[Link] Dangerous Writing

Nothing Good Comes From Nothing

by Chuck Palahniuk

Nothing good emerges from nothing.  Years back, Max Brooks and I were alone in an otherwise empty lecture hall.  His book World War Z had become the all-time bestselling zombie novel, but I suspected it wasn’t about the walking dead.  Okay, it was and it wasn’t.

About his father, Mel Brooks, Max told me, “We never ate in restaurants because all through dinner men would line up at our table to tell my dad their best jokes.  Every Jewish dentist dreamed of making their hero, Mel Brooks, laugh.”  And laugh he did, whether or not the joke was funny, while his wife, Anne Bancroft, graciously played along with the performance.  Relaxing it was not.

Here I saw my opening and asked, “Your mother?”  I asked, “Is World War Z really about your mother?”  This wasn’t a random guess.  The last year of his mother’s life coincided with the year in which it seemed he’d been writing the book. 

Max’s eyes got, well, misty, and he said, “No one’s ever caught that.”  He went on to say that in the last year of her life, he’d driven his mother to oncologist after oncologist.  Each had confidently assured them about a new cancer treatment and set their minds at ease.  That’s why each government in the novel confidently announces a new plan for resolving the zombies.   

Each promising cancer therapy had failed, and that’s why after a year the zombies had won.  Max said readers hated the downer ending of the book, but that’s how it needed to end because after a year of battling cancer Anne Bancroft had died. 

Max and I alone in that lecture hall, well, it was a moment.  A nice moment.

Max is funny and hairy and has flat feet—a defect that got him bumped out of military training.  All his life older men had told him, “Your mother, in The Graduate, she’s sex personified!  The sexiest woman alive!” so he’d never watched the movie.  His fear was he’d get an erection, and then what?

The truth was Anne Bancroft had always raised her own vegetables and saved the seeds to replant year after year.  She canned food.  During the Rodney King riots she’d watched the smoke rising over Los Angeles and calculated how long her family could eat if she butchered the family pit bull and harvested the koi in their backyard pond.  Max told me, “She was basically an Italian peasant,” but not with rancor.  With pride.

In the year after her death he’d compiled everything she’d taught him.  About gardening, about canning.  As a tribute to her he’d put all of this legacy into his book, The Zombie Survival Guide.

I wasn’t surprised.  This is what it takes to write a good book.  My best writing teacher, Tom Spanbauer, taught me as much.  Tom called it “Dangerous Writing,” and by that he meant that a writer had to explore an unresolved personal issue that couldn’t be resolved.  A death, for instance.  Something that seemed personally dangerous to delve into.  By doing so the writer could exaggerate and vent and eventually exhaust the pain or fear around the issue, and that gradual relief would keep the writer coming back to work on the project despite no promise of a book contract or money or a readership. 

Moreover, the writer had to explore the issue through a metaphor.  Like zombies.  Or Fight Clubs.

Read the full article: https://chuckpalahniuk.substack.com/p/dangerous-writing

George Tackes: Instinct and Feel Take Over

Tell us a bit about your most recent work. 

My most recent published work: CNI Classified Vol. 2 short story “Hatchet Job” Oct 2025. Blue Planet Press. Robert Mendenhall created a fun group of military adventurers to write about. Masked Rider #4 – “A World Aflame” short story for Airship 27 – Western featuring Wyatt Earp fighting a fire rampaging through a small town. Secret Agent X Vol. 7 another short story for Airship 27 American Operation Hummingbird. Secret Agent X takes on a Nazi killer – always a great villain, 

My most recent unpublished work: In Search of the Cinnamon Bear, a novel – sequel to 1938 radio serial The Cinnamon Bear.

What are the themes and subjects you tend to revisit in your work? 

Currently adventure/action pulp stories with historical basis. Overall, I have to say the subjects are a wide range. I’ve written articles, plays, novels, short stories. My themes center around good versus evil, justice prevails.

What happened in your life that prompted you to become a writer? 

I remember as a child seeing a typewriter for the first time. I was fascinated by it. My mother gave me something to type but I didn’t want to copy something. Instead I wrote a story.

Motivational Monday: Don't Stop!

Sunday Funnies: The Autocorrector Strikes Again!

[Link] 5 Sneaky Mistakes Destroying Your Writing Focus (Fix Them Fast!)

by Colleen M. Story

You sit down to write, determined to finally make progress on your project. The words will flow this time, you tell yourself. But before you know it, you’ve checked your email, responded to a message, scrolled social media, and now you’re standing in the kitchen wondering why you even got up in the first place.

The writing? Still waiting.

In today’s world, distractions are everywhere. It’s not just technology demanding our attention, either. There are all the never-ending tasks we must complete to manage our writing careers, plus life’s responsibilities piling up. It can make maintaining focus feel nearly impossible.

Still, if you’re serious about your writing, you have to take control of your focus. Below are five common mistakes destroying your concentration—and what you can do to fix them.

Writing Focus Mistake 1. Multitasking While Writing

We often think we can do more than write. Write and watch the baby. Write and cook dinner. Write and help a child with their homework.

It’s easy to succumb to this temptation. We have a lot to do, and sometimes, it can feel like if we don’t combine writing with something else, we’ll never get the writing done.

But while multitasking may seem productive, it actually fragments your focus and makes writing much harder. Say nothing about how it lengthens the time required to get the words down.

The Fix:

Commit to single-tasking during your writing sessions. Remember that even 15 minutes of focused writing is better than 30 minutes of multitasked writing. Experiment yourself if you like and compare your word counts. Most likely, you’ll get more done if you can focus on your story.

Set clear boundaries. Silence notifications, close unnecessary tabs, and resist the urge to jump between tasks. Consider using a distraction-blocking app to prevent temptation. By focusing on one thing at a time, you’ll enter a deeper state of concentration and boost your writing output.

Read the full article: https://writingandwellness.com/2025/03/03/5-sneaky-mistakes-destroying-your-writing-focus-fix-them-fast/

Falstaff Books Introduces a New Badass Urban Fantasy Series Starter, The Driver of Serpents!

It's just NOT Saint Patrick's day...

St. Patrick has seen better days.

The reincarnation of Ireland’s patron saint and your favorite screw-up’s reason to drink in March has quit the Vatican again, tired of serving as one of their exclusive exorcists amid the constant corruption. Well and pissed, he gets on a plane…

And goes to New York, of all the dreadful places.

But the call to serve never ends, and on a dark trail of clues given to him by a strange demon, St. Patrick must navigate the city from the booze-soaked bowels to its glittering heights, uncovering a conspiracy that stretches back before Creation.

To stop it he must rescue the last Nephilim.

Locked and loaded with action-soaked comedy, The Driver of Serpents is the Urban Fantasy debut of a war between the forces of heaven and Perdition, archangels and demons, God, and the rest… and one Irishman already tired of it!

For fans of The Iron Druid Chronicles, Dogma, and Constantine, prepare for hell in this unholy thrill ride!

Available from Falstaff Books.

Titles and Stories (We Got Together, Like...)

This week, let's talk about stories and titles and how they go together (or don't -- I wan't presume your process!). 

What comes first for you, the story or the title? How does one drive the other through the process?

Sara Freites Scott: The title comes first but may change after I write the story! (Which actually happened with my first book.)

Bobby Nash: It could happen either way. Most of the time, it’s the story. That said, doing series work, like Snow or Tom Myers, I like to have a page at the end that states, “Tom Myers will return in…” and so I try to have at least a loose idea and a title for the next book ready to go. I have had instances where the title changed in the process.

Sean Taylor: I find it very difficult to write without a title. I'll jot down story notes and hold off actually writing the narrative until the right title falls into place. Yes, I know that (among other things) makes me an odd duck. 

Chris Riker: First - the moment. That one heart-wrenching scene. It contains the seeds of the story. It lives at the heart of the theme. Where do they come from? I live in a stressful world. Perhaps you've heard of it. Earth? Second - a few characters. Names. Quirks. Third - The ending. Not the plot; that's different. I need to know where my characters need to get to emotionally. Lastly: WRITE!

Jerry Motyka: Yes. Sometimes I get inspiration from a title, other times I get inspiration for the story and the title comes last.

Brian K Morris: Most of the time, it's the story, especially when I'm working with someone else's characters. Then again, I've come up with a title that practically writes the story for me. Also, I have to really put on my thinking cap to come up with a halfway pleasing (to me, at least) title.

Aaron Rosenberg: Oh, story 99 percent of the time, definitely. A lot of the time I'm scrambling for a halfway decent title -- I just use a placeholder to start, and hope something better comes to mind as I get into the book properly.

Gordon Dymowski: For me, the story almost always comes first. It's easier for me to come up with a killer title for a well thought-out story than it is a story for a killer title. I have several works in progress which I have named "Untitlted [INSERT GENRE OR CHARACTER" here to make them easier to track.

George Tackes: Always the story. Something in the story inspires the title. I couldn’t imagine having the title dictate the story. Because sometimes a story can go in an entirely different direction.

Iscah: Usually the story comes first, but it depends. Originally Seventh Night was called The Magician's Apprentice, and the story more heavily focused on Phillip. Then I saw a book with the same title at the store and decided I needed a new name. As the best fairytales are named after the princess, I went with *Seventh Night*, but this meant my title character was unconscious for two-thirds of the book. So, I reworked the middle to give her more to do and a bit more of a growth arch. I do think the story works a bit better that way.

When I say the story comes first, I tend to mean the general story. I usually have an idea for the title before I have finished writing. In some cases, it's a working title. I had a story called The Littlest Vampire, which is another title that I discovered was taken. That one has been sitting on my hard drive long that I may have to retitle it again if it ever comes out.

Some titles emerge while the story is still forming. I can be glacially slow from the spark of an idea and finding time to write it. So I have several backburner novels which are partially formed and still in the notes stage. Most of those have working titles.

Motivational Monday: Born That Way

[Link] The Classic Novel You’ve Been Misunderstanding All Along

by Girish Shukla

Mary Shelley’s 'Frankenstein' is often regarded as a simple tale of horror—a mad scientist creates a monster, and chaos ensues. This enduring image has been cemented by pop culture adaptations, where the creature is often portrayed as a lumbering, inarticulate beast. However, the novel is far more complex and thought-provoking than this surface-level interpretation suggests. Beneath its gothic exterior lies a profound exploration of humanity, responsibility, and the dangers of unbridled ambition.

Not Just a Monster Story

Contrary to popular belief, 'Frankenstein' isn’t about a monster terrorizing the countryside. Instead, it’s a deeply philosophical novel that grapples with what it means to be human. Victor Frankenstein’s creation, often mistakenly referred to as "Frankenstein," is not a mindless beast but a sentient being with emotions, intelligence, and a desperate desire for acceptance.

The real tragedy of the story lies in how Victor abandons his creation, leaving him to navigate a hostile world alone. The creature’s descent into violence is not inherent but a response to rejection and suffering, raising questions about society’s role in shaping individuals.

The True Villain of the Story

One of the most misunderstood aspects of 'Frankenstein' is the identity of its villain. Many assume the creature is the antagonist, but a closer reading suggests otherwise. Victor Frankenstein, driven by unchecked ambition, creates life without considering the consequences.

Victor’s failure to take responsibility for his actions is the true source of the story’s tragedy. His abandonment of the creature sets a chain of events in motion, leading to suffering for everyone involved. Shelley uses Victor’s flawed character to critique the dangers of hubris and the ethical dilemmas of scientific progress.

A Critique of Scientific Ambition

Written during a time of rapid scientific discovery, 'Frankenstein' reflects growing anxieties about the limits of human knowledge. Victor’s experiments push the boundaries of life and death, but his lack of foresight and moral consideration leads to disastrous consequences.

Shelley’s novel is not an indictment of science itself but a warning against pursuing knowledge without responsibility. The story remains relevant today as we grapple with ethical questions surrounding artificial intelligence, genetic engineering, and other technological advancements.

Read the full article: https://www.timesnownews.com/lifestyle/books/features/the-classic-novel-youve-been-misunderstanding-all-along-article-117423296

New Imprint Falstaff Dread Launches with killer historical vampire novel!

Falstaff has a new imprint. Ready for the next generation in horror? Read the killer historical vampire novel. 

Ten years ago, Ezekiel escaped one evil, only to watch helplessly as an even more ancient evil in the form of a vampire ripped his wife from his grasp.

Ezekiel’s hunt began in the ashes of his former life.

Now, the Civil War burns through the American South, and Ezekiel cuts his own swath of destruction, battling man and monster alike. Two unlikely allies join him in his quest: Will, a member of the Union's Ambulance Corp, and Kate, a young Confederate sympathizer. The jaded, world-weary hunter doesn't know if his wife is alive or dead, just that revenge is a dish best served bloody red.

Available from Falstaff Books.

CS McKinney and the Off-Putting Aspects of Life

Writing stories about the unspoken and sometimes off-putting aspects of dating, romance, and life is CS McKinney's passion. With each book, he envisiosn the stories that feel familiar or connect with the reader on a certain level. By taking on the tough topics, he hopes to inspire others to find a life of love and happiness without having to make the same mistakes as the book characters.

When he's not writing, he enjoys competing in triathlons, playing music, and hiking.

Tell us a bit about your most recent work.

No Wrong, Just Write, is my latest publication. I decided to take a detour from writing novels to compile a step-by-step guide of how I write, publish and promote books. Many people have asked questions about my process, and in an effort to share this knowledge efficiently, I wanted to breakdown my thoughts into an easy-to-follow system.

What are the themes and subjects you tend to revisit in your work?

Romance and Mystery are my favorite genres to write. Inside of those areas, I find myself revisiting first loves and taboo topics the most.

Motivational Monday: Dig Down

[Link] On Dames and Dark Cities

by Christa Faust

They called me a femme fatale in the media, back when that Jesse Black fiasco went down. Most people have no idea what it really means. Most people think it means badass with tits, but that’s not it at all. A real femme fatale is a villain, and I always thought of myself as a hero. At least I tried to be.

Turned out they were right.

That’s the opening of my new novel THE GET OFF. It’s the last in the Angel Dare series and represents the end of an era. For her and for me. Telling her story has been a significant and transformative part of my life for more than a decade. It’s the thing that defined me, the thing that I was and am the most proud of.

It’s also in the rearview mirror now. Which leaves me feeling a little bit melancholy but also very excited to see what kinda trouble I can get into next.

By some cosmic coincidence, the theme of this year’s Noir City Festival is “femmes who made Film Noir fatale.” It’s a dynamite lineup of flicks that highlight the genre’s top actresses, many of whom are also featured in the new, expanded edition of Dark City Dames by Eddie Muller.

Read the full article: https://buttondown.com/christafaust/archive/on-dames-and-dark-cities/

Taylorverse Books releases Sean Taylor's first poetry-only collection -- WHEN WE HAD NO FLAG!

 FOR IMMEDIATE RELEASE

Atlanta, GA -- Taylorverse Books releases Sean Taylor's first poetry-only collection -- WHEN WE HAD NO FLAG!

​While the book contains mostly new poems from 2004 and 2005, it also collects several of his poems going all the way back to 1994. All poetry collected in the book has a certain, specific attitude summed up by the opening quotes from the book:

“The opinion that art should have nothing to do with politics is itself a political attitude.”
—George Orwell

“All poets, all writers are political. They either maintain the status quo, or they say, ‘Something’s wrong, let’s change it for the better.’”
—Sonia Sanchez

“All stories are political; they involve power that has structural underpinnings and material consequences.”
—Judy Rohrer

"Make no mistake," says Taylor, "these are politically charged poems. There's no way around them. While they may contain the language of pop culture and religion, all these poems work together make a statement."

With references as varied as Bob Dylan, Langston Hughes, Rita Hayworth, and Mae West (among others), this collection has been a long time coming. 

"Sometimes you can't help but stop and write because the world forces you to have something to say, something you feel is important. WHEN WE HAD NO FLAG is that something for me," says Taylor.

​

​Sean Taylor writes short stories, novellas, novels, graphic novels, and comic books (yes, Virginia, there is a difference between comic books and graphic novels, just like there's a difference between a short story and a novel). In his writing life, he has directed the “lives” of zombies, superheroes, goddesses, dominatrices, Bad Girls, pulp heroes, and yes, even frogs, for such diverse bosses as IDW Publishing, Gene Simmons, and The Oxygen Network. Visit him online at www.thetaylorverse.com and www.badgirlsgoodguys.com.

# # #

Morgan Dante: Queer, Sensuous, Moody, and Melancholy (And Especially Angst)

Morgan, a lover of Gothic lit and vampires, writes about love, tenderness, body horror, and hunger. ​I met them this past weekend at the Atlanta Sci-Fi Expo and was immediately drawn to her covers. The first pages I read didn't disappoint either. Their specialties are romance, horror, and fantasy, and their work blends Gothic romance with eroticism and dark and devastating religious motifs. They enjoy writing queer, sensuous, moody, and melancholy stories with complicated characters, and they especially like angst and hurt/comfort.

Tell us a bit about your most recent work.

My most recent book, Sacrament, is an M/M/M dark vampire romance that takes place in 1898 Paris and features a complicated, bisexual polycule between three men. The main character deals with the dark, somewhat clandestine world of vampires. It was released on Valentine's Day.

What are the themes and subjects you tend to revisit in your work?

Because I am a trans, queer author who always writes queer characters, I tend to explore themes about identity and being accepted for who you are, no matter how the rest of the world perceives you. Characters who would usually be marginalized or deemed monstrous are portrayed sympathetically. They contend with trauma and find comfort and acceptance, although the road isn't always easy or straightforward.

What happened in your life that prompted you to become a writer? 

I have always written. I think I wrote my first (very short) story when I was in first grade. I remember writing an adventure for a fourth grade creative writing assignment and the teacher recognizing that I was good at writing, and I've always had the desire to keep creating stories and sharing them with others.

Movie Reviews for Writers: Sinister

Sinister is the story of Ellison Oswalt, a true crime writer, and his family as they move to a famous "murder house" for him to write his new book -- one that he hopes will put his name back at the top of the charts after a few years off it. While living in the home, his daughter Ashley begins to act strangely. Ellison also discovers a cache of Super 8 footage that shows the truth behind the murders in the house -- and other murders. 

On the surface, this is probably one of the best ghost/supernatural monster stories to come out in years, and it (at least for me) was "scare the crap out of you" creepy. Nightmare-inducingly so. 

Beneath that surface, as we see Oswalt's struggle with his writing history and his new book, the movie has a lot to say about how we writers exist from book to book and how we are constantly needing to be and do more. 

Ten years ago, Ellison had a huge hit true crime book, one that helped shift the direction of a case and get the killer caught and brought to justice. But since? Crickets. Not only that, but he wrote a book that actually helped a killer go free. 

So, to say he is living with issues is one hell of an understatement. 

We Write Because We Have To

As writers we all have different catalysts for beginning to write, but ultimately we all keep writing for the same reason. We write because we are writers. We write because that's the action word that defines us. We write because we are driven to keep doing it. 

There are always thousands of other action words we could do -- cook, clean, manage, wait tables, code, etc. -- you name it, but because writing is the infection of choice, it's the thing we chase, the thing we do. 

Writing for Comics -- A Basic Primer for Newbs

Over the weekend I was able to teach a class on basic comic book writing. I always love these classes, but I realized while I was speaking that I'd never turned this talk into an essay for the blog, so I'm remedying that now. 

As the cheerleaders say, "Ready? Oooo-Kay!"

The Pre-Writing

Rule number one. Read comic books. Whether you want to call them graphic novels, sequential storytelling, floppies, or the classic term comic books, you must read them. 

If you want to know how this particular medium works you must be well versed in it. Just like a screenplay or a stage play has its own set of rules, comic book writing has its own set of rules as well.

Whether you write full script or Marvel style (more on that further in) you still have to know the language of comic books. This is no different than knowing the language of fiction writing with its grammar, beats, dialog, characterization, setting, plot, theme, etc. In fact, all those things apply to writing comics too, but writing for comics comes with even more tools you need to learn. Panels, word balloons, thought balloons, narrative captions, internal monolog captions, page turns, etc. These are new and important concepts to learn to be able to effectively and efficiently write a script for sequential pictures. 

Rule number two. Think big. Your special effects budget is only limited by your artist's ability and your combined imagination. That interstellar battle you could never get a budget for in an indie movie or for a stage play, go ahead and write it. That hospital being attacked by giant cockroach creatures from a mythology you made up, no problem (I, in fact, did write this scene in Fishnet Angel: Jane Doe). Just do it, as Nike said. The sky is the limit. Your SFX bottom line is infinity. Period. (Unless your artist's hand cramps up.)

Remember your basics. You still need a story. You still need a story triangle with rising action, falling action, etc. You still need a beginning, middle, and end (even if you are writing a multi-issue with cliffhanger endings). You still need well developed characters. You still need a reason for the story and it needs to have something to say. Comics are no different than classic literature or Summer bestsellers that way. 

One last thing... and this part is going to sound like I'm arguing with myself. These two things sound like they're the opposite of each other. But don't be fooled. They're important. 

Here it is: Tighten your story. Now, once it's tight, let it breathe. 

Motivational Monday: Thinking "Digit"-ally

[Link] Small Changes

by Emily Miller

There is obviously a political context to this post. A context that difficult things have happened and more difficult things are likely to happen in the future. For people like me, and maybe you, there is a sense of powerlessness, a sense of what we think and what we do doesn’t really matter. 

I also feel like I don’t recognize my country, or maybe that I just hate what my country has clearly become. It’s dispiriting, paralyzing even.

In the face of such challenges, this is not intended to be a pep talk. It is not intended to be a rallying cry (even I’m not quite so narcissistic as to think anyone would rally to a cry I made, I’m nobody). But, contrary to my parenthetic words, this brief article is about the things that a nobody like me – maybe like you – can do. And it’s not hypothetical, it’s based on small things I have actually done, small things I have actually achieved.

So, I write erotic literature if I am feeling pompous, and I scribble porn if I am in a more realistic mood. Some people expect me to be ashamed of this. I’m not. I think any form of consensual and legal sex is a blessing to be cherished and celebrated, not something dirty to be hidden. And it’s fun to write, I deal with real human emotions, as well as procreative bodily functions. 

What difference can smut make in the world? Well maybe not a lot, certainly with my limited audience, but not zero difference either. Here are four examples of small changes I have made in people’s lives through what I write.

Read the full article: https://emilymillerlit.wordpress.com/2024/11/07/small-changes/

Come visit me at the Inklings Collective today from 1-4 pm!

Facebook Event Page

The Mill on Etowah Page

Taylorverse Books releases BAD GIRLS, GOOD GUYS AND TWO-FISTED ACTION!

FOR IMMEDIATE RELEASE

​Atlanta, GA -- Taylorverse Books releases all Sean Taylor's pulp stories in a single volume omnibus -- BAD GIRLS, GOOD GUYS AND TWO-FISTED ACTION!

​The book collects all of Taylor's pulp and new pulp action stories from Rick Ruby and Lance Star to The Peregrine and Armless O'Neil, and more. BAD GIRLS, GOOD GUYS, AND TWO-FISTED ACTION also includes a never before published story originally intended for the HOOKERPUNK collection. 

​If that title sounds familiar, it's because it's also the name of his writing blog, which focuses on genre writing. 

​"Folks have told me repeatedly for years now that the name would be perfect for a book, but I never had a reason to use it for one until now," says Taylor. "It really sums up the stories in this new book perfectly. Femmes fatale. Gut-punching heroes. Gun-shots. Out-of-this-world adventures. It's all there."

​​It is in that spirit of pulpy goodness that Taylor offers these stories in a single volume (finally) so fans can one-stop shop for his adventure tales of fisticuffs and derring-do. Stories feature such fan favorites as:

• ​Rick Ruby
• Lance Star
• Agara, Goddess of the Dark Lands
• Ulysses King
• The Peregrine
• Armless O'Neil
• The world of The New Deal
• Aym Geronimo and the Post-Modern Pioneers
• Blackthorn

​​​Charles Ardai, publisher for Hard Case Crime (and Sean's favorite publisher) and author of DEATH COMES TO LATE, says of the collection: “Sean Taylor is a serious student of the pulp arts and keeps the grand tradition alive in his stories. This is escapist fiction the way it used to be done.”

​Gary Phillips, author of ASH DARK AS NIGHT and ONE-SHOT HARRY, adds: "Sean Taylor delivers the thrills and chills in this collection of elevated pulp goodness." ​

​Partnering with Kindle Direct, this new edition be available for the long run both in print and eBook. He will have them for sale on his convention tables and via Amazon in paperback and for Kindle.

​"I'm so happy to finally see all these fun yarns together at last in one book," says Taylor. "These stories are not only near and dear to my heart's yearning for adventure, but they also scratch the itch I have to see how my literary background can influence all my stories, even pulp tales."

​​Sean Taylor writes short stories, novellas, novels, graphic novels, and comic books (yes, Virginia, there is a difference between comic books and graphic novels, just like there's a difference between a short story and a novel). In his writing life, he has directed the “lives” of zombies, superheroes, goddesses, dominatrices, Bad Girls, pulp heroes, and yes, even frogs, for such diverse bosses as IDW Publishing, Gene Simmons, and The Oxygen Network. Visit him online at www.thetaylorverse.com and www.badgirlsgoodguys.com.

Buy from Amazon: https://www.amazon.com/Girls-Good-Guys-Two-Fisted-Action/dp/B0F1384YXL

​​# # #

Motivational Monday: Delicious First Words

[Link] Evocation and allusion: Hemingway’s book titles

by Jeffrey Meyers

The best titles of Hemingway’s novels and stories have biblical and literary sources, poetic evocations of the themes, and allusions to tragedy, trauma and death.  His fiction often returns to his teenage wound and narrow escape from death during World War I in Italy.  By suggesting the physical locales and using bitter irony to foreshadow fatal events, he enhances the meaning of his work, reminds readers of literary associations and draws them into the tales.

The title of The Garden of Eden (published posthumously in 1986) comes from Genesis 3:24, “So He drove out the man; and He placed at the east of the garden of Eden cherubim, and a flaming sword” to keep Adam and Eve out.  The title warns that the characters’ idyllic life in France and Spain will not last.

A Moveable Feast (1964), with its idiosyncratic spelling, comes from a heading in The Book of Common Prayer (1549): “Movable feasts, Tables and Rules.”  These holidays are not fixed dates like Christmas, but like Easter occur on a different day each year.  Hemingway uses the phrase literally to suggest the endless youthful pleasures of food, drink, sport, friendship, sex and love in Paris during the 1920s.  In Across the River and Into the Trees (1950) Colonel Cantwell says “Happiness, as you know, is a movable feast.”  In the posthumously published True at First Light (1999) Hemingway (himself often a movable beast) calls love a “moveable feast.”  But the melancholy mood beneath the festivities warns that these pleasures cannot last.

In In Our Time (1925) the sketches of life and death, which capture essential moments between 1914 and 1923, ironically echo the hope expressed and invocation denied in The Book of  Common Prayer, “Give peace in our time, O Lord.”  After World War I the soldier Nick Adams experiences bitter trauma rather than tranquil peace.

The Sun Also Rises (1926) comes from Ecclesiastes 1:4-5, quoted in the epigraph:  “One generation passeth away, and another generation cometh: but the earth abideth forever.  The sun also ariseth,  and the sun goeth down, and hasteth to his place where he arose.”  The preacher declares the world is nothing more than “vanity of vanities.”  Men soon die, but the earth lasts forever.  The pristine fishing scenes in the Pyrenees mountains of Spain contrast with the characters’ decadent life in Paris.

In To Have and Have Not (1937), the 1930s Depression theme suggests the struggle for existence; the unequal conflict between the rich and the poor; between those who own and don’t work and those who work but don’t own.  Hemingway quotes Matthew 25:29 to express the economic conditions of the poor: “For unto every one that hath shall be given, and he shall have abundance: but from him that hath not shall be taken away even that which he hath.”

Read the full article: https://www.thearticle.com/evocation-and-allusion-hemingways-book-titles

Crazy 8 Press' Thrilling Adventure Yarns 2025 is now on sale!

Are you ready for adventure? Crazy 8 Press' Thrilling Adventure Yarns 2025 is now on sale in hardcover, paperback, & ebook! Get yours today! 

To honor and celebrate the bygone era of pulp magazines, Crazy 8 Press has assembled a stellar lineup of writers to produce new thrills and chills, spanning mystery, sword and sorcery, horror, science fiction, romance, and adventures. We will take you to other worlds, other realms, and other times where heroes and heroines battled for justice or survival or just getting through the day.

Thrill to brand new stories from Dan Abnett, Charles Ardai, Liz Braswell, Russ Colchamiro, Win Scott Eckert, Mary Fan, Michael Jan Friedman, Paul Kupperberg, Elliot S Maggin, Jeffrey J. Mariotte, Author Bobby Nash, Christopher Priest, Aaron Rosenberg, Hildy Silverman, William F Wu. Edited by Robert Greenberger. Cover b Jeffrey Hayes.

Each yarn is bigger and better than the one before it!

The Great White Savior (Or Why It's Way Past Time To Retire Tarzan, Sheena, and The Last Samurai)

Oh, boy. I'm about to open a can of worms, I'm afraid. When it comes to pulp fiction, this trope has its grubby fingerprints all over the place. Without Ki-Gor and Tarzan and Allan Quatermain and John Carter, how else would we geographically limited little white boys yearning for adventure learn to picture ourselves in exotic locales? 

And it's not just in books. It's all over our movies. A group of samurai need saving? Call in Tom Cruise and hand that boy a katana. A group of indigenous Americans instead? Oh well, let's russle up Kevin Costner and his six-shooters. 

Examples abound!

• 
  To Kill a Mockingbird by Harper Lee: While Atticus is portrayed as a moral hero, the narrative centers on his perspective and heroism rather than Tom's experience and agency.
  
  
• The Help by Kathryn Stockett: The story revolves around a young white journalist, Skeeter Phelan, who writes a book about the experiences of black maids in the 1960s South. The narrative often shifts focus from the maids' struggles to Skeeter's journey and growth.
  
  
• The Blind Side (2009): The narrative emphasizes the wealthy white family's role in Michael's success, overshadowing Michael's own resilience and efforts.
  
  
• Dangerous Minds (1995): A white teacher, LouAnne Johnson, takes a job at an inner-city school and is depicted as the savior of her predominantly non-white students, who are portrayed as needing her guidance to succeed.
  
  
• Avatar (2009): A white protagonist, Jake Sully, becomes the savior of the Na'vi, an indigenous alien race, by leading them in a fight against human colonizers. This narrative centers on his transformation and heroism rather than the Na'vi's own resistance.
  
  
• The Last Samurai (2003): A white protagonist, Captain Nathan Algren, joins the Samurai to resist the Emperor and imperialism as part of the Satsuma Rebellion. The story focuses on Algren's journey to be a hero rather than the efforts of the Samurai (wich a few exceptions that need to be shown in how they related to Algren's growth). 
  
  
• The Phantom (comic strip, movie, comic books): While the mask may hide the identity of "The Ghost Who Walks," it never hides the fact that this hero of the jungle is the white man Kit Walker. 
  
  

Sure, those stories fit a niche, and they maybe even convinced some of us to become anything from archeologists and ministerial MDs to Peace Corps members or (for the rest of us) writers. So, that's certainly a good thing, right? These few examples illustrate how the white savior trope often shifts focus from the experiences and agency of non-white characters to the heroism and moral growth of white characters. By recognizing and moving away from this trope, writers can create more authentic and empowering narratives.

A cavaet: A lot of this will be aimed at white writers because historically we've been the most guilty of this trope. But the skills and techniques used to avoid the trope apply to all writers. 

Monday Motivation: Tough Words for Tough Times

[Link] This Is How Reading Rewires Your Brain

According to Neuroscience, reading doesn’t just cram information into your brain. It changes how your brain works. 

by Jessica Stillman

We all know reading can teach you facts, and knowing the right thing at the right time helps you be more successful. But is that the entire reason just about every smart, accomplished person you can think of, from Bill Gates to Barack Obama, credits much of their success to their obsessive reading? 

Not according to neuroscience. Reading, science shows, doesn’t just fill your brain with information; it actually changes the way your brain works for the better as well. 

The short- and long-term effects of reading on the brain.

This can be short term. Different experts disagree on some of the finer details, but a growing body of scientific literature shows that reading is basically an empathy workout. By nudging us to take the perspective of characters very different from ourselves, it boosts our EQ. This effect can literally be seen in your brain waves when you read. If a character in your book is playing tennis, areas of your brain that would light up if you were physically out there on the court yourself are activated. 

Another line of research shows that deep reading, the kind that happens when you curl up with a great book for an extended period of time, also builds up our ability to focus and grasp complex ideas. Studies show that the less you really read (skim reading from your phone doesn’t count), the more these essential abilities wither. 

Read the full article: https://www.inc.com/jessica-stillman/reading-books-brain-chemistry.html

AIRSHIP 27 PRODUCTION PRESENTS THE PHANTOM DETECTIVE VOL. 3

Curtis Van Loan, wealthy Manhattan playboy by day, masked avenger by night as the Phantom. Now he returns in four new cases by today’s brightest pulp scribes.  From hunting a monstrous gangland killer to rescuing a newspaper journalist, the Phantom’s work is never done. Then a protection racket gets his attention before he flies off to Cleveland to connect with Elliot Ness.

From the pens of Carson Demmans, Fred Adams Jr., Michael F. Housel and Michael Black, here are a quartet of fast-paced, action adventures worthy of the one and only Phantom Detective. Adam Shaw provides the cover art and Kevin Broden the black and white interior illustrations.

AIRSHIP 27 PRODUCTION – PULP FICTION FOR A NEW GENERATION!

Available now from Amazon in paperback and soon on Kindle.

Introducing "Book Talk with Sean Taylor"

 

Book Talk with Sean Taylor

Your one-on-one fiction coaching, 60 seconds at a time.

Poetry Corner: A Song About America

 

A Song About America

by Sean Taylor

(history's a lie that they teach you in school)

all people are created equal and

endowed with certain unalienable rights

(except, of course, those who aren't)

racism and slavery are state rights

aren't I a woman

whatever happens to a dream deferred

southern trees bear strange fruit

(you never ask questions when gods on your side)

god hates fags

make america great again

protect our female athletes

no men in girls bathrooms

haitians are eating the dogs

no more dei hires

migrants are criminals and animals (or let loose from asylums)

the sin of empathy is the enemy within

very good people on both sides (but our side is gooder)

woke bullshit

(i have a dream)

black lives matter

trans rights are human rights

allyship is action

trans women are women trans men are men

remember the insurrection of January 6

coexist

i ask you to have mercy

i love you land of the pilgrims and so forth

(i hear america singing)

young man, young man, your arms too short to box with god

(c) 2025

Motivational Monday: Disturbing the Peace

[Link] One More Vital Reason Why Community Gives Me Hope

by Charlie Jane

Hi! I wrote a book a few years ago called Never Say You Can't Survive, about using creative writing to get through hard times. I believe that the act of making up stories, creating imaginary friends, getting lost in the fictional worlds you create, can help you make it through some really scary shit.

In fact, I'm here in one piece right now because I've been writing a ton of utterly bizonktastic fiction and comics. I wrote a whole young adult trilogy about queer teenagers fighting space fascists! And I co-created a trans superhero named Escapade for Marvel Comics, and basically I've been goofing around.

A copy of one of my books. I scribbled "Keep daydreaming. Daydreaming is important, serious WORK!!!" And I drew a silly cat picture. Over that is written DAYDREAMING IS THE OPPOSITE OF DOOMSCROLLING

Lately when I sign books for people, I often write the same phrase: "Keep daydreaming. Daydreaming is important, serious WORK." And I usually add a terrible cat picture.    

My motto these days is that daydreaming is the opposite of doomscrolling. So I absolutely believe creativity can save us — and help us save each other. And yet, nothing could have prepared me for the time we're living through right now.

My books are banned in a handful of places, and trans healthcare is becoming illegal in even more places. You honestly can't know what this feels like, until it happens to you. My words and my body are both outlawed.

And I'm bombarded with rhetoric about how my very existence is dangerous. Seeing this image of a dumpster full of queer books outside New College in Florida felt like a slow kick in the solar plexus.

Read the full article: https://buttondown.com/charliejane

Now on sale! Enchanted Tales & Twisted Lore: Fairy Tales, Folklore, and Fables Reimagined - Volume 1

Now on sale! Enchanted Tales & Twisted Lore: Fairy Tales, Folklore, and Fables Reimagined - Volume 1 of The Crossing Genres Anthology Collection featuring my story, "Real Boy." Vol. 2 also on sale. Get yours today! 

Step into a world where the familiar becomes strange, and legends take on new life. Enchanted Tales & Twisted Lore invites you to explore fairy tales, folklore, and fables as you've never seen them before. From the deadly woods of Baba Yaga to space-bound horror on a derelict ship. From a faerie knight hiding behind the innocent face of a toddler to a princess who fights for survival on Mars, these reimagined classics blur the lines between light and dark, hope and danger. With contributions from beloved authors and emerging voices, this anthology offers a spellbinding journey through the fantastical and the fearsome.

Foreword by "monster expert" Dr. Emily Zarka, creator, writer, and host of the popular YouTube series Monstrum.

As a bonus, enjoy the behind-the-scenes peek at the creative process through personal author articles.

Edited by Marx Pyle and J.C. Mastro. Published by Cabbit Crossing Publishing.

The Courageous Soul

For the next roundtable for authors, let's talk about that "Courageous Soul" Kate Chopin said an artist must possess. 

In what ways have you found you had to be courageous as you became a writer? Is it something practical like just having the guts to try to make a living at it or something more cultural by using your work to make a statement?

L. Andrew Cooper: Writing anything for publication involves the possibility of ridicule and rejection and so always requires courage, but beyond that, the amount of courage you need relates to how much of yourself you're willing to expose and what other chances you're willing to take. I believe the best writing involves risk, so it requires a lot of courage.

Ef Deal: The only "courage" I needed to summon was to keep writing although I never sold or made a cent out of it for over 25 years. My husband resented it immensely, but he was someone who'd been paid to play since he was 9 years old. He was impressed that I had a rejection from Lester DelRey, and that I chatted or hobnobbed with writers he knew, but I don't think he ever thought anything would come of my writing until it actually did a few years ago. I never considered it courage, though. I just couldn't not write.

Bobby Nash: I think you have to be pretty courageous to put anything creative out in the wild. People can be cruel.

Brian K Morris: A little of all of them. I realized early on that if I wanted to carve a portion of the market for my work, it had to sound like me. I could sound like it was from a store of knowledge I'd amassed, or a point of view. I believe ANY opportunity to expose your inner workings, especially your heart, leaves you vulnerable and should be approached with derring-do.

Sheela Chattopadhyay: While I might not care much for Kate Chopin's works, I can understand her "Courageous Soul" concept. Taking the risks of being exposed to criticism, authenticity, and integrity are all part of the creative processes for any type of artist. Any artist being defined as working in any type of medium, whether that be writing to music to paint to architecture, etc. I specify that because even your architect has some artistry in the field since science and art do go hand in hand. That being said, building up courage often relies on trusting yourself and your own belief in your creative works.

I found that courage is necessary in general to be able to be oneself. Some of it was practical in wanting to become a better communicator and being able to connect with people better. While I sometimes make a statement with some of my work, I do sometimes have other works that are to help others grow as individuals. I try to leave people better than I found them.

Sean Taylor: I think it's both, at least for me. There will always be the courage of putting myself out there as a writer and finding readers to pick up what I'm laying down (so to speak). But I also believe that, as a friend reminded me today, all art is political, and well, we live in a time when art is under attack, particularly art that doesn't fit a strict and confining definition. Anything that goes beyond a conservative, backward ideal or takes a more critical look at United State politics and culture now seems to be suspect and suspicious and likely to be censored in the days to come, so the pushback is there to only create "safe" art. But I'm not that writer. 

Do you find that courage becomes more "old hat" and just part of your personality as a writer after a while, or do you still feel the butterflies when you put it out there for public consumption and critique?

Jeffrey Vernon Matucha interview

A native of the San Francisco Bay Area and a refugee of the Punk/Metal/New Wave/My-God-what-did-we-do-last-night? daze of the 1980's and early 90's. Born in Palo Alto, raised in Berkeley, and lost in San Francisco on more occasions than I can remember, the stories of the Concrete Jungle can be just as ridiculous and bizarre as they can be intense and tragic, and that's what I try to bring to the fore with my writing.

Tell us a bit about your most recent work.

Late last year I published two books at more or less the same time: my short story compilation Short Songs: Tales From the Punk Side, and book five of my Skye Wright series called Requiem Descent. I really did work on both books at the same time, which is a new one for me. Publishing them around the same time was planned!

Short Songs features supporting characters from my Skye Wright series. They were becoming so complex and characters in their own right that they needed stories of their own.

Requiem Descent is the continuation of Skye Wright adventures, in which the weight of the rock and roll world threatens to crush her spirit to the point of her near self-destruction. It’s the fifth book in the Skye Wright series, and could be read on its own, but it’s best to start with book one, The Rise and fall of Skye Wright.

What are the themes and subjects you tend to revisit in your work?

Motivational Monday: Can't Use It Up

Sunday Funnies: The Times, They Are A' Changin'

[Link] What's at Stake? Here's How You Find Out.

by Becca Puglisi

Stakes are a crucial part of your story because they define what will happen if the protagonist fails. To build reader empathy, you need this piece in place because when the reader sees what’s at stake, and they recognize why it matters to the character, the story becomes important. It matters. 

Stakes also create tension when the reader realizes what’s on the line. So when the stakes are referenced early on, readers are more likely to be drawn in and root for the character’s success.

But that empathy connection only happens if the reader can see what’s at stake. And that can only happen if the author knows what’s on the line. Sometimes, it’s obvious. What are the consequences if Sheriff Brody doesn’t catch the shark in Jaws? Death and dismemberment. In the original Inside Out, if all of Riley’s emotions aren’t acknowledged and won’t work together, her identity is at risk. 

But other times, it’s harder to identify what’s at stake in a story. So I’d like to share a simple method for figuring that out.

Read the full article: https://writersinthestormblog.com/2024/10/whats-at-stake-heres-how-you-find-out/

AIRSHIP 27 PRODUCTION PROUDLY PRESENTS MYSTERY MEN (& WOMEN) VOL 10

Airship 27 Production is thrilled to present four brand new pulp stories featuring some of the most bizarre and fantastic characters ever imagined.

Skymarshal – A brand new aviation hero takes to the sky curtesy of award-winning writer Teel James Glenn. In this debut adventure he takes on fliers from prehistoric times.

The Black Wraith – Jonathan W. Sweet’s beautiful but deadly masked warrior returns in a gripping tale. A mysterious brute is butchering petty criminals in the back alleys of the city and the police suspect the black-clad avenger.

Walking Deadman – When a convicted mobster is sentenced to death by electric chair, he miraculously survives only to discover his body has been rejuvenated. All from the mind of writer Carson Demmans.

The Ghoul – Harding McFadden & Eleanor Hawkins offer up another tale starring the special investigative team lead by Marvin “Ghoul” MacCormac. Their mission; find missing children in a small town and rescue them.

Award-winning Art Director Rob Davis provides the art for both the great black and white interior illustrations and the gorgeous color cover. “Our fans love this series,” says Airship 27 Managing Editor Ron Fortier. “And we’re happy to bring them more.”

Once again, gloves are off, as Airship 27 presents four truly amazing pulp yarns.

AIRSHIP 27 PRODUCTION – PULP FICTION FOR A NEW GENERATION!

Available now from Amazon in paperback and Kindle.

DEI and the Teaching of American Literature

For the record, as a lit/comp teacher, I integrate writing from all racial/cultural lines possible within a given unit. For example, for the founding documents section, we not only look at the Declaration, Constitution, and Bill of Rights, we also read selections from Incidents in the Life of a Slave Girl so students can see how the US failed to actually implement life, liberty, and the pursuit of happiness promises to those who weren't white, male, or land owners. 

In our unit on the Individual and Society, we examine writing from Booker T. Washington, Emily Dickenson, T.S. Eliot, and Walt Whitman, along with an extended study of American Born Chinese (the graphic novel). 

In our unit on Power, Protest, and Change, we look at the literature that confronted inequity and led to changing status and rights for women, workers, and African-Americans. This includes works by Frederick Douglas, Sojourner Truth, Abraham Lincoln, Langston Hughes, Upton Sinclair, and an extended study of Kate Chopin's The Awakening.