As a father of three, two of them daughters, I struggled to find heroic stories to read to my girls. It was easy to find such fare for my son, but there was a gross absence of children’s books that offered a brave female with whom my girls could identify. And so I fabricated a few stories to tell them at bedtime. But the experience made me acutely aware of gender bias. And it has not been limited to children’s books. Gratefully, that is changing in all age groups, largely due to the explosion of great female authors who are unafraid to buck the system and create strong female protagonists in genres that in the past have been dominated by male main characters.
I had the great fortune to read an early version of 10 DAYS by Jule Selbo. Honestly, it read like a finished work with nothing major that I saw needing to be addressed, which didn’t surprise me. Selbo is a highly competent writer with oodles of experience as a playwright and she wrote numerous screenplays while working in Hollywood. Recently she has become an award winning novelist as well. 10 DAYS: A Dee Rommel Mystery #1 is her debut foray into Crime Mystery fiction, a genre she loves reading.
10 DAYS’ plot is solid, engaging, and compelling. The pacing feels perfect, building suspense toward a thrilling climax. Selbo’s cast of characters, even the minor ones, are authentic, well-developed to the point that some will become your friends while others will feel like enemies. The protagonist, Dee Rommel is, in a word, remarkable on so many levels that she is destined to become a fan favorite. She is a quick-witted badass in ever sense of the word with a burning desire to find justice for the wronged. It often compels her into risky, ill-advised, confrontations with bad guys as she champions her friends and family. And she does it all without toting a gun.
What Selbo accomplishes more than adequately establishes bedrock for the series yet to come. She creates an endearing female noir private investigator with whom most of us can identify. Selbo pays homage to genre archetypes while venturing into some largely uncharted territory, allowing the reader to share Dee’s dilemmas as well as overcoming the pain of her daily routine. We cheer for her because she’s just the kind of heroine who could easily be a sister or cousin. Her strong, overriding sense of justice and loyalty to her friends and family drives her always, even against mounting odds as her principal foil is fully revealed and fleshed out.
The book releases to the public worldwide on August 11, 2021 in eBook and print, so you don’t have long to wait. I don’t know if there is such a thing as a perfect crime fiction novel, but this one will rank on everyone’s list. It checks all the right boxes and appends a few more in the process. I can’t wait to read the sequel. And yes, this thriller deserves to be made into a movie. So, take note, Netflix.
I’ve spent the past few months revising several old manuscripts, one of them dating back to the days immediately after I finished the first draft of The Wolfcat Chronicles. I’ve breathed some new life and adventure into them prior to submitting them to my publisher. No guarantees any will be approved, but after investing the time, I’ve decided the stories are worth it. My most recent submission is a series called The Attributes, it’s two books plus a 5700 word short story prequel.
In case you don’t follow me on social media, please do to stay up to date on everything Elgon.
Lately, I’m sporting a Pandemic beard and have grown my hair out to a length it has not been since college. I’m thinking of keeping both, even if I look like Santa’s demented uncle. I may trim the hair and beard a bit before jetting to Florida next month to celebrate my great niece’s wedding. (Congrats Britters – I’ll post some pics if I can.) I don’t know, though. I’m kind of favoring the continued scruffiness. In my old age, I’ve become a rebel again. Leave comments.
On the personal front: Just before Thanksgiving last Fall I contracted the modern day plague. My son and daughter-in-law came down with it around the same time, and I was babysitting for my grandson when I must have been exposed. Definitely not something you want to catch, though my symptoms were not nearly as bad as my roommates, who I suspect caught it from me even with all the precautions of washing hands, wearing masks in the house, and being hyper focused on cleaning surfaces. You see, this virus is as highly contagious as the officials say. Two of my roommates ended up in the hospital, one was there for a bit on a respirator. It is a lottery how bad your response will be to this thing. I believe my immune system fought it off because I take doses of Vitamin D and am otherwise pretty healthy. I had about a week’s worth of aches and pains, a low grade fever that never went past 99.5 F, a cough, and a little nasal congestion. My senses of smell and taste have not yet fully returned, though I’d estimate they’re back to 90%.
Over the past month and a half, I have received both doses of the Pfizer vaccine, with no side effects other than my arm being sore around the vaccination site (the first time lingered longer than the second and was a bit more painful). Other than being tired for a day or so and my temperature running about half a degree higher than normal, I was blessed to survive it without much to report. Here are the options as I see it: catch this crud (as eventually you will) and take your chances on how severe your symptoms may become – or – take a couple of shots (the needle is fine gauge so you hardly feel it) and even if you’re one of the 5% who still catch the crud, you won’t have the severe consequences. Protect yourself, your loved ones, and neighbors.
As always, you will do you, but there’s my advice.
We are on track for the final book in the Thuperman series being published sometime this fall. Titled THUPERHEROES, it wraps up the summertime adventures of Will and Sandra, though they will appear as adult characters in future books. We’re also looking at DAMMERWALD, the long awaited Book 1 of The Wolfcat Chronicles, for later this year. And NINJA BREAD CASTLES, the sequel to FRIED WINDOWS, is also currently in edits and may make it to publication before the end of the year. Lots going on in 2021 in the world of Elgon.
Naomi and Luke have only one thing in common: they both died by suicide. They can earn a second chance at life by efficiently guiding their loved ones through grieving their untimely deaths.
Naomi excels at making her friends and family mourn, but the Death Shadow stalks ever closer to Luke. The dark entity carries non-compliant souls straight to Oblivion where unspeakably terrifying torture and the final goodbye await.
The two are forced to work together to navigate the in-between world in which they’re stuck. The only certainty is that the rules are unclear and shifting, and things are not always as they seem.
The pair must prove they’re worthy of another shot at life before time runs out. Can Naomi and Luke get better at living now that they’re dead?
You’ve got to love an author who is willing to take chances, challenging norms, and pushing beyond the conventions of a genre. Penni Jones has done that with each of her previous novels: ON THE BRICKS and KRICKET. Although her writing has elements of mystery, suspense, and thrillers, there is always a gritty kind of realism as well. We can readily identify with her characters because they remind us of someone we know, or perhaps ourselves. She is frank, honest, and unafraid to tell us things others might decide not to. And what she says tends to be what we would think if we were in the same circumstances. This lends an immediacy to the story that allows the reader to become immersed into the story and care about what happens to its characters. SUICIDE SOULS is no different in its style but deviates from its siblings in subject matter. It is about life, death, and an afterlife that clearly is not exactly what the characters might have been led to expect. There is depth here that is subtly presented as a fairly simple, straight-forward story becomes more involved and complicated as the telling progresses. And in this, death becomes more and more like life, just with more frustrating differences.
As Naomi and Luke introduce themselves, we not only learn how they offed themselves but, over the course of the telling, we learn more than just the why. We learn about their character flaws, their insecurities, and their self-images that have followed them beyond death. Even though their physical natures perished with their bodies their self-images have followed them beyond the grave. For example, Naomi is busty and, in her own eyes, that has defined her relationships with men. Luke is insure about nearly everything including his obsession with superficial primary gender characteristics. Luke’s eyes rarely stray from Naomi’s boobs, even though they are merely echoes of what they were in life. As the story evolves, each of them must reconcile their pasts with their current situations. In due course, they come to realize how thin and vapid they were in their own lives – and perhaps why these flaws contributed to why they ended their lives. Although their lives were complicated and not all the different from the situations that define many of our own lives and those of our friends, they decided to end it all, only to learn that the end is only the beginning of a more complicated mess.
In death, Naomi and Luke’s existences become convoluted, confusing and, on the whole, a lot worse. Jones envisions an arbitrary structure that permeates everything around her characters as they navigate a minefield of manipulation and selfish intentions set against them. Redemption is not guaranteed as the author presents the world with a wry eye for the absurd and ill-conceived that reminds me of the societal commentaries embedded in the stories of Kurt Vonnegut Jr. Jones’ characters make do with their lots as they progress toward uncertain conclusions. What results is an often biting treatment of the human condition that attacks conventional aspirations, ambitions, hopes, and dreams with hellish potentials largely beyond the characters’ control. The taking of one’s life is not glorified. Far from it. Death here is not the escape from life that some assume but an inevitable consequence of a larger process. Nothing is given. Nothing can be taken for granted. Your situation may vary and is not intended to get better. The best anyone can do is paying a lot of attention to the decisions one makes. The result is an engaging story that becomes more compelling and even hilariously farcical at the conclusion.
Penni Jones is a writer, movie buff, concert t-shirt enthusiast, reluctant multi-tasker, grunge music listener, and blogger extraordinaire of Scapegoats and Sacred Cows Penni started writing stories as soon as she learned how to hold a pencil. She is an avid reader whose favorites include Mark Haskell Smith, Ariel Gore, Chuck Palahniuk, Kurt Vonnegut, Gillian Flynn, Christopher Moore, and Kelly Braffet.
Penni is an Arkansas native with a nomadic spirit. She holds a Bachelor’s Degree from St. Martin’s University in Lacey, Washington. She has worked as a bartender, restaurant manager, bank teller, payroll specialist, event planner, and office manager. These days she focuses on writing. She currently resides in Michigan and probably has too many pets. She is currently the Membership Chair of Michigan Sisters in Crime. Follow her on Twitter at .
Based on Jessica Reino’s widely viewed and successful monthly Twitter chat with writing novices and successful authors, The Writer’s Zen is a tool for writers to use during their own journeys from concept to publication and the many different ways to get there. It will help writers stress less during the creative process and find a writing routine that works best for them on their way to publication. Jessica uses her experience as an editor, author, and a senior literary agent to explain the paths that a writer can take to writing success.
Anyone who desires to become a successful author must read this book.
Whether you have ever dreamed of being a professional author or are already on your way, THE WRITER’S ZEN is designed to help you explore alternatives to make the most of every opportunity. Best of all, it’s told in a friendly, conversive way offering advice based on the author’s wealth of experience as an author, editor and senior literary agent. Reino presents the various aspects of becoming successful regardless of the author’s background, prior writing experience, or prior knowledge of the publishing industry. She also exposes the changing nature and challenges of the digital age to old paradigms, including self-publishing and using social media in book marketing. As the title indicates, there is a Zen-like balance to be struck and a would-be author’s quest that goes well beyond the hard work and self discipline of harnessing basic composition skills in telling a story or expository, subject-based non-fiction writing.
There is something for everyone, and I highly recommend this book for anyone who aspires to write, whether it is a story, a text book, or the next great novel.
Jessica Reino is a literary agent and multi-genre author. She enjoys spending time with family and friends, developing new stories, and helping other writers achieve their goals. She is a member of the The Editorial Freelancers Association, The Women’s Fiction Writers Association, and The Society of Children’s Book Writers and Illustrators.
I suppose waxing philosophical is natural when a milestone
is reached, but I tend to be a quiet observer. If you’re expecting a boisterous
blowhard pontificating pompous bombast or boring people with flowery fluff,
that’s not me. I write a bit, though. Fortunately, I have editors to ground me
and help make sense of my ramblings that eventually make it onto a printed
There is nothing else like this feeling.
My love of writing compels me in a way that no previous
endeavor in life ever has. The physical execution of the process consumes a
portion of each day, but truth be known, I am writing all the time, even when I
rest, and always when I dream. In fact, a writer is never not writing. Even
while suffering from writer’s block, a writer is still engaged in the creative process,
whether it is realized or not.
Yesterday, I received a physical copy of the third book I’ve published since signing with Pandamoon Publishing. I published a few others before becoming a Panda, a couple of self-published things, and a pair of works released through another, now defunct, small publisher. Personally, I don’t consider those in my totals anymore. There will come a time when I revisit them as newly minted manuscripts, heavily revised and reborn, because the stories within are important and tie into the overall creative universe that has spawned Fried Windows and The Thuperman Trilogy. But I never recommend them, despite that there are copies of them floating around. You see, publishing is a thing that cannot be undone, especially once an ISBN number is assigned. But One Over X served a developmental purpose for me as an author. It granted me insight into the publishing business and book marketing. And it established a foundation that produced an ambitious project that occupied my time for better than seven years. That series has yet to be published, but I learned many necessary lessons from creating The Wolfcat Chronicles.
I was a different kind of writer twenty years ago when I was working on my first manuscript. My processes and the quality of what I produce has changed, for the better, I think. My stories ramble less. They have coherent structure. The dialog is more realistic, which is always a challenge when you write fantasy. The characters have lives to which readers can relate. All of that was acquired through the processes of learning to write, something that one must teach to self.
A friend and fellow author told me that anyone can dream only to have it evaporate into the mist of morning wakefulness, but an author can capture a dream and give it physical substance. There is a lot of truth in that. And I’m reminded of it each time I hold one of my books. It takes weeks, months and sometimes years to compose a manuscript. It takes courage to send it in raw form to beta readers to test the viability of its story. More months pass in revisions based on feedback received and then several more months pass while the manuscript is edited. Dressing it up into a pretty cover and testing the nearly finished version of the story with advance readers who will hopefully offer some reviews is the next step in the publishing process. And then the book arrives, launched upon a largely unsuspecting world that, for the most part, does not read books anymore.
On the surface, writing professionally does not make sense. For
nearly all of us who do it, it will never pay the bills. But there is
satisfaction at the conclusion of each journey when you hold one of your dreams
in your hands.
This past weekend marked another milestone. HOMER UNDERBY is now on pre-sale for Kindle with a launch date of August 14th. That also means the ARCs are available and being distributed for pre-launch reviews. I’m proud of this book, not that I haven’t been proud of my others. But this one is a little different because of the collaborative effort that went into its conceptualization.
If you’ve been following my blogs, I mentioned that the first draft of BECOMING THUPERMAN was written in the summer of 2013, while FRIED WINDOWS was in editing. I polished up the draft a bit and submitted it to my publisher who eventually put the book under contract a few months later. From the outset I intended the book to be a one of kind thing as an author. It is a story about kids, after all, and although my books have been kid-friendly for the most part, they have been intended to be YA or older. Despite the ages of the two main characters, BECOMING THUPERMAN is not a children’s book, per se.
During the editing process for BT, about a month before it was released, Jessica Reino, the substantive editor, suggested that a couple of story lines might be easily extended if I feathered in some foreshadowing earlier on in the story. And after an hour or so discussing the possibilities, I had two more books plotted out in a rough outline. I know that’s the way some writers work, but it was unusual for me. My first drafts tend to be free form. I create an outline after the fact to organize the resulting chaos. So, you see, HOMER UNDERBY is the first book I have ever composed according to an outline. The third book in the series, titled THUPERMAN AND CASSANDRA, will be the second book produced that way.
What about all my other manuscripts? They were created the old way. However, I am revising all my Wolfcat books and have begun imposing an outline structure for the sections that require some rewriting. And for those who are interested in following their favorite characters in other series, Brent from Fried Windows is in HOMER UNDERBY and THUPERMAN AND CASSANDRA as well as THE WOLFCAT CHRONICLES. Will and Sandra from the Thuperman Series are also in the sequel to FRIED WINDOWS, titled CASTLES OF NINJA BREAD. Ela’na from THE WOLFCAT CHRONICLES appears in other manuscripts the titles for which have not been determined. In some of those stories Brent, Will and Sandra are also included.
For the past couple of months I have been in revision mode working on some unfinished and unpublished manuscripts. Two of the novels-to-be serve as background on Brent Woods, the lead character in FRIED WINDOWS (IN A LIGHT WHITE SAUCE) published May 2014 and CASTLES OF NINJA BREAD (coming in 2020). Brent Woods also appears as a supporting character in the final two books of The Thuperman Trilogy, HOMER UNDERBY (Coming 2019) and THUPERMAN AND CASSANDRA (Coming 2020). So, it was important to sift through the background material I composed several years ago and flesh out something in book form about Brent’s past. His senior year of high school is chronicled in WRESTLING IT and HAVING IT as well as his first semester of college contained in Losing It.
WRESTLING IT and HAVING IT were originally contained in a draft that was over 2,000 pages. After revisions and putting the story that now spans two volumes on a strict diet, it’s now around 500 in total with the WRESTLING IT comprising about 275 pages while HAVING IT is around 235 pages. I’m hoping both will receive good haircuts in the editing process. The story covers a lot of ground and introduces several characters that become important to understanding Brent’s motivations and relationships. There is more story to be told, enough for a third book about Brent’s senior year but it feels anticlimactic. The draft of what part of the story was never finished.
LOSING IT, a book about Brent’s first semester of college, was already close to finished. In fact, I had arranged for an editor to take on the project and it was waiting in her queue. Over the past few years it existed under different working titles but has never been published. As originally composed, it was told in subjective as opposed to chronological order. So, one of the major revisions this year was to reformat its flow so that it events are presented sequentially. Some scenes were removed. These may appear in future novels or separately as short stories. Also, some sections needed to be rewritten to accommodate adjustments made to the WRESTLING IT and HAVING IT story lines, including the addition of new characters.
The third book I’ve been working on is titled DEADMEN DON’T WEAR WATCHES, another book with an odd title. Unlike the two FRIED WINDOWS books, this one is presented in third person. Brent Woods is a supporting character in this one and there are appearances of the grown-up Will and Sandra from The Thuperman Trilogy. The story is an urban fantasy, crime mystery thriller mash-up that follows Detective Mona Parker who is struggling with a perplexing serial murder case that threatens her job as well as her reputation for solving tough cases. DEADMEN is necessary to fill backstory elements for The WOLFCATS Series, book one of which is coming soon.
Writing is a curious habit by its
nature. Some attempt turning it into a profession with varying results. One
might have better odds winning the lottery than publishing a best seller that
makes the author wealthy. Don’t quote me on that. But I’ll bet the odds are
Creative people, like writers, analyze things, read things into situations
that others may not consider and, yes, see things that are not there. How else
could watching from your back porch as a bird sings in a tree in your garden
inspire you to write a murder mystery thriller? It happens.
With every book you write there comes a point, no matter what the book’s about
or how long or short it is, that you wonder if it is good enough to submit
for publication. If you have never experienced the magic of having someone else
validate your art by accepting your work for publication, you may only imagine
the exhilaration. It is a magical moment. But with each subsequent submission
you will always wonder if the magic is gone, especially if it takes months for
your publisher to get back to you.
In some ways I’ve had
an exceptional experience. Exceptional not in my subsequent success, but
in that it kind of goes against the grain and bucks the usual course. When
I wrote Fried Windows, I was in a bad place in my life. For many years
prior I’d been battling demons, both internal and external, imagined and real.
Toward the end of my tenure as a retail manager I was abusing alcohol
and frequently felt depressed. Often the two are linked. I’d been writing
for years. I’d published a few things, a couple of books through a small
publisher and others I’d self-published. I sold some books, but I didn’t feel
there was a great future ahead of me. Still, I never gave up on writing
because…well, if you’re a writer you know that stopping isn’t a
choice. It’s not how we are wired. I doubt my body would respond in the
same way as if I stopped breathing, but it would be close.
Work, my ‘day’ job that is, had long since ceased to inspire me. Since all my
kids had grown and were out on their own, I wasn’t sure why I was still going
through the motions any more. When I married, I made a commitment to family and
struggled a lot, putting in long hours, many too many times, to support them.
Although I wrote whenever I could, because, again, it is what writers do, I set
aside pursuit of my personal ambition of being a published author.
Every parent understands that a part of the job is subordinating private dreams
for the sake of putting your children first.
On February 22, 2012 I snapped. It occurred to me that no longer did I have a valid reason to continue putting up with my company’s abuse. It was my day off. Although I’d been scheduled to have at least one day off per week for the past 21 days, regularly, I was putting in 16-hour days and coming in on my days off. My masters were abusing their slave all because I was on salary and, let’s face it, they’d always gotten away the abuse before. Okay, technically they were paying me so it was not really slavery, but I wasn’t being fairly compensated for the hours I was working. You see, salaried = no overtime pay = abuse. They surely owned me for all intents and purposes. I received alarm calls waking me in the middle of the night that I had to respond to even when I had to come back later on to work an entire shift. And because my store was old the alarm system was buggy, It went off all the time. Only occasionally had there been a break-in.
I had been a manager all for the sake of getting paid a little more, never having my pay cut when business was soft, and maybe earning a bonus at the end of the year. That last part, by the way, is a moving target, a carrot that corporate dangles to entice while, in the background, doing everything they possibly can to make it unobtainable. If you have ever worked in retail management, you may have experienced some of that. Not every company does it, but the last couple for which I worked did.
It’s a given that nothing was ever good enough. And yet they told me I needed to be more positive. It’s damned hard to be positive when all you receive from your superiors is negative reinforcement. I was told to execute their plans not to think for myself. Hey, my last DM was an ex-Marine. He ran things as if he were still in the corps.
As a result of the pressure and stress, I drank to excess. Whatever didn’t hurt was so tense that I couldn’t sleep without putting myself into a stupor. Yeah, I know that’s an excuse. But it was why I drank so much. And so, roughly 7 years ago, I was enjoying my first day off in three solid weeks. Then, around 1 PM, I received the dreaded call from my boss telling me I needed to come in to work because his boss was there, in the store, raising hell about all the stuff that needed to be done. For some reason I was the only one on the planet who could do the work – oh wait, I’m salaried, so they were already paying me for doing it. Like Inspector Gadget, I was always on duty.
Like a good obedient dog, I went to the store. The guy I worked for was a new boss. In many ways he was the same as my old boss who had just retired about a month before, but in other ways he was not. My past manager was reasonable about dressing down if I was going to be doing physical lab, as in sweating a lot and getting dirty. Since the new guy told me I needed to put away freight, I assumed I could dress to make a mess. Ever before, when I came in to work ‘for a few hours’ to slam freight, that was what I did.. So, wearing casual clothes, I reported to work. When I saw my boss, he asked me why I wasn’t in uniform. I explained. He told me to go home and change. I started to do that, got all the way to the front doors and was about to go home and comply fully, when I asked myself, why am I still putting up with this crap?
Why was I killing myself – figuratively and literally, enduring the torment? My job was interfering with what I wanted to do with my life, what I loved to do, what I had been doing that day (my day off) prior to receiving the call – writing. I was divorced, my kids no longer needed Dad breaking his back to support them. Why was I doing it again and again and again? Because it was routine? Because I had bills to pay? Because it was force of habit?
There is an old saying that most managers know but few heed. Never allow your subordinate to reach the point of not caring. I’d been pushed well past that and, although everyone told me after the fact that I was crazy to do such a rash thing, I handed in my keys and never looked back.
What are you going to do now?
I don’t know, look for another job,
maybe something with lower stress. Or maybe I’ll just focus on writing. I’ve
always wanted to do that, and I got sidetracked.
Are you nuts?
I thought you knew me well enough for that to be established. Yes, I am nuts. That’s part of the reason why I write.
For a few years I’d belonged to an online writing community. I won a couple of feel-good trophies for my writing. But being among other creative people served a valuable purpose, validating what I wrote in draft and posted online for all to read. Having the almost immediate feedback of other writers, be they poets, novelists, script writers or short story writers bolstered my confidence in storytelling. It helped me improve basic writing skills and allowed me to explore and expand the range of my author’s voice. Without that experience I would have never evolved past where the brute force of hammering out words led me, a.k.a. nowhere.
For several years before that, I’d worked on downsizing my life. I’d started walking or riding a bike to work. Getting rid of my car was one huge expense eliminated. You see, subconsciously perhaps, I’d been adjusting for the inevitable all along. Something told me that I needed to learn how to survive on next to nothing because that was what it would take to become a full-time writer
I stopped drinking beer, not only
out of necessity because there was no money for it. but also, because the
reason for my drinking was gone. One day in March 2012, one of the people I
knew in the online writing community challenged me to write a poem about being
a child at a carnival. Not being a poet per se, what I wrote was
of dubious merit. But the poets in the community were kind and encouraging
about the noob’s effort. They wanted more of the same. But
the well had already dried up. Instead, I wrote a short story. And,
because that went over well. I wrote another story based on the first,
receiving a stronger response than before. I continued, for 16 days,
composing a story a day. Each story was part of a series that collectively I
had called Fried Windows (In a Light White Sauce), based on a scene in the
first story. Still, titling them as a bundle was for my sake and did not
necessarily imply intent for them to ever be a contiguous story.
When I finished, I set all that work aside to pursue other works in progress that, at the time, felt more important. Around me, my world continued falling to ruin. With no job, and no money. I was living with relatives. And, as every writer knows, relatives don’t usually consider writing a valid endeavor – because it doesn’t generate a weekly paycheck and all you appear to do is sit in your room staring at a computer screen.
Have you ever considered the lunacy of that last part? You can sit all day staring at a computer screen in an office somewhere outside of the home and no one has an issue with it (maybe because someone is writing you a check for your attention). But an author gets paid long after the fact – if at all. Therefore, that’s not a job at all. Uh, isn’t that the point? I want a profession not a job.
Around a year from the initial creative spurt that produced the nucleus of Fried Windows, I decided to stitch the sixteen pieces together, adjusting and amplifying the story arc that was there. You see, I’d always thought of the individual parts as a series of stories. But once i read it as a whole, there was some continuity. There were common characters and the same fantastic world. Why had I never read through the entire thing as if it were a novel? I saw the potential immediately. Sure, it was missing stuff. But there was magic in those pages. Somehow, I needed to continue that. Still, I wondered if I had it in me to transform what several people had validated as good, into something better.
Further validation came in a few
months later when I signed a publishing contract for the book. Still,
each time I write a novel there is concern about the magic – if it is still
there. Do I still have what my publisher saw in my first or every previous
work they have accepted? The answer is always ‘we’ll see’ as I send it
off. The only way you ever answer that question is to finish your work in
progress and push it out into the world.
A couple of people have asked me about my first publication, ONE OVER X: FROM THE INSIDE TO THE CLOSER. They saw there were two books offered in eBook under similar titles. Here’s the story behind that.
In the mid-90’s I spent a lot of time digitizing a stack of typewritten pages. My now ex-wife regretted talking me into getting a home computer as every waking hour I was home I worked on that project. I had some stuff that dated back to my college years, a rough draft that has been titled TAROT, which as the title suggests had something to do with the fortune telling cards. I made an attempt to create characters based on the Major Arcana. I still have that rough draft, by the way. I’ve kept it around for humility’s sake. It reminds me of how badly I wrote at a time when I believed I wrote well.
Most of the material that I transcribed into computer files came from the period directly after my military service. You see, just prior to leaving Texas where I received a degree in Marketing, I threw away roughly 20,000 typewritten pages of accumulated bits of pieces of novels, short stories, and poetry along with the personal journal I kept throughout college. Trust me, it was trash and needed to be discarded. I’d say 95% if what I’ve written into draft manuscripts and published novels came from ideas I’ve had since 1987. However, ONE OVER X: FROM THE INSIDE TO THE CLOSER has roots in TAROT and shares many of the characters of a larger work, WOLFCATS, that date back to the late 70’s.
My wife and I separated in late ’97. For the next two years, in my spare time, I revised the material I had digitized. I wrote some connective material and rewrote large sections creating an extreme rough framework that would eventually become my first publication. While my first publisher wrestled with the editing, which all told took two years, I began writing a sequel titled A GAME OF HANGMAN. Roughly half of that book, which was also published through the same publisher, Ash Creek, and like FROM THE INSIDE TO THE CLOSER, is now out of print, became the core of the WOLFCATS story, which spans 10 as yet unpublished novels. I wrote that material in the summer of 2000, about a year before FROM THE INSIDE TO THE CLOSER was finally published.
I was never satisfied with either FROM THE INSIDE TO THE CLOSER or A GAME OF HANGMAN. The editing was sub par. At the time I was working in retail management, averaging over 60 hours a week and could not afforded the time to properly promote the books. However, I did not abandon the story. It is a series I plan to continue. There are drafts of two more novels. However, when the two ONE OVER X series books went out of print, I did a heavy revision of the material, using notes and comments from several readers as the basis for revision. Also, I split the book into two parts due to the length of the original material. In my opinion the story’s flow is much better. It is easier to follow Andy Hunter’s leaps and hops throughout the span of his multiple lifetimes. Also, it doesn’t take the reader over a hundred pages to figure out what is going on. Those books are available in Kindle format on Amazon.
Eventually, there will be a revised version of A GAME OF HANGMAN, though the WOLFCATS material has been extracted from the manuscript. There may or may not be two more novels in that series. There are additional stories involving Andy Hunter and Lee Anders Johnston of ONE OVER X, though some of that material falls into the FRIED WINDOWS series and THUPERMAN TRILOGY. So, the remaining story may be told as part of different series.
You may also notice another out of print book titled CURSE OF THE SPECTRE. The material contained in that book has been revised extensively, rewritten and reformatted. It is the prequel to the foundation material of the WOLFCATS series that I wrote int he summer of 2000. Much of the prequel is now contained in WOLFCATS I and II. Both are currently under contact with Pandamoon Publishing and I hope that one or both will be published later this year. The material that was extracted from A GAME OF HANGMAN is contained in WOLFCATS III. The remainder of the story I wrote as a separate volume during the summer of 2000 is contained in WOLFCATS IV through VII. Volumes VIII through X were written between 2005 and 2007, in response to several beta readers telling me they wanted to know how this, that and the other played out. Although there is a somewhat natural conclusion to WOLFCATS VII there are two major story arcs left unresolved. Those are completed in the final three books.
I’ll be consolidating my Facebook pages from three to one. It has been cumbersome maintaining the three pages and, frankly, I haven’t been keeping up with regular posts. Also, my FB account has nearly maxed out with the mythical 5000 friends limit, so I’m directing everyone to my author’s page. I will be posting everything book related there and, for the short term, some of those items may be posted on my timeline as well. Ideally, I will end up with a author’s page and a timeline which caters more to my family and close friends.
2019 promises to be a wild ride. I’m starting out in So Cal. There have been some adjustments to make, but overall I like it here. And I can finally say I’ve eaten at In-And-Out Burger and shopped at Ralph’s. I’m not sure that makes me a Californian or that anything ever will, but that’s okay.
I’ve been working on a project titled Dead Men Don’t Wear Watches, which fits into the larger Fried Windows/Becoming Thuperman universe. Although the main character is a badass female detective named Mona Parker, Brent Wood and well as Will and Sandra make helpful appearances.
The book is set in this area of California. I wrote the draft for it several years ago and, while I’m here, I’ll be fine tuning the details to make a better fit to this setting. In the overall chronology of the fictional universe I’ve been working on, DMDWW come after Fried Windows and its sequel, Castles of Ninja Bread, which, of course, occurs a decade later than the Thuperman Trilogy (Becoming Thuperman, Homer Underby and Thuperman & Cassandra). It serves as a backstory piece for my Wolfcats series as well, filling it a few details not covered in that story. There is also a prequel to DMDWW, which is set in the Boston area as well as a sequel, which is set in central Texas.
Anyway, I’ll be busy for a while finishing those stories . For now, they exist in various stages of completion but certainly need updating.