.

There’s two, really. One is my Livejournal, under the cryptic moniker antonstrout, which people often wonder why Anton’s Trout has a blog. I assure you, he does not. That’s my dumping ground for all things personal and professional, with a bit of helpful writer advice thrown in ever so sparingly now and again. The other blog is The League of Reluctant Adults, a group blog with about 17 other genre writers. There’s drinking, swearing, poop jokes… that’s where more of the authorial shenanigans come out. I encourage everyone to stop by.

What’s the one question you would love to be asked, and what’s your answer?

Can we pay you enough so you can stop doing two jobs and just write for a living? My answer is: Where do I sign?

 

Interview: David Wellington
Night of the Sugar Eating Fiends

Monster_nation

"They're coming! Barricade the door!" I threw the hammer to Zombos and held a plank of wood in place across the doorframe. "The nails, the nails! Who has the nails?" screamed Zombos as the sound of pounding increased.

We turned to Chef Machiavelli. He stood like stone with his hands over his ears. His eyes stared into oblivion. His mind had retreated to a safer place where the Food Channel was running an all-day marathon only he could see.

"Here!" shouted Pretorius, our groundskeeper, over the ever increasing pounding on the front door. He tossed over the box of nails. Both Zombos and I reached for it too soon, jammed our fingers, and sent the box flipping end over end, spilling nails out of reach.

"Oh, Lord. We are toast," sobbed Zombos. But then the pounding stopped. We breathed deeply, waiting for something else to happen. I was shaking, and Zombos showed his age more than usual.

"Who's the damn fool who put those toothbrushes into our trick or treat bags anyway?" asked Pretorius.

Zombos and I looked at each other. At the same time we uttered the same name. "Zimba." Only Zimba, Zombos' wife, would dare to commit such a heinous act on the spookiest night of the year.

"Hell of a damn thing to do," said Pretorius. "You might as well go dancing over graves or give McDonald's McDollars if you want to rile up the little monsters and invite doom."

Interview With Vince Liaguno
Unspeakable Horror

Unspeakable_horror
No place is darker than in the shadows of our closets…
And on each self, and in each corner, rests shoes, and clothes, and unspeakable horrors…

Editors Vince Liaguno and Chad Helder step into Zombos’ closet for a chat about their upcoming horror anthology that dares to open the creaking doors to those most personal, untidy closets we all share, where the light bulb is always dark, and the space is always pressing. And where fear is always piled deep in the farthest, darkest, corner.

 

How did Unspeakable Horror: From the Shadows of the Closet come about?

Chad Helder: In 2006, I started a website called Unspeakable Horror [http://unspeakablehorror.com] that explored the intersections between the horror genre and queer theory. Early on, I heard from Vince who was about to publish his first novel. We quickly became friends. At some point, Vince came up with the idea of publishing an anthology of gay horror stories. As a lover of short fiction, I was really excited about the prospect. That’s how it all began. Vince launched Dark Scribe Press, and the project began.

Interview: Victoria Blake of Underland Press

Underland Press Victoria Blake is the founder and publisher of Underland Press. She started the company after three years as a prose editor at Dark Horse Comics, in charge of the production of the Aliens, Predator, Hellboy, and Lankhmar novels. She came to book publishing from a career in newspapers, having worked as both a hard news and features reporter. Currently completing an MFA in fiction at the Warren Wilson Program for Writers, she holds a bachelor’s degree from Barnard College at Columbia University.


Publisher Victoria Blake steps into the closet for a chat about her upstart, Underland Press, which dares to make wovel (web novel) a word to remember…

What creative urge inspired you to start Underland Press?

I read Brian Evenson’s amazing novella, “The Brotherhood of Mutilation.” I’d never read anything like that before—the prose was so spare and yet the world he created was so alive. I fell in love. When Brian told me that he was writing a follow-up novella, I knew that if there was any way for me to publish both as one book, that’s what I wanted to do. I had been thinking about leaving Dark Horse—I already had a business plan and I’d gotten my printer bids and I had a rough financial projection. The start of Underland was when Brian said I could have the book as my first title.

Interview With Hasso Wuerslin
The Dead Books

The Deadbooks Many bitch that we don’t read anymore, but I don’t think that’s true. I think many are just waiting for the novel to catch up with their expectations of entertainment. There will always be a place for word on paper, but what DeadBooks.com represents is where the novel may be headed: what its true potential can be once it’s ripped free from the wood.–Hasso Wuerslin, author of The Deadbooks.

 

It is close to 10:00 PM on a Sunday night and I am reading, watching, and listening to The Deadbooks, Hasso Wuerslin’s self-termed hyper-serialization of the unpublished science-fiction and horror novels in his Deadbooks series. Chapter One had me thinking he needs to work on his Flash skills more. By Chapter Two, I started getting into the  mysterious town of Landsgate, Vermont, and the greatly confused Will Lant,  who is not sure why he is where he is, or what the dreadful mistake is he thinks he’s made. Those ‘Missing Person Will Lant’ posters he keeps coming across don’t cheer him much either, especially when everyone else is missing in the small town. By Chapter Three, I wanted to learn more about the home of Eddie Ranch–‘who looked bug-shit crazy’–and what was in the cellar. The Deadbooks hyper-serialization, in spite of the loading…loading…loading message that pulsed between pagescreens, began to intrigue me and my interest in the story grew from chapter to chapter.

Maybe Wuerslin is on to something here. It’s rough around the edges, sure, and sometimes the voiceovers grate on your ears, but given where printed media, audiobooks, gaming, and the Internet are poised in this digital age, Wuerslin may be a pioneer in creating a novel experience by immersing the hyper-reader into his bizarre world of Landsgate, Vermont. This hints at other applications beyond the Internet. I recently visited my local Borders book store and stood amazed at the 75th Anniversary issue of Esquire Magazine with it’s electronic ink (e-Ink) cover. It was primitive, true, but I was giddy all the same. Within a few years, we will be reading, listening, and interacting with our electronic paper magazines and books in ways that will combine what we do separately now in various mediums. Who says wireless reading devices like the Kindle cannot be used more creatively with multimedia-stylized novels–something short of a game but more than a printed novel, in much the same way that Wuerslin is e-Publishing his stories now.

According to Wuerslin, The Deadbooks encompasses 150 chapters, involves 100 actors (okay, his friends and family I am sure), and the cutting-edge sounds of musical artists worldwide to provide a mash-up of story-telling techniques. You can experience the first seven chapters, then pay a small amount to read the rest.

I asked Wuerslin to step into the closet for a brief chat about his work.