Saturday, October 20, 2012

LANCE STAR: SKY RANGER VOL. 4 ARTIST ANNOUNCED

Art: Felipe Echevarri
Airship 27 Productions has announced the artist for Volume 4 their wildly popular pulp anthology series, Lance Star: Sky Ranger. Artist Scott "Doc" Vaughn will join writers Bobby Nash, Sean Taylor, Andrew Salmon, and Jim Beard and cover artist Felipe Echevarria for the continuing adventures of America’s Favorite Air Ace!

Look for Lance Star: Sky Ranger vol. 4 coming from Airship 27 Productions.

For more information on Airship 27 Productions, visit them on-line at www.airship27.com and www.gopulp.info.

For more information on Lance Star: Sky Ranger, visit www.lance-star.com.

Lance Star: Sky Ranger volumes 1, 2, & 3, and the Lance Star comic book "One Shot!" are still available. Also look for Lance Star to appear in the upcoming second volume of All-Star Pulp Comics from Airship 27 and Red Bud Studios.

Geek Girls With Guns: Call for Submissions


Geek Endowment Krewe will be publishing an anthology for our charity this year. In continuing with this year’s theme, Geek Girls With Guns, you may use any interpretation of this title as you wish with a strong female making a difference. Special preference will be given to stories that include special needs children overcoming challenges. Our charity was founded to make a difference in the lives of challenged children, and we are looking for inspirational and moving stories that will make a difference in people’s perspective of reality and life. We would like submissions from any and all sci-fi and fantasy genres. Yes, this can include romance, steampunk and gothic horror. Non-fiction will be accepted but is not preferred. Submissions should be able to pass the Bechdel Test.

Submissions must be double spaced and submitted no later than January 31st, 2013. Submissions should be no longer than 7000 words. Anything longer will be deemed ineligible. Submissions must be emailed to cheri@geekgirlswithguns.com. There will be no financial compensation for your submission as this is a charity work. This charity is the Geek Endowment Krewe and proceeds will benefit challenged children in need. Find out more about our organization at www.geekgirlswithguns.com or on our Facebook fan page www.facebook.com/geekgirlswithguns.

Friday, October 19, 2012

Check out Rip Regan!

Pages 1-8 of the Rip Regan: Powerman story Eric Johns and I are doing for Excelsior Webcomics are posted. Please drop by and check them out and leave Eric a nice comment about that amazing art.

http://ripreganexcelsior.blogspot.com.br/


PRO SE ANNOUNCES NEW DIGEST SERIES FEATURING CHARACTERS OF CLASSIC PULP AUTHOR

Pro Se, a growing Publisher specializing in Heroic Fiction, New Pulp, and tales covering multiple genres, announced an open call today for a new series of books from Pro Se that mark the collaboration between the New Pulp Publisher and a classic Pulp Author!

Charles Boeckman, a 91-year-old author/world traveler/jazz musician recently self published SUSPENSE, SUSPICION, & SHOCKERS. This collection of 24 stories was written by Boeckman, many of them under the name Charles Beckman, Jr. and were printed in Pulps such as Dime Detective, Detective Tales, Dime Mystery, and others as well as in digest mystery magazines such as Manhunt and Alfred Hitchcock's Mystery Magazine. With a career ranging from the 40s into the modern era in fiction, much of it crime and mystery related, Boeckman is truly one of the last remaining true Pulp Authors today and has crafted characters that, although they only appeared once originally, have potential for further adventures, a potential Pro Se Productions plans to tap.

"This book," Tommy Hancock, Editor in Chief and Partner in Pro Se, states, "is truly a fantastic read. Mr. Boeckman's words sing with the huskiness and weight of a torch singer and the stories deliver blows like gunshots from all sides. He breathes life into every character, every locale, and every situation these hard luck heroes find themselves in. And one of the great things about his stories is, although there are definitely heroes between the beginning and end, they're not cast in bronze or refined from gold. These are bruised, battered, often broken souls who have talents for music, in a lot of cases, or mystery and are almost as talented in getting themselves in trouble that most people would have to die to get out of."

"After reading his book," Hancock continues, "I contacted Mr. Boeckman and, following drowning him in compliments and fanboy like sentiments, I identified several characters that I felt like could have life in new stories and would appeal to a modern audience, both for nostalgic reasons as well as the fact that these characters, even the ones written back in the 1940s, were definitely written with a sensibility that makes them viable to modern readers. I requested the permission to put together anthologies and books based around these characters in a series of digests that sport Mr. Boeckman's name and he agreed to that."

Pro Se will begin publishing the CHARLES BOECKMAN PRESENTS line of digest sized anthologies and novellas featuring characters originally created and featured in stories written by Boeckman. Although each individual digest may focus on a different theme or character, they will all appear under the CBP banner, and will feature new stories based on Boeckman's work.

"This is an open call," Hancock states, "to any and all writers who might be interested in trying their hand at Mr. Boeckman's characters. The first step in this process will be for interested writers to look over the brief descriptions of the characters provided and email proseproductions@earthlink.net with any and all they may be interested in. Based on that interest, story bibles and other information will be sent to interested authors who will then be required to draft a proposal for a story, length being minimum 8,000 words to a full novella length of 30,000. The proposal must be no more than a page long and, if the writer has never submitted to Pro Se before, a writing sample of at least 3 pages of narrative must be supplied as well. One thing to note, also. Although these characters were originally created by Mr. Boeckman and Pro Se will be insuring that they remain true to the source material, we are not wanting any writer to ape or copy Mr. Boeckman's style. We will be great stewards of these classic ideas as well as the skills and styles of the modern writers pouring life into them."

Detective Mercer Basous from 'The G-String Corpse'- A homely 1970s New Orleans Detective who knows three things very well- New Orleans, the people that make it up, and how to do his job.

Big Lip from 'The Last Trumpet'-A piano player on1950s Broadway who solved the murder of his great friend and one of the greatest horn players the world has ever known who moves onto further tales and adventures in a band in a world without The Earl.

Buddy Gardner and Frank Judson from 'Blind Date'- Frank, a mid 1960s small town reporter, and Buddy, a deputy in the small town with detective skills to spare, find new stories and cases to follow and crack in Kingsbury after their initial tale, where Frank finds a dead woman in his trunk that all evidence said he had an affair with, then murdered, but he'd never met her before.

Lt. Mike O'Shean and Lil Brown of the Daily Herald from "I'll Make The Arrest"-Mike O'Shean, a passionate two fisted cop of the early 1950s who sinks his teeth into a case and won't let go, even if it kills him, and Lil Brown, the reporter who knows her job and city better than anyone...and knows O'Shean better than that. These two are at the beginning of what may be a beautiful relationship if crime and corruption don't get in the way!

Doc and Sally from 'A Hot Lick for Doc'
-Fresh in 1950s LA from their debut tale, Doc, a washed up clarinet player who found his music again following being involved and solving a murder, and Sally, the recovering heroin addict who accompanied him, would be ready to write new tunes and chop a new life out of whatever life and LA throws at them.

Johnny Nickle from 'Run, Cat, Run'-A trumpet player who's claim to fame was having played on a supposedly haunted Jazz Classic that led to him being on the run from a curse and a murderer for years, Johnny Nickle is now back on top in the early 1950s blowing his horn and finding trouble almost everywhere he finds a stage to stand on.

The stories will be set in the periods mentioned for each of the characters. If a writer wishes to go beyond that period, then that must be clearly mentioned in the proposal.

Deadline for initial proposal submissions is November 1st, 2013.

Other characters from Mr. Boeckman's many stories may be added to the available list to write from at a later date, Hancock points out, but these are currently the only characters discussed thus far.

"This," Hancock says, "is not only a great opportunity for Pro Se, but it is truly an honor to have not only made the acquaintance of such a great writer and part of Pulp history as Mr. Boeckman, but to have the privilege of giving new life to these classic friends of his, there's no real words for that except We intend to make him proud."

For more information on Pro Se Productions, go to www.prosepulp.com. To get a copy of SUSPENSE, SUSPICIONS, AND SHOCKERS go to http://www.amazon.com/Suspense-Suspicion-Shockers-Charles-Boeckman/dp/1479238732/ref=sr_1_6?s=books&ie=UTF8&qid=1350269187&sr=1-6.

The Writer Will Take Your Questions Now (#248) -- 30 Random Things

Let's go meme time. Tell us the 30 random things about you.

 1. Although I consistently bump into the gloomier experiences in life, I tend to be more of a bumbling optimist in spite of it than a realistic pessimist.

2. I once had to cancel a date in college because I fell down an elevator shaft. No, she didn't believe me (thank you for asking) until a few days later when I showed up at her dorm with a serious limp.

3. I think the church was doing okay as long as it had no political or cultural or social power. The minute Constantine made it safe to believe in public, that's the day the church (small c, not large) began it's horrifying decent into apathy toward least of these, societal power plays, and morality enforcement. That's also the day it began to forgot about the mote in its own eye while I went around telling others about the beams in their eyes.

4. I used to have the biggest celebrity crush on Drew Barrymoore. Then she got too skinny. Now I uber-heart Christina Hendricks.

5. I enjoy playing sports, but typically detest watching them. A caveat: I do, however, enjoy watching them ONLY if I'm there at the game in person.

6. I'm addicted to entertainment. Music, movies, especially. Video games, not so much unless we're talking old-school Atari stuff. Life is to be enjoyed and lived. But as much as I love them, I always prefer them with friends, and get a bigger kick out of introducing other people to stuff I've enjoyed and think they will too.

7. It ticks me off to know that my generation is the first to, as a whole, be in less stable financial condition due to inherited debt and economy than the generation before us, including that of the Great Depression.

8. I play several musical instruments: bass, guitar, harmonica, some keyboards and drums.

9. I really, really want to own a mandolin.

10. I really want to experience a ghost hunt even though I don't believe in ghosts per se. I do believe, however in a spiritual world all around us, but just not that ghosts are the lingering spirits of human dead.

11. While I enjoy looking at a sexy woman as much as any other heterosexual male, I find the most alluring part of a woman's body to be the thin patch of skin between a knee-length skirt and a tall boot. And I don't know why. It just is.

12. A cute redhead will always turn my head and catch my eye. I'm a sucker for them. I blame Daphne Blake. It had to be her fault.

13. I was the only guy I knew in the town where I grew up who still got up early to watch cartoons on Saturday morning even when I was 16.

14. I write/create because it's how I define myself. I believe that it has something to do with being the product of a God who creates and being made in that image.

15. I am a devout believer in the Christian faith, but I also believe that as believers we should abolish the Christian subculture and spend our time out in the real world where we can't control, censor, or shut our eyes and ears to things that bother or offend us.

16.  When I was growing up, I was a dog person. When I got married, that changed and I became a cat person. Now I have both dogs and cats, and I think I love my dog Boomer and my late cat Merlin more than just about any pet I've ever had before.

17. I love Christian apologetics and to engage in debate, but NEVER at the expense of a relationship with anyone.

18. I despise talking on the phone. If I take the time to actually call you or answer your call even once, you should realize how important you are to me. But I'll always love you more if you text or email me. Or better yet, visit me in person.

19. I used to love Christmas and always made a big deal about it, keeping the Christmas music loud throughout December (but not until after Thanksgiving). Then I married, and my wife isn't a big Christmas joy person thanks to her Santa Claus experience, so I have gradually become more bah-humbuggy about it. I'm lucky if we even have our tree up by the weekend before Christmas Day, and don't usually even feel bad if we don't have it up. But I'm relearning how to experience it now through my kids, only it fades faster than it used to.

20. The most hurtful event in my life was when I was 'let go' from the religious agency I used to work for. The thing about it that really bothers me still is that several of the folks I knew very well all told me they didn't think it was right and that I'd done nothing wrong, and that it was political to appease other religious leaders in the denomination's structure, but not one of them interceded for me with my Vice President. Those feelings still sting when I see those friends. That's also the last time I had a good salary and comfortable lifestyle while working in the editing field as a full time employee.

21. I have been an editor for nearly 17 years, 18 in January 2013. I started as a copy editor then became an assistant editor for a magazine, then an editor, then freelanced as either a Managing Editor or Editor in Chief for several national and international publishing companies. 

22. I always apologize to anyone whose work I edit -- in advance -- because I will rip it to shreds. My job is to find your weaknesses and help you face them and become better, not to tell you how wonderful your strengths are. Chances are you already know that and have a little too much pride about it as it is. Even after that apology, I think I still surprise people when they get my edits back the first time. As an added note, I really hate it when your first words after I send the edited copy back to you are merely to defend just about everything I marked and mentioned. If you really didn't want me to edit it, when why did you hire me?

23. I'm a child of divorce, and I have lived in that limbo since I was five. And now that I have children of my own it's still the kind of thing that can cause hurt feelings or resentment on both sides, sometimes from the slightest of comments in a conversation with relatives.

24. I wish I had the superpower to change my body into that of anyone else at anytime, like Mystique.

25. I knew the second time I saw my wife that she was going to be my bride. And I made a forever vow, and I still intend to keep it. I refuse to do to my kids what life has done to me.

26. I get very irritated with writers who tell me they have writer's block. It's a sham. It doesn't exist. All it is is procrastination and an unwillingness to change ideas or cut something you really like or put words down for some other project or use a "trigger concept" to move on. Or I could just call it laziness because that's what we'd call it if a house painter stopped and claimed he had "painter's block."

27. I feel much better and relaxed to be myself among my weird friends, most of whom don't agree with me either politically or religiously. Ironically, I feel more reserved and less relaxed around my church friends who do agree with me religously.

28. I believed in the giant squid, and I believe that before my kids die, someone will finally prove the existence of Bigfoot. But not the lake monsters. Those are all misidentifications of other things or animals.

29. My dream job would be to write and edit full time for the rest of my life. I currently manage a comic book shop and love it, but it's still not my dream.

30. I really and genuinely believe that if I could just get my foot in the door with DC or Marvel, they'd hire me. And I really and genuinely believe that by continuing to build and work my network of friends and acquaintances, I'll get that opportunity to prove I'm right one day.

Thursday, October 18, 2012

[Link] DC Comics Keeps The Rights To Superman

Yes, this image of Superman is in the public
domain. From http://commons.wikimedia.org/
DC Comics will retain its rights to Superman after a judge ruled Wednesday that the heirs of one of the superhero’s co-creators signed away their ability to reclaim copyrights to the Man of Steel roughly 20 years ago.

The ruling means that DC Comics and its owner Warner Bros. will retain all rights to continue using the character in books, films, television and other mediums, including a the film reboot planned for next year.

DC Comics sued the heirs of artist Joe Shuster in 2010, seeking a ruling that they lost their ability to try to reclaim the superhero’s copyrights in 1992. U.S. District Court Judge Otis Wright II agreed, stating that Shuster’s sister and brother relinquished any chance to reclaim Superman copyrights in exchange for annual pension payments from DC Comics.

Continue reading: http://comics-x-aminer.com/2012/10/18/dc-comics-keeps-the-rights-to-superman/

Yes, this image of Superman is in the public
domain. From http://commons.wikimedia.org/

[Link] Monroe's 'Captain Marvel' artist Marcus Swayze dies

Legendary artist Marcus Swayze of Monroe died Sunday.

He was 99.

Swayze, who was also called "Marc," drew the Captain Marvel character for Fawcett Publications from 1941 to 1942.

He talked about his career during an October 2000 interview with The News-Star.

Swayze said Fawcett, based in New York City, was looking for an artist to contribute to its newly created comic book "WHIZ Comics."

Continue reading: http://www.thenewsstar.com/article/20121015/NEWS01/210150309

The Writer Will Take Your Questions Now (#247) -- Comic Book Arcs

What determines the completeness of a comic book story arc of any length?

The same thing that determines the completeness of any story in any publishing format -- does it have a beginning, a middle, and and end, and does the central character experience change or growth, or at least the opportunity to change or grow (and refuses)?

This is the basic standard for any story. And it can be done in 4 pages, 8 pages, 22 pages, 4 issues, 6 issues, or 100 issues, but that's the concrete you mix to set a story.

What isn't a complete story, again in any format, from TV to comics to books, is a soap opera-like meandering in and out of the lives of characters without any real plot development or growth arc for the character(s) going through the experience.

(Yes, massive, marketing-driven crossovers, I'm talking about you.)

Wednesday, October 17, 2012

PULP ARK 2013 DATES AND LOCATION ANNOUNCED!

PRESS RELEASE- FOR IMMEDIATE RELEASE AND DISTRIBUTION
PULP ARK 2013 DATES AND LOCATION ANNOUNCED!

APRIL 26-28TH, 2013


Pro Se Productions, a leading publisher of Heroic and Action/Adventure Fiction as well as the Founder and organizer of Pulp Ark, a writer's conference/convention that began in Batesville, AR in 2011 announces today the dates for the third annual event, PULP ARK 2013 as well as a change of venue.

Pulp Ark is a Writer's Conference/Convention focused on 'Pulp' fiction. Although defined narrowly by many, Pulp Ark promotes Pulp Fiction as multi-genre multi medium storytelling that typically involves action, adventure, larger than life heroes and villains, and a strong focus on both plot and characterization. "Pulp," Hancock said, "began as a medium in which many great writers told a lot of wonderful stories and readers could pick 'em up a 100 or more pages at a time for a dime. Although it's no longer that necessarily, the sensibilities of Pulp storytelling, the style, the methodology, all the stuff fans have remembered and enjoyed for over 80 years about those kinds of tales, all of that is still around and available from all sorts of authors, artists, performers and companies. That is what Pulp Ark is all about."


"Pulp Ark 2013," stated Tommy Hancock, Pulp Ark Organizer, "will take place in a new facility and a new town, but remains in Arkansas! Batesville, Arkansas (the site of the first two Pulp Ark conventions) has been nothing but a positive experience for Pulp Ark and the success we've had there, particularly in 2012, is one of the myriad reasons we decided to make a move. Pulp Ark 2012 cemented for us the fact that not only would we have faithful vendors and guests willing to return for another go around or two, but that we also had a concept that appealed to fans of all ages and genres and mediums. With that, the decision was either to grow or not. Part of the decision to grow was whether or not to stay in Batesville. Several factors, most notably partnering with an excellent facility that truly will take Pulp Ark to another level, led us to decide that the home of Pulp Ark 2013 would be Springdale, Arkansas."


Springdale is in Washington County located in Northwest Arkansas. Considered part of the Fayetteville Metropolitan Area, Springdale is one town of several that are considered a piece of one of the fastest growing metropolitan areas in the country. With over 500,000 residents in and near Springdale, Pro Se believes that not only will this increase fan attendance and interest in the Writer's Conference/Convention that blends every genre and medium possible together, but will also attract both the loyal guests and vendors from the first two years of Pulp Ark as well as a whole host of new participants on that side of the table.


"Pulp Ark is a wonderfully unique creature in a lot of ways," Hancock stated. "We definitely enjoy having that small town, almost family type feel for what we do, but we also have a truly kaleidoscopic reach with all the genres and creators that fall into our umbrella. Prose, comics, audio, cosplay, even music, all of that and more contributes to what Pulp is. Classic, new, and even Pulp yet to come all has a home at our convention and it was time to move Pulp Ark to a place where it...and all its wonderful supporters...could truly spread their wings."

Pulp Ark 2013 will be held in Springdale, Arkansas April 26-28, 2013 at the Holiday Inn Springdale Hotel and Convention Center in Springdale, Arkansas, 1500 South 48th Street, phone number- 1-479-751-8300. For a peek at the venue, click HERE!


SPECIAL PRICES UNTIL JANUARY 1ST, 2013! Any and all who plan to attend Pulp Ark 2013 and want to get the Discounted Room Rate MUST reserve a room or rooms by January 1st, 2013 to take advantage of the Special Pulp Ark rate of $84.00 a night. To reserver your room online, please click HERE!


PULP ARK 2013-Springdale, Arkansas! For further information, go to
www.prosepulp.com or contact Hancock at 870-834-4022 and/or proseproductions@earthlink.net. Expect more Pulp Ark Announcements VERY SOON!

The Writer Will Take Your Questions Now (#246) -- What Changed?

When was it that you realized your early inspirations no longer held sway over you, when that childhood book just didn't hit you the same way anymore? What changed?

For me, this moment occurred when I looked back over some of my early stories and found that they were the work of  different writer than the one I had become in the years between writing them and  re-discovering them. My early work tended to be inspired more by the allegories of C.S. Lewis, and I was was working in a Christian bookstore at the time trying to get a job as an editor for a Southern Baptist Convention, I  wrote what I knew. And what I knew was the stories within the Christian subculture of Frank Peretti and Randy Alcorn, so that's what I wrote, only with a sci-fi slant.

However, a few years later (even while working for the SBC) I found I had become a different kind of writer. I no longer felt compelled to write to the choir (so to speak) or to write for any evangelistic or allegorical motive. I simply wanted to tell stories.

Because I was who I was, certain values would come through those tales, but gone were the days of writing with an foreordained agenda.

I still love to read C.S. Lewis -- don't get me wrong -- but I'm not looking to write that kind of story anymore, nor do I believe that's my calling.

Tuesday, October 16, 2012

Deepwood Publishing looking for submissions!

Ancient New

With this anthology we’re looking for stories that are a strange collection of ancient and new technology. Perhaps chemistry is highly advanced and rockets are commonplace, but electricity was never invented. Perhaps steam engines exist, but are used to replace horses in chariot battles between archers. The story should have one or two aspects of technology that are wildly more advanced than the rest of the society, and thus affect it in strange ways. We highly prefer stories without magic.

Splintered Lands

Splintered Lands is a fantasy shared world anthology, taking place only a hundred years after a world-splitting war between powerful magical factions. As a result of that war, the land cracked and shattered, and much of the great civilizations have sunk under the waters, or been buried beneath upturned mountains. The Breaking saw the rise of the Knight of the Broken Wheel, a monastic order that despises magic in any form. Recently, there has been an upswell in the use of technology, mechanical replacements for manual labour. The Knights see that as simply another outgrowth of the arrogance that destroyed the kingdoms of old.

For complete submission guidelines, visit http://deepwoodpublishing.com/submission-guidelines/

The Writer Will Take Your Questions Now (#245) -- Heinous Creators

Is it possible for an artist to do something so
detestable that his or her work should be banned? 

Wow. That's a tough one, primarily because as people we find it difficult to separate the creator from the work itself. In a perfect world, the work would be able to stand on its own merits and the creator's life wouldn't be taken into account when analyzing whether the work itself held value. I believe even a detestable person has the capacity to create something good (after all, in my belief system, we are created in the image of a creator, so creating comes naturally to us all in some way). 

For example, had Charles Manson written a great play, would it be "moral" to perform it because of the awful, horrible person he was? 

Personally, as long as the play itself wasn't detestable, I wouldn't hold it against a theater company who chose to perform it. But I'm sure the families of Manson's victims might feel differently -- and with good reason. 

In my own life, I know that Richard Wagner's symphonic works are often associated with Hitler, but it doesn't make me appreciate the simple beauty of the melodies any less. 

I tend to discourage wholesale banning on any official level anyway, and I prefer to leave it up to individual people and companies to make those decisions based on their beliefs, values, and clientele. For example, a family-run, community theater might find performing a Manson-penned play a distasteful endeavor and refuse to produce it, but another theater troupe might enjoy sharing the work in spite of the Manson connection. It becomes, at least to me, a matter for the individual and individuals of the company to decide for their circle of influence, not for the governmental powers that be to decide for the rest of us. 

True censorship makes me feel very, very uncomfortable, because it involves making decisions about what's best for the whole of society, and I'm not content to let others make that decision for me -- or for me to make that decision for others, except for perhaps minors in my own house.

Monday, October 15, 2012

A/A Productions Looking for Forbidden Texts and Sword & Zombie Stories

FORBIDDEN TEXTS

A/A Productions is now reading for FORBIDDEN TEXTS. This will be an anthology of four stories concerning sinister collections of the written word. FORBIDDEN TEXTS will be distributed to all major ebook stores with a print version as well.

One story has already been accepted! "Rookwood" - a classic reprint from co-authors Rick Kennett & Bryce Stevens!

Length is open, from short stories (3,500 words minimum) to novellas. The forbidden texts involved can be of nearly any sort - from Lovecraftian grimoires which summon strange gods to haunted books to anything else the writer might imagine fits the title. The forbidden texts in the story may be eons old or a brand new web site, a popular novel or eldritch graffiti cropping up in strange locations. The content is wide open, but, given the small number of stories slated, we will be exceedingly selective. There might, however, eventually be several volumes of FORBIDDEN TEXTS.

Reprints: are fine, encouraged even, if the original publication is out of print or obscure.

Deadline: When filled.

Tentative Release Date: Spring 2013.

Payment: Each contributor will receive one-fifth of the total sales, paid quarterly via Paypal, with statements. Contributors also receive an ad in the book and a copy of the final print and ebook versions. The author retains all rights, but we ask that the story not be submitted elsewhere for six months.

Submit your entire manuscript in .rtf format at subtoaaproductions@gmail.com. Include the words FORBIDDEN TEXTS SUBMISSION in the subject line. If your story is selected, contributors receive galleys during the editing process.

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SWORD & ZOMBIE 

A/A Productions is now reading for SWORD & ZOMBIE. This will be an anthology of four stories featuring zombies in medieval or sword & sorcery settings. SWORD & ZOMBIE will be distributed to all major ebook stores with a print version as well.

One story has already been accepted! Eric S Brown gives us "Wudewasas", a sword & sorcery variant of his infamous bigfoot tales - with zombies!

Length is open, from short stories (3,500 words minimum) to novellas. The only constraints are that the story must feature zombies and a medieval or sword & sorcery setting. The content is wide open, but, given the small number of stories slated, we will be exceedingly selective. There might, however, eventually be several volumes of SWORD & ZOMBIE.

Reprints: are fine, encouraged even, if the original publication is out of print or obscure.

Deadline: When filled.

Tentative Release Date: Spring 2013.

Payment: Each contributor will receive one-sixth of the total sales (even split between cover artist, authors and publisher), paid quarterly via Paypal, with statements. Contributors also receive an ad in the book and a copy of the final print and ebook versions. The author retains all rights, but we ask that the story not be submitted elsewhere for six months.

Submit your entire manuscript in .rtf format at subtoaaproductions@gmail.com. Include the words SWORD & ZOMBIE SUBMISSION in the subject line. If your story is selected, contributors receive galleys during the editing process.

Cover Art: by Coy Powers. [Author names will be inserted to the left of zombie...)

For more information and complete submission guidelines, visit http://www.davidbainbooks.com/publisher.html.

The Writer Will Take Your Questions Now (#244) -- Write What You Know?

Which is more true for you, “Write what you know” or “Research, research, research”?

Get ready for another of my trademarked non-committal responses.

I’m a big believer in both of these writing truths. I think that you can’t write what you don’t know, but inversely, research can only give facts and can only go so far. So, where does that leave a writer?

With the imagination to take what he or she does know (“we can only possess what we experience… truth, to be understood, must be lived” -- thank you Charlie Peacock), add to that facts about the topic or time period or people involved in the tale, and stir vigorously to create something tasty for a reader’s brain to digest.

Sunday, October 14, 2012

THE BOOK CAVE CELEBRATES 200 EPISODES



Congratulations to Art Sippo and Ric Croxton on their 200th episode of The Book Cave podcast. An excellent podcast I've been known to visit from time to time. Way to go, guys!

Saturday, October 13, 2012

Joe Frankenstein Is Alive!

JOE FRANKENSTEIN LAUNCHING ON INDIEGOGO! 
JUST IN TIME FOR HALLOWEEN!!
 
The creators of Bane, Graham Nolan and Chuck Dixon, present the first in a new series of graphic novels.
 
Graham Nolan and Chuck Dixon join forces again to bring you an epic story of fear and revenge that spans centuries. There’s adventure, terror and the brand of gallows humor these creators are famous for. With two sure hands at the controls, you know you’re in for a ride.
 
This project will be the first in a series of 120 page, full color graphic novels to be published by IDW Publishing in 2013.
 
Joe Pratt is seventeen and in his last year of living in a foster home before moving on to the rest of his life. He’s delivering pizzas now but has no clue as to what he wants to do about his future.
 
All of that changes when he’s attacked by a houseful of vampires and rescued by none other than Frankenstein’s Monster. The Monster reveals to Joe that he is the descendent of Baron Victor von Frankenstein . The most famous undead creation the world has ever known has been watching over Joe since birth; staying to the shadows to protect him from… The Bride.
 
FOLLOW THIS LINK TO HELP FUND THE PROJECT:
 
 
AND VISIT THE CREATORS AT http://www.joefrankenstein.com/ for more art, features and updates!
 
Visit Chuck's website at http://www.dixonverse.net/! Or  visit him at http://www.comicspace.com/chuckdixon/

Friday, October 12, 2012

What makes a horror book scary?

This week's roundtable is for READERS. (Or writers who double as readers in their spare time. What do mean, what's that?) As we move deeper into October and are rounding second base toward Halloween, let's talk scary.

What makes a book scary or creepy to you?

Blake Wilkie: It's all in the pacing and imagery in the descriptions. Like when a vampire bites someone. To say they just sink the fangs in doesn't work. Be descriptive. It it a slow indulging bite savoring the moment or a feral attack out of fierce hunger? Why is it one or the other? How does the bite feel to both involved, etc?

Danielle Piper: The scariest stories I've ever read were the ones that involved situations that could actually happen. I've seen far too much fantasy to be scared by it anymore. I despise authors who rehash something cool they saw in a movie or on TV, trying to steal a cool element they hope you're not familiar with already.

Janet Walden-West: As far as scary -- COULD it happen? Having been in close proximity to the Body Farm, zombies are the scariest thing ever.

Jim Comer: Dread. George Martin's Sandkings.

William D. Prystauk: I have never read a creepy or scary book. Yes, I've read horror, but it never resonates like a movie. Craven, King, Rice, and Nevill, have always fallen short.

Selah Janel: I like books that make me worry about whether the plot could happen to me or not. Even if it's outrageous, I want to suspend my belief long enough to be scared out of my mind by the possibilities. Ray Bradbury's story 'The Next in Line' is terrifying because it deals with the very real fears of death, claustrophobia, not being able to get out of a situation, plus the added element of a callous spouse. I cannot read this story without shuddering and seeing myself suffering from that sort of desperation and loneliness.

With stories that have elements of something supernatural or "other," I want to believe that there may be the faintest possibility that it could happen. It's why movies and books about possession are so terrifying - it's a concept that's so rooted in people's beliefs and faiths and deals with our most primal fears... plus, no matter how logical you try to be... what if it's real? What if it could happen to you and there's nothing you could do to stop it?

Herika Raymer: When a book explores things that could happen, that is what scares me. I prefer psychological thrillers, where the antagonist or monster is not completely shown, but there are plenty of stories where the monster is in plain sight that are just as chilling. I read alot of True Crime stories because of that, Ann Rule / Patricia Springer / Steve Jackson. Stories about pandemics that wipe out whole populations, as presented by Dean Koonz and Stephen King and a few others, those are creepy as well.

James Ritchey III: Scaryness. OH! And Creepyness. But seriously? By exploring stuff we're all creeped out by, and being smart about it. Psychological horror is ten times more effective than bending to genre stereotypes. Feral children and the amputation of hands freak me out, for instance. Three words for ya... Suspense, Suspense, Suspense -- THEN you rip the hapless victim's lungs out.

Joe Bonadonna: When it's in the realm of possibility.

What do writers try to do to make a book scary or creepy, but it just doesn't work for you?

William D. Prystauk: Atmosphere is what they seem to create most as well as characters you want to root for. However, I never feel a jolt. It's clear I need some compelling audio/video to move me along.

Jim Comer: Stephen King lost it somewhere.

Selah Janel: I think sometimes writers try to get a little too clever. It's a fine line -- I like detail, but if too many elements are thrown in together, sometimes it becomes a jumble or downright cartoonish. For example, I love a lot of Stephen King's titles. He's insanely good at what he does, a master. Misery is freaky because it's so possible, plus there's the isolation factor, and his short story N is one of the most terrifying things I've read in my life. However, they both share the fact that they're fairly linear stories that deal with one main problem or element. Annie Wilkes is the opposing force in Misery, and although N takes a little while to develop, there's no denying the tension as minds begin to unravel as the thing in the field is discovered.

Because those are so laser-focus and take their time, I tend to get frustrated with titles like IT and Rose Red. With IT, isn't it enough to have a killer clown? There is so much detail heaped in, that I can't even comprehend everything that's going on, and by the time IT's true nature is revealed I just...I don't know. It's not as scary to me as if it were just a weird clown chasing kids around trying to get them.  With Rose Red, there was so much buildup, so much amazing back story, that the ending almost fizzled. Parts of it gave me nightmares, but the ending pretty much ruined it for me because it was fairly tame in comparison. He's not the only one that's guilty of this -- a lot of horror writers try to cram in a lot, and then their endings have no hope of living up to expectations. Horror is walking a fine line as it is -- if you make things too over the top it can inadvertently trigger a humorous response, so writers have to be careful as to what their intentions with a story really are.

Herika Raymer: Splattergore. I do realize that making a story gory and visceral sells, but to me it is just gross. I have to have a story, not just blood and guts. In some cases, I prefer a story over blood and guts.

James Ritchey III: When they try to make it scary and creepy, but make it nonscary and noncreepy, instead -- by SUCKING as a writer -- by not thinking about what they're putting on the page.

Joe Bonadonna: Go for the jugular. When they want to be cerebral and miss hitting the emotions.

How much gore is too much, and does gore help you feel creeped out during a scary book?

Janet Walden-West: No such thing as too much as long as it moves the story.

William D. Prystauk: If gore is necessary to the story, so be it. However, gore itself does not lead to scary. However, if we love or hate the character, then the element of gore may take on a whole new meaning.

Jim Comer: No. Clive Barker.

Selah Janel: It depends. I generally am not a huge fan of gore, however, in some cases it's a necessity or definitely lends itself to a scene. Tom Hollands vampire transformation scenes in Lord of the Dead are grisly masterpieces that gave me a visceral reaction -- but he also took his time and built up to them so they conveyed a very real sense of danger.

The Sonja Blue series is a great example of how to do splatterpunk right. Nancy A. Collins immediately plunges the reader into a graphic nightmare and keeps them there, but is able to create empathetic characters to balance it out. Plus, her characters and world have reasons for being violent and graphic - Sonja isn't just part vampire or a slayer; she's ruled by the voices in her head and is obsessed with getting revenge on her accidental sire. These creatures play for keeps, so it makes sense to show every little detail.

I'm a huge fan of Clive Barker, because his gore works with his stories - but he also knows when to pull back. Stories like Rawhead Rex and The Midnight Meat Train do have their gross points, not gonna lie. But, those elements don't rule the whole story, so when you stumble upon them you almost have to re-read them to make sure you got that detail right. It's a punch in the stomach, a knock in the teeth. You realize "Oh my God, THAT'S what could happen!?" He plays those scenes absolutely right, otherwise the premises in each story could be too over-the-top or borderline cartoonish. He makes sure to play on people's visceral emotions and not just write another monster story.

Not every horror story needs gore, because not everything that scares us is about shedding blood. The Haunting of Hill House is a great example of subtle horror with a big pay-off. The first time I read this, I was totally confused as to whether the hauntings are real or in Eleanor's head... and either way, the thought of each is freaky as hell because of the way things are portrayed.

Herika Raymer: I guess it depends. On the one hand I read where Hannibal was eating his hunter's brains while the man was still alive and it creeped me out, usually I would just say 'ew' and move on. However, there was no explicit statement of blood and gore everywhere - I guess was got me was that it was clean. On the other hand I have read stories where a room decorated in splatter did creep me out, but those were mostly crime driven stories where the scenes were few and far between. I guess when gore is essentially on every other page, then I get desensitized to it. I do not want to 'be used to the gore', I want it to creep me out.

James Ritchey III: Between 15 and 25 percent gore are my only acceptable parameters--and that includes maiming, body horror and blood. Or more. I dunno--gore doesn't scare me. Read Vampire Junction for how to do it right.

Joe Bonadonna: Gore doesn't bother me, but it can get boring. Don't really need to know every little detail. Leave something to our imaginations.

The Writer Will Take Your Questions Now (#243) -- Outgrow Horror Movies? Never.

Why do you like horror films so much?

Night of the Living Dead
To answer that, I'll have to adapt the question into two new questions (because I'm a writer, and I need the space for words).

Why did I like them as a kid?

Because I could stay up late and watch something "forbidden," of course. That was the start of it. But from there I stuck around because of the scary moments (the adrenaline rush), the cute scream queens, and the monsters themselves. It was only later that I discovered the more gory and "sexy" horror films of the Eurotrash market and the Italian "sleaze" (many or which are quite tame by today's standards) flicks.

Why do I still love them as an adult? 

Or to put it a way that perhaps some of you are thinking... Why haven't I outgrown them?

Night of the Seagulls
Because the writer and the adult and the literature major in me has found in good horror flicks all the stuff that made me fall in love with stories in the first place. Good vs. Evil, the existential search for meaning beyond mere survival, redemption for initially selfish characters, reaping what you sow, the sins of the fathers visited upon the sons -- it's all there. No, not in every film, and particularly not in the films that cater to the lowest common denominator (but you'll find that in ALL genres, not just horror). Because of the immediacy of the possibility of death, characters in horror films must face the kinds of questions the rest of us prefer to push to the back-burner. However, with Jason chasing through the woods with a machete, you don't have that luxury. You find out quickly whether you want to really live or not, whether you regret your choices, and whether you choose to fight for the safety of others or turn tail and run away to save your own skin above all others.

Good horror films go where other movies often don't dare. Bad horror films do too, just not as well.

And they still can sometimes scare the bejeckles out of the 8-year-old kid who still lives inside me.

Thursday, October 11, 2012

New Submissions Calls Are Open

The Temporal Element: Complete Submission Guidelines

With just over a week to go before open submissions for The Temporal Element, here is the complete and unabridged list of submission guidelines:

The Temporal Element: Time-Travel Adventures, Past, Present, & Future!

Since the dawn of the modern era, mankind has dreamed about the possibility of traversing the bounds of linear time, to explore the dark mysteries of pre-history or seek out the wild possibilities of the far future in person.  This collection of stories does the next best thing, allowing readers to dream of the possibilities of such a theoretical trip.

The anthology will contain stories all about traveling through time, and not in the natural way.  From spell-casting wizards, to mad scientists, and government-sanctioned time agencies, The Temporal Element will feature the best stories of people traveling beyond their native time.  Explore ancient history, the distant future, or anywhere in between.

For more information and complete guidelines, visit http://martiningham.blogspot.com/2012/09/the-temporal-element-complete.html

Hazardous Press Looking for Collections of Speculative Fiction

Hazardous Press is open to submissions of story collections between 20,000 and 80,000 words, from published authors, from now through November 1st, 2012. Accepted collections will be published as eBooks.

What genres?

Our preference is for the darker side of any speculative fiction genre: science fiction, epic fantasy, sword and sorcery, supernatural horror, steampunk, weird western, dark fantasy, zombies, etc.

What constitutes a “story collection”?

We are going to be pretty liberal in our definition here. If you want to send us 48,000 words, consisting of 3 stories published in small press anthologies, 5 poems, and that cool 30,000 word steampunk horror novella that never seems to match up with anyone’s guidelines, go right ahead. Not every piece in the collection needs to have been previously published, but collections with all reprints are fine.

For more information and complete guidelines, visit http://www.hazardouspress.com/we-are-open-to-story-collection-submissions-through-november-1st/

Big Pulp Looking for the Dark Side of the Kennedys

BIG PULP is now accepting submissions for an upcoming themed collection entitled "The Kennedy Curse."

Deadline: January 31, 2013

Plane crashes. Assassinations. Sex scandals. Mental illness. Drug overdoses. Skiing accidents.

With a family history like that, you'd think they were cursed.

 Big Pulp is seeking submissions of fiction and poetry related to the Kennedy family, and specifically to the concept of a "Kennedy Curse." Submissions may be any genre - science fiction, fantasy, horror, mystery, romance or other spec fiction - but the theme MUST be central to the story. Non-genre or more literary pieces will be considered as well, assuming they fall into the general category of spec fiction. Quality will out.

Submissions could center on any member of the Kennedy family--well-known or obscure, past, present or future, and possibly including fictional Kennedy members, if the story works.

Submissions can be as serious or humorous as the story calls for, but we are not seeking fiction or poems that mock the Kennedys, nor political diatribes for or against the Kennedys. Stories should stick to the idea of a Kennedy "curse" but that can be interpreted liberally. Culturally, the Kennedys are larger-than-life characters, which we believe can lead to a number of different story paths - from intimate character-driven pieces to mythic fantasy or SF.

For more information and complete guidelines, visit http://www.bigpulp.com/submissions.html

The Writer Will Take Your Questions Now (#242) -- Show Me the Scary

What makes a horror novel or story "scary" for you?

Writing scary is hard. It's really hard, because it takes understanding of the human mind, memories, senses, and universal generalities about the human condition. In a story, you don't have the luxury of visual shorthand to creep readers out like directors do in a scary movie.

Jump scares? Nope. Sorry. The reader controls the pacing. And he or she can skip ahead or backward at will. That clutching crone hand can go backward and forward and be skipped altogether based on the reader's whims.

Graphic visual scares (or gore)? Sorry again. Unless you're most visceral writer ever, written gore falls short.

So, as a writer you're stuck with having to be a psychological and writing genius. But how? While I'm far from an expert on horror, I have written several tales in the genre, and I've learned a few things with each successful telling.

1. Be visceral. But don't mistake visceral for gross. For example, while a limb being removed and force fed to a tied up victim is certainly a compelling image in a story, it may not be as effective as something as simple as a sewing needle being wedged into the soft skin beneath a dry fingernail.

2. Tap into the universal fears. For example, when I wrote "Nymph" for the Gene Simmons House of Horror graphic novel collection (yes, I know that it's not pure prose, but bear with me), I wanted to recreate the sense of being lost in the woods, in a place where you're at the mercy of the natural world. When I was a kid the woods were creepy sometimes, and I had lost that feeling after moving to Atlanta and growing up.

3. Discover the specific, individual fears that make a person tick. For example, in my zombie tale "Posthumous" (from Zombiesque by Daw/Penquin Books), it's not the decaying body of the zombie that makes her creepy. It's her determination to save her marriage, her blind, unwavering determination to do so regardless of the consequences to anyone else.

4. Unleash your horrors on ALL the senses. Don't let just sounds and sights convey your protagonist's woes and horror. Go deeper. Is that smell like the burn ward at a hospital? Does the touch of the killer leave grease and sweat on a victim's neck? Does the hooker's kiss taste like she's been eating rotting meat? Engage all the senses that can convey fear and discomfort.

5. Use sounds that bother the reader, not just the characters. You can make up words that sound like stuff. The official literary term for this is onomatopoeia, and it works because it plays games with the reader's ear, whether they hear the sounds spoken aloud or not. For example, in my steampunk horror tale "Death with a Glint of Bronze" for Dreams of Steam II: Brass and Bolts, I hit the reader right of the bat with the "crick-cracking of the neck bone where it attaches to the top of the spine." But the following sentence continues the idea, simply by using sounds that create a stop and reflow, like restricted breathing might sound: "Then there is the delicious constriction as the breath slowly ceases its movement through the windpipe."

6. Don't try to be "horror movie" scary. Aim for "imagination" scary. Go for the stuff that no movie could ever film, you know, the kind of sick, warped, crazy stuff that could only take shape in someone's imagination as they read. For example, does anyone really know by reading Lovecraft's stories what an elder god truly looks like? We have ideas, but that's all. We have the accepted image that has become synonymous with the tales, but be honest -- does that fully match the horror you imagined in your psyche when you first read the words of HPL's description? On a similar note, isn't your personal nightmare of Lewis Carrol's Jabberwocky far creepier than any of the drawings you've seen of it?

That's all I've got to give you, but if you can even those six things well, you'll never hurt for a job writing truly frightening horror tales.