Recent Past and Near Future Activities

After yesterday’s post about my story “No Mask to Conceal Her Voice” being accepted for the King in Yellow themed issue of Lovecraft eZine, I realized I may have created some confusion. Last week I posted about being cheered-up about having received word of a story acceptance I couldn’t talk about yet. These are actually two separate stories.

I thought this might be a good time to recap some of my recent publications, and also talk a bit about some of the things I’ve been working on, and a few things that may be coming up.

Just recently I made this post, If You Want to Read My Work, which summarized some of my recent publications. Read that for basic information about (and links to) four things I had published in April, May and June.

I have three things presently accepted, but not yet published.

1. The story I announced this morning, “No Mask to Conceal Her Voice,” is bound for Lovecraft eZine in the next few months.

2. The acceptance I hinted about last week. I don’t want to name the story or venue until I hear back from them about when that will occur.

3. My story “May Dawn Redeem What Night Destroys” is upcoming in the Current 93 tribute anthology Mighty in Sorrow, edited by Jordan Krall and to be published by Copeland Valley Press. It’s been a while since I heard an update on this one, so I can’t speculate on a publication date. The book should include some really cool stuff.

I’m still at the stage of this writing endeavor where much of what I write is “on spec,” and may or may not wind up being published, depending on the whim of the slush pile gods and goddesses. What I’m working on is a question distinct from what I’ve published, or will publish soon.

I’ve spent the past 5 weeks working on “No Mask to Conceal Her Voice,” which was written in response to an invitation from editor Joseph S. Pulver Sr., for the special King in Yellow themed issue of Lovecraft eZine. The way such invitations work is somewhat variable.

A writer always hopes an invitation means “I know what a good writer you are, and if you send me something as good as I expect from you, I will accept it.” Sometimes, that’s what the editor actually means.

Other times, an invitation actually means, “I believe you’re good enough that I don’t mind getting something from you, which I will add to a pool of stories, basically a slightly more exclusive slush pile.”

Writers hope the invitations they receive are more of the former, less of the latter. Most of the time, we don’t really know until you get the acceptance, or the rejection.

Sometimes, the invitation is something in between. Maybe the editor invited 50 people to submit for 20 slots, and 40 of the 50 actually submitted something. So the editor has to reject about half of what he received — far better than slush pile odds, but still not close to a sure thing. In this case, your story has to be above the average for that pile. Again, you don’t really know until you get the YES or the SORRY.

Before the King in Yellow thing just finished, submitted, and accepted the same day, my nine most recently finished stories had met so far only with rejection. I mention this in case it’s of interest to writers coming up, seeing a writer seeming to find a bit of success. That writer may have a bunch of acceptances to crow about, and several books and magazines appearing with their work in it. That writer might also still be receiving far more rejections than acceptances.

Before the acceptance for “No Mask to Conceal Her Voice,” finished yesterday, the most recent “finish” date of any of the stories I’ve had accepted is 14 months ago! In other words, everything I’ve written since last summer has met with nothing but rejection so far.

So far in 2013 I have made about 55 submissions:

2 acceptances (‘Arches and Pillars’ which I finished in June 2012, and ‘No Mask to Conceal Her Voice’ which I finished yesterday)
43 rejections
10 submissions still pending

I consider myself lucky that I’ve had so many people interested lately in my work, so I don’t intend this post’s focus on rejections to seem negative. I thought it might be of interest to other writers to see that someone whose work is starting to appear in some nice books and magazines still continues to get quite a few rejections.

“No Mask to Conceal Her Voice” Coming to Lovecraft eZine

My latest story “No Mask to Conceal Her Voice” has just been accepted by Joseph S. Pulver Sr. to appear in the special King in Yellow themed issue he’s guest editing for Lovecraft eZine. This issue should appear in a few months, perhaps December or January.

This is my second time working with both Pulver (who edited The Grimscribe’s Puppets, in which my story “Diamond Dust” appeared) and Lovecraft eZine (my “Nectar of Strange Lips” appeared in the April 2013 issue).

I especially loved Pulver’s King in Yellow themed anthology, A Season in Carcosa, which I reviewed HERE. Though I missed out on a chance to appear in that book, I’m very pleased to have this opportunity to submit my take on Carcosa and the King in Yellow to an editor with such a special love of that mythos.

I’ll have more information about this as publication approaches. It occurs to me that this story is also noteworthy in that it’s my longest piece of fiction to be accepted for publication. I’ve written longer before, and am about to tackle a hefty novella, but at 6,900 words this will be the first thing I’ve published over 5,000 words.

My thanks to Joe Pulver and Mike Davis of Lovecraft eZine for providing this opportunity!

If You Want to Read My Work

I’ve made a lot of new friends and come into contact with lots of new people lately, both in the real world and social media. NecronomiCon Providence (see last several blog posts) is probably the main reason, and the “friend of a friend” networking effect, following on from that event.

If you’re interested in getting more familiar with my work, I have some suggestions.

My story “Diamond Dust” appeared in the wonderful Thomas Ligotti tribute anthology, The Grimscribe’s Puppets, edited by Joseph S. Pulver Sr. and published by Miskatonic River Press. You can find that book in several formats HERE.

“Arches and Pillars” was published in the latest issue of Black Static, a very fine magazine of horror fiction published in the UK. You can subscribe or purchase individual copies directly from the publisher TTA Press, or you can quickly grab the Kindle version HERE.

You can also find my story “The Lure of Devouring Light” free to read online at Apex Magazine. I’m in Issue 47, April 2013.

Another of my stories that’s free to read online is “Nectar of Strange Lips,” published in Lovecraft eZine Issue 23, April 2013.

I’ve published other stories around, but these are the ones that seem to have received the most attention. Here are some cool book and magazine covers to entice you.

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H.P. Lovecraft Bronze Bust Unveiling

No time for much of a blog post, but there’s still a lot of NecronomiCon Providence stuff I want to get to.

For today, enjoy this great video of an important event: the unveiling of the H.P. Lovecraft bronze bust. This amazing work was created by sculptor Bryan Moore, who presents a nice, tidy figure here, as compared to the wild party-man I met before and during the Lustmord and Neurosis concert.

(Note: the video is by Todd Chicoine, part of a documentary about NecronomiCon Providence 2013 that is in progress as of this writing. My thanks to Todd for permission to link this video here.)

For more information about this project, here are some links:

HPL Bronze Bust Project Facebook Page

HPL Bronze Brust Project Tumblr (lots of good photos)

HPL Bronze Bust Kickstarter (already funded and closed, but here for background and reference)

Bryan Moore did some very impressive work here. The entire community of Lovecraftians and aficionados of weird fiction also owe their gratitude to all those who funded and supported this project through to completion.

Reading With Pulver, Nicolay and Barron

In an earlier post, I mentioned the surprise reading. If you don’t know what I’m going on about, check out Reading Between Greats and come back.

Joe had already warned me and Scott Nicolay we must be present, so we had an idea he had some plans in store. When this picture was taken, Joe was up at the table fiddling with paper. That’s me, Lena, Scott Nicolay and Lady Lovecraft in front. Behind LL is Justin Steele, behind him Cody Goodfellow, and waaayyyy in the back, Laird Barron.

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Joe, better known as Joseph S. Pulver Sr., read a story that will be published in S.T. Joshi’s “Mountains of Madness” themed anthology. In his introduction, Joe described his motivation in writing the story as trying to imagine “What if Laird Barron wrote a riff on At the Mountains of Madness?”

He carried along a copy of the anthology he edited, The Grimscribe’s Puppets, but didn’t read from it. This didn’t seem unusual. Lots of writers carry their latest book up to the table or stage during readings and panels, so people will see it and be mind-controlled into buying a copy.

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Joe’s reading was excellent. He stopped about halfway through his story, and said he and Laird both felt strongly about the importance of helping boost newer writers by lending attention and offering endorsement.

He held up his copy of Grimscribe’s, said a few flattering things about me and about Scott Nicolay, and asked us to come up and read selections from our stories in that anthology. Me first.

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I recall thinking “I should be really nervous.” I did feel on the spot, unsure how to begin. A story came to mind, a recurring dream I used to have about going to a David Bowie concert. I’d sit in the front row, and before the band started, Bowie would call me up to the stage and insist that I play guitar for them. I’m certainly no guitar player, but in the dream, I make a go of it, convinced that good intentions and zeal will allow me to bluff my way through, playing in place of Ronson, Fripp and Alomar.

I told the audience, “This feels something like that dream,” then read the beginning of “Diamond Dust.”

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It seemed to go well, though that’s hard to gauge as it’s happening. People applauded.

Scott Nicolay came up, and wisely skipped the sort of preamble and introduction I offered. He read a chunk of his excellent tale, “Eyes Exchange Bank,” drawing laughs in all the right places.

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Laird Barron came up last, and read the entirety of “D T” from the Pulver-edited King-in-Yellow-themed anthology, A Season in Carcosa. It’s a wonderful story, full of dark unease as well as humor, and pseudo-biographical portraits of recognizable figures, primarily Karl Edward Wagner.

I’ve read “D T” several times before, and very much enjoyed hearing it in Laird’s own voice.

The reading came full circle, from Joe mentioning Laird’s inspiration in his story, to Laird reading his story from a book edited by Joe. And in between, two writers with the highest respect for Barron and Pulver. This was a very special opportunity for Scott and me.

reading-laird

Afterward, many people came up and said nice things. We all signed many books, that is, Scott and I signed The Grimscribe’s Puppets, and Laird and Joe signed their many, various other things. I watched one guy pull out a stack of at least a dozen Barron collections, novels, and anthologies in which his stories appear.

There were questions about Grimscribe’s, and comments from a few who had already read it. One guy told me he was going to run upstairs, buy a copy, and hurry right back so Scott and I would sign it. Also in the room were other contributors to the same anthology, such as Richard Gavin, Cody Goodfellow and Simon Strantzas, so it was a great opportunity for a reader to grab several signatures, including that of Editor Pulver.

Later, when Scott, Lena and I went to lunch, a guy came into the burrito place and asked, “Was it you, just reading with Laird Barron and Joseph Pulver?”

I affirmed that we were. He said he’d enjoyed the reading, and had tried to buy the book, but found it sold out. I told him he must be wrong, that he should’ve asked at the Miskatonic River Press table, because I knew they’d had quite a few copies left before the reading.

It turned out he was right. There was at least some kind of run on these books after the reading. If Scott and I allow ourselves to imagine we had some part in creating a bit of buzz about the book, this is the greatest possible feeling. I’m already very grateful to be included in the book to begin with, and the reading was a wonderful treat.

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The book is currently available from Amazon in three formats: Hardcover (of the casewrap variety, not cloth-cover-with-paper-dustjacket), Paperback and Kindle. Direct link HERE. You’ll also be able to grab it from Miskatonic Press, as soon as Tom Lynch obtains more copies, HERE.

Again, thanks to Joe Pulver, Laird Barron, Scott Nicolay, Tom Lynch, and everybody who attended the reading.

NecronomiCon Providence Preliminary Report

The NecronomiCon Providence event was incredible, wonderful beyond all expectation.

I met an amazing roster of weird/horror talent, interacted with great writers, editors, publishers, critics and artists. Below, I’m showing off for Richard Gavin, Scott Nicolay, John Langan and his mentor Bob Waugh, Jack Haringa, Michael Cisco, Selena Chambers and Simon Stranzas.

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I attended a reading by two of my very favorite writers, Laird Barron and Joseph S. Pulver Sr., and was surprised to be asked to step up and read some of my work for the crowd that had gathered to hear the big boys read.

I experienced a live performance by Lustmord, one of the giants of dark ambient music, and a primary influence on my own efforts as founder of Hypnos Recordings, and as a recording artist.

I bounced off any number of inspiring people, sights and sounds, so much humor and fun and inspiration, it was like the best and craziest 4 days of college distilled into one long weekend.

I was able to drag my lovely wife Lena along, and bask in her giddy enjoyment of the same pleasures.

At the end, I was swept up into the kind of mind-blowing all-star room party you see people bragging about in con reports, and you think, “Oh shit, I missed THAT!” Laird Barron and John Langan’s room, filled with all manner of madness. Barron’s Big Chair, Langan and Nicolay’s Cuddle Corner, and even Jerad Walters of Centipede Press, perhaps the finest creator of dark genre books we’ve got. Mix in an appalling abundance of very good Scotch whisky, and ohhhh golly!

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I intend to write about this in greater detail, and offer more pictures, once the world stops spinning so fast.

Novel Construction Kit

I haven’t had a chance to work on the novel-in-planning in a couple weeks (trying to finish up a short story for deadline), but wanted to document my process as it evolves.

Here’s my old-fashioned “pens and paper and post-its” setup for planning my novel. Three sections, basically three acts, with fifteen or twenty scenes each. I’m not sure how I’ll work the chapter breaks at this point.

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Eventually I’ll get more into color coding different kinds of scenes. For now I just have a bunch of yellow post-it notes with colored dots in the corner to show at a glance whose POV the scene’s in.

This isn’t completely finished, but close. My intention is to fully outline section one, loosely outline section two (leaving more room for adding or changing things based on “feel”) and leave section three pretty open. I see this as having the best qualities of the outline approach and the seat-of-the-pants approach.

The Fundamental Units of Story

For a long time, scientists believed the atom was the fundamental building block of matter, until they realized even the atom could be broken down into something smaller.

My writing improved significantly a couple years ago when I made the conceptual adjustment from the practice of asking of each story, “What is this story trying to say?” to instead looking at each scene separately, and asking, “What is this scene trying to say?”

A story isn’t a unilateral movement, or a single tone. Looking at a story in aggregate, it can be difficult to answer the question “What is this? What am I trying to accomplish with it?” Breaking it into scenes makes this easier, and that change in approach really helped me to write more effective fiction.

Increasingly I believe the fundamental unit of story is not the scene, but a “sub-scene” unit I refer to as the “beat” or “movement.”

When I break my stories down into scenes (working in Scrivener makes this simple), it’s easier to make sense of what each scene is meant to accomplish — where it’s headed, what kind of emotional tenor would work. Even then, a scene might contain two or three separate movements, each with a distinct impetus and effect, or a different tone.

I’d like to write more about this, possibly give examples of how breaking up stories into “beats” or sub-scenes has helped make my writing more effective. Yes, it’s possible to look at smaller blocks of text within a conventional word processor, but it’s harder to view them as distinct units of story, separate from what comes before and after. For me, this is the primary advantage of working in Scrivener.

What They’re Saying About “Arches and Pillars” (TTA Forum)

I really need to set up one of those Google Stalker services. You know, the robot brain that crawls the internet looking for mentions of one’s name or works. I almost missed this informal review of my story “Arches and Pillars.”

It appeared on the forums of TTA Press, publishers of Black Static magazine, as well as Interzone, and their crime-focused effort Crimewave.

The forums are open to the public, and the post is under the reviewer’s actual name Andrew Hook. My thanks to Andrew for the kind words!