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.

Playing in Someone Else's Sandbox

For our newest writer roundtable, let's take a look at writing characters created by other people. There are several ways we can do this, from being hired to write a licensed character (like Superman, The Phantom, She-Hulk, etc.), reviving a public domain character (like The Black Bat, Domino Lady, Sherlock Holmes, etc.), or being hired to ghostwrite for someone else's plot and character ideas.

What is the single most valuable lesson you've learned from writing characters created by other people?

Ron Fortier: There are only two approaches to do other peoples’ characters.  The first is complete ignore what went before and re-create them any way you want. Now if these characters are licensed, option two is off the table. At the same time, if you are working the licensor, you are hamstrung by what they will let you do or not do.

You also need to do your homework. If these are popular characters that have been around for a long while, they already have fans out there. The more you research what’s been already done, the more you can stay in tune with the essence of the characters and hopefully maintain them.

Alan J. Porter: Respect the source material and any boundaries that are set -- but it’s also okay to get creative and push those boundaries a bit. You may be surprised what gets approved.

Bobby Nash: I learned about getting to know your characters because if you write an already established character out of character the readers will know. Moreover, they will let you know you got it wrong. I also learned restraint. The difference between writing Zorro as a media tie-in and writing Zorro fan fiction is that there are rules with writing licensed characters. You can’t just write whatever idea pops into your head. You can’t marry them off or kill them, unless you put it back to how you found it at the end of your story. As you once told me, Sean, and this is a piece of advice I never forget, “Don’t blow up Cleveland. We might need it later.”

I often use Star Trek TOS as an example of how to write established IPs or licensed tie-ins. Almost every episode starts with the Enterprise flying through space. Everyone is happy. Then, some bad stuff happens that they have to deal with, but the story ends with the Enterprise flying through space. Everyone is happy. Unless you’re instructed otherwise by the publisher or license owner, that’s writing other people’s characters.

Brian K Morris: I love working with other IPs. I feel flattered when someone trusts me to work with their brainchildren.

My greatest lesson in writing other creations is, as one of my comic artist friends says, I need to leave the woodpile higher than when I found it. I not only don't have the right to alter a character drastically to suit my whims, I should leave behind some characters for other writers, including the creator, to utilize later.

Sean Taylor: Probably the most valuable lesson I learned from writing other folk's IPs, especially for pay, is that the owner if putting a great deal of trust in you to treat the fans and the characters fairly. Now, "fairly" doesn't mean what a lot of rabid fans on the Internet today think it means, mainly not changing anything and keeping details true to the version of the characters they best remember. Instead, treating characters and fans fairly, at least to me, means putting the characters in a good story that doesn't reflect only your take as a writer. Honor as much as you can what has gone before but never be locked into the past history of the character. The IP owner trusts me to tell a story that offers some kind of new approach that still honors the old and takes the character into new ground for a new readership.

What are the pitfalls you've experienced in writing other people's creations?

Brian K Morris: I don't see it as a pitfall so much as a challenge, and that's to find the voice of the character as the creator made it. This means when I research a character's history, I also study their vocal patterns, their psychology, and their quirks. Abraham Snow's tough guy wise cracks won't sound right coming from, say, Captain Steven Hawklin. or Major Marjorie Pettice I will even alter my prose style slightly to emulate the IP owner's. My purpose is to blend in.

Sean Taylor: Oh, god, the pitfalls are numerous. Nowadays, perhaps the biggest one is Internet trolls who want to cancel your work based on a blurb or a mere single illustration taken out of context. The fear of someone being in "control" of a character who feels differently about the character can drive some fans crazy. Now, I'm not blaming fans, because there are writers who bring their chosen story (you know, the one they writer regardless of the character they are charged with) and force-fit it on each gig they get.

Not just that, you have to be really careful when it comes to your research. I'm currently writing the adventures of the Golden Amazon for Moonstone, and that's character has a more convoluted history than Donna Troy (or so it feels sometimes). So, it's crucial that I write the version of the character Moonstone wants me to write. I need to be judicial with the research I do on my own and focus more on the story bible I'm provided by the publisher. 

Alan J. Porter: The people charged with approving the work may not know the property as well as you do, and sometimes you just have to accept that and pivot a story idea.

Ron Fortier: No matter how good your intentions are, there will always be old-time fans who hate what you are doing to what they believe to be “their” characters. People get passionate about classic characters and only ever done one way all the time. With them, you can never win and better to invent your own creations.

Bobby Nash: There are simply going to be stories you are not allowed to tell, for one reason or another. You don’t own these characters. You are being allowed to play with someone else’s toys so don’t break them. Most of the time, writing company-owned or licensed characters comes with a huge set of do’s and don’ts. From time to time, I hear people say, “If I was writing (insert your favorite character here), I’d (insert totally off the wall scenario the IP owner won’t let you do in a hundred years).” That’s not the way it works. The IP owner’s job is to protect their characters. Learning to play within those boundaries will work in your favor. I go into tie-in work knowing what kind of stories ‘not’ to pitch.

What are the benefits you've experienced in writing other people's creations?

Bobby Nash: Oh, yes. Certainly. I’ve been fortunate to write a few characters that I grew up loving as a kid. That’s just fun. I got to put words in the mouths of The Green Hornet, The Lone Ranger, Nightveil, Carl Kolchak, James T. Kirk, and more. How cool is that?

From a business perspective, these characters come with a bit of a built-in audience. Writing Kolchak: The Night Stalker put new eyes on my work that might never have heard of me. The hope is that those readers will go and check out some of my other work. We’re always looking for ways to reach new readers so sometimes it happens.

Alan J. Porter: Finding out just how much some characters mean to people, and the impact you can have on their enjoyment and appreciation of those characters.

Sean Taylor: There's a built-in, ready-made audience. That's the biggest benefit. New eyes on your work who may not have seen your previous stories. Plus, there's also the joy of finally being asked to contribute to the ongoing story of characters you love. 

For me, there's also one other fascinating benefit -- the possibility of telling that story that maybe no one else has written because it may not (at first glance) fit the character but clearly does by the time the story is over. For example, when I was asked to write Lance Star: Sky Ranger by IP owner Bobby Nash and publisher Airship 27, the first comment I got back when the editor read the story was, "He's not in his plane. Where's the plane? He's a pilot."  My response was, "Sometimes it's interesting to see what a character must challenge himself/herself/themself to do when they are out of their regular element, and sure enough, after a few pages, Lance was back in the sky chasing his villain in his suped-up plane. He just had to figure out how to get there from the Paris Catacombs first. 

Ron Fortier: There’s an inherent learning experience that comes from writing established characters. The restrictions make it possible to challenge your own creativity and challenge yourself to bring something new to the character that doesn’t contradict what’s been done before, or change them. That’s a huge challenge and when met, can expand your own writing skills a great deal.

Brian K Morris: Aside from having fun working on other people's creations, a large benefit comes from showing my work to a different audience. That's why when I was kinda forced to write full-time because I lost my office job, I took advantage of the late, lamented Kindle Worlds program. I was already a fan of the Bloodshot comic book, which KW had the rights to use, so it was an easy decision to write a Bloodshot book to tap into that existing fan base. Many of my Bloodshot fans followed me to other projects, I'm glad to say.

A.I. for Writers: Useful Tool or Just a "Tool"

Is A.I. as efficient or effective as it is touted to be? Let's ask the writers!

Have you found it helpful, too much to make it useful, or just a waste of time (potential theft issues aside)? 

Alan J. Porter: I’ve worked on AI platform development in my day job and often write about it and always happy to help educate writers to see beyond the hype.

Brian K Morris: I've used ChatGBT a little and frankly, it reassures me that I'm a better writer than I thought I was. Their text is drier than 077's martinis.

I used an AI to write the back cover copy of my newest novel. I gave it the elements I wanted to see, then told it that the words were going on the back of a paperback. Then I added another element in two subsequent rounds, then gave it a quick edit so it sounded like me.

It helped to unstick my thinking in terms of a complex scenario I'd constructed. It looked at the material in a different way than I did, which was good. Three drafts later, in addition to a final polish by myself, it was ready for prime time. I'd never use it to write my stories, though.

R Alan Siler: I recently wrote a review in the form of a Shakespearean sonnet. I've never written a sonnet before, so I used ChatGPT to generate some ideas for me -- some specifically about the thing I was reviewing and some on the more general theme I was going for. None of them were that great (and some of them were structuraly wrong), but it helped me figure out ways to structure my review/sonnet. So what I wrote was 100% me, but the AI was a shortcut to help me get there. I'm sure I would have eventually arrived at approximately the same point regardless, but the AI gave me a map that helped me not wander aimlessly for quite as long.

Jenny Reed: I have not used it and see no reason to. I can write without help, thanks.

However, my housemate, who has always wanted to write stories but believes she is bad at it, has embraced ChatGPT as the way to realize her dreams. It seems to me that she spends way more time explaining what she wants and then tweaking the result to make it nice than she would to just write the thing, but she seems to think she gets a better result than she is capable of without the crutch.

Do note that I said she tweaks it afterwards. And by tweaks, I mean, she extensively edits it. She is apparently capable of editing a start until it's actually decent, but doesn't feel capable of creating from scratch. I guess we all have our mental blocks.

The Green-Eyed Monster: A Writer Roundtable

We've all seen the meme. It's the standard visual for jealousy now, it seems. A man and a woman are walking and the guy looks back at another woman, an action that causes the woman he's with to cast them both a sidelong glance (or glare). But what about jealousy in regard to our writing careers. Or maybe it's just plain envy. I wanted to know, so I asked a few folks who have been in that life of words for a while what they thought. 

Do you get jealous of the success of other writers you know? How do you deal with that? How do you avoid the comparison trap? 

Elizabeth Donald: Another writer’s success does not diminish my success, my accomplishments, or my potential for either. There isn’t a finite quantity of success to go around; it’s not pie. When my writer friends have a great new contract, a stellar review, major sales, etc. I am happy for them. I know they have worked very hard to get where they are, as I do, and I have faith that one day my hard work will be rewarded as theirs was. I find it distasteful when I see a writer complaining about someone else’s success, or that they don’t understand why it hasn’t happened for them yet. Is it so hard to simply be happy for someone else’s good fortune?

I remember something Frank Fradella said once when we were holding a Literary Underworld panel: that when many authors support each other and provide an artistic community for each other, the work is inevitably better. I am mangling what he said, but he brought up the Lost Generation of writers like Hemingway and Fitzgerald bashing around Paris together in the 1920s. And he wasn’t arguing that we were all incipient Hemingways and Fitzgeralds, but more that their natural talent was enhanced by being in community with others. (Not that Hemingway is a great example of lack of competitiveness, be that as it may.) It’s one of the reasons the Literary Underworld exists; to help authors support each other and help each other succeed. Jealousy, competitiveness, resentfulness… None of these things make any sense to me. They’re counterproductive to the goals of art, and they eat away at the soul.

Ef Deal: Another writer's success means people are still reading and books are still important. I feel confident there will be readers for what I write, and I say huzzah to all.

Just one thing more: I set a modest goal for myself when I was very young (9) that I would publish in Fantasy & Science Fiction and I would publish a novel. I've done both, and I'm still writing and publishing short stories and I have at least a few more novels to put out there, so I don't feel any reason to be jealous of someone else. Would I like to be #1 on some list? Sure. Would I like to win some obscure or famous award? Absolutely. Will it change anything about my writing? Not likely.

Susan H. Roddey: For me, it's not "jealousy" so much as a feeling of inadequacy. It's Imposter Syndrome, and thanks to being a card-carrying member of the Gifted Kid Burnout clique, I'm exceedingly hard on myself for reasons that have nothing at all to do with other people. Even when I do experience success, I'm always looking for the storm cloud to block the silver lining. Success for others, though... I'm 100 percent here for it and will be the biggest cheerleader anyone has seen. I WANT my friends and colleagues to do well.

Relevant aside: This weekend Misty Massey won an award that we were both nominated for, and I am so ridiculously happy for her that I could burst. Am I disappointed that I didn't win? Eh, kinda. Or I was for a whole quarter of a second. I know she absolutely deserved to win though, and we still have cause to celebrate.

Bobby Nash: Another writer's success doesn't make me jealous. I'm thrilled to see others succeed.

HC Playa: Generally I am inspired by other's success....even when that success doesn't particularly seem warranted. Say a work isn't really that good. We can all point to well known titles that hit it big and got movies, etc, but they are at best mediocre, sometimes downright trash. It can be easy to play the 'why not me' game, but rather than fall into that trap, it's better to say "Well, if they found success, so can I. I simply have to keep writing."

For the vast majority of writers, it's a long game; intermittent success amid many rejections. I focus not on comparing myself to other writers, because that too is an easy trap to fall into and self-sabotage, but on the fact that the feedback I have gotten from my stories is overwhelmingly positive. People enjoy the stories. No, I haven't hit it big, but I am doing my job well--I am writing stories that others enjoy. All the rest is luck.

Alan J. Porter: Jealousy doesn’t really enter the equation. I’m always happy to see others succeed - especially if it’s someone I know. And seeing other writers succeed is always an inspiration to keep pushing on. 

An editor told me early on not to make comparisons as no one else can write the books/stories I write the way I write them. - One of the best pieces of advice I’ve had.

H. David Blalock: As print books become scarcer, magazines go online, and AIs become authors, it's hard to be jealous of anything coming out today. I'm just grateful there are a few human beings left actually writing and not depending on AI or ghostwriters to flesh out their ideas. Kudos to the actual creators. More power to them.

John Linwood Grant: I go down into the cellar again, and trawl through my collection of other writers' hair, toenail clippings, and general bodily detritus - until I find the right bits for my next set of clever little clay dollies. 🙂

Sean Taylor: For me, it gets down to what I see as the difference between envy and jealousy. Jealousy for me is when I want someone else's stuff and I don't want them to have it. Envy is when I want to achieve the same kind of things. For example, when I was writing for Gene Simmons for IDW, I tried and tried to parlay that into a new gig for when that one was over. But it didn't happen. I got a few invites to pitch for everything from Jem and the Holograms to Transformers, but either the line was going to an author that fit the demographic better and was more well known, or the whole license was moving to another publisher. So, when I failed, and then I saw folks I had worked with before move into major gigs like TMNT, Ghostbusters, Godzilla, and New Warriors, I got frustrated. Sure, I was envious and I wanted to understand why and how they could translate one gig into something bigger and I hadn't been able to. But in the end, it pushed me to keep trying, sometimes failing, sometimes succeeding. And yes, I was incredibly happy for those friends to succeed at bigger gigs, but I could be happy for them and a little envious too, couldn't I?

Krystal Rollins: I'm not jealous of others' success. I applaud them. Just makes me work harder.

Josh Nealis: I always say there's good jealousy and bad jealousy. Bad jealousy is obviously being mad that somebody else is succeeding where you have not. Good jealousy is the same thing except for you understand that it's likely they deserve what they've received, and you be happy for them, but you turn that jealousy into motivation and push yourself harder.

Brian K Morris: It's been a long time since I compared my skills or success (or lack thereof) to any other writer's. It's just not a productive use of my time or energy.

When my friends succeed, I find it a cause to celebrate. Their accomplishments make me work harder so when they move up, I still can justify my presence at the table with them.

James Tuck: I love seeing writers I know succeed at this weird wonky gig we all chose. I hope every one of them kicks ass!

AIRSHIP 27 PRODUCTION PRESENTS THE MUSKETEERS – NEW ADVENTURES

Airship 27 Production, one of the pioneers in New Pulp fiction, is thrilled to announce the release of their latest anthology. “The Musketeers – New Adventures.”

From the pages of Alexandre Dumas’ classic adventure novels come the Three Musketeers. The King of France’s personal Guard will pledge their loyalty to their country and themselves in their boisterous cry, “All for one and one for all!” Now these colorful characters are back. First we have Athos, the veteran soldier who lives with a broken heart. Then we have Aramis, the priest turned swordsman. Finally there is Porthos, the larger than life rascal with a giant appetite for food, women and adventure. All of them watching over their young protégé, the handsome and daring D’Artagnan.

In two fast paced action tales and one thrilled packed novella, these four famous heroes are back to thrill and excite new readers. From Italy, to Spain and then the new world of Canada, these men will take on any and all villainy as only they can. New Pulp scribes Joel Jenkins, Paul Beale and Alan J. Porter deliver three amazing tales continuing the exploits of Dumas’ cavalier musketeers.

“A tumultuous time in French history,” comments Airship 27 Production’ Managing Editor Ron Fortier. “Filled with all manner of villains, swashbuckling heroes and beautiful ladies in distress. Here in these pages are Alexandre Dumas’ Musketeers once again ready to pledge their swords to God, King and Country.” Artist Ed Catto provides the stunning interior illustrations, Adam Shaw the action themed cover painting all assembled by Art Director Rob Davis.

AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available now from Amazon in paperback and soon on Kindle.

2018 PULP FACTORY AWARDS ANNOUNCED

On Friday evening April 6th, the ninth annual Pulp Factory Awards were announced at the Windy City Pulp and Paper Show.

Best Pulp Novel: Pulp Heroes: Sanctuary Fall

Best Pulp Cover: Holmes & Houdini by Chad Hardin

Best Pulp Short Story: “Takedown” The Ruby Files V2, Bobby Nas

Best Pulp Interior Illustrations: The Ruby Files V2- Nik Poliwko

Best Pulp Anthology" The Ruby Files V2 -Ron Fortier.

In addition Ron Fortier was awarded the first “Grand Master Award” chosen by the awards committee for service to New Pulp above and beyond. Congratulations to all the nominees and winners of the awards. Kudos to all!

Rick Ruby Rocks the Pulp Factory Awards -- Takes home THREE Awards!

Did I not tell everyone when The Ruby Files Vol. 2 was released that it was going to be the anthology of the year at the Pulp Factory Awards? Well, I was right. (nyah, nyah, nyah, nyah, nyah).

Seriously, though Team Ruby took home not just the Best Anthology award but also Best Short Story (Bobby Nash, "Takedown") and Best Interior Art (Nik Poliwko).

Go, Team Ruby!

 

If you haven't already read this award-winning volume of PI tales from modern masters of the New Pulp movement, now's your chance!

Amazon

TPB | Kindle | Audiobook

B&N

TPB

Airship 27 Hangar

PDF

Audible

Audiobook

Thank you so much!

A big thank you to everyone who took time to vote in the Pulp Factory Awards. And especially to those who voted for me or The Ruby Files. Very appreciated. As soon as I find out the winners, win or lose, I'll post them here to congratulate the winners and nominees because there are no losers on that ballot.

The Ruby Files Vol. 2 Sweeps the Nominations forThe Pulp Ark Awards 2018!

The Pulp Factory Award nominations were announced on March 2, 2018 and the The Ruby Files Team is honored to announce that The Ruby Files Vol. 2 has racked up multiple nominations, including:

Best Pulp Short Story: "Takedown" by Bobby Nash
Best Pulp Short Story: "A Tree Falls in the Forest" by Sean Taylor
Best Pulp Cover: Mark Wheatley
Best Pulp Interior Illustrations: Nik Poliwko
Best Pulp Anthology: The Ruby Files Vol. 2, Ron Fortier (editor, Airship 27 Productions)

Here is the press release and official ballot. Voting is open to the public. Voting ends March 12, 2018. Winners will be announced at the Windy City Pulp and Paper Con held April 6-8 in Lombard, IL.

Congratulations to all of the nominees from the eight different publishers in the running. Also, a big thank you to those who nominated The Ruby Files vol. 2 and to those who will hopefully vote for it. Ha! Ha!

Now get out there and vote for your favorites!

FOR IMMEDIATE RELEASE
BALLOT FOR TENTH ANNUAL PULP FACTORY AWARDS OFFICIALLY RELEASED
VOTING NOW OPEN UNTIL 3/12
AWARDS TO BE GIVEN OUT AT WINDY CITY PULP and PAPER CON
Lombard, Illinois – March 2, 2018

With April’s Windy City Pulp and Paper approaching fast, the ballot for the Tenth Annual Pulp Factory Awards – to be handed out at the conference – has just opened up for voting by the reading public.

The ballot can be found online at https://tinyurl.com/ybxlyey7

Voters have until midnight on Monday, March 12 to select one nominee in several categories. All votes must be received via the electronic ballot via Google forms.

Note the deadline is earlier than usual due to Windy City Pulp Con beginning on April 6.
Shortlisted nominees in each category are as follows:

BEST PULP NOVEL
Blackthorn: Spires of Mars - I A Watson  (White Rocket Books)
Captain Action: Cry of the Jungle Lord - Jim Beard & Barry Reese (Airship 27)
The Eye of Quang Chi - Fred Adams, Jr.  (Airship 27)
Holmes and Houdini - I A Watson  (Airship 27)
Pulp Heroes: Sanctuary Falls - Wayne Reinagel  (Knightraven Studios)
Sentinels vol 9: Vendetta - Van Allen Plexico  (White Rocket Books)
Snow Drive - Bobby Nash  (BEN Books)
Tales of the Golden Dragon - Barbara Doran (Airship 27)

BEST PULP COVER
Bass Reeves: Frontier Marshal vol 2 - Marco Turini (Airship 27)
Holmes & Houdini - Chad Hardin (Airship 27)
Jezebel Johnson: Queen of Anarchy - Rob Davis (Airship 27)
Jezebel Johnson: Sea Witch - Laura Givens (Airship 27)
Queensberry Justice: The Fight Card Sherlock Holmes Omnibus - Mike Fyles (Fight Card)
The Ruby Files vol 2 - Mark Wheatley (Airship 27)
Sentinels vol 9: Vendetta - Chris Kohler (White Rocket Books)
Six Gun Terrors vol 3: The Slithering Terror - Ted Hammond (Airship 27)

BEST PULP SHORT STORY
"The Adventure of the Failing Light" - I A Watson - Sherlock Holmes Consulting Detective v 9 (Airship 27)
"Takedown" - Bobby Nash - The Ruby Files vol 2 (Airship 27)
"A Tree Falls in the Forest" - Sean Taylor - The Ruby Files vol 2 (Airship 27)

BEST PULP INTERIOR ILLUSTRATIONS
Rob Davis - Sherlock Holmes: Consulting Detective vol 9  (Airship 27)
Rob Davis - Sherlock Holmes: Consulting Detective vol 10  (Airship 27)
Rob Davis - Holmes and Houdini  (Airship 27)
Morgan Fitzsimmons - The Eye of Quang Chi  (Airship 27)
Gary Kato - Tales of the Golden Dragon  (Airship 27)
Javier Lugo - C.O. Jones vol 2: Skinners  (Airship 27)
Nik Poliwko - The Ruby Files, vol 2  (Airship 27)

BEST PULP ANTHOLOGY
Haunted Blades: Tales of the Black Musketeers - Connor MacDonald & Amanda Berthault, Eds (Pro Se)
Queensberry Justice: The Fight Card Sherlock Holmes Omnibus - Paul Bishop, Ed (Fight Card)
The Ruby Files, vol 2 - Ron Fortier, Ed (Airship 27)
Restless: An Anthology of Mummy Horror - Jim Beard & John Bruening, Eds (Flinch)
Sherlock Holmes: Consulting Detective, vol 9 - Ron Fortier, Ed (Airship 27)
Sherlock Holmes: Consulting Detective, vol 10 - Ron Fortier, Ed (Airship 27)
The Song of Heroes - Nancy Hansen, Ed (Pro Se)

 

After March 12, the committee will tally all of the electronic votes and the winners will be announced at the Windy City Pulp and Paper Convention on Friday, April 6, 2018.

Questions and concerns should be directed to PulpAwards@gmail.com. This will insure a more prompt response than reaching out to individual committee members.

Thank you for your interest, and looking forward to your votes!

Vote online at: https://tinyurl.com/ybxlyey7

Please spread the word.

Art's Reviews Opens The Ruby Files Vol. 2

The Ruby Files Vol. 2 authors Ron Fortier, Alan J. Porter, Bobby Nash, and Sean Taylor on the latest episode of Art Sippo's Art's Reviews podcast for an in-depth look at the newly released The Ruby Files Vol. 2 from Airship 27 Productions. We also take a look back at the award-winning The Ruby Files Vol. 1. You can hear the episode at http://artsreviews.libsyn.com/at-long-last-the-ruby-files-volume-2-is-here.

NOTE: There were some technical issues with the recording near the end. Just wanted to warn ya. 

One of the most popular New Pulp characters is back!  Rick Ruby, noir PI extraordinaire, returns in a  second volume of stories from some of the best authors in New Pulp.  The first volume was one of the most popular and critically recognized books in 2012 and has remained a perennial favorite.  Now Rick is back and the stories are better than ever.In this show I interview Ron Fortier, Bobby Nash, Sean Taylor, and Alan Porter about their contributions to this new volume.   We delve into the origins of the character and the inspiration that each of the authors had for their stories.

UNFORTUNATELY, a thunderstorm landed on us towards the end of the program and the last 10 minutes of the interview was lost.  But there is so much good stuff here (including a few tangents) that I don't think the fans will mind. There are also lotsa great xtras and links that feature the work of these fine authors so check 'em out.

Visit the Rick Ruby website: http://rickruby.blogspot.com

The Ruby Files, Volume 2 is available at Amazon (paperback and Kindle), Barnes and Noble (Paperback) and as always over at the Airship 27 Hangar (paperback, and PDF, see below).

The Ruby Files, Volume 2 at Airship 27 Website: http://robmdavis.com/Airship27Hangar/index.airshipHangar.html#ruby2

RICK RUBY RETURNS IN THE RUBY FILES VOL. TWO! NOW ON SALE!

RUBY IS BACK!

Cover Art: Mark Wheatley

Art: Nik Poliwko

Airship 27 Productions is thrilled to present the second Rick Ruby anthology as created by writers Bobby Nash and Sean Taylor. New York City is private eye’s Rick Ruby beat and beautiful women his weakness. All Ruby ever wants to do is earn enough to get by and stay out of trouble.  But no matter how hard he tries to keep his nose clean, trouble has a way of finding him.

From spies, to gang wars, hangings and cold blooded murder, writers Alan J. Porter, Ron Fortier, Bobby Nash and Sean Taylor put Ruby through his paces. But in the end, the smart mouth shamus knows, to survive, he’s going to need a little help from his friends.

Art: Nik Poliwko

“Ruby is a classic private eye of the old school,” says Airship 27 Productions’ Managing Editor Ron Fortier. “I’ve always loved these characters from Sam Spade to Philip Marlowe. So when Bobby and Sean proposed this series to us, I was on board immediately. Volume one was lots of fun and our mystery fans wanted more.  We were only too happy to provide them with this second volume. I even joined in the fun contributing my own Rick Ruby story.”

Well known popular artist Mark Wheatley returns for a second, stunning cover while Nik Poliwko turned in the nine beautiful interior illustrations. A super package then assembled by Airship 27 Productions’ Art Director, Rob Davis, for as yet another great quartet of P.I. adventures.

Mystery lovers will rejoice when they crack open The Ruby Files, Volume Two.

AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available now in paperback from Amazon, Createspace, and soon on Kindle.

Amazon (paperback)
Createspace (paperback)

See below for more information on The Ruby Files Vol. 1, still available.

THE RUBY FILES VOL. 1 - STILL ON SALE!

THE RUBY FILES VOL. 1
A pulp/noir anthology

2013 PULP ARK WINNER- BEST NEW CHARACTER

2013 PULP FACTORY AWARD WINNER- BEST PULP INTERIOR ILLUSTRATIONS BY ROB MORAN.

2013 PULP ARK NOMINEE - BEST COLLECTION/ANTHOLOGY

2013 PULP ARK NOMINEE - BEST SHORT STORY - Die Giftig Lillie, Sean Taylor from The Ruby Files, Airship 27 Productions

2013 PULP ARK NOMINEE - BEST SHORT STORY - Tulsa Blackie’s Last Dive by William Patrick Maynard from The Ruby Files, Airship 27 Productions

2013 PULP ARK NOMINEE - BEST COVER ART

2013 PULP ARK NOMINEE - BEST INTERIOR ART

2013 PULP FACTORY AWARD NOMINEE FOR BEST PULP SHORT STORY,
“CASE OF THE WAYWARD BROTHER” BY BOBBY NASH.

2013 PULP FACTORY AWARD NOMINEE FOR BEST PULP SHORT STORY, “DIE GIFTIG LILIE” BY SEAN TAYLOR.

2013 PULP FACTORY AWARD NOMINEE FOR BEST PULP SHORT STORY, “WOUNDS” BY ANDREW SALMON.

2013 PULP FACTORY AWARD NOMINEE FOR BEST PULP COVER BY MARK WHEATLEY.

2013 PULP FACTORY AWARD NOMINEE FOR BEST PULP INTERIOR ILLUSTRATIONS BY ROB MORAN.

Airship 27 Productions dons its tough-guy mantle, as it premieres its newest pulp star in THE RUBY FILES.

It was the 1930s and America was locked in the grip of the Great Depression. Gangsters controlled the major cities while outlaws roamed the rural back country. It was a time of Speak Easy gin-joints, Tommy-guns, fast cars and even faster dames. This is the world of New York-based Private Investigator Rick Ruby, a world he is all too familiar with. From the back alleys of Gotham to the gold-laden boulevards of Hollywood, Ruby is the shamus with a nose for trouble and an insatiable appetite for justice. So if you’ve got a taste for hot lead and knuckle sandwiches, tug your cuffs, adjust your fedora and light up a Lucky, a brand new pulp detective is coming your way.

Created by pulp masters, Bobby Nash & Sean Taylor, Rick Ruby echoes the tales of Sam Spade and Philip Marlowe while offering up his own brand of two-fisted action. Joined by fellow pulp smiths Andrew Salmon & William Patrick Maynard, these modern scribes of purple prose present a quartet of tales to delight any true lover of private eye fiction. This instant classic features a gorgeous Mark Wheatley cover and eight evocative black and white illustrations by Rob Moran.

This is a book that harkens back to the classic black and white Warner Brothers gangster movies that featured James Cagney, Humphrey Bogart and Edward G. Robinson to name a few. The atmosphere is gritty with a no-nonsense hero pulp fans are going to applaud from the first story to the last. And when that last tale comes to a close, you can bet we haven’t seen the last of Rick Ruby, Private Eye.

Bobby’s story is called “The Case of the Wayward Brother”

On the surface, the case seemed simple enough. All Rick Ruby had to do was track down the runaway brother of the sexy socialite from California then collect his fee. Of course, in Rick Ruby’s world, even the simplest case is never that simple.

Sean's story is called "Die Giftig Lilie"

A German scientist wants to defect, but when politics turn to murder, could it all be a ruse?

SHERLOCK HOLMES CONSULTING DETECTIVE Vol 7 available now from Airship 27!

Airship 27 Productions, a leading publisher of New Pulp fiction is thrilled to announced the release of the seventh volume in its bestselling mystery series, “Sherlock Holmes – Consulting.”

A thick fog envelopes the streets of London and nefarious agents set about their evil plots and schemes.  Murder most foul rears its ugly head and baffling mysterious confound the good men of Scotland Yard until they’ve no recourse by to call upon the greatest Consulting Detective of them all, Sherlock Holmes of 221 B Baker Street.

“One of the reasons this series has done so well for us,” explains Airship 27 Productions’ co-founder and Managing Editor, Ron Fortier, “is that we offer readers no-frills, straight up mysteries done in the Conan Doyle style.  There are no fantasy elements in these adventures.  No Martian invaders, no vampires or other such nonsensical elements.  Simply old fashion puzzles that the Great Detective must solve with his brilliant intellect and powers of observations.  All, of course, narrated by his loyal friend, Dr. Watson.”

In this seventh volume of the series, Holmes and Watson, set out to solve four brand new cases, each a unique challenge unlike any they’ve encountered before.  From confronting the legendary Spring-Heel Jack to battling a fictional foe become real, Holmes and Watson will have to employ all their considerable talents to unravel these complex and insidious crimes.

Writers I.A. Watson, Aaron Smith, Alan J. Porter and Greg Hatcher have offered up a quartet of intriguing mysteries that will challenge even the most ardent readers as they attempt to match wits with Arthur Conan Doyle’s ageless hero, Sherlock Holmes!

The book features a wonderful painted cover by Michael Youngblood that pays tribute to the late British actor, Jeremy Brett, and twelve stunning black and white interior illustrations by award winning artist, Rob Davis.  It is a truly fitting addition to this critically successful series.

AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available now at Amazon.com in hardcopy and soon on Kindle.

Airship 27 Announces More Gaslight Mysteries

Airship 27 Productions is thrilled to announce the release of SHERLOCK HOLMES – CONSULTING DETECTIVE, Vol 6.   Here is another quintet of traditional Sherlock Holmes mysteries written in the style of his creator, Sir Arthur Conan Doyle.

Sherlock Holmes, arguably the greatest fictional character ever created, returns along with his faithful friend, Dr. Watson, in five brand new stories pitting his deductive skills against all manner of gaslight villainy.

A man awakens in a sanitarium claiming to be Dr. John Watson. A young student is charged with the murder of his famous professor. A Paris gang of jewel thieves brings the Great Detective to the City of Lights. Murder in a London opium den unlocks the evil lurking within the estate of a prestigious British family and the ghost of Dr. Moriarty may have risen from the grave to challenge his Baker Street rival one final time.

These are the baffling cases documented here by writers Ian Watson, Michael A. Black, Alan J. Porter and Greg Hatcher; all guaranteed to keep Holmes fans intrigued and entertained from the first tale to the last.

“This continues to be our best selling series,” declares Airship 27 Managing Editor, Ron Fortier. “The previous five volumes have all been hugely successful and still continue to be among the top mystery anthology sales at Amazon.” In explaining the reason behind the overwhelming popularity of the series, Fortier credits the traditional format. “All of the stories featured in our books are done in the Conan Doyle style. There are no Martian invaders, no vampire scourges; just good old fashion Victorian mysteries as narrated by the unflappable Dr.Watson with the Great Detective employing his deductive skills to their utmost.”

This sixth entry again features interior illustrations by Pulp Factory Award winning artist, Rob Davis, with a stunning cover by artist Pat Carabjal that depicts both Holmes and Watson and the notorious Irene Adler as modeled by Brazilian actress Irene Huber.

And so the fog rolls in off the Thames, the clip-clop of Hansom cabs passes by and suddenly a shrill scream cuts through the night. Once again the game is afoot!

AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available from Amazon in both hard copy and on Kindle.

1ST LOOK AT NIK POLIWKO'S "MARS McCOY IS DEAD" RUBY FILES V2 ART

Art: Nik Poliwko

Here’s your first look at one of artist Nik Poliwko’s finished illustrations for the story "Mars McCoy is Dead" by Alan J. Porter, appearing in Airship 27 Productions' upcoming detective noir anthology, The Ruby Files Vol. 2. Other stories in this volume are by Sean Taylor, Ron Fortier, and Bobby Nash.

The award-winning The Ruby Files returns for a second volume of pulpy detective yarns in 2013.

Keep watching http://rickruby.blogspot.com for more The Ruby Files vol. 2 news as soon as it becomes available.

Vol. 1 cover: Mark Wheatley

The Ruby Files Vol. 1 is still available in paperback and ebook editions at the following:
Amazon (paperback)
Indy Planet (paperback)
Createspace (paperback)
Airship 27 Hangar (PDF ebook)
Kindle (ebook)

MARK WHEATLEY COVERS RUBY FILES VOL. 2

The Ruby Files Vol. 1
cover art: Mark Wheatley

Mark Wheatley, who crafted the beautiful cover for The Ruby Files vol. 1 has signed on to contribute a cover for the upcoming The Ruby Files vol. 2.

After announcing the news, Airship 27 publisher, Ron Fortier said, “Mark's gorgeous cover on volume one has deservedly been nominated for the Pulp Factory Award for Best Pulp Cover of 2012.  So you can image how thrilled and honored we are at having him on board for this new book. He's one of the most admired artist in the field today.”

Ruby Files co-creator, Sean Taylor also commented. “When I heard Mark Wheatley was back on board for another cover, I couldn't believe it,” Taylor said. “I mean, let's be honest, the stories may have really driven the book home for the first collection but what really, really attracted readers to the book in the first place was Mark's cover. We couldn't ask for better. Period.”

And Ruby Files co-creator, Bobby Nash added, “I’m thrilled to have Mark return to The Ruby Files. The cover to vol. 1 is great and really helped push the sales of the book. It’s a beautiful piece of art.”

Said Wheatley of returning to The Ruby Files, “I'm looking forward to being inspired by more lurid, irresponsible, titillating, pulp-pounding action!”

The Ruby Files vol. 2 is coming soon from Airship 27 Productions with stories by Sean Taylor, Alan J. Porter, Ron Fortier, and Bobby Nash. Interior illustrations provided by Nick Poliwko under a cover by Mark Wheatley. Rob Davis returns as book designer.

Keep watching this space for more Ruby Files vol. 2 as soon as it becomes available.