Showing posts with label pulp fiction. Show all posts
Showing posts with label pulp fiction. Show all posts

Friday, April 25, 2025

AIRSHIP 27 PRODUCTION PRESENTS SECRET AGENT X – Vol 7

AIRSHIP 27 PRODUCTION PRESENTS SECRET AGENT X – Vol 7

Airship 27 Production is excited to announce the release of its latest Secret Agent X anthology. The world’s most ingenious spy returns in three band new adventures. Secret Agent X, better known as The Man of a Thousand Faces finds himself challenged by master criminals, foreign saboteurs and sadistic killers in this trio of tales by today’s modern masters of pulp thrills. Writers George Tackes, Curtis Fernlund and J. Walt Layne offer up fact paced action stories. 

Someone is assassinating world leaders without rhyme or reason. Nazi agents have been reported in cities throughout the US. While on the streets of New York City, a twisted killer is targeting children. All three cases will challenge X as never before and he’ll require all his skills and talents to thwart this triple threat of evil.

Award-winning Art Director Rob Davis provides both the interior illustrations and cover. Remember, long before James Bond, there was Secret Agent X! 

AIRSHIP 27 PRODUCTION – PULP FICTION FOR A NEW GENERATION!

Available now from Amazon in paperback and soon on Kindle.

Friday, January 31, 2025

Secret Agent X Returns!

The Man of a Thousand Faces is back in action! Pulp hero, Secret Agent X returns in an all-new, twenty-first century serialized novella releasing weekly-ish at http://www.patreon.com/bobbynash

Read the opening chapter free at  https://www.patreon.com/posts/120178991 with subsequent weekly-ish chapters for paid members. Join us for as low as $1 a month and that includes the serialized stories. It helps me a lot. Thank you.

Newly instated Secret Agent X tackles his first mission, taking on the villainous Tenth Circle. Who is X and how is his origin connected to the Tenth Circle? Find out in this brand new pulpy thriller from author Bobby Nash and BEN Books.

Tuesday, May 14, 2024

The Cover Story: Crime Fiction Now and Then and Now Again


Let's talk crime novel covers. My, how they've changed over the years. Don't believe me? Let's go back to the (almost) beginning (we'll skip over Sherlock Holmes who-dun-its for this article). The that, we need to visit the pulp mags. 

The Pulp Era


The covers of the classic pulp era stand alone as works of "cheap," "vulgar," and "violent" art -- just to mention some of the adjectives thrown at them. But works of art they remain. They knew how to attract a reader with scenes of danger and drama (and more than a little sexual titillation, of course). 

In fact, because of the patriarchal views (some might say misogynistic) of the time, it was hard to find covers that didn't have some helpless woman in various states of either torture or undress. However, even when they didn't have such covers, the images were always high points of action (maybe or maybe not related to one of the stories between the covers) or danger or violence. 

Suspense was the key question when you saw one of these covers. Will the hero save the day? Will the beautiful dame get shishkabobbed? 

These covers screamed and begged you to drop a few cents and find out. And they did it very, very well. 





The Contemporary Summer Bestseller 


Things have changed between then and now. Book covers, even thriller and crime novel covers, are more about mood and tone than telling a story it seems. That's not a judgment, just an acknowledgment. On the plus side, we're no longer inundated with helpless women and burly men saving the day or gore-adjacent covers or some of the darker pulp mags, but I'm not sure the covers to many contemporary mysteries are doing the job they're supposed to (at least supposed to in my opinion). 

As I look at the covers below, I'm not sure I can tell you what the story is actually about. Or, honestly, I don't think I would recognize the book as a mystery/crime book if it weren't shelved in that section of the bookstore. 

Modern covers, while great examples of color, texture, and typographic art, don't feel as immediate to me. I don't get a sense of why I need to open the book oftentimes. I don't feel pressured to ask the questions that make me want to see what happens. 

A quick glance below says these books could just as easily be literary bestsellers or romantic dramas as they could be any other genre of fiction. (On a related but different note, not even the titles convince me they're thrillers, but that's an article for another day.)





 


Original Novels and the Hard-Boiled Pastiches


Let's step back a few decades now, shall we? Inspired by the pulp mags, novels of the '30s and '40s through the '60s and '70s tried to recapture the awesome of the pulp aesthetic without the awful of the pulp aesthetic. Violence was back. Sex was back. And danger was once again front and center. 

Now, the violence and sex tended to be far more subdued, maybe even subtle, as it the semi-open door (still locked) or the look of fear for The Glass Key, but it was there. And it while it also conveyed mood, it didn't shy away from actually teasing the story. There was no way you didn't know what kind of novel you were buying based on the covers on the paperback racks (or most of the hardcovers over earlier years). 

The genre grew up and became procedurals in addition to private eyes. Big thrillers replaced small-scale-one-man-against-the-bad-guys of Key Largo. And the covers grew with them, distancing themselves from the "thing of the past" ideals and values of yesteryear (as you move into the '70s particularly), but the hints were there to see what you were getting into. There was no confusing even the semi-vagueness of these spinner rack covers with a copy of a literary classic or a contemporary lit hit. 







Hard Case Crime 


Hands down, my favorite publisher nowadays is the retro-pulp, hard-boiled, noirish, crime story, private dick publisher Hard Case Crime. The stories are often reminiscent of early crime novels but updated for the present or written with modern sensibilities (sometimes not). And their cover game is top-notch. They do the best job I've seen of capturing the story sensibilities of the early pulp-inspired novels of the '30s and '40s and even tease it a bit with the voyeurism of the original pulp covers before Werthem's Seduction of the Innocent shut down the fun machine. 

To be fair, a lot of these covers do play up the big strong man trope and you see a lot of sexy women on the covers, but they are rarely women in peril. More often than not, they're holding either the gun or all the cards. 

But the thing that really draws me to Hard Case Crime is how I can usually tell exactly what I need to know about the book before I buy it. I can see it in a catalog or on a shell, and bam, I know the kind of story I'm about to spend good money on. To me, that's the main job of a cover. 





And That Leaves Us...


A cavaet: There's always an exception for every rule, and for every cover I've shown here, there a several that make an equal and opposite statement to prove me wrong. You can find vague, artsy '60s paperback covers or even pulpy cover versions of classic literature. You can find gripping, story-driven contemporary covers for thrillers that don't hide the genre in colorful photographic dreamscapes. But for this article, I'm addressing the generality, so don't feel the need to play the "what about" card. I'm not taking the bait. 

Let me reiterate, these are just my opinions about covers for mystery thrillers. Your mileage may vary. You may prefer pretty covers that tease the eye like an impressionist painting or a soft-palette photo of a beautiful tree. If that works for you, fine. You do you, boo. 

Personally, I'd like to see crime fiction return to the style of the paperback racks before the sort of homogenous look took over publishing. I like the covers that tell the story to sell the story. Now, that doesn't mean I want to see a return to the ideals and patronizing and patriarchal values of the '30s and the '40s those old covers may have reflected, just that storytelling style. 

But, as they say, if wishes were horses... 

Tuesday, March 23, 2021

New and Classic: The Pulp Conundrum


New Pulp is a term accepted/embraced  by lots of writers today, from Chuck Wendig to Adam Christopher, and among the new publishers that identify with that marketing/genre terminology. But what does it mean? This week on the blog, we go straight to the sources to find out how the classic and the new compare.

Other than the one being old and the other being new (in terms of the historical timeline), what are the chief differences between classic pulp and New Pulp?

Gordon Dymowski: I think the main difference between "classic" Pulp and new Pulp is perspective. Many classic Pulp tales were written specifically for immediate publication and reflected the values of their times. New Pulp, however, manages to reflect current values while staying true to the original spirit of classic Pulp. It also helps that New Pulp tends to be better written and edited, and can incorporate influences that were not available back in the classic Pulp era. We have a more complex understanding of certain issues and tropes when writing (gender representation, racial stereotypes, and others).

Gary Phillips: To be brief, New Pulp certainly has switched up the POV. People of Color in the background are now in the foreground. Too, more women are in the Pat Savage mold. Also more inclusive of actual events from then. 

Ron Fortier: The truth of the matter is 90 percent of Old Pulp was badly written. Not that we still don't love it, but the fact remains the majority of people before the 1040s only had a grade school education at best. Their knowledge of literature and grammar was limited and when pulps first burst onto the scene by the mid-20s, the editor's primary job was to fill pages and to that end they accepted whatever was sent to them. Period. Thus the dreg and why a pencil salesman named Edgar Rice Burroughs could read an issue of "Argosy" and say it was junk and "I can write better than this." Today we live an overly educated society, whether that is a good or bad thing is not for me to say. But what I do realize is that writing today, across the board is a hell of a lot better and even the weakest amateur at it can outshine what was done in the past. So New Pulp is elevated prose by all standards and it shows in the remarkable talents who write it today. 

Nancy Hansen: To me what New Pulp means is stories told in the fast paced and adventuresome manner as the classic era pulps, but with an eye toward the current reading market's larger diversity and some sensitivity toward being more inclusive.  

Sean Taylor: The coolest part of New Pulp for me is that I can have the freedom to be a little more "literary" than the original pulp writers had license to be. I get to actually use the full writers toolbox with real characterization and more than the two-dimensional good guys in white hats (or black fedoras) that were so popular at the time. Also, I can flex my symbolism muscles a little from time to time and play around with things like POV. I don't think that's a limitation of those earlier writers' abilities for the most part (though maybe for a rare few just like for a few New Pulpers too -- that's just the nature of the beast) but instead I think it's a facet of the changing audience for pulp action stories. Readers are used to and expect a deeper story than "Black Bat shoots gang leader." Again, not that those stories aren't fun -- they just aren't what most modern readers are looking for anymore.

Not only that, but as Gary and Gordon mentioned, New Pulp isn't trapped by the same cultural mores and values, and that means New Pulp stories can look into the darker shadows of pulp storytelling  and  previously ignored cultures within pulp pages to say something a little deeper and a lot more enlightened. 

What are the commonalities between them?

Gary Phillips: I'd venture the commonality is still derring-do and larger than life characters.

Nancy Hansen: The big commonalities are in the pacing of the stories with the emphasis on action/adventure and the genres that make that work. The major difference besides the more inclusive atmosphere of characters from diverse backgrounds are that the characters are often more fleshed out. At least that's my take on it. 

Ron Fortier: Those are the set pieces required in any story to be called pulp and that means tons of action/adventure, colorful heroes, dastardly villains, exotic locales. That is evidence in the fact that pulp writers like Max Allan Collins, Stephen King and the late Clive Cussler can make the NYT bestseller lists time after time. Why, because today New Pulp is great story telling and finally accepted by the literary community, not only the masses back in the day.

Sean Taylor:
What's that saying? The more things change... That's certainly true for pulp style storytelling. Both classic and new are more direct narratively, more focused on action, and start with caricatures and stereotypes for their broad stroke story beats. And there's still that some of "slam-bang" delivery that doesn't spend pages on what the mountains look like. (I'm looking at you Tolkien.) And the characters are still going to be initially based on stereotypes -- at least before the New Pulp writer either starts to adapt that stereotype with characterization.

Gordon Dymowski: Both have a strong sense of narrative drive with short, punchy sentences. They also share an emotional immediacy and *drive* (it's hard *not* to get caught up in a story) with vivid characters and higher stakes. Although both types of Pulp can sometimes strive towards more literary efforts, both use down-to-earth language to tell their stories.

Wednesday, August 15, 2018

Nugget #145 -- New Pulp, Revisited

I think New Pulp is in a pretty enviable spot right now. 
Now that it’s outgrown its source material and can 
play with style instead of just characters or settings, 
New Pulp is literally being made and remade every day.


Sunday, April 8, 2018

[Link] Read 11,000 Pulp Magazines Online for Free

by Rhiannon

Read 11,000+ pulp magazines online for free at The Pulp Magazine Archive.

Pulp magazines (also called Pulp Fiction) were published from 1896 through the 1950's. The Pulp Magazine Archive has digitized 11,120 pulp magazines that can be read online and is made available by the Internet Archive, a non-profit library of millions of free books, movies, software, music, websites, and more.

There's a wide variety of titles including Weird Tales, Worlds of IF Science Fiction, True Detective, Witchcraft and Sorcery, Captain Billy’s Whiz Bang, True Story, Adventure, and several more.

Titles are viewable by thumbnail or list, and can be sorted by title, date published, date archived, date reviewed, or by creator.
The search options are pretty extensive, you can search text or metadata, by year, by topic and subject, collection, or creator.

Read the full article: https://www.techsupportalert.com/content/read-11000-pulp-magazines-online-free.htm

Friday, January 5, 2018

Preach it, Rev. Green! (aka, It Ain't Easy)

Note: A little something I felt the need to remind myself.

I started writing with a more lit focus, but with a love for genre fiction, and my earlier writing reflects that struggle between lit and genre in a way that made me, well, me... I want to embrace all kinds of work and style and create something new in pulps, horror, fantasy, sci-fi, superheroes, whatever.

As Kermit sang:

When green is all there is to be
It could make you wonder why
But why wonder why wonder
I am green, and it'll do fine
It's beautiful, and I think it's what I want to be 

So, I'm gonna be green because, well that's what I am.

Saturday, May 20, 2017

[Link] From Katanga to Hiroshima; or the Pulp Fiction Author Who Was a Spy

by Tanth J. Graysmoke 

"In a book review last week, I mentioned that the uranium used to explode Hiroshima and Nagasaki (pictured above) came from the Belgian Congo.  Today, I’ll look more at that through Spies in the Congo (2016) by Susan Williams, with an audio book narrated by Justine Eyre.  The book is about how OSS agents and their “cut-outs” secured the American monopoly on the uranium from Katanga, a region in what is today southern Congo-Kinshasa. ...

"There are some great characters populating Ms. Williams’ narrative. The star of the book is Wilbur Owings “Dock” Hogue.  He seemed like a pretty normal dude to be chased around by Nazi agents.  He’s interesting to me, mainly because he was an amateur author of pulp fiction.  He published Adventure stories under his own name and Mystery stories under the name Carl Shannon, using his own experiences to write a thriller about a spy hunting Nazi diamond smugglers in Africa.  He seemed to have a promising little side career going before he died of radiation poisoning at age 42."

Read the full article: https://afeastknown.wordpress.com/2017/05/05/from-katanga-to-hiroshima-or-the-pulp-fiction-author-who-was-a-spy/

Thursday, February 23, 2017

I get SMACKED by Bibliorati!


by Tommy Hancock

Before we walk into the interrogation room that is The Smack, single light bulb hanging from the ceiling swinging back and forth and all, an administrative note.  These interviews will alternate at times in style.  Some will be, as was the debut last week, done in a more newspaper story, article style.  Others, just because of the spirit of the question and the one providing the answers, simply demand to be presented in their raw interrogation like form.  The style for every interview is chosen on what will serve the information and the interviewee best.  With that in mind, step inside the dungy green/gray room with this week’s suspect and enjoy as writer Sean Taylor Gets SMACKED!

First, tell readers about yourself personally.

I’m a father of three awesome kids ranging from 18-21, one girl and two boys, Charis, Evan, and Jack. Charis is the first to follow in my footsteps as a writer, with both a comic book story and a pulp short story to her credit as of now. My wife, Lisa, is a beautiful and multilingual woman who teaches both Spanish and French for one of the local high schools. I grew up reading illustrated classics (the abridged kind with a drawing on every other page) before reading the originals, and also gorging myself on comics ranging from Legion of Super Heroes to Ghosts and The House of Mystery. I hate long walks on the beach, but I love playing my guitar around a bonfire. I’ve also been in bands for years and even played onstage once with Kansas’ Kerry Livgren and several times with the Newsboys. My most embarrassing memory is of having to cancel a date because I fell down an elevator shaft while in college. And no, the girl didn’t believe me until I showed her my swollen leg and ankle a day or two later.

Read the full interview: http://www.bibliorati.com/single-post/2017/02/20/The-Smack-Sean-Taylor

Sunday, March 27, 2016

An Opportunity for New Pulp Writers


From Tommy Hancock:

I am extremely proud to announce that the well read and popular Venture Galleries website has asked me to do a column each week in addition to my reviews that will focus on authors writing pulp fiction today, what many call New Pulp. This new column, part commentary/part interview, will debut on Monday, April 4th at www.venturegalleries.com.

Any authors who write pulp fiction, referred to by some as genre fiction, that would like to be a part of this column, email me at braedenalex@centurytel.net. I will be reviewing each author who contacts me to make sure they fit the profile we're looking for and then will schedule writers in the order emails are received. A part of this will be my comments/thoughts on each author's works and/or style of writing, so providing me with a copy (digital or print) of at least one of your works would be suggested, especially if I'm not familiar with your writing.

Tuesday, February 16, 2016

Pulp Education #2 -- Those Amazing, Evolving Pulps


From one extreme...

The Golden Age of Pulp Fiction
by Mike Ashley


The earliest pulps grew out of the tradition of dime novels and boys' magazines, so were from the start tainted with a juvenile image. The first pulp was The Argosy published in New York by Frank A. Munsey. It had started as The Golden Argosy, a weekly boys' adventure magazine in dime novel format, in Dec. 1882. The title became The Argosy in Dec. 1888, trying to move away from the younger readership, and from Apr. 1894 it shifted to a monthly schedule, aimed at the same readership as Munsey's Magazine which Munsey had started in Feb. 1889. For two years The Argosy was similar to Munsey's, but in Oct. 1896 Munsey dropped the articles, making it the first all-fiction issue and, from Dec. 1896, the paper was all pulp.

Read the full article: http://www.pulpmags.org/history_page.html

To the other...


It's a Man's World: Men's Adventure Magazines, the Postwar Pulps
by Michael Nirenberg


We tend to think of the Eisenhower postwar era as an innocent time in American culture. As the conservative 1950s turned into the swinging 1960s, men's adventure magazines were a haven for the male fantasy. The struggle for male identity has its roots in postwar economics. We were still a young country in the 1950s and '60s ,and these magazines captured the imagination of boys and young men flexing before our collective self-image as the winners over the evil Axis Powers.

Read the full article: http://www.huffingtonpost.com/michael-nirenberg/its-a-mans-world-mens-adventure_b_7986104.html

Friday, January 29, 2016

Ideas Like Bullets -- HEY! DON’T CHANGE A THING! IT’S MINE!!!!

by Tommy Hancock

I recently became involved briefly in a discussion on social media with a person I consider a friend of mine, someone who I interact with online because of shared interests and have done so for a number of years.  The discussion involved a recent announcement about a major comic company getting its hands on some television cartoon concepts that many would consider classic and doing their own updated comic takes on them, in some cases changing the status quo of the idea dramatically.  This person I consider a friend commented that he wasn’t that interested in all this because this particular company had a habit of not doing right by its own characters so he didn’t trust them not to be “screwing things up” with the aforementioned concepts.  I responded with my thoughts on the term ‘screwing things up’ in connection to different creatives handling concepts that were not there on and dearly loved by some sort of fandom. What ensued after that was a discussion, he continued to stand by his assertion and I acknowledging that and standing by mine.

What follows in this column is not about this discussion and not at all about this friend.

But I do bring up said conversation and said friend to both clearly point out that what I’m about to say is not about him and the majority of fans of most anything out there AND to identify what I think the majority of supporters of any fandom are like.  I truly believe, although these days it is more like hoping than believing, that most people who are fans of a movie universe or a comic character or a tabletop game, or anything that might qualify for those of us who identify as geeks as having a fandom are actually normally functioning, reasonable people who just happen to feel strongly about a particular thing they like, maybe even love in a completely appropriate fashion.  They can make strong statements when they disagree with how a property they hold dear is being handled and on the same hand, they have the ability to comment positively when someone does something stellar with same property, be that by telling a story that keeps the property true to what they love about it or by doing something completely new and different that they actually feel works for the property.  That group of devotees to various and sundry properties is where I’d place my aforementioned friend, as I’ve seen him respond appropriately in every situation and even making positive comments on different takes on the things he loves when they have been done in a way that he thinks is appropriate to the concept he likes.  Again, that is how a fan should be and act and I really DO hope that most of us are still that way. 

No, from this point on I am not addressing the likes of my oft mentioned by never named acquaintance above or those like him.  Where my attention turns to now is the other type of ‘fan’, a term which I am hesitant to use because really, for the individuals I’ll now be discussing, the actual word from which fan is derived is probably more appropriate.  Fanatics.  People who not only like certain properties, enjoy certain stories, shows, characters, etc, but people who apparently have an unhealthy obsession for them,.  These fanatics, who not only voice their disapproval of how a particular character is being handled, but who believe that it is their place and function to comment on every sniggling point that is wrong with said handling are to whom I speak now, or at least speak about.  Because it’s not just this completely over the top arguing and reviewing of just what clause of the intergalactic law the character who would never violate that actually did violate, thanks to the new writers that we see so much of now that bothers me.  No, I am completely overwhelmed, angered, and saddened sometimes to be called a geek or a fan because that means that those I call the uninitiated lump me in with those nutbar fanatics who talk disparagingly and often disgustingly of the creator who has perpetrated this malfeasance of applying their take on said concept, to the point of insulting them or anyone who supports their version of the idea.  Those admirers so ardent over an idea that they loved as a kid or discovered while reading on a bus trip to somewhere that instead of acting like civilized human beings with one another, seek to discourage, incite, and be downright ugly to any who disagree with them.

I think what bothers me most of all about this class of ‘fan’ is that they often dig in their heels up to their armpits and become not only unwilling but whatever is ten parsecs beyond unwilling to even entertain anything new related to the concept they covet.  They refuse to go see the new movie, yet they critique the holy hell out of something they won’t even deign to damage their eyes with.  They won’t even read a page of a new author handling a character created by someone else because whatever trailer or preview they’ve seen just ticks them off to no end, so there can be nothing redeemable. 

Now, the friend I focused on when I started this? He’s not this type, and I know this for fact because I’ve discussed and witnessed his discussions of trying different takes on things and usually not being happy with the treatment of his favorite characters, but sometimes finding himself surprised.  No, again, a fan, as I now define them, will staunchly stand by whatever aspect of their favored concepts they believe in, but they will also not shut themselves off from any other takes on said idea and will be respectful not only of others who like the different takes, but also will have enough respect for people in general and the creative process specifically to at least try the different version, if for no other reason so that when they do argue about it and say it stinks to high seven heavens, they can say they have at least tasted of the rotted meat!!

But, no, the ‘fanatics’…or maybe they’re just really close minded, mean spirited…nah, wherever I was going with that was just going to be too long and hard to remember… what I am about to say is aimed at them.  Yeah, you out there who got butt hurt over the fact that The Force Awakens did have story beats from the first Star Wars movie, but you only know that because you stayed in your little dark cave and read your computer screen, wouldn’t even put out the effort to go see the movie before you attacked it based on what other people said and spoke of it as if you were some sort of vaulted expert.  Yeah, you who won’t pick up a Sherlock Holmes book up that doesn’t have the name Doyle in the author’s spot, but you’ll get on your mailing list and your Facebook page and not only malign stories you’ve not read, but make personal comments about an author’s parentage or whether or not they should live to write another Holmes story.. Oh, and yeah, you too who at conventions see some kid cosplaying their favorite character and proceed to walk up to them and ridicule them for using cheap face paint or duct tape or drawing the S they wear on their chest on a piece of construction paper because that’s not how it’s done and they’re nothing but a disgrace to the character that You know so well, even though you’re standing there in your street clothes, wearing a bat symbol t-shirt.

So, yeah, all of you who fall into the above, who probably haven’t hung on long enough to get this far, what comes next is for you.

Get. Over. Yourselves. Now. Today.

Before your own damned ignorance and stupidity on how your infatuation with a made up story forever cripples you in having any appropriate social interaction with human beings, muggle or otherwise. 

It has been said many times that the advent of the internet and of things like Facebook and Twitter has made it easier and more acceptable for people to make more personal attacks, to release more vile vitriol than ever before at one another.  My big round Death Star it has.  If you’re one of those people who are wishing ill will on creators who just don’t agree with you, whether that be the ruin of their career or something even more heinous, then the fact that you have an Instagram account didn’t make You that way.  You, something about You, allows you to be a brazen idiot where the whole world can see it. And guess what? Only You can make that any different.

Here’s the weakest argument, really, for any fan related tirade, even the ones I sometimes go on.  Though we may find a story, a movie, a show, an idea that we absolutely in many ways quite literally fall in love with at some point, and yes, my own list is very long, it is still just a fictional creation, albeit a world we feel at home in.  And, here’s the important part of this, we fell in love with the version we encountered.  Not the ones before it, were there any, and not the ones after it, but the singular one that impacted us the most.  To believe that our dislike or at least ambivalence toward the other versions gives us any more right to do more than grumble and complain and harken back to what we loved the most, which is what most sensible people do, is completely off base.  We are not experts in any fandom enough to claim that we know any better what should happen with an idea that 99 percent of us are never going to touch.  We can be saddened, we can even be angered by what X author does with Y character in Z universe, but that does not give us the right and shouldn’t even be enough to make it occur to us to be nasty and mean and vindictive or outright stupid enough to wish bad things on people we don’t know or to spend endless hours and days arguing about how bad something is that we’ve not even tried to partake of.

Seth Rogan made a movie a few years back.  The Green Hornet, some of you might have heard of it, most probably didn’t it because it had a mediocre showing at the box office. Now, although many fans of the character, myself included, went into the movie and all the hype before it with hope, it became pretty clear early on that this was not going to be the Green Hornet we wanted.  Not the version as originally conceived in the radio show in the 1930s and not the TV version which gave a young Bruce Li a leg up in Hollywood.  This wasn’t even going to be based on one of the better comic versions of the character that has come along in the last 20 or so years.  No, this was going to be a trainwreck of monumental proportions.  And, yes, it proved to be such, for Green Hornet fans and those who had never heard of the character alike.

At the time of all the fervor about the film, there were fans, like me, who said, “Okay, not hopeful, but I’ll at least give it a watch, to see what it’s all about.” I always want to know about whatever I may be arguing about in the near future.  Other said, “Nope, not gonna see it. Not gonna waste my time or money.” And some of those same people, when the reviews came out verifying what they felt was wrong with the movie, chimed in with an ‘I Told You So’ or two, maybe. And of course there were all sorts of responses between the two, including some GH fans, maybe two at last count, who liked it enough to say so.

Then one particular response stuck out to me, from someone I’d known a tad through the internet.  And it went something like this.  “Seth Rogan should die.  Anyone involved in this piece of Shit should rot in hell. How dare they do this to my Hornet!”

Yeah, that.

Don’t be that fanatic. Please. Ever.  That serves no purpose other than for someone to add to a probably already sizable mound of evidence they’ve been building for your upcoming commitment hearing. 

Love your fandoms.  Defend them if you feel you need to.  But don’t forget…and this is coming from a writer and a Publisher who would love someone to be uber passionate about some of the stuff I’m doing and my writers are doing as they are about the bigger properties… it’s not yours, only the feelings and emotions a particular version of it gave you are.  And why dishonor something that gave you pleasure, and maybe even acted as a way for you to feel good about yourself, by reacting like a complete and total lunatic when someone comes along that has a different bent on it?

Makes no sense to this fan.

Sunday, December 28, 2014

[Link] Pulp Fiction: What’s It All About?

by Paul Bishop

I WAS ASKED the other day to explain what makes pulp storytelling different from other types of fiction. My kneejerk reaction was to claim, it’s hard to define, but I know it when I read it – which does little to answer the question. I’ve since thought a lot about what constitutes the pulp style of storytelling, which engenders both excoriating scorn from critics and fanatical devotion from acolytes.

By now, most readers know the term pulp was coined in reference to the thousands of inexpensive fiction magazines whose heyday spanned the 1920s through the 1950s. Printed on cheap wood pulp paper, the pulps were typically 7 inches by 10 inches in size, 128 pages long, and sported eye grabbing, luridly colored covers, and ragged, untrimmed edges. Today, the original pulps are more often collected for their gaudy covers than for the fluctuating quality of the words in between.

At the height of their popularity there were hundreds of pulp magazine titles gracing the newsstands each week. The demand for stories was as voracious as the pay per word was cheap. To make a living, a writer selling stories to the pulps had to be a word machine, churning out prose for a quarter to a half cent per word. The result of this constant demand was a straightforward, often formulatic, style of writing designed to entertain a vast audience of everyday, hardworking, folks looking for vicarious thrills and chills to escape the humdrum of their daily lives.

The pulps were also a refiner’s fire for many writers who are household names today – Raymond Chandler, Dashiell Hammett, Louis L’Amour, John D. MacDonald, and others. To these men belonged the battered typewriters and hard drinking tropes, which themselves have become a cliché within the public conscious.

There were also giants of the pulp writing field whose names are not as familiar, but whose characters have gone on to become iconic examples of pop culture – Robert E. Howard’s Conan The Barbarian, Edgar Rice Burroughs’ Tarzan, Walter B. Gibson’s The Shadow, Lester Dent’s Doc Savage, to name just a few, all started in the pulps. We all know their famous creations, but most would look blank if asked who the creators were.

The downside of the insatiable demand for stories to fill the pages of pulp magazines was it also guaranteed much of what was published was slapdash gruel of little to no lasting impact. It is this explosion of dross that gives pulp dismissing critics a place to hang their clichéd hats. However, the beating heart of the true pulps – the best of the stories and characters born within their pages – has shined for almost a century of popular culture.

Read the full article: http://venturegalleries.com/blog/pulp-fiction-whats/

Sunday, April 14, 2013

RUBY FILES ILLUSTRATOR, ROB MORAN WINS PULP FACTORY AWARD!

Congratulations to The Ruby Files artist, Rob Moran on his Pulp Factory Award Win For Best Interior Illustrations for THE RUBY FILES Vol. 1, published by Airship 27 Productions.


2013 PULP FACTORY AWARDS PRESENTED AT WINDY CITY

For the fourth consecutive year, the Pulp Factory Awards were presented at this year’s Windy City Pulp & Paper Convention.

These awards are given to the best in new pulp fiction and art published during the previous year as voted on by the 111 members of the Pulp Factory; an internet group made up of pulp writers, artists, editors, publishers and dedicated fans.

Writer William Patrick Maynard and artist Rob Davis once again co-hosted the award presentations, handing out the sculptured trophies done in the shape of a quill pen set against factory-like gears.

The pen represents both writers and artists, the gears paying homage to the assembly-line production of the old pulps of the 1930s.

This year’s winners for the best in fiction and art for 2012 were:

For Best Pulp Novel –
THE LONE RANGER – VENDETTA by the late Howard Hopkins, published by Moonstone Books.

For Best Pulp Short Story –
"The Ghoul" by Ron Fortier from the anthology, “Monster Aces,” published by Pro Se Productions.

For Best Pulp Cover –
Joe Devito for THE INFERNAL BUDDHA published Altus Press.



For Best Interior Illustrations –
Rob Moran for THE RUBY FILES published by Airship 27 Productions.

This year’s preliminary nominations and final ballot represented a total of twelve New Pulp Fiction publishers.

The Pulp Factory membership congratulates all the winners for their exceptional work.

Congratulations to all the winners and nominees!

The Ruby Files Team