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I Had Two Short Stories Published This Year!
December 04, 2023

Unfortunately, 2023 is not the year I publish my novel. The trilogy of stories I designed to make a complete arc is something I started back in 2019 and still intend to complete and put out as a book, though if you’re a paid subscriber you may have already read the first two. No, this year I was distracted by a couple of opportunities to have my fiction published by people far more ambitious than I am.

So here we are.

The first short story I wrote was The Hills had a Heartbeat for Monster Fight at the O.K. Corral Vol.2. Don’t assume that only the runners up are in the second collection. Editor Lydon Perry makes his books like mixtapes, looking for a natural flow and common themes to tie the volumes together. This time, it just took two books to fit all the greatest hits. My hard copy just arrived this morning, so I haven’t taken the time to read the other stories, but it sounds like my yarn fits right in.

And what does that potentially look like?

I’m glad you asked. For my story I drew inspiration from the classic Steve McQueen TV western Wanted: Dead or Alive, which features McQueen’s bounty hunter getting more than he bargains for with every job. It’s a great show and you should definitely watch it, but what if it had monsters? A few months earlier I’d watched a handful of the Universal Monster movies and Frankenstein Meets the Wolfman was my big favorite.

Time for a mashup!

Cramming two monsters, a protagonist, a sidekick, and an army of evil Freemasons within the confines of a strict word count made this difficult, and I’m usually pretty succinct in my writing. Certain things had to be sacrificed, but overall I’m very pleased with how it turned out. Imagine a monster movie directed by Budd Boetticher and starring Steve McQueen with Edgar Buchanan, and you’ll have a pretty good idea. 

And then there’s the other story.

Daughters of Men is included in Shoot the Devil 2: Dark Matter. These are sci-fi tales of faith over fear, but not in cheesy, Sunday school ways. This was actually a much more challenging story to write, despite the fact that it could be longer. Though I had a picture in my mind of the plot, I started several drafts before I settled on the characters. To make things even harder for myself, I decided to write something requiring a little more research and accuracy than a western.

Historical, science-crime fiction.

The story is set during the summer of 1947 in Hollywood, when a pair of detectives are hired to find a missing startlett. I could borrow from The Maltese Falcon and The X-Files, while putting my own spin on things. So far, so good. Before starting I knew I wanted it to end with the Roswell Incident, which is why I chose that specific year. A missing movie star seemed like a good reason to send someone out into the desert, and I’d get all of my favorite things: beautiful people, in exotic locations, doing exciting things. 

But despite flying saucers, I wanted to keep things grounded. So I did my research.

And then things got weird.

Tim Powers writes secret histories, where he tells factually accurate stories and fills in any missing pieces with the supernatural. Sometimes things fit together so well he starts to believe his own fiction. I’m not putting myself on par with Powers, but I did find a little synchronicity that made my head spin. Here I am, writing about a Hollywood actress who goes missing in 1947, and what do I find?

The Black Dahlia was murdered in 1947, the same year as Roswell, the same year as a lot of weird stuff. 

If you aren’t familiar with the story of Elizabeth Short, aka: The Black Dahlia, she was a troubled young woman who dreamed of celebrity. In January of that year her dismembered body was found dumped in a Los Angeles park. Her killer has never been identified. It was too perfect not to use, though it did give me pause. I wasn’t sure I should use a real-life tragedy that way, but in the end I’m glad I did. In the world of the story people would still remember her and wonder at a connection, and we shouldn’t forget her either.

Do I think there’s really a connection between The Black Dahlia and all the other strange events of 1947? Honestly, I can’t say either way.

What I will say is that I hope people buy both of these collections, enjoy them, and support independent publishing.

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He Who Rides on the Clouds - Conclusion

Leo and Britt come face to face with a prehistoric god a new cult on Saturn. Can they save the children doomed to sacrifice and escape?

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Leo and Brittany have arrived on Saturn, but not in the way they'd hoped. Captured by a pagan cult, they don't have time to stop the unthinkable from happening. But they'll try anyway.

Content warning: language and sexual situations.

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Star Wars is dead and the more apathy you show the faster it will be allowed to rest in peace.

Instead of griping about what Disney has done, why don't you listen to my space adventure story? He Who Rides on the Clouds is supernatural noir that spans space and time. When children on Mars go missing, Alexis Leonard and his ex-wife Brittany go looking. Their search leads them to a pagan temple and an ancient religion.

If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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What Do We Want? Familiar Originality! When Do We Want It? Now!

There is an ongoing debate over what movie audiences really want. On the one hand, there are those who bemoan the upcoming slate of films that are nothing but sequels and prequels. “People want original movies!” they say, and use the spectacular failure of recent comic book movies as proof. But when an original movie like the recent Black Bag doesn’t make a dent at the box office and is quietly shuffled onto streaming, the other side can say, “No they don’t.”

So which is it?

I say, both!

The average viewer likes familiarity. That’s why every night on TV millions of people watch the latest episode of their favorite procedural. Every episode is the same. Has been for years. Doesn’t matter if you’re watching Bones, House M.D., or NCIS, at the end of the day, the story beats are invariably the same. The characters fill the same archetypes. 

Even if you aren’t a student of scriptwriting, you know the flow.

Engaging with a story is sometimes like singing a song. Sometimes you want to sit back and listen to a master perform, but other times you want to join in. And if the tune is simple and familiar, you can learn new words that much more easily. If the melody is complex, with tempo and key changes, it demands attention. That’s when you just sit back and appreciate someone else’s artistry. 

More often than not, we’re drawn to the familiar. 

We go to the movies to be entertained more than we go to be challenged.

But Hollywood seems determined to challenge us. They challenge our ideas of who are familiar are. They challenge our core beliefs about right and wrong. When they do make something that isn’t from a well established intellectual property, they challenge us to accept an unfamiliar actor, who likely isn’t attractive or charming. Why should we want to get to know this person and the character he or she is playing?

We don’t. 

Mass appeal isn’t difficult. Our mainstream entertainment providers are making it difficult, probably in large part because they don’t know or understand what we want. And unless they do, people just like us will move to replace them. 

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Book Review - The Revenant and the Cult - Book Two: The Terror in the Wychwood

In the forward to The Revenant and the Cult - Book Two: The Terror in the Wychwood, author Herman P. Hunter mentions that his influences are J.R.R. Tolkien, Robert E. Howard, C.S. Lewis, and H.P. Lovecraft. While it may seem odd to intersperse deeply religious writers with those antagonistic to the idea of a benevolent God, from a writer’s perspective it makes sense.

For a fantasy writer, particularly one of faith, they are essential.

It’s also worth remembering that all four men were producing their greatest works around the same time on opposite sides of the Atlantic. Theirs was the golden age of worldbuilding, and it’s practically impossible for today’s writer of the fantastic not be influenced by their work, consciously or through osmosis. But to fully appreciate modern genre fiction, it’s to our advantage to drink deeply from their bibliographies.

Because genre fiction doesn’t always mean science fiction and fantasy.

As I noted in my review of The Revenant and the Cult - Book One: The Missing Spy, that story draws heavily from western tropes. Howard, always one to blaze his own trails, also dabbled in Lovecraft’s mythos, but before taking his own life seemed to be moving into writing cowboy stories. He was a Texan, after all. Unlike many authors, he was never satisfied staying in category for too long. 

With his series, Hunter is doing something similar, but different.

Tolkien’s work may be the pinnacle of fantasy writing and the standard to which all fantasy writers are held, as well as the guiding influence of Hunter’s work. But with The Terror in the Wychwood, he again draws heavily from his American brethren. In this story our main trio, Halsedric, Herodiani, and Roe must traverse through a swampy forrest of Lovecraftian horrors, fighting through hoards Frank Frazetta would have been happy to depict.

Two words: Moonlight Hunters.

But while Conan believed in Crom, an absent god who took little interest in the lives men, and Lovecraft only wrote of terrible Ancient Ones who would wipe out humanity like stepping on insignificant ants, Halsedric has a relationship with his Allfather. There is incredible evil in this world, but there is also an all-powerful good, and our hero is His representative. One need not believe in God to appreciate the story, as it’s never preachy, but it’s a fearless attempt to stand alongside all the works that inspired it.

Christian and otherwise, alike.

As the series has gone on, Hunter’s writing has only gotten richer. The books fly by and are pleasant reading, even with the elevated style of the classics. Anyone looking for the pulp violence of Howard, with the weird of Lovecraft, the tenderness of Lewis, and the worldview of Tolkien will feel right at home.

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