Here There Be Monsters

Barbara Custer included lots of zombies in When Blood Reigns.The traditional zombie is a mindless creature that knows nothing except an insatiable craving for human flesh. Perhaps a virus or chemical destroyed key brain cells, the ones that control reason and decision-making abilities. Perhaps a robotic implant causes a dead body to get up and attack. Jonathan Maberry’s Rot & Ruin series features a killer virus that turns the victim’s skin gray. He wakes up from the dead and goes after humans. I read all the books in the series and loved them. Now I’m contemplating books from other authors.

Stephen King knows how to turn the most ordinary things into monsters. If not a monster, it becomes a tool. The beloved balloons I can’t resist turn into a monster’s tool under the influence of King in his story It. Pennywise the clown uses balloons to entice children to the graveyard.

When I was younger, I thrived on the Hammer films, but now, vampires are portrayed as another race of people with good and bad in them. This is good because the old-time vampire meets human-vampire drinks his blood tales have gotten ancient. Woe betide the person who crosses a villain vampire. He’s got fangs, strength, and brains to go with his blood lust. Books featuring great vampire tales include Passion in the Blood and Bloodstorm.

Some people return from the dead to terrorize the living, as in City of Brotherly Death and Blue Plate Special. They might look like shambling zombies, but they know full well what they’re doing and why. They’ve got scores to settle with people who didn’t treat them right. These zombies—a better term would be revenants—are particularly dangerous because they crave flesh and blood, and they’re able to plot and scheme to get it.

The human monsters (Reapers) in Maberry’s Rot & Ruin series frightened me a lot more than the zombies did. Like the traditional beasts, they delight in the thrill of the kill. What’s more, they can scheme, use sophisticated weapons, and employ muscle power to wax people they consider liabilities. A love triangle might incite a psychotic human killer, as in JoAnna Senger’s Betrothal, Betrayal, and Blood. The Mob breeds and trains assassins who thrive on the kill, especially in Tom Johnson’s The Spider’s Web and Tales of Masks & Mayhem V4.

The vampire, revenant, and zombie are monsters to be reckoned with, but humans can be the most dangerous killers of all.

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The Elusive Ending

Barbara Custer struggled with an elusive ending in some of the tales in City of Brotherly Death.Recently, I received a jewel of a submission for Night to Dawn. Every word counted; every line urged me to keep reading. I was revving up to write a nice acceptance letter. Then the story ended, but the ending stopped me. A part of the plot was left unfinished. I wondered, where’s the rest of the story? So I emailed the writer, requesting a revision. Most of the time, when I request a rewrite, it involves the ending.

What makes the ending so tough to write? Because sometimes our characters take us in unexpected directions, and so the perfect ending we had envisioned doesn’t sound so good after all. For my WIP, I cheated and wrote the ending, but something tells me I’ll need to revise because of the changes in my characters. It means tying up the subplots and showing that my character has changed. “Twist” endings are nice, but they have to be believable. The ending has succeeded when, upon arriving at the last word, you and your reader feel satisfied. I once read a complaint about a book, saying that the author must have been awfully tired when he wrote the ending. I admire writers with published anthologies because they’ve had to come up with a passel of meaningful endings.

Beginnings and endings can be a bear to write. My worst experience with endings happened with “One Last Favor,” one of the stories in City of Brotherly Death. That book went to an editor. “One Last Favor” had a less than satisfactory ending and she called me on it. A flurry of emails went back and forth with the editor making suggestions. I still felt lost, so I took the ending pages to my writers’ group. More suggestions. I decided that characters Tara and Chris were going to marry. The editor did another read through, and noted that I had to tie up Tara’s pursuit by the revenants stalking the town (“One Last Favor” is a zombie tale). Back to the writers’ group again, and another round of emails with my editor. We finally reached a conclusion that worked. Toni demonstrated the patience of a saint, helping me improve my ending.

It took almost a month plus three of my best curse words to get through the ending of “One Last Favor.” I can empathize with people who struggle through the ending pages. So when an author submits work that has an unsatisfying ending, I’ll work with them to help make it better.

Do you find yourself struggling to get an ending that works? I’d like to hear about your experiences.

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Wake versus Waken versus Awake versus Awaken

While editing an eBook, I stumbled over the “wake versus awake” dilemma. The sentence was “he’ll go into a sleep from which he’ll never waken.” This was my first suggestion. Then I stopped and thought: should I have used “awaken?” I thought all three words meant the same thing. Not quite – each word has different slivers of meaning. I looked up awaken in the dictionary and got this definition: cause to stop sleeping, rouse from a deep sleep. It carried a literary meaning, too, so awaken wasn’t the word I wanted. Didn’t think it would get so confusing.

Let’s look at the four words and what they really mean. It gets more interesting when you examine their past tenses. All of these words can be used transitively or intransitively. I’ve used some of my best curse words struggling through this conundrum. Is it wakened or woken? I sometimes wish I had a cheat sheet for all my issues with grammar.

Events in Barbara Custer's City of Brotherly Death caused the zombies to awaken.

Has this zombie awakened, woke, or wakened? Either way, he’s dangerous.

Awaken (past: awakened, have awakened)

Transitive: rouse from a deep sleep. Example: The onslaught of zombies awakened Alexis’ warrior instinct.

Intransitive: to arise or spring into existence. Example: I awakened during the night when I heard the scratching.

Awake (past: awaked or awoke; have awaked, have awoken)

Transitive: To rouse (someone or something) from sleep. The alarms awaked (or awoke) him from a deep sleep.

Intransitive: To come out of the state of sleep. Example: The zombie awakes and he’s getting hungry. Very hungry.

Wake (past: waked or woke; have waked or woken)

Transitive: to make alert. Example:  The shushing sounds of the balloons woke her gently.

Intransitive: to stop sleeping or remain awake. When the zombie woke, he bit the nearest person.

Waken (wakened or have wakened)

Transitive: to rouse (a person or animal) from sleep. Example: The poisonous chemical wakened the zombie.

Intransitive: to wake; stop sleeping; to become awake. Alexis wakened during the night after a bad dream.

Looking at these definitions, I have my choice of verbs. I went with “waken,” but I could have used “awaken” or “wake.” Wake, wake up, and waken are the most commonly used words to describe rousing a sleeper. Awake and awaken carry a literary and theologian connotation that wake and waken does not. Examples: The teacher’s methods awakened creativity within me. The sinner awakened to his misdeeds. Another important difference: for past tense, always use the weak standard with awaken and waken. So it’s awakened, have awakened, but never awokened; and wakened, have wakened, respectively.

Do you find yourself struggling with look-alike words?

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Where Paul DeBlassie III, Author of The Unholy, Gets his Ideas

UnholyThe_Unholy_Banner_copyIdeas come from the deep repository of the collective unconscious mind that inspires images and symbols during the fantasies of waking life and during dreams and nightmares. Mainly, it’s the nightmare stuff that bodes best for writing psychological thrillers and dark fantasy such as is in The Unholy. When I wake up in a cold sweat with the characters of the novels threatening me (I remember when Archbishop William Anarch, sinister prelate in The Unholy tormented me for nights on end, demanding that I not write the story) that’s when I know that real inspiration is flowing and that to listen to it and follow the images and symbols that emerge from my deep, unconscious mind during sleep and during the reverie of writing the story will end up in the development of spine tingling realities that jettison both me as the writer and the reader into phantasmagoric realms that have a way of shaking up conscious mindsets and get our heads blown out in a very, very unsettling but ultimately useful way. My writing, in other words, comes from an inner place of torment that needs to be let out so it can be set right. When mind stuff is set right inside me I can feel it by sensing a quality of being at peace, that I’ve written to the best of my ability and been true to the deep, archetypal energies swirling through my mind during the narrative. It really is a trip to listen to ideas, let them become images, and suddenly have them take over a page. It’s like the pages catch fire and everyone has come to life and things become disorderly, fraught with conflict, and danger looms.

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The Unholy contains psychological suspense.

BLURB: 

A young curandera, a medicine woman, intent on uncovering the secrets of her past is forced into a life-and-death battle against an evil Archbishop. Set in the mystic land of Aztlan, The Unholy is a novel of destiny as healer and slayer. Native lore of dreams and visions, shape changing, and natural magic work to spin a neo-gothic web in which sadness and mystery lure the unsuspecting into a twilight realm of discovery and decision.

Excerpt:

Lightning streaked across a midnight dark sky, making the neck hairs of a five-year-old girl crouched beneath a cluster of twenty-foot pines in the Turquoise Mountains of Aztlan stand on end. The long wavy strands of her auburn mane floated outward with the static charge. It felt as though the world was about to end.

Seconds later, lightning struck a lone tree nearby and a crash of thunder shook the ground. Her body rocked back and forth, trembling with terror. She lost her footing, sandstone crumbling beneath her feet, and then regained it; still, she did not feel safe. There appeared to be reddish eyes watching from behind scrub oaks and mountain pines, scanning her every movement and watching her quick breaths. Then everything became silent.

The girl leaned against the trunk of the nearest tree. The night air wrapped its frigid arms tightly around her, and she wondered if she would freeze to death or, even worse, stay there through the night and by morning be nothing but the blood and bones left by hungry animals. Her breaths became quicker and were so shallow that no air seemed to reach her lungs. The dusty earth gave up quick bursts of sand from gusts of northerly winds that blew so fiercely into her nostrils that she coughed but tried to stifle the sounds because she didn’t want to be noticed.

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Paul De Blassie is the author of The Unholy

Author Information:

Paul DeBlassie III, Ph.D., is a psychologist and writer living in Albuquerque who has treated survivors of the dark side of religion for more than 30 years. His professional consultation practice — SoulCare — is devoted to the tending of the soul. Dr. DeBlassie writes fiction with a healing emphasis. He has been deeply influenced by the mestizo myth of Aztlan, its surreal beauty and natural magic.  He is a member of the Depth Psychology Alliance, the Transpersonal Psychology Association and the International Association for Relational Psychoanalysis and Psychotherapy.

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Buy Links:

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The Unholy contains psychological suspense by Paul De Blassie

 

Horror, Balloons, and Chekhov’s Gun

One of the most frequent questions I get from people is, “How can an innocent person who loves balloons write such graphic horror?” I’ve heard it from other writers, my buddies, and sometimes reviewers. So how can I write graphic horror? Balloons and horror fiction go together like spaghetti and meatballs.

Think of Pennywise the clown in Stephen King’s It. It had a lot of balloon scenes and King wasn’t trying to be cute. Pennywise lured his victims by popping through the gutter, brandishing a bouquet of balloons. “C’mon, Bucko. Don’t you want a balloon?” he’d ask his victim Georgie in a leering voice. “When you’re down here with me, Georgie, you’ll float, too.”

Jonathan Maberry’s book, Fire & Ash, features a scene where a character was getting bored blowing up balloons. I remember smiling until I found out the purpose of those balloons. They had a darn good reason being in the story. I don’t want to say more lest I give away spoilers.

Steel Rose has a balloon scene…or two. The balloons enable us to know Yeron better and how helium will affect people like him. I guarantee you that the helium from a balloon will poison someone later in the story. Ditto for “Echoes of a Distant World” in the Alien World anthology Tom Johnson and I cooked up. Why? Because the helium in the balloons are deadly to the alien attackers. You can also find balloon scenes in City of Brotherly Death (“Darkness Rising”). The balloons symbolized the protag Brianna’s humanity. Much as I like balloons, I would not use them in my tales without a reason.

Why? Because of Chekhov’s gun. I learned about Chekhov’s gun at the first writer’s conference I attended, and that information has stayed with me. Chekhov suggests that if you introduce a loaded gun on stage during the first act of your play, the gun should be fired during a later act. Otherwise, the gun shouldn’t be shown at all. Basically, he’s warning the writer not to put too much emphasis on unnecessary details. You can have guns, knives, balloons, or any other object, but they had better go into action before the story ends.

I’d also like to mention the MacGuffin. The MacGuffin is a goal, object, or person that motivates the protagonist in the beginning of the story, but becomes less important as the struggles play out. In It, Bill Denbrough decides to battle the monster that killed his brother Georgie, but as the battles continue, and the characters mature, Georgie’s death starts to fade into the background. If you’re not sure of your ending, you can use the MacGuffin to create a delightful story. But the Chekhov’s gun can be tricky. After you’ve finished your draft, go through it for any Chekhov’s guns, in case something you focused on turns out to be unimportant. Ask yourself, will the details advance your plot or tell us something about your characters?

Do you use the Chekhov’s gun and MacGuffin in your writing? How has these techniques influenced your tales?

Barbara Custer loves her Mylar balloons and zombie fiction.

Joseph Spencer’s Inspiration for Wrage

Joseph Spencer's Wrage features crime fiction.I’ve written a lot about the influences that mythology, religion, and historical lore have had on the supernatural aspect of my Sons of Darkness series books Grim and Wrage, so I thought I’d touch on the crime aspects of the novels and their influences today. There are parallel threads running in both books. There are events occurring in the supernatural realm which affect the afterlife and there are events which affect everyday life in Prairieville. The supernatural realm and the realm of men have become interconnected thanks in large part to the corruption in Prairieville caused by the influence of organized crime.

Though I’ve read a lot of crime fiction and it’s one of my favorite genres, I’ve gathered part of my inspiration for the characters which work for the Prairieville Police Department from my real life experiences. I work as a manager at a 9-1-1 emergency communications center for my full-time job, so I work alongside police officers every day. My center handles between 300 to 400 9-1-1 calls on a daily basis and even more non-emergency calls. Our job is to gather information such as location, types of crimes being committed, description of victims and suspects, description of the direction these suspects are travelling away from the scene of the crime, a medical disposition for those who are injured and any officer safety information such as weapons being used by suspects. After we’ve gathered that information, we relay it to police officers, firefighters and paramedics on the radio to respond to the scene of active and previous crimes.

The experience I’ve gained in public safety has helped to humanize these responders and given me a window into their personalities when I’m working on character development for my novels. Over the course of my five-year career, I’ve dealt with calls reporting to suicides, bridge jumpers, homicides, bank robberies, fatal fires, fatal car accidents, airplane crashes and almost any situation you can imagine. I’ve also had front-row access to see how people are first on scene at some of these tragic events handle the situation. In my experience, most of the public lauds these responders as heroes and rightfully so. But there’s more to their stories, and that’s what I try to capture when I create that sort of character. The stresses of the job are difficult to handle, and that’s resulted in some of the gallows-type humor I’ve incorporated in Grim and Wrage. That’s why some of the characters are heavy drinkers or womanizers. It’s a release from the pressures and stress of a stressful job which I’ve observed.

Another advantage to working in the public safety sector is that it allows me to become familiar with jargon and procedures used by police, fire and ambulance personnel. Did you know officers have specific radio codes to let each other know there’s a suspect armed with a gun or a business has received a bomb threat? Unlike what the movies and television shows would have you believe, you can report someone missing without waiting 24 hours. Did you know that when a fire department refers to a RIT team that it’s a specially-designated group called a Rapid Intervention Team with the sole purpose of evacuating fire personnel in case there’s some sort of accident while fighting a fire? These are all intricate details that I try to weave into my writing to add some authenticity.

Organized crime is another prominent aspect featured in Grim and Wrage. Even though most communities don’t have larger than life villains like the ones featured in my books or in movies like The Godfather, organized crime is still a pervasive problem in our society. Gangs traffic people, weapons and drugs every day, and I didn’t fully realize the severity of the problem until I worked in public safety. That’s why I chose to make gangsters such an integral part of the decay of Prairieville. I think gangs plague their surroundings wherever they are allowed to gain a foothold.

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Joseph Spencer's Wrage features crime fiction.Blurb:  

Sometimes the toughest fight lies within yourself.

As more dark secrets come to light, the battle for souls pushes Prairieville to the brink of war in the living and supernatural realms.

Jeff Wrage swears a blood oath to Abaddon, the supernatural avenger of murder victims, to hunt the crooked cop who butchered his wife. Jeff wonders whether he can be the executioner Abaddon requires. Their pact throws the supernatural realm in chaos and threatens to trigger an apocalyptic fight for control of the afterlife between the Sons of Darkness and Sons of Light foretold in the Dead Sea Scrolls.

Orlando Marino sees the death of Cyrus Black as his opportunity to restore the Marino family’s stronghold in Prairieville’s organized crime scene and become a mob kingpin. He unleashes a plague, turning its victims into mindless followers. Cyrus’ heir is busy rooting out a traitor and is unable to stop the coming turf war in the realm of man.

The fate of all rests with Homicide Detective Anna Duke, who steps into the shoes of her mentor while coming to terms with unrequited love. As she tries to clear the fallen hero’s name, she takes on a case where corpses go missing. Her new partner is reported dead. She learns the truth about her true identity and uncovers a trail of secrets questioning her tragic past. She journeys to avert the destruction of all creation.

Joseph Spencer's Wrage features crime fiction.Author Information:

As a boy, Joseph Spencer immersed himself in the deductive logic of Sherlock Holmes, the heroic crime fighting of Batman and Spider-Man, and a taste for the tragic with dramas from poets like Shakespeare and Homer.

Before Joseph took to spinning his own tales, he pursued a career in print sports journalism, graduating summa cum laude from Southern Illinois University-Carbondale. He covered such events as NASCAR’s Subway 500 race in Martinsville, the NBA Draft Camp in Chicago, the Junior College World Series, and Minor League Baseball’s Midwest League All-Star Game during a ten-year career throughout the Midwest. Now, he works as an emergency telecommunications specialist with an Illinois police department. The combination of years of writing experience with a background working with law enforcement professionals gave rise to his writing aspirations.

Joseph was married to Dr. Amy (Waggoner) Spencer, an accomplished veterinary doctor, on March 14, 2012. He received word his debut novel was accepted by his publisher, Damnation Books, the next day. Joseph is hard at work on the rest of the series. Book 2 – Wrage – was released June 1, 2013.  The Spencer family enjoys reading Charlaine Harris, George R.R. Martin, Mary Janice Davidson, and most paranormal stories. The Spencers also enjoy quoting movie lines from “The Princess Bride”, “Rain Man”, “Bridesmaids”, and “Office Space.”

Twitter Link: https://twitter.com/josephspencer00

Facebook Link: https://www.facebook.com/joe.spencer3

Goodreads Link: http://www.goodreads.com/user/show/7881659-joe-spencer

Book Video Links:

http://www.youtube.com/watch?v=wJMdOhL-Qrg  (Grim trailer)
http://www.youtube.com/watch?v=j3Z-ECZw3AE  (Wrage trailer)

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Joseph will be awarding a $25 Starbucks gift certificate to a randomly drawn commenter during the tour.

Joseph Spencer's Wrage features Crime Fiction.Excerpt:

Thunderclaps from high above jolted Jeff out of his slumber.

Something hard and cold with jagged edges pressed into his back.

When he tried to move, iron shackles strained against the skin of his arms and legs. Chained to a rock in a dry stream bed, he knew he’d become a helpless prisoner who could do nothing more than wait for his captor. Stormy skies threatened from directly above him with bright flares of lightning snaking among sooty clouds and disappearing. Out of the corner of his eye, he could detect that the sun was shining brightly on the other side of the rock.

Scant rays of brilliant sunshine peeked over the rock, reflecting bright light off a magnificent golden shrine on a bank not far from where he was chained.

This can’t be real. He’d never seen a place like this in his life.

Large wet drops crashed against his skin. The coolness of the rain streaking down his body caused steam to rise from his skin, which he noticed had turned a dark shade of crimson. The only being this red was….

“Lucifer,” a calm voice echoed from above Jeff on the shoreline.

A giant, dressed in white armor sparkling like diamonds in the spare sunlight, stepped into view. He wielded a golden-hilted silver sword in one hand and a silver shield with the Latin inscription “Quis ut Deus” (I am like God) on the front in the other hand. He loomed above Jeff. A large gold cross ran down the center of the giant’s breastplate. A second inlaid golden cross glinted at the center of his white helmet. The helmet obscured his face, save for flawless ivory skin which radiated a blinding light. There was something across his back casting a large shadow, but Jeff couldn’t see what it was.

“You were thinking of Lucifer, whose skin is often portrayed as red,” the giant said. The ivory giant stepped into full view. From his back a pair of massive wings spanned over ten feet wide and five feet long majestically fluttering in the breeze, yet didn’t cast a shadow. The rain pelting Jeff in the eyes didn’t touch this giant. He certainly was no man. The only thing Jeff could compare it to would be—

“An angel,” the giant completed Jeff’s sentence again. “You are correct.”

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