Guest Blog: Lee Thompson Discusses Ways to Measure Your Success (Plus a Giveaway)

Posted on June 5, 2014 by K. Allen Wood

A Texas Senator and his wife go missing… On the same day, their son is slaughtered by an enigmatic killer on the lawn of ex-Governor Edward Wood’s residence. Sammy, Wood’s drug dealing son, suspects his father of the crime. After all, his old man snapped once before and crippled his wife with a lead pipe. But there’s something more to these events…something deeper and festering just beneath the surface…

In direct opposition to Homicide Detective Jim Thompson, Sammy begins an investigation of his own, searching for the truth in a labyrinth of lies, deception, depravity and violence that drags him deeper into darkness and mayhem with each step. And in doing so, brings them all into the sights of an elusive and horrifying killer who may not be what he seems.

A brutal killer on a rampage of carnage…a hardened detective on the brink…an antihero from the shadows…a terrifying mystery that could destroy them all…

—

Welcome to Lee Thompson’s A Beautiful Madness blog tour!

This stop is a special one since I love Shock Totem magazine and the people who have made it such a monumental success, which strangely enough is what this post is about. They’re beautiful people over at ST, and so are the stories they publish, and the covers that grace their issues.

Since I’ve been in two issues, in addition to one person winning a paperback copy of my novel, I’ll also be giving away two copies of Shock Totem! Issue #4, which featured my story “Beneath the Weeping Willow,” and issue #6, where I have a story called “The River” and was interviewed by K. Allen Wood (the publisher and sexy beast). Very neat, yes? To win, make sure you leave a comment and share the link on Shock Totem’s website, lovelies.

(Note: We will also be adding a hardcover copy (19 of 150) of Lee’s limited edition Delirium Books novella Down Here in the Dark.)

Ways to Measure Your Success (Expect and Accept Change)

There’s not much worse than for five years to go by and for you to look back over those years and feel that nothing has changed. Especially since it’s our responsibility to learn, adapt, and change things. No one else makes our choices for us once we’re an adult. But did you know what you wanted back then? Did you have a clear, specific goal? Did you have steps to carry yourself to that goal, or did you keep doing the things you were doing and expect to conjure such success from thin air?

If so, you’re not alone. But where have you succeeded? There has to be some area, doesn’t there? Look deep, look back, be objective. If you haven’t made strides, it might be time to start from scratch and rethink the way you’re approaching your writing career. You’re going to have to change for the better.

Expecting to succeed—to sell your first novel or first pro short story, or to get interviewed in the paper, or whatever—without studying the craft and just winging it, is like a guy swinging a golf club and expecting to be a pro golfer in five years. He can be doing a dozen things wrong in his swing and practice those wrong techniques ten thousand times, but only hurting himself.

A great way to measure your success is to pay a pro for feedback. (Tom Piccirilli offers an editing service.) Look at their feedback and go through it one point at a time, through your whole book, looking for the places they’ve marked as red flags and learn to understand why those things hurt your story instead of help it.

You can measure your success by comparing yourself to your peers. But it’s a trap filled with frustration. They can only write what they write and you can only write what you write. You might be a better networker but they might write better stories, or vice versa. They might be getting what appears constant praise while you can barely get someone to review your first novel. They might be single like me and have very few distractions while you might have a job and a family to dole out time and energy. There are too many variables, and comparing yourself to your peers isn’t very healthy. If you find yourself in this trap, it wouldn’t hurt to slap some sense into yourself.

You can measure your success by reviews. Reviewers read a lot of books so they can usually spot big flaws and what doesn’t work for them pretty quickly. They’re also passionate about the genre they’re reviewing. I like measuring my success this way. If someone loves reading they’re going to offer something useful I can use to improve.

You can measure your success by word count. I’ve never worried about this, but it seems to be a popular thing among writers. It seems a double-edged sword, though, telling yourself you have to hit a certain number, shifting, at least in the back of your mind, from writing a quality story to worrying about how many individual words you finished today. And then there is a lot of guilt in this approach too. I’ve seen tons of writers cry and beat themselves up because they fell behind on their word count that day or week or month. It’s a distraction, if you ask me, that doesn’t have many benefits. If you ignore the word count altogether and just write the story with as much passion and skill as you can, it will end up whatever length it needs to be.

You can measure your success by the project. Each novel you write will be different in critical ways. I like to experiment and break rules. When I began brainstorming A Beautiful Madness I knew I was going to break one of the big rules, and I did it, and knew it would and did work. The challenge each novel creates is fun to face. If you’re testing yourself on each individual story, to try new characters, new storylines, new ways to manage the POV shifts, and searching your heart for the little details that make the story familiar but fresh, there is a lot of satisfaction in that.

You can measure success by hitting deadlines. I like to set myself a deadline and have been doing so for years. (You’ll have to start doing that to be a professional writer, so why not start now?) I usually take a week to brainstorm the characters and the major beats of the novel and then write down the date I want to finish the first draft. Normally I have two deadlines. I set a high goal of six weeks. And then I set a more relaxed deadline of three months. Usually I hit somewhere around two months for a first draft but have finished some novels in two weeks. They’re all different.

You can measure success by copies sold. I’m setting a goal of moving 10,000 copies of A Beautiful Madness in the first year of its release, mostly because I want to gain a hefty new fan base and secure myself a position as a Crime writer to go to for a certain type of story.

With three years of publishing history, I can tell you that book sales spike and plummet if you have a small audience (there will be more on this in another guest post). Since there are such peaks and valleys, I’m shooting for the yearly goal of copies moved instead of a monthly one. If I’m six months into it and have only sold a quarter of what I want to get out there in readers’ hands, then I will have to get creative and up my game to hit my goal. It’s nice motivation. I think it’s doable too, with the publisher I have, and the fans I’ve gained over the last three years. And since A Beautiful Madness is my first Crime novel, it will always have a special place in my heart no matter how it’s received.

You can measure success by reader feedback. I’ve got awesome fans. They’re so warm and intelligent and funny. I wouldn’t move any copies if it wasn’t for them and my publisher because I’d rather be writing and reading than spending time online trying to pimp myself. A lot of them have become friends over the last three years too, although at one time they were complete strangers, opening one of my novels or novellas for the first time. It’s pretty cool. I measure my success in this way a lot, because it’s tangible, and if you ever feel down there are always people there shooting you an email saying they just finished your book and loved it and recommended it to their friends. They thank you, which is weird, but I get it because every time I read a great book I want to thank the author for taking the time to write it too.

You can measure success by professional feedback. I was fortunate the last four years to receive feedback from professional editors and agents and writers. I think it was important for me to have those people tell me I had talent and imagination and energy, but needed to work on characterization. Listening to them is what helped me start selling fiction.

You can adapt an attitude of I-don’t-give-a-fuck. Readers, editors, reviewers, some will love your work, some will hate it, some will never be more than lukewarm about it. You can just write for yourself if you want, like you probably did when you first started and you were thrilled by simply writing and finishing something. There’s no pressure in that. And it’s your life. Do what you want, what you feel is right, for you and your work.

How do you measure your success?

Buy A Beautiful Madness (Kindle): http://amzn.com/B00K36ITGS

Buy A Beautiful Madness (Paperback): http://amzn.com/1940544297

Lee Thompson is the author of the Suspense novels A Beautiful Madness (August 2014), It’s Only Death (January 2015), and With Fury in Hand (May 2015). The dominating threads weaved throughout his work are love, loss, and learning how to live again. A firm believer in the enduring power of the human spirit, Lee believes that stories, no matter their format, set us on the path of transformation. He is represented by the extraordinary Chip MacGregor of MacGregor Literary.

Visit Lee’s website to discover more.

There will also be a grand prize at the end of the tour where one winner will receive A Beautiful Madness and four other DarkFuse novels in Kindle format! Simply leave a comment on this blog and share the link.

Thanks to those who participate.

Happy Reading,
Lee

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A Conversation with Author Todd Keisling

Posted on November 13, 2013 by Mercedes M. Yardley

In his Goodreads profile, author Todd Keisling admits that he is “awkward and weird” and that if you were his neighbor, you’d probably die. Mercedes M. Yardley recently sat down with Todd to get the details on his latest projects and jot down pointers on how to dispose of cranky men who steal things off your lawn.

Mercedes M. Yardley: Todd, you started out with A Life Transparent. Its sequel, The Liminal Man, was a 2013 Indie Book Award finalist in the Horror/Suspense category. Congratulations. Are you currently working on the third book of the trilogy? Did you plot the trilogy out start to finish before you began?

Todd Keisling: Thank you! Being a finalist for the award was a big surprise and an even bigger honor. Initially, I didn’t plot the trilogy from start to finish. A Life Transparent (or ALT) was originally intended as a standalone story, but about a year after its initial publication I had an idea for what became its sequel, The Liminal Man.

That second book was a monster and went through many iterations (I think the final version was draft #5). When my editor finally got her hands on it, she gave me a choice: either add another 150 pages to make the existing ending work, or change the ending and complete the story with a third novel. I took some time to think it over, wrote a broad outline for what a third book would look like, and decided to move ahead in that direction. So to answer your question, no, it wasn’t a planned trilogy.

I spent most of this year working on some shorter fiction since TLM took so long (almost four years) to complete. I really just needed a break from that storyline. That being said, I’m in the early stages of the final Monochrome novel, and while I have the high points of the novel already plotted, I’m still trying to keep the process as organic as possible.

MMY: What’s the draw to writing a series vs. a standalone work? Do you do standalone as well? How do you keep the series fresh?

TK: That’s a good question and I don’t have a straight answer for you. I’ve written standalone novels before, but the Monochrome books are my first real series. I find it’s interesting to watch a character develop over the course of multiple titles rather than a single work. It’s liberating in some ways, and constraining in others: liberating in that I don’t have to tie up loose ends right away (which leaves a sense of mystery, keeping things fresh for the reader), but constraining in that some minor plot detail written in the first book can come back to bite me on the ass in the final book (which makes me cry). Those loose ends that were left untied in the first book always have a way of becoming tangled up in your plot later on, and fixing them always makes for a fun exercise in problem-solving.

It’s just a lot to juggle at one time, and for the third book I’ve started keeping track of extensive notes and details in Scrivener. You know, so minor character names don’t change halfway through, or so one person’s eyes don’t suddenly change from blue to brown.

Overall, I’m enjoying the experience, but I’m also looking forward to being done with the series so I can work on other ideas. Honestly, I think I prefer writing standalone fiction, and I don’t see myself doing another series any time soon—not without planning it, first.

MMY: I know you’re working on a collection of short stories. There seems to be a resurgence of the short story, lately. Would you consider yourself more of a novelist, a short story guy, or both? What are the pros and cons of each form?

TK: I’d like to believe I’m both. I used to write a lot of short fiction, but I turned away from it for a while after writing ALT. After TLM’s publication, I realized I had a number of ideas for stories that had accumulated over the last few years. I wanted to try my hand at shorter fiction again, and I quickly discovered that particular art form is even more difficult than I remembered. Two of the stories in the collection (titled Ugly Little Things) aren’t even “short” by today’s standards; at 14k and 17k words, they’re more novella than short story.

I think novels are fun because they allow for so much development and exploration. The canvas of a novel can stretch as far and wide as you want it to. The danger, of course, is that it can become overwhelming at times, and something complex can require years of commitment. Short stories are harder to execute, but more rewarding if you manage to pull it off. The usual word count restrictions that come with the typical short story markets are also fun to work with, but can be a thorn in your side if you have an idea that begins to take off and grow beyond your original scope.

Ultimately, I believe in letting the story be what it wants to be, which works well in the realm of novels; with short stories, you have to be a lot more hands on, directing the story where it needs to go.

MMY: Musical inspiration. You have it. Tell me how the process works when you’re writing. Do you have something playing at the time? Do you purposely seek out soundtracks for each piece you’re working on, or does it happen to be whatever you’re listening to at the time?

TK: I always write to music. Whenever I sit down to work, I’ll try to find a piece of music that fits the mood or theme of what I’m writing. Doesn’t matter if it’s lyrical or if it’s an instrumental piece—if it fits, I’ll listen to it on repeat until I’m finished working.

I got the idea from Chuck Palahniuk. Several years ago I read an interview in which he talked about listening to the same song over and over while writing. The idea is to listen to something so much that it puts you in a kind of meditative state. Doesn’t matter what kind of music—if you listen to it enough times, you’ll eventually tune it out. I have no idea what the science is behind it; I just know it works for me.

MMY: I met you a bit earlier, but we really started to talk after being in the Exquisite Death audiobook together. Was that your first audiobook? What was the experience like for you? Would you turn your other pieces into audiobooks as well?

TK: As a matter of fact, Exquisite Death was my first audiobook and my first anthology. I had a great time working with In Ear’s Mark Chatterley, and I hope to submit one of my longer stories to him in the near future. I love audiobooks (otherwise I never would’ve made it through Atlas Shrugged) and podcasts (Pseudopod, NoSleep, Welcome to Night Vale, et al), and I intend to pursue having my other work adapted for audio.

MMY: You’re an analytical guy as well as a creative. Does this grounded side help you as a writer?

TK: I think it’s a blessing and a curse. The creative side always wants to rush ahead; the analytical side throws up its hand and says, “Wait a minute. Let’s think about this.” It’s sort of like the classic angel/devil dynamic, with one on each shoulder, keeping one another in check. I’ll have an idea that seems really cool and great, but I always have to think through the logistics—even if I’m completely making it up, I still have to make sure that what I’m writing works within the universe I’ve created.

Something my editor, Amelia, has always done is ask my why or how things work. Even if it doesn’t end up in the story, she asks me those questions as a way of reinforcing my understanding of the plot, scene, whatever is under scrutiny. If I can’t give her a straight answer, that’s usually a sign that I need to a better grasp of what I’m writing about. Sometimes I do have a clear answer; other times I don’t, which has led to several scene rewrites.

I’m trying to approach the final Monochrome book in a more analytical manner, creating a working document filled with questions that a reader (or Amelia) might have. The questions can be about anything, from character motivation to the repercussions of certain actions if they come to pass within that narrative’s universe. Once I answer them, I try to poke as many holes into them as I can, and if they don’t hold up, I try to think of a different solution.

This is the first time I’ve done something like this, but as I head into the final book of an unplanned trilogy, I feel it’s a necessity. Yeah, it’s a little grueling and painful, but I think it will make for a much tighter narrative a year down the line.

MMY: You write horror that easily crosses over into thriller territory. Does the ability to straddle both genres help or hinder your marketing?

TK: In some ways it helps; in others, it hinders. Writing a book that can be classified as a number of genres works well from the angle of appealing to as many people as possible. People who normally don’t read horror or suspense have emailed to say they loved my books, and I think that’s because the stories defy genre.

Unfortunately, the flip-side of that coin means that it may also put off people who stick to a particular genre. My books are speculative fiction, but you’ll find them in the Horror category even though they aren’t 100% straight horror. Some diehard horror fans probably don’t like that; the same goes for the folks who like thrillers or suspense stories—they want serial killers, not weird supernatural creatures. I have both, and they go out for drinks at the end of the day when the work is done.

This defiance of genre is my “brand,” I guess, and it makes the marketing aspect much more difficult. I’ve thought about compromising, sticking to one particular genre to make things easier for myself, but I don’t think I’d be happy doing that. The stories are what they want to be; it’s my job to record them as accurately as possible, and if they happen to deal with parallel realities, monsters, murderers, and noir-like atmosphere, then so be it. I’ll write them down. Maybe people will want to read them.

***

If you’d like to get in contact with Todd or check out any of his work, you can contact him through his website, Facebook, Twitter or his author profile on Goodreads.

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The Bloodied Halls of Academia: How I Survived As an Undergraduate Horror Writer

Posted on August 28, 2013 by Zachary C. Parker

As anyone who has spent any amount of time writing fiction at the college level will tell you, genre bias is rampant in academia. As a recent graduate from a state university, I experienced this bias firsthand. Repeatedly.

While some professors remain open-minded, others turn their noses up at the first sign of science fiction or fantasy in their workshop classes. Many have never heard of your favorite horror or romance writer, nor do they care what your idols have written or what awards they have won. A select few ban genre fiction from their classes altogether, highlighting such clauses in their syllabi.


“Elves? Seriously?”

Some of you are probably nodding in agreement, thinking back to the times when you also hit these roadblocks. I tip my hat to you, brothers and sisters in arms. However, this article is not aimed at you. Rather, this article is aimed at those still wandering academia’s halls, as well as those about to enter them for the first time. College may not welcome genre writers with open arms, but that doesn’t mean they can’t thrive there, provided they know how to go about studying the craft in such an environment.

It is also important to note that I do not support the division of so-called “literary” and “genre” fiction. I am merely using such terms for the sake of clarity as well as to properly represent the division as it exists within academia.

The first and perhaps most important thing undergraduate genre writers need to realize is that the instructors are not their enemies, even if a few of them do ban any manuscripts containing zombies or elves. In my experience, this tends to be one of the hardest lessons for students to learn. In order to understand this, one needs to first examine the situation from the point of view of the instructors. Most professors do not read or write anything that could be considered genre fiction. They are literary through and through. They don’t know the tropes. They don’t know the shorthand. Writing that kind of thing is simply out of their element.

That being the case, would it be responsible of them to try to teach an aspect of writing they have little to no experience with? No, it wouldn’t, so they don’t. Instead they teach you what they do know, which is a lot. Lucky for you, this is mostly stuff you don’t already know, the stuff from the other side of the fence, which is great because you’ve got your side covered, or will with enough practice. Let them pass on the skills they’ve mastered. Read those James Joyce stories. Do those John Gardner exercises.  Trust me, you’ll be glad you did.

The second thing, which is really just an extension of knowing instructors are not the enemy, is that genre writers need to let others know they are there to play ball. Work hard, get assignments in on time, and step up when it comes to commenting on the work of others, especially in class. If the instructors know you care, they will be more likely to take your genre of choice seriously. Instructors can be skeptical of students in general, and rightfully so.  I find that most undergraduate writers, even most creative writing majors, are nowhere near as serious about the craft as they think they are.

Another thing to realize is that you are likely working against a history of garbage genre fiction that has flooded their classrooms for years. I can’t even recall the number of manuscripts I had to read about teen mermaid romance or two-dimensional, clichéd vampires. I mean really terrible, awful, wouldn’t-wish-it-on-your-worst-enemy fiction. It can take some time to navigate through all that debris and gain an instructor’s trust, but that doesn’t mean it can’t be done.

Early on in my college career, I was waiting for one of my writing classes to start when a fellow student began complaining about comments she had received for a piece of fiction in a different class. Apparently the instructor told her the story was riddled with clichés. This upset the student because, as she explained to the rest of us early arrivals, genre fiction was supposed to be full of clichés. Wrong. This is what instructors are seeing, what you are working against. Bring the heat. Show them you can offer up originality with style.

Another way to gain the respect of instructors is to find the middle ground. Find the bridges between your world and theirs and use them to the fullest. One of the easiest ways to do this is to read writers whose work most closely rides the line between your genre of choice and the literary world. Instructors may not know who Richard Matheson was, but they’ve read Cormac McCarthy, and they’ll be more than happy to discuss horror elements when you put them in the context of The Road.

When I was attending classes, several of them used The Anchor Book of New Short Stories, edited by Ben Marcus. If you’re taking college writing courses, buy this book immediately as it will give plenty of examples of authors I’m talking about. There’s a story in the book called “Two Brothers,” by Brian Evenson, which features a religious fanatic who attempts to cut off his own leg with a kitchen knife, people eating birds, and other strange elements. Another story, “The Paperhanger”, deals with the disappearance of a child. Both are straight-up horror. In fact, the former is one of my all-time favorite horror stories. However, they are also literary stories featured alongside a host of stories by other literary authors.

While Stephen King’s fiction may have a stigma in the college classroom, the bloody antics of Brian Evenson’s work does not. That same anthology contains a story by Aimee Bender, who focuses primarily on magical realism. Bender is often spoken of in the same breath as Kelly Link (I actually heard them both mentioned no less than a dozen times at a writing festival at the university a few years ago when all the grad students were experimenting with that kind of thing). Kelly Link edited the fantasy half of The Year’s Best Fantasy and Horror for years. Bridges. Use them.

The third thing current and prospective students need to know is they should be doing as much learning outside of the classroom as inside of it. I’m not just talking about reading and writing on your own either, although you absolutely need to do those things. What I’m talking about is creating your own learning environments. The easiest way to do this is to start or join a creative writing workshop. As someone who has run a workshop for the last five years (it’s still going despite the fact that many of its members have graduated), I can honestly say you’ll learn just as much, if not more, about writing from a private workshop as you will from a workshop class—if you do it right.

How does one go about creating an effective workshop? The biggest thing is that you don’t let just anyone join. That may sound elitist, but believe me when I say it’s necessary. From my experience, the average writing class of 20 people contains anywhere from three to five students who actually know what they are doing and are dedicated to writing. These are the people you listen to in class, the people whose comments you read first when you get a manuscript back. Unfortunately, the rest of the class is usually more obsessed with the idea of being a writer more than they are actually interested in writing.

Pull aside the go-to people and ask them if they’re interested in a private workshop. Odds are, they’ll have some go-to people themselves. After you have a core group, only bring in people that ask to join. This makes sure you’re getting people who take the initiative. However, always remember to say no when the need arises. If the girl from class who is constantly checking Facebook while everyone else discusses manuscripts asks to join, tell her no, you’re full. If the guy who always turns in assignments two days late wants in, tell him no, you’re full. Often these people like the idea of being part of a workshop, but don’t actually do any real work.


“No workshop forda you!”

I also recommend focusing on the level of commitment people have rather than their current skill level, though it’s important to have at least a few people in the group that are better writers than yourself for the sake of growth. Ideally your workshop should contain no more than seven people. Any more than that and things get unwieldy.

In addition to seeking out like-minded individuals on campus, connecting with other writers via the Internet is hugely beneficial. The wonderful thing about the writing community is that people are so willing to help others. I find this to be particularly true when it comes to veterans wanting to pass on their knowledge to the new blood. Join a forum. Join a Facebook group. Drop another author an email. Build connections. Be a part of the online writing community. Aside from interning at Shock Totem, I’ve recently been given the opportunity to do some freelance work in the game industry. Both of these developments evolved out of meeting awesome people on forums. I can’t stress enough the importance of making connections with those who share the passion for the craft.

So if academia has got you down, fear not. There are plenty of wonderful resources waiting to change your college experience for the better. Connect with the instructors. Connect with other students. Connect with fellow writers online. Writing genre work at the college level needn’t be painful or alienating. In fact, surviving as an undergraduate genre writer can be remarkably easy, provided you know how.

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Sunday Digs: On Human Krill, Happy Slime Mold, and a Very Cthulhu Christmas

Posted on August 18, 2013 by God

Here are a handful of goodies from around the Internet that we found interesting this past week.

Strange fact: according to the International Association of Psychiatric Professionals*, fear of being swallowed by a large sea mammal (orcamasticophobia) is the fourth most prevalent fear worldwide. By comparison, fear of spiders (arachnophobia) is thirteenth.

A group of researchers at the Bristol Robotics Laboratory in England have utilized their vast scientific acumen and substantial resources to attach a robot head capable of human expression to a vat of slime mold in order to determine what the slime mold is feeling at any given moment. Meanwhile, cancer!

It’s beginning to look a lot like Fishmen! (Too early for Christmas jingles, you say? Bah humbug!)

You know what’s creepier than baby monitors? Nothing. An example of life imitating art in the worst possible way. Also, a good cautionary tale for parents.

Why does Stephen King sometimes spend months or years writing opening sentences? Because he can.

This week’s Digs brought to you by a couple of worms (and the return of Omni magazine!)…

* According to the International Association of Psychiatric Professionals, they don’t exist and, furthermore, it is in their professional opinion that I may be suffering from pseudologia fantasica.

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A Conversation with Writers House Agent Alec Shane

Posted on July 10, 2013 by Mercedes M. Yardley

I had the pleasure of meeting Alec Shane at the annual World Horror Convention in New Orleans this year. Alec is a friendly, savvy guy who is aggressively building up his client list. He’s also one of the few agents who actively represents horror. Talking to him was a pleasure, and I get the impression he isn’t a guy who lets the grass grow under his feet.

Alec was gracious enough to stop by for an interview. Read up on what he has to say, and then send this man a query!

Mercedes M. Yardley: Very few agents seem to represent horror. Why is this? And why do you choose to do so?

Alec Shane: One of the best parts of being an agent is that you get to represent the kind of books that you love. I grew up loving horror of all types—Stephen King is more or less the reason I’m sitting here today answering these questions—and so it only makes sense that I would be drawn toward the genre now. I learned very quickly that, as an agent, you have to really believe in the book you are representing, and if you are as passionate about the project as the author is, then you will be much more willing to throw yourself into getting it out into the world.

The role of the agent is changing every day, a lot of what we do is editorial, and it’s a very tricky market at the moment, and so it’s especially important to remain very selective in what I do and don’t take on. Horror happens to be a genre that I love, so here I am. I also love a lot of other kinds of writing—mystery/thriller, historical fiction, middle-grade, certain types of nonfiction, and sports to name a few—but horror will always hold a special place in my heart.

MMY: So you personally enjoy horror and dark fiction. Any favorite books or movies?

(more…)

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Sunday Reads: On Saying No, Joe Hill’s Beard, and Creepy Films

Posted on May 26, 2013 by Mercedes M. Yardley

Here are a handful of links from around the Internet that we found interesting this past week.

If you’ve got an hour, check out Booktalk Nation’s entertaining video chat between authors Joe Hill and John Scalzi.

It’s worth the time.

If you like things with a more literary bent, you may be interested the benefits of creative people saying no in order to protect their time.

The daughter of Alice Walker (author of The Color Purple) writes about growing up in a home with fanatical feminist views. 

We announced Shock Totem #7!

And finally, the creepy short film INSiDE, directed by Trevor Sands. Dig it!

Posted in Blog, New Releases, On Writing, Publishing, Recommended Reading, Video | Tagged , , , , , , , , , , , , , | Leave a comment

Tales from the Metalnomicon: James Newman

Posted on March 31, 2013 by K. Allen Wood

We here at Shock Totem HQ are big fans of Decibel Magazine, and we’ve been very privileged to have a fan in one of their writers.

Shawn Macomber has featured Shock Totem on the Deciblog in the past, and just recently he invited James Newman to stop by and drop some knowledge on writing and music for his Tales from the Metalnomicon feature.

Looking for inspiration? Click here.

Posted in Alumni News, Blog, Music, On Writing, Writing Advice | Tagged , , , , , , , , , , , , , , , , | Leave a comment

A Conversation with Anthony J. Rapino

Posted on May 24, 2012 by Mercedes M. Yardley

Anthony Rapino is a dark fiction author with a sense of humor. It was cool to interview him. Hope you enjoy!

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MY: So, Anthony, thanks for stopping by! Why don’t you start off by telling me what you have out, and what you’re currently working on.

AR: Thanks so much for having me. I have to admit, my first impulse when you asked what I “have out” was to tell a vulgar joke. Let me just tuck that away. The vulgarity, I mean! Oof. What’s that they say about first impressions?

MY: Your first impression is shot.

AR: Moving on. I currently have a few short stories out in print magazines and anthologies such as the Arcane Anthology, On Spec #86, and Black Ink Horror 7. I of course also have the short story collection Welcome to Moon Hill available through Amazon, and my debut novel, Soundtrack to the End of the World available from Bad Moon Books. They put out a beautiful limited signed hardcover edition as well as a paperback edition.

I’m currently working on a two different super-secret anthology submissions. I’m also working on my second novel, which I published an excerpt of in Welcome to Moon Hill.

(more…)

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Guest Post: Love of the End Product

Posted on August 16, 2011 by K. Allen Wood

Batten down the hatches, buckle your wigs, Lee Thompson is in the house!

If you’re unfamiliar with Lee or his work, I predict that will change in the near future. Steadily making his way up the small-press ladder, 2011 is shaping up to be Lee’s breakout year. Let’s do a quick rundown of the year thus far…

His debut novel, Nursery Rhymes 4 Dead Children, and the novella Iron Butterflies Rust were released through Delirium Books; a second novella, As I Embrace My Jagged Edges, will be available through Sideshow Press in the weeks ahead; his short fiction was published in The Zombie Feed, Vol. 1 (“This Final December Day”), Dark Discoveries #18 (“Crawl”), Shock Totem #4 (“Beneath the Weeping Willow”), and is forthcoming in the anthology Hacked-up Holiday Massacre (“We Run Races with Goblin Troopers”). Breakout year or not, Lee Thompson is making a hell of a noise.

Enigmatic, charismatic, and a genuinely good dude, Lee is hopefully destined for big things. Call me a fan.

As part of his 2011 Blog Crawl, he’s stopped by Shock Totem HQ to discuss his journey from dreamer to professional writer. Dig!

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LOVE OF THE END PRODUCT

by Lee Thompson

I’ve hungered to make a career of writing. To get past my inadequacies and lay it all out there, the good and bad.

I was a horrible student. I think I’d have been deep into a writing career if I had cared about all of this when I was younger. But I didn’t even care about myself then. And I’m glad I didn’t find this passion until so late, because I got to live, I absorbed so much, and there are multitudes of emotions, hard-won lessons, regrets and shame, pride and rebellion that I went through and now get to draw from.

I remember being so poor (my own fault) those first five years before I’d published a single thing that I always had to use other people’s computers to write on. I was an inconvenience and they didn’t have to let me do that, but they did. I submitted a lot of stories on library computers and got a lot of rejections because I really wasn’t very good. But I was hungry to improve.

Then something happened last year where I turned a corner. It was like everything finally fell into place. I think it was that I learned so much from my buddies Shaun Ryan and Kevin Wallis, and I started studying novels I loved, hand copying them—in notebooks, on old printer paper, in legal pads—to learn more even though it was time-consuming, and I realize now that I stopped writing the first ideas that popped in my head. I started writing for me.

When I began this blog tour my first Division novel wasn’t even released yet and here we are with Nursery Rhymes 4 Dead Children out, as well as my second book Iron Butterflies Rust.

I think I’m very fortunate. I sold my first two books to Delirium Books, a publisher I love, one who has discovered rising stars and cares about the stories and a writer’s career. A publisher who has put out a lot of great material that first took shape in the minds of my heroes (Tom Piccirilli, Greg Gifune, Douglas Clegg, etc.) Not a bad way to lose my virginity. My publisher believes in me. He’s honest about what works for him and what doesn’t, but still asks questions that matter, and wants my input.

How awesome is that?

Very fucking awesome.

So, how does it feel to see your dreams coming true?

It’s wonderful. And it’s a little scary. And it’s very surreal. It’s still sinking in that I’m a professional now. I pour my heart and soul into my work. I use a lot of stuff from real life, from when I was stupid, when I was a kid, moments when I possessed that elusive quality called commonsense, when I was a drunk, dreams I’ve had, and memories and questions that torment me.

And I have friends like Shaun, Kevin, Jassen, Susan, Cate, Mark, Sam, Bec, Peter, Mike, Mercedes, Wanda, John, Nick, Doug, Ken, Neal, Glen, Jennifer, Kate, and so many others who support me, not because I have to beg them or bullshit like that, but because they care.

Any success I have is the result of all those people, and editors like Shane Staley, James Beach, Steve Clark, Adam Bradley, Tom Moran, Ken Wood and lots of others who encouraged me, and earned my respect because of their kindness, honesty, heart and passion.

I could fill pages with people who have helped me along the way these past few years. But that’s kinda frightening too. More and more people I feel I owe something: for putting down their hard-earned money, for spreading the word, for giving feedback, and most of all for their faith and their time. I’m more grateful than you might ever realize. So a huge thanks to all of you.

I never realized how much it would thrill me to get comments from people I don’t know telling me they loved this book or that short story. What an eye opener. It means a lot. It means, in some small way, I’ve connected with another soul (sometimes without ever sharing a conversation). I adore that beyond words.

Thanks to all those who have read and commented and spent time with me.

And a huge thanks to those kind souls who let me blog on their pages.

So much has happened in a short time, but hell, I’m just getting started.

For anyone who missed earlier guest blogs on this tour see them here.

Rock on, you bad mofos.

—Lee Thompson

Posted in Alumni News, Blog, Guest Blog, Nonfiction, On Writing | Tagged , , , , , , , , , , , , , , , , | 3 Comments

Sunday Reads: On Writing, Podcasts, and Zombie Ants

Posted on May 8, 2011 by K. Allen Wood

Here’s a handful of links from around the Internet that we found interesting this past week.

First, over at Liberty Conspiracy, Gard Goldsmith has posted two podcasts featuring over an hour’s worth of interviews and commentary recorded at this year’s World Horror Convention in Austin, Texas. You can listen to part one here and part two here. Great stuff!

On the writing front, here’s something for the struggling writer: Thirteen tips to help you get some writing done. And this would probably fall under the category of Struggling Writer, but specifically, here’s a little something for the depressed writer. But maybe you’re neither struggling nor depressed, so how about a Writer Reality Check? Can’t hurt.

Right?

For those of us venturing into the world of e-books, check out Nathan Bransford’s enlightening piece on the 99 cent e-book and the tragedy of the commons. It’s bananas (while they last).

Now for the fun stuff: Zombie ants! Heard of them? Have you read Spore, by John Skipp and Cody Goodfellow (dude, you need a website)? Either way, check out another example of art imitating life.

And with that, I’ll leave you with these amazing images.

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