Interview News

I did an interview with writer Kirsty Fox recently. Due to some technical difficulties, the recorded interview is pretty much indecipherable, so I’ll just tell you a bit about the book, which is available both as an ebook and a physical book from Amazon and elsewhere. It’s a near future, post-modern, apocalyptic and very British book. I highly recommend it. It’s called Dogtooth Chronicals. (Yes, it’s spelled that way on purpose.)

Here’s a teaser video for the book. This character is the one non-British character in the book. Very interesting, a bit mad.

Perhaps the most telling thing I can say about it is hat I read it four times, always finding some new nuance to the story or writing, or falling for one of the characters even harder than I did the first time. It’s a long book and I’m an impatient reader, so this is quite something. I feel very lucky to have stumbled onto this novel. I think anyone who wants to understand the mind of young Britain should read it. It’s also quite entertaining.

The book’s unique aspects are that it’s written in from the viewpoints of seven different characters and it includes their particular dialects — northern England, Scottish, and in one case, the English as a second language of a German character. She thought the apocalypse out pretty thoroughly. You might question the cause of the apocalypse, but if you remember that it’s being explained by lay people who are cut off from most ‘scientific’ explanations, it doesn’t need to be perfect, would, in fact, be unlikely to be perfect.

I recommended to Ms. Fox that she try to get it published traditionally, but she felt that due to it’s timely nature, it would languish in the publishing process past its moment. She may be right about that. Traditional publishing moves slowly.

The Role of Writers and Other Creative Workers in Social Discourse

I haven’t read anything that covers this topic, so I’d be interested in being pointed to other articles that discuss it and hearing the thoughts of anyone who cares to comment.

Writers and other creatives (artists, actors, musicians in particular) have historically used their talents to sway opinions on the important issues of their times. This is not something limited to Western culture. In Soviet Russia, for example, science fiction and fantasy writings of the past have concealed lessons about the tyranny of Soviet government.  Post-colonial writers from around the world have and continue to contribute to social discourse, raising awareness of imposed cultures and biased histories.Harper Lee’s To Kill a Mockingbird  brought forward the racial biases of the legal system and the book had a tremendous impact. These are only a couple of examples from a vast number of contributions made by writers throughout history to shaping society and ending injustice.

Non-fiction writers are supplanting the media with blogs and on the spot reportage. The access granted by the interweb allows independent journalists to be more open than those paid by big media companies. So in the new age, what is the fiction writer’s role on the front of social activism? What does the self-published writer owe in this vein? Is social commentary a luxury granted only to those published in the main stream, or to the contrary, do the self-published have more leeway on this issue?

Musicians in the new world are taking an active stance. Amanda Palmer is a good example. Her activism is focused around the oppressive system by which traditional record labels made money off of recording artists disproportionately. The artist saw very little of the monetary rewards from the production of their music and gave up a lot of freedom. She’s making a case for crowd funding of music in order to allow the artist to create and survive/thrive.

Visual artist Molly Crabapple is making a similar case for art. She addresses issues like the difficulty of taking work on spec (meaning, doing work first in hopes that it will raise money or sell) and how this system makes it harder for an artist to earn a living.

These are all issues to do with raising awareness about how hard it is to make a living in the arts, but both Palmer and Crabapple are involved in/support the Occupy Wall Street movement and other progressive issues. They are set apart only by the visibility of their efforts. Many independent musicians and artists do similar work on a smaller, less visible scale.

But what about writers? Where are the independent writers leading the activism charge? Of course, some writers published by the big publishers still shout into the void from time to time. And a whole host of writers who work for small presses are addressing social issues. But how are indie writers doing it? As we seem to be moving more in the direction of self-publishing, is it going to be all about how to hit it big and not at all about what we can do with these voices we’re trying so hard to make heard?

Okay, so everybody’s got to make a living. Do we only get to make a statement after we’re insanely successful? (See this article by Stephen King.) Or in the case of indie writers, never at all because we risk alienating readers? I suppose I shouldn’t refer to myself as an indie writer. I’m still marginally in favor of the traditional system (as broken as it appears to be). But the tide is turning. Eventually there will be a way that good writers can get their work into the public eye without going through traditional channels.

How do we make a difference and still make a living? How do we help shape the New Publishing Paradigm to be less oppressive to writers and at the same time use our writing skills to be the voices of the voiceless? What do we owe the world on this front? Those of who don’t have a lot of money, but whose strong suit is our talent, our knowledge, our creativity, our compassion? How do we make a stand?

Greg Stolze’s As Above So Below Story Debuts

Greg Stolze’s hauntingly good interpretation of the writing assignment for As Above, So Below is a bit deceptive. Like the best ghost stsories, it’s haunted in more ways than one. Stolze is a long time gaming industry writer and has been writing fiction for quite some time as well. This is his first story here, but I hope it won’t be his last.

Greg Stolze is the author of the novels “SWITCHFLIPPED,” “Mask of the Other,” “Ashes and Angel Wings” and “A Hunger Like Fire,” among others.  He won the 2009 Chicago Tribune ghost story contest, was second runner up in the 2006 Tallgrass Writers’ Guild nonfiction prose contest, and has been a guest of honor at numerous game conventions. He’s also the epicenter of a fan-funded fiction community atwww.gregstolze.com/fiction_library - check it out!

Check out his story,  Huntingley House, here.

New Project: Need Writers

Do you fancy yourself a journalist? Ever wanted to write for something cool like Rolling Stone? Do you specialize in the weird? Are you an ubergeek? Do you believe in your heart that geeks are the new cool kids, in revolutionary culture, in ghosts, in the surreal?

Do I have a job for you!

I need writers of articles about strange things. The main focus is London, but they can be about other places also.  Art, photographs, videos, on the scene reporting also needed. If you’re interested in a possible writing gig, email me for details. salome dot jones at gmail dot com.

Please note: At the moment, this isn’t a paying job. Though in the future, there may be money.

Announcement: Call for Submissions

While we wait for the last few stories to be completed for volume one of the Red Phone Box book, we’ve decided to begin a new anthology. This one has a different twist. The new series will be full fledged short stories of around 2000 to 5000 words. They’ll all start with the same opening lines and go pretty much anywhere you want them to.

Deadline is December 15th, so get busy! This is meant to be fun, fun, fun. There is almost no limit to the number of stories we can take, so submit early and often.

Please read all the rules before submitting. There are some very specific requirements.

You can read all the details here.

 

A Conversation with Dan Wickline

Dan Wickline has written for numerous comic serious including Thirty Days of Night, Sinbad, and Shadowhawk. He published his first novel, Lucius Fogg: Deadly Creatures, in July and his new novel in the Fogg series, Malicious Intent, debuts today. Dan also did me the honor of writing a story for Red Phone Box, part of the upcoming story cycle to be published by Ghostwoods Books.

I met Dan about a year and a half ago when he spent a couple of hours telling me ‘walks into a bar’ jokes. We’ve been friends ever since. As the editor of both his novels, I’m one of the first people to lay eyes on them. This most recent one is more than worth a read. The books are both available on Amazon and on Dan’s own site, danwickline.com.

A few days ago, Dan and I talked about writing, comics and his new books. You can read the interview below.

Me: Hello?

Dan: Hello.

Me: Haha. You’re like, when will this be over?

Dan: Well, you know my excitement about being interviewed in the first place.

Me: The thing is, I don’t have to say the part – I’m here with Dan Wickline. Because no one can actually hear us. So we can be very relaxed.

Are you ready to have an interview conversation?

Dan: So you’re not going to let me try to derail this any more?

Me: It can be just as fun as any other conversation we ever had, with lots of giggling.

Dan: Yeah, but the topic is…

Me: What do you mean? The topic is going to be your brain.

Dan: Okay. Go. Just go. Fire when ready.

Me: First I want to ask you some background questions. And I’m not sure I know the answers to all of these myself, so it will be of interest to me.

Dan: Okay.

Me: When did you first know you wanted to be a writer?

Dan: I’ll let you know when it happens.

Me: hahaha But seriously, when did you decide to become a writer?

Dan: When I was a theater major in high school and we were doing different festivals. Our teacher decided it would be fun for us to write something of our own. I decided to write a Shakespeare parody where all the characters ganged up to hunt down Shakespeare to find out why he’d put them through such torture. We never did it. My teacher didn’t like it, but in writing it, the format reminded me of comic books. When I was eleven, I’d met Jack Kirby. Who was the be all and end all of comics, and I was just so impressed with how nice he was that I knew I wanted to work in the comic industry. Since I couldn’t draw, I suddenly saw writing as a way in.

Me: So you went through that whole thing in the 90s with Diamond where they became the only distributor and small presses who couldn’t sell a certain number of comics couldn’t get distribution?

Dan: Well, they didn’t start putting the limits on things until the late nineties. I started looking at publishing in ’94 and at that time there were still a handful of publishers. It was between the time I started looking into it and ’96, when DC signed its exclusive with Diamond and Marvel signed it’s exclusive with Hero’s World. And shortly after that they realized Hero’s World wasn’t going to make it. Diamond bought out Hero’s World, so they ended up with the big four: Marvel, DC, Image, and Dark Horse, causing that whole monopoly. I don’t remember them having a specific sales limit at the time, but I know when we self-published our numbers were horrific.  I think our first issue sold 412 copies. And it was a full color comic. Which is just insane.

Me: Yeah.

Dan: I still have boxes and boxes of those, by the way, if anyone wants kindling for a bonfire.

Me: hahaha What if they want them, though?

Dan: Oh my god. It’s such a bad story.

Me: Is it?

[Read More...]

Wow.

I really had no idea. This manuscript is turning into something amazing. Many of you have been reading the raw materials for a few months now. Stories written by numerous writers.

But they don’t really fit together, I’ve heard people say. Well, they do. But we’re all writing on different schedules. So now I’ve been putting the manuscript together this week. On Saturday, I’ll post Dan Wickline’s story, the last to be posted on the web before the book comes out at the end of October.

You  may have been enjoying these stories, some more stand-alone than others. Different genres for different tastes. But what we’ve managed to do with them is beyond any hopes I had originally.

I can’t wait to show it to all of you. It’s really like nothing I’ve ever done before. People, especially writers, are always telling me that writing is a very solitary act. And as such, it’s lonely. I have never actually felt that way about it. I’m a very social writer. True, it’s a bit like death. At the moment it happens, you’re alone no matter who is with you. But there are ways to share writing and this project has been about exploring those ways.

I think for me as the person who has been seeing all the stories ahead of time, who’s been editing, and directing the overarching plot of the entire book, this experience has been something different than it has for anyone else. Seeing how, even though they haven’t discussed the pieces, writers are creating stories with subtle underlying links that seem almost psychic has been quite a trip. What I hope for all of you  as readers is that when you see the finished book, you’ll share in my sense of wonder at the way creative minds can merge together.

I had the pleasure this week of collaborating more closely on a single story with James ‘Grim’ Desborough. I wanted to write a particular story, but it involved a fight scene. I don’t know much about fighting, so I sought out Grim, who is a self-titled space pirate who also writes RPGs.  We wrote a really fun story together in the spirit of collaboration that permeates this whole manuscript.

I think for those of you who have never seen the stories on the web, the book will blow you away. For those who’ve been reading along, it’s going to be like a perfect likeness of something sculpted out of the side of a hill.

I could never say this about my own work. This is the summation of the creativity of about thirty people, each with his or her own particular genius. I’m fairly certain it’s going to dazzle you.

Exciting Red Phone Box News

Today I can finally announce the identity of the special guest contributor to the Red Phone Box story collection to be published by Ghostwoods Books in October.

Warren Ellis has agreed to write a story for the collection. We have many talented writers in the project, but having a story from Warren in the book is obviously a huge treat for all of us.

Sign up with the link at the top of the page to receive notice when the book is available.

 

RPB Welcomes Special Guest Sezin Koehler

A couple of months ago, I invited Sezin Koehler to write a story for Red Phone Box. I’d just read her as of then unreleased novel and I was impressed. Sezin writes post-modern feminist horror. Which means (see Peter, my Poetics class is coming in handy!) experimental horror that uses female characters not only as victims but as monsters and survivors and heroes.

In an email exchange, I pointed out to her how as an attractive woman, there was a bit of anger in me at the ways I was often reduced to the sum of my female parts. I confided in her that a scene in Natural Born Killers in which Juliet Lewis ends up screaming, “How sexy am I NOW?” while jumping up and down on the back of some dude who has come on a little strong in a diner had resonated with me in the same way her book does.

Not to say I don’t adore men, because I do. But sometimes they don’t seem to understand when they’re being creepy. And in polite society, if you’re a woman, you’re not really allowed to make a big deal out of it. Still, after it happens over and over again, there’s a vicarious release to be had in seeing strong female characters taking a stand against it. It’s like watching cartoon violence. You don’t want to do it, but it feels good to see it acted out with rubber mallets.

I had been writing episodes of a little series that I saw as a kind of comic book script called Mondo Xang: The Adventures of Dead-Man on Twitter. I didn’t realize it at the time, but Sezin was a big fan. So when I asked her to write a Red Phone Box story, she decided to merge the two.

This merger led to subsequent conversations when we met in Prague a couple of weeks ago about writing a book together, perhaps finding a couple more female writers to join in. So far, it’s looking like we may go ahead with this idea, once we have a bit more time in our schedules.

Today Sezin’s novel, American Monsters is being released by Ghostwoods Books. In celebration of the event, Red Phone Box and I are proud to offer you a special edition of RPB: Karma’s a Bitch by Sezin Koehler.

Why Red Phone Box is the new cool

When I got the idea for a collaborative writing project, I thought it would be fun. If you’ve ever been in a group of creative people, you realize it’s not like anything else. The ideas start flying. Hilarity usually ensues. People feed off of each others’ imaginations. So I had a pretty good idea that that would happen.

What I didn’t really get until it started happening is how a group of writers working together on a project and never really meeting or discussing the stories ahead of time would in some amazing way become a collective mind. Hive mind, I’ve been calling it. It’s not that everyone starts to think alike. It’s that the group becomes greater than the sum of the parts. The mental blueprint of one writer’s mind in conjoined with all the others. It’s like an orchestra of writers.

Things are just getting into full swing in the series. As the editor, I see and approve all the stories that get into the collection. It’s my job to make sure the stories work together, that no one steps on anyone else’s story by accident. In the weeks ahead, this job will get harder as so much is going on. But it is really incredible to see the creativity pouring out of this group.

What’s so new about it?

This is a new age. The old publishing model isn’t working the way it used to. A lot of people are publishing their own stuff now. The internet has allowed writers from all over the world to meet and work on this project together. And we have the opportunity to share our work with you with an ease that didn’t exist even five years ago.

The writers in this project come from all different backgrounds. They grew up in different countries, different cultures. They’re different ages, though mostly Generation Xers. What they share is a desire to create and the theme of the collection and now, thanks to modern technology and synchronicity, the magical London of Red Phone Box.

What sets this project apart is that we have this collection of creative people testing the limits of their imaginations in an interwoven story environment. Actually I’m fortunate to have Tim Dedopulos giving me a hand with the editing. He’s the publisher behind Ghostwoods Books, which will publish the RPB collection at the end of September. He’s an excellent writer in his own right with more than a hundred published books. So this collection is thoughtfully constructed, the stories edited and synchronized.

A lot of the people working on it are writers: game writers, puzzle writers, comic writers, novelists. But they are all other things as well. Parents. College students. Hermits. Spies. Sexy geeks. They’re like you. Only crazy. Or maybe you’re just as crazy as we are. Come on, then. Check it out. You could influence what happens with this collection. Tell us what you want to see more of and what you want to see less of. We’ll listen. Because a story series isn’t complete without people to read it.

RED PHONE BOX starts here.

This week Hungarian games writer and graphic designer Gábor Csigás adds his story to the series. Gábor told me that once he was almost run over by a tram. His girlfriend at the time pulled him off the tracks. He claims he wasn’t drunk. I had no idea how this could have happened until I was in Prague last week. Yeah, those trams will sneak up on you. Luckily he survived and his story is here, if you’ve been reading all along.