Tag Archives: short stories

The Write People

Let’s talk about people. Not random strangers or the fabulous old guy I saw at the bus stop today shouting at passing cars, but those writerly people other writerly people can’t do without… or shouldn’t do without. (This is going somewhere, I swear.)

All right, so we all know writing is a solitary endeavour. I’m talking about the actual act of it – sitting in front of the pc, the laptop, or putting pen to paper old-school. But it shouldn’t be a lonely one. There’s a misguided “romantic” notion of writers holing themselves up in a room, coffee cups balanced precariously as you tap away like a crazy person, the outside world and living people some figment of your imagination because you live wholly within the created and among your characters. And while the coffee cups and crazy person might have a ring of truth, writers need that connection to other writers.

My partner, bless his sarcastically-gifted soul, refers to them as ‘your people’, and he knows when I need to reconnect (for the sanity of us all) … although it’s usually preceded by “day nine of you in your pyjamas”.

This weekend I get to hang out with one of my favourite ‘your people’ – Devin Madson. She makes the trip up to Sydney every year for ComicCon where we can talk all things books, stories, wrangle ideas, talk work, and just shoot the shit. It’s also where we get to catch up with our other writerly friends and revel in the successes of this year and where we think our imaginations will take us next.

There’s a solidarity among writers – no one knows the highs and lows of writing and publishing, the “I’m not good enough”s or the sometimes crippling writer-imposteritis; they’ll empathise, sympathise, and let you know you’re not alone in this gig.

a-mindful-installationA Mindful Installation by Jennie Lynn Paske

But Devin is more than just ‘my people’. You may have seen my announcement of a short story sale to Grimdark Magazine. I’m super chuffed about the sale, not just because it’s a pro-sale, and not just because the story was good enough to be accepted but that the story was actually written. I’m time poor. I run a successful editing business, and work will always take precedence – bills to pay, food to eat, you know the drill –  which means when something has to give, it’s usually writing and sleep (and fuck those people who say “if you want to write, you’ll find the time”, you can shove your self-righteous, guilt-tripping bullshit up your arse… but that’s a post for another day).

Where was I? Ah, yes, Devin. She knows how time poor I am, but she also knows the less I write the more antsy I become.  So with gentle nudges and on-point questioning, she pushed me to write the story that had been gnawing at me, that I thought would be a good fit for GdM. When that first draft was done, she sliced into it like a writing partner should – cutting away the unnecessary and drawing out the good. And so ‘Child of the Emptyness’ was born, and without her it would still be gnawing at my grey matter and making me feel like a failed writer. I also get to share the Grimdark Magazine ToC with her and her awesome story, ‘A Touch of Malice’ – it’s a hell of a win-win.

I’ve written posts about the ‘village’ needed to raise a book, a story but all writers need ‘their people’. You may think you don’t have them, but you do. They’re the ones who will kick you up the bum when they know it’s a kick up the bum you need; they will ask if you are writing with genuine interest and without pressure; they volunteer to critique your work because they want to read your stories, they want you to succeed. This doesn’t have to be an every-day thing, likely it isn’t. But it’s there, and that’s enough to feed the soul.

So a shout-out to my closest of people: Devin Madson (who makes me a better writer, and makes me want to be a better writer); Kirsten Cross (killer storyteller, maker of shenanigans, and my sister from another mother); Alan Baxter (you know why, mister – it’s all in the ‘at least…’ 😊); James A Moore (the kindest of ‘kind sir’s); and Matthew Summers, who never fails to keep me on track.

So find your people, revel in your people, and be the ‘my people’ for others. Like I said, the act of writing is a solitary endeavour, it shouldn’t be a lonely one.

Festivus Book Pimping – Carole Nomarhas

It’s the 19th? Better get my Festivus Pimping moving along if I’m going to squeeze as many pimpalicious books in before I head away in three days (woo hoo! Three days!). Ahem. Sorry. As you were…

This time we’re back on home soil, with Australian author, Carole Nomarhas, and her wonderfully creepy short story collection, The Fading.  The stories in this collection run the gamut of horror, dips it toes into some fantasy, and gives you a little bit of urban as well – but the running theme through the diversity of stories is that not everything is as it seems. Like ever.

Now before I move on, a little background here. There are moments editors dream of – finding those stories (be they shorts, novellas or novels) where you know you’ve encountered a true storyteller. I’ve been lucky enough to have had a few instances of, what I like to call my ‘holy shit’ moments. And I got that with the first story of Nomarhas’ I read – Black Glass. That was when I knew this collection was going to be something special, and it was the first two lines of that story that dragged me in: The dead came back. All of them.

The Fading

In that moment, I knew I was working with something special. Each story built on the last; each one delivering their own sense of bleak storytelling that only reinforced my belief that Nomarhas is an author to watch.

Of course, I have my favourites, but the standard of this collection is so damn high, these were difficult picks indeed. Especially when you add in the almost poetic prose Nomarhas employs to visually transport you to her worlds: Moth-flutters of dark, tattered mist came to his call…

The Fading consists to eleven stories, each one a world, a horror unto itself, and each told with the same desire to take you places you will never forget, places that will haunt long after you’ve stopped reading. Nomarhas’ words tell you so: The wind sang thinly, ghost notes through hollow bones.

I can’t recommend this collection enough. Anyone who loves horror, dark fantasy, and the magic of words will love it.

Currently only available in ebook format, which makes it the perfect gift with just the click of a mouse.

Go. Now. Buy it.

The Long and Short Of It

I write. Have done for as long as I can remember, but this last year the second draft of my novel (or as it likes to taunt: double-dare you to finish me, mofo!), has monopolised my time. Novel writing has had a steep learning curve – sometimes I joyfully get it, other times I despair. Ah, the rollercoaster life of a writer – amazing highs and some really shit-house lows.

Of late, I’ve been in that dead zone between highs and lows: the ‘Meh’ State, as I like to call it. While I’m still running on the high of my comic release, a writer needs to keep moving forward, and… enter the Meh State.

Neh

It’s taken a while for me to figure out why there’s been an itch the novel couldn’t scratch, but after a week in the country at my dad’s farm, it became apparent – short stories. So focussed I’ve been on getting through this next draft of the novel that I’ve neglected one of my favourite writing mediums.

I returned to fiction writing (from journalism) about seven years ago, and it was with short stories I decided to lay my hat. There was method to my choice: mastering short-story writing would enable me to write a lot tighter, which in turn would assist with my ability to write a lot more story into a novel.

Writing long is a very different beast to writing short, but there’s intrinsic value in learning the art of short-story writing. Creating a complete story within a limited word count means every word has to fight for its right to be in the story – a skill that transfers extremely well to novel writing. It’s a skill I have; one of my shortest pieces (under 3,000 words) won the Australian Shadows Award in 2011. And I’ve been applying it to the novel… and here is also where I think I’m coming undone. It’s the focus on making every word count – especially in this second draft – that is taking me longer to get this draft done than I’d like. There’s a need to shift gears, to see the bigger picture.

Help me

But that’s not the only thing that’s pushed me into the Meh State. I’ve missed writing short stories. A lot. Honing in on a moment in time, a sliver of someone’s life, is a whole lot of fun (yes, horror is a helluva lot of fun to write – murder and mayhem and monsters, oh my!); there’s no need to create a world on the same scale as the novel, but more drip-feed the world/culture into the story – just enough for set the reader in that world.

And let’s not forget the gratification side of things. Writing a short is far quicker than writing a novel (duh), and there’s also a much quicker response time for a short story, be it accepted or rejected. You know what’s happening with it far sooner than you would with a novel. It’s that high of having a story out in the world, fighting for its right to be in an anthology that I’ve missed, the feeling of being actually working (regardless of how stupid that sounds).

Balance. That’s what I was missing. I’d forgone the love of writing in the short form to pursue the lure of writing in the long. As of today, I have two short stories out in the world at the moment, both written within the last few weeks, and I’m currently working on another for an anthology that deadlines at the end of this month. I’m pumped. Not just to finish this short, but to also get back to the novel. Going back to writing short stories has reignited my desire to finish the novel.

As with anything, having such a singular focus can drain the joy from things you love. That was my mistake.

And that’s the long and short of it.

 

Review: Dying Embers by M.R. Cosby

It’s review time again!! And in light of my previous post, I’ll write it any damn way I please! Huzzah! So let’s try doing this one a little differently. Why? Well… why not?

Imagine if you will that I’m a rather portly town crier who loves the sound of my own mead-thickened voice. Gold brocade hangs by a thread from my dirty red coat and wilted plumage sprouts from my tricorne hat. *burps* S’cuse me. My breeches are more grey than white, and my scuffed boots are in desperate need of a shoemaker and some elves.

The bell tolls… “Hear ye, hear ye! The first book review for 2015 is that of Dying Embers by MR Cosby!”

As I duck the throw of rotten fruit and sidestep the splash from chamber pots being emptied from second-storey windows, I remove the heavily-stained parchment from my back pocket… Where’d I put my bell?

“Disclaimer! Said reviewer has met Martin Cosby once at his book signing. She arrived late and all the wine had been guzzled! She’ll know better next time. She and Martin interact on Facebook, usually in the form of deriding their cock-up of a prime minister and the embarrassment that is their government! Onwards to review!”

Dying Embers

Dying Embers is the debut collection from MR Cosby, published through Australian small press, Satalyte Publishing. Comprised of ten short stories, Dying Embers is the first I’ve read of Cosby’s work and it is fine storytelling indeed.

The horror genre encompasses such a diverse range, and more often than not Cosby’s stories sit well on the side of psychological horror. And he delivers this well.

We begin with The Next Terrace, and this sets the tone for most of the stories within. Here we meet the very staid Robert and his friend, Terry the risk-taker. It’s on a visit to Robert’s grandparent’s home that things take a weird little turn. As with most young boys, a hole in the wall that leads to the adjacent terrace is too difficult an adventure to refuse. That night, Terry cajoles Robert into following him through, but Robert takes a step or two then freezes. It’s what happens afterwards to the two boys that has the reader wondering. Cosby doesn’t quite come right out and tell you what’s going on, but rather leads you through a maze of clues to the denouement (spoiler-free!). I quite liked this story, and it set me up to the style of storytelling Cosby employs.

It’s the use of denouement through Cosby’s stories that work well… but I’m not a fan of it for every story. I, too, have used it, and it’s a great storytelling tool, but it doesn’t work for all stories, and I believe (note: my opinion) that it shouldn’t be for all stories within a collection.

The thing is, the storytelling is bloody good. Cosby either tempts you into the story, or drags you in, but either way you’re living the world of those of his characters. I found this to be especially the case with La Tarasque and Abraham’s Bosom, both of which paint the landscape and surrounds of the story beautifully and works wonderfully as a juxtaposition to the horror.

Both of those stories were in my favourites of the collection, as was In Transit. This story, about a businessman who values his travelling time and expenses as not only a deserved luxury, but a way to spend some time away from his family; not that he dislikes them, mind, it’s just… hey, we all need a break, right? But things, just small things really, start to seem a little off to Pendleton. The demeanour of other passengers, travelling ‘economy’, and a gate that doesn’t exist… but does it? It’s this slow build of tension via the reveal of these little anomalies that had me list this as a fave.

Another favourite was Building Bridges, but this was also tinged with a bit of disappointment. It would have been my pick of the collection had it not been for the denouement. But I’m getting ahead of myself. Brentwood is a man trying to connect with his family (especially his children) after suffering a debilitating illness. A trip to the museum to see the dinosaur exhibit seems a good place to start, but after losing track of his family, or rather being accosted by an odd homeless man, he spends his time chasing after them. But Brentwood finds himself in an altogether different place; there are dinosaurs sure, but not quite like he expected. Cosby works the off-page building of tension here very well, and I was racing along the darkened corridors with Brentwood. And even I knew (like Brentwood) that the “dinosaur expert” he encountered was a little… off. As was the “dinosaur” the expert was waxing lyrical about.

It’s the chase though, toward the end of the story that really had me racing through the words – a sure-fire sign that the tension is done extremely well. And as the monster closes in… ZAP! We’re in denouement. Noooo! I wanted to see that final confrontation, to feel the fear, the terror as it closed in and got all nasty on Brentwood’s arse. Now don’t get me wrong, the denouement works to finalise the story, it just didn’t work for me. Especially after the terrific build.

noooo

And that’s where, for me, the collection didn’t quite pack the punch I was after. As a friend of mine said: “It didn’t hit you in the feels.” Thing is, the stories are extremely well told, and the tension and horror of the situation is conveyed with a lot more skill than others I’ve read. Cosby knows how to tell a tale. For me, though, it’s the visceral side of the horror genre that has its claws sunk into my heart.  Again, this is personal taste, and mine runs to the bloody side of things.

So, overall, this is a very well-written collection of psychological horror that sits well within its genre. If you’re looking to tease someone into the wonders of horror without the splatterpunk most associate with horror, then this is the collection to get them started on their journey of horror-love. For those who like some blood and gore with their horror, this probably isn’t the collection for you, HOWEVER, there are some damn fine tales within that are well worth the look.

On a Goodreads scale I give this a four-star for the art of storytelling.   

4 stars

 

Art My World

I’m a writer, a creative. And while it’s words I weave it’s also a very visual process – most writers will tell you the same. In our mind’s eye, we can see our characters manoeuvring through our created landscape, we envisage them interacting with each other and with their surrounds. Clear as day we see them walking down the street, being chased through the wilds by a monster, piloting a spaceship or riding a train.

I can’t tell you the amount of times I’ve wanted my worlds brought to life, and while I love to draw, I don’t have anywhere near the talent of some of my contemporaries. Talent is a bit of an understatement, though, as you’ll soon see.

In my last post, I spoke about Montgomery Borror’s, art, and how much of a damn fine artist he is. As his Kickstarter is so close to being realised, I’m going to show you why the man’s work needs to be out in the world.

Lovecraft

First, a little background…

A few years ago, I wrote a steampunk horror short – Shovel-Man Joe – that won the Australian Shadows Award for short fiction. It was my first stab at steampunk, and I fell in love with the genre. The story is set on a train, but it’s a train like no other. I could see it clearly in all its sinister glory, but with a very limited word count I had to write tight. I’m not a poet, not by any stretch of the imagination, but I have a love of Coleridge and his words, so I took a chance to tell part of the backstory of the tale with… yep, you guessed it, a poem… of sorts.

The poem is regaled by one destined to tell and retell the story of the train and those who choose to ride it (think Rhyme of the Ancient Mariner). It’s told within the workings of the story, and while penning it, I saw the train screaming down the tracks toward the exiled depot, and I hoped the poem would work well enough to pass that visual on to the reader.

It wasn’t until last year that I saw ‘my train’ brought to life. Only it wasn’t for ‘Shovel-Man Joe’, but rather ‘Black Train Blues’ by James A Moore (I’m a huge fan – check out his stuff) for Midnight Echo Issue 9. The illustration is phenomenal, and perfectly captured both James’ train, and the vision I had of Shovel-Man Joe’s train. When I first saw it, I said: “That’s my train!”

This was my introduction to Monty, the master-illustrator and it wouldn’t be long until we were working together on a comic based on one of my stories. That project is a while away yet, and Monty being the workaholic he is, has another project on the go – one where he’s both writer and illustrator, and where he tackles two of the masters of horror: HP Lovecraft vs Aleister Crowley.

With just five days to go and just $140 to get to fund the project, he’s so close to getting his dream comic off the ground. So, for those who are a little unsure as to whether they’d like to kick in, just take a look at Monty’s work, and trust me when I say you won’t find a harder-working, more dedicated illustrator.

I now own a copy of ‘Train in Vain’, and though it was drawn for another’s story, take a look at it below and read the poem I’ve pulled from ‘Shovel-Man Joe’, and if you can, think of backing Monty so he can get his artwork out in the world.

train in vain 1

Crack! The whip struck Shovel-Man Joe!

Back slashed red, blood and sweat flowed.

Piled high at his feet were limbs and entrails.

The shovel scraped loudly; the fire inhaled!

 

The throttle released with a hiss and a groan;

The engine chugged forward on pistons of bone.

First class hurrah’d and raised glasses high;

The whore settled back, spread wide with a sigh.

 

All aboard! All aboard!

Fresh meat, the fire roared!

Ride the train it was writ; be the first to The Pit!

But who has returned and spoken of it?

 

He comes, can you hear?

Who’s the first to disappear?

Whispers in the halls; scratching in the walls.

One by one you will surely fall.

 

Beware the Shovel Man’s ire!

Feed the fire! Feed the fire!

Ride the train if you dare…

You must all pay the fare.

 

Situation Normal, All F**ked Up

SNAFU: An anthology of Military Horror is out in the world! This massive tome, put out by independent Australian publisher, Cohesion Press, is the first in an annual military-themed antho. When owner and editor in chief, Geoff Brown, got in touch and asked if I’d like to be involved, I responded with a hearty HELL YES.

It’s been a good couple of years since I’d worked on an anthology (the last being Midnight Echo Issue 8) and I’d forgotten how much I enjoyed working with a slew of authors to weave a theme through their stories. And what a kick-arse bunch of stories they are. While I was only involved on the editing side of SNAFU, with over a thousand submissions, Geoff Brown has done a remarkable job in his choices for the anthology, and the stories within are a testament to the writers themselves. There are some cracker tales in this book, covering all manner of conflicts, time periods, and monsters. Ooh, we can’t forget the monsters! There’s a plethora of ghosties and ghoulies, born right out of your nightmares.

SNAFU cover art

With a veritable who’s who of the genre, there are stories from best-selling authors Greig Beck and Wes Ochse, plus a gritty Joe Ledger story from the master Jonathan Mayberry, and if you’re a fan of James A Moore (that’d be me), there’s a new Jonathan Crowley novella inside. But it’s not just about the big names, the stories from all the authors in this anthology are fantastic and I had a great time working with them and their tales – it was real pleasure, and if this is the mark of authors moving through the ranks, then the publishing and reading worlds are the real winners here.

The ToC is below, and if you’re looking for a great read, you really can’t go past SNAFU:

Blackwater – Neal F Litherland
Little Johnny Jump-Up – Christine Morgan
Covert Genesis – Brian W Taylor
Bug Hunt – Jonathan Maberry
Special Operations Interview PTO‑14 – Wayland Smith
Cold War Gothic – Weston Ochse
Making Waves – Curtis C Chen
The Fossil – Greig Beck
A Tide of Flesh – Jeff Hewitt
Death at 900 Meters – Tyson Mauermann
Holding the Line – Eric S Brown
Thela Hun Gingeet – WD Gagliani and David Benton
The Shrine – David Amendola
Ptearing All Before Us – Steve Ruthenbeck
A Time of Blood – Kirsten Cross
Blank White Page – James A Moore

And for those of you wanting to write some military-based horror? Keep your eyes on Cohesion Press for the next call for submissions.