Spoiler alert: The ending is revealed in this blog post.

I’m a horror reader. I spent my teens and twenties devouring horror books like a dragon devours little men with tiny swords. I couldn’t get enough of Stephen King, Dean Koontz, Clive Barker, Brian Lumley, et al. But one glaring hole in my horror reading is the lack of Lovecraft on my shelf. I don’t know why, but I just never got around to reading the “classics” of horror. So when I found out we would be reading Lovecraft for my Horror Genre Reading class, I was excited.

Our first Lovecraft short story is “Pickman’s Model.” It’s a framed story in that the first person narrator is telling the story to the audience (really to a person named Eliot). He’s explaining why he stopped visiting with a particularly gifted artist prior to the artist’s disappearance. Though the artist was gifted, he had a habit of painting increasingly disturbing canvases featuring dark subjects such as demons and changelings.

In his last interaction with the artist, the narrator is led to a dark part of town and down into a basement which Pickman is using for his alternate studio. In this studio, he paints even more grotesque and frightening paintings. And eventually our narrator, after being scared out of his wits there, returns home to discover that Pickman’s most recent painting – of a huge, frightening demon gnawing on the head of a human – which he saw at the studio wasn’t developed from Pickman’s imagination, but was a real thing, a real model. This is the twist ending (obviously Lovecraft does it much better).

Modern audience are jaded. After all, we’re used to twist endings, a surprise plot twist that we’d never expect. So for a modern reader, the ending is a bit anti-climactic and I imagine some will find it disappointing. After all, so many stories end in this manner. But what the modern reader has to remember is that this story was written in 1926. This was before the “I see dead people” and “Who is Kaiser Soze?” stories of today. Now people expect a twist and are sometimes disappointed if there isn’t one.

So is there nothing for the modern audience? The ending isn’t entirely unexpected, but the vividness of the tale itself is something worth experiencing, as well. The framed story concept makes this even more interesting, because it seems as if we, the readers, are in a conversation with the narrator. He even addresses Eliot as if answering questions within the conversation itself, though we never see Eliot’s inquiries. We are Eliot.

This style leads to an atmosphere of excited dread. The narrator is conveying all of these terrible things he’s seen with specific details but also with the horrified enthusiasm of someone who has been fully and truly freaked out. A reader can’t help but keep reading faster in an effort to rush to the end to see what happens. I think this is a brilliant example of how to build tension in a first person narrative.

Of course, Lovecraft is renowned for his graphic descriptions of all manner of beastie. And “Pickman’s Model” is no slouch in this area either. But what I found is that Lovecraft is very sneaky. As the narrator is being shown the paintings in the personal gallery on the way down to the studio, the descriptions of the scenes are vivid and very detailed. Each room he goes through has more and more disturbing images and Lovecraft describes one or two pieces from each as we go along with the narrator. And they are very graphic. Yet when we get to the final room, the studio, and the final, horrible painting . . . there’s not much detail. It is a giant thing with red eyes, bony, scaly claws, a dog face, flat nose and curling lips. Oh and the body is caked with mold and the feet are half-hooved. And it’s gnawing on a human body, head first. But the description is almost skirted in favor of a ranting about the part that made it most gruesome – the painter’s technique. So the most horrible parts, the things that make it truly terrifying to the reader are left to the reader’s imagination. I find that brilliant, as well.

We have, I think, one or two more Lovecraft works to read later in the term. I’m looking forward to seeing how they compare to “Pickman’s Model” particularly stylistically.

I think humans have a number of fears which are universal. Some are the biggies: war, famine, pestilence. They’re global issues, community issues, and they’ve been around forever. We’ve heard stories, both real and fictional, about these things for millennia. Diary of Anne Frank, Saving Private Ryan, Red Badge of Courage, Angela’s Ashes, Outbreak, Andromeda Strain. They touch on our fears of destruction, of pain, of suffering. Those are deep-seated fears. But they’re also the ones that feel furthest away for most of us.

People in the United States, up until 2001, had never feared war on their soil. Most modern day people living in industrialized countries have little fear of famine or pestilence. So the movies and books which touch on these fears are still seen as entertainment. They’re far enough removed from our everyday lives that they’re not immediate. They’re almost not real.

The stories which hit closer to home are the ones that really scare us, because we have universal fears which are held very close to our souls. Abandonment, death, being alone, rejection, loss of independence (financial and personal), loss of family members, the unknown, failure. Weaving these fears into a story brings about a stronger reaction in the reader (or viewer). Why? Because they’re more real on a day to day basis.

Trusting in people could lead to abandonment, which would lead to being alone. Submitting a manuscript could lead to rejection (and, in reality, probably will at least for awhile). Random acts could lead to death, or failure, or a palpable loss. Stories about these things resonate with people because they’re even more universal than the biggies. These are things we deal with every single day as humans.

Zeroing in on these fears, as a writer, can be done with a sledgehammer or with a feather. Some of the creepiest stories seem inconsequential on their surface, but we walk away from them with their characters populating our thoughts and their circumstances weighing on our minds. What if that had been me? How would I have dealt with it? Would I have survived?

Good fear-raising stories make us question our own abilities to overcome our fears. They make us imagine how we might have come through the situation, if at all. But beyond that, a good story like that also often makes us see that our fears can be overcome. Can we overcome death? Not in real life. But we can keep our fear of it from controlling us – at least long enough to get away from the axe/chainsaw/sword/needle-wielding murderer.

Horror writing is, arguably, one of the more emotional types of writing. Because horror is the art of fear. A writer’s ability to reach out to the reader and draw out some of the basest fears is the art, like a dance. It isn’t about the blood and the gore. It’s about the deeper, emotional reaction to a metaphorical monster that frightens all of us.

Okay, maybe you don’t yet, but you will. I’m taking some classes toward my MFA in Writing  Popular Fiction at Seton Hill University (yes, I already have a MA from them. It’s a long story, don’t ask). One of the classes, Readings in the Horror Genre, requires that I post thoughts and observations on our readings on my blog. So if you see a bunch of (brilliant) posts on scary books or horror-ish topics, you’ll know why.

I’ll still be posting the remaining Trip Logs from Europe, it’s just going to take me awhile to finish them. We’ve still got one more post on the Netherlands, then probably three on London. Lots of pics too! So stay tuned :)

Like my little word play up there? Yeah, me too.

So you didn’t hear from me in November, I know. I was busy with the nose-to-the-grindstone thing, belting out a very (ugly) rough draft of a middle grade paranormal story. I did win Nano though, with 53k words! Go me! I’m very pleased with myself, as this is the first time I’ve actually won Nano. Most years I wasn’t even able to participate because I was working on my MA, but this year I was determined! And, you know, it’s really amazing the number of words I can write if I stop putzing around and actually put fingers to keyboard.

On Monday, 14 December, I had the privilege of seeing Neil Gaiman speak here in Decatur, GA. The Little Shop of Stories (a fantastic indy kids’ bookstore) won the Graveyard Book Halloween Party Contest, along with a store up in Winnipeg, Canada. So the prize was Neil coming to speak and sign. I arrived at about 5:15pm and Neil was going to begin speaking at 6. I wasn’t able to get a ticket for the main room where he actually was, so I was in the overflow room with a couple hundred other folks. When Neil began, he actually did a shout out to those of us in the overflow room, which was really wonderful! He paused and asked where the camera was (we were watched on closed circuit tv) and he waved to us and thanked us for coming. He also assured us that we would be real people soon. ;)

He read from Odd and the Frost Giant, then took some questions which had been submitted prior to the evening. One question dealt with Nanowrimo. It asked whether he thought it was a waste of time, or a good idea. And I really loved his answer. He said that he thought anything that moved an aspiring writing from the “aspiring” tag to the “writer” tag was a good thing. And he also said that for some people it was a good tool to discover that they shouldn’t be a writer. That cracked me up!

At any rate, he was a real trouper! I finally got to him with my two books at 12:30am. I got home at 1am and Neil tweeted that he was finished at 1:30am. Talk about an author dedicated to his fans! He said he signed for 1050 people! No wonder it took so long. This was my first time seeing Neil in person, though I’ve been a fan for a long time. He really did go above and beyond expectations. I have even more respect for him than I did before, if that’s possible!

And for the final “N”… I’m at the Atlanta Hartsfield Airport right now, waiting to get on a jet plane headed for Amsterdam, the Netherlands. (Granted, when I get a chance to post this, I’ll already be there because I’m not paying Hartsfield five bucks just to get on the internet for two hours.

Now I’m en route, up in the air some few thousand feet. I guess I’m about three and a half hours from arrival and can’t really sleep. These little seats are not particularly comfortable.

Anyway, the trip is a family thing and also a very, very, very late honeymoon. Like eight years late. But better late than never, right? We’re flying into Amsterdam, then driving with family down to the Italian Alps. A week there, then back to Amsterdam for another week. Then to London for another week, then home. I’ll post as often as I can, but I have no idea what my access will be. I’m hoping to get some revisions done since I won’t have the internet distracting me. Ha! :)

Good writing to all!

For all you folks who like to organize your writing (or want to start!), check out Liquid Story Binder XE from Black Obelisk Software they’re having a 50% off sale! That brings the price down to $22.95. If you like to storyboard, or outline or just dump all your ideas into one place, check this software out. There’s a bit of a learning curve, but there’s a downloadable .pdf manual available with some good tutorials.

I’m mainly a pantser – I don’t do a lot of outlining or pre-planning – but I’ve found it a really useful way to keep a lot of information for one project in one place and easily accessible. It’s also fun to find pics online of characters or places and then upload them into the program, so you’ll always have a visual cue to refer to. The character templates are pretty detailed and customizable.

I’m currently using it for Nano, but also for putting together my synopsis for Soul Cavern. There’s a document type called Builder, where you can put in a header like you would an outline, then write longer text beneath it. When you choose to merge, you select the headers you want and it will merge the longer text of those headers together in the order you have them in. So I’ve put the major plot points as the headers, then written a sentence or two about each and when I merge, I get a decent rough draft for my synopsis. I still have to go back through and make transitions and such, but this seems to really be working for me! I suppose you could do that with the entire book, using the Builder, but there’s also a separate doc type for Chapters.

There’s a 30 day free trial, so you can check it out before you buy.

And for the record, I’m not affiliated with them in any way nor am I being compensated for the plug. I just think it’s good software for a really great discount!

So Publisher’s Weekly has announced their Top Titles of 2009 and I can’t help but notice that there isn’t one female author on the list. Not one.

In their press release, they say, “We wanted to pick the best 10 and we came ready to mix it up, and although we were surprised that, when the dust settled, it wasn’t the most politically correct list – there are no women authors, for example – the balance of our top 100 reflects a remarkable diversity.”

Now, I admit I haven’t read most of these, but with names like Richard Holmes, Blake Bailey, Neil Sheehan, Geoff Dyer, David Grann, Matthew B. Crawford and David Small, I’m having trouble seeing the diversity here. I’m sure these are all amazing books – they’ve been picked from tens of thousands published this year – but diverse? There’s one African American and one Pakistani. The others are all, essentially, white American or European men.

Now I’m certainly not saying that a lesser book by anyone, regardless of gender or national origin, should be in a top ten if it doesn’t belong, but I have a lot of trouble swallowing the idea that Euro-centric men are the most exceptional writers.

I’d be interested to see a gender/nationality breakdown of the PW starred reviews for the year. I would lay odds that a large percentage were written by women, yet 0% of the top ten are by female authors.

PW’s Top 100 comes out on November 2.

I was tooling down I-285 yesterday and passed a car with a license plate that read: NOVLIST. Of course, I looked to see who was driving. He was a 40-something guy with a receding hairline. I don’t know whether I should have recognized him or not.

But it got me to thinking. Do you tell people you’re a writer? I’ve found that people always seem to perk up and act all interested until you get to one of two questions:

1. What do you write?
2. Have you been published?

The first question, in my case, always leads to having to explain what I write. I classify it as urban fantasy, but I think most Jane Q. Publics that I run into don’t know this term. Hell, some writers don’t know this term. So I have to give them tv examples: Supernatural, Heroes, True Blood. If I still get blank stares I resort to the old stand-by: Buffy. For older folks, I’ve found I can use I Dream of Jeannie, Bewitched and My Favorite Martian.

Once I’ve clarified what urban fantasy is, I usually get one of two responses.

“Oh, I love that!” or

“Oh.” <--- this usually translates to “I only read real liter-ah-chur.” I shrug and move on.

The answer to the second question always drains the interest right out of their eyes. When I say I’m not yet published (never mind that I edit for a living), it’s as if they just realized the pedestal they’d just hiked me up onto only has two legs. And that’s usually the end of the conversation.

So, in general, I’m somewhat circumspect in sharing. I’ve heard from popular novelists who also don’t share that they’re writers. They have the opposite problem, I think. They get all sorts of questions about it.

I suppose once I’m published, I’ll probably go through a frenzy of wanting everyone to know I’m published. But then, will I prefer to keep it quiet, unless actually publicizing? I don’t know.

Are you a writer? If so, do you share that with people who ask what you do?

I just returned from the SCWW 2009 Writers' Conference in Myrtle Beach, SC. The full conference is somewhat pricey, but well worth it, especially if you're just starting out or in the middle stages, as far as classes. There were several agents and editors in attendence for those with finished works to pitch.

Keynote speaker was thriller writer Steve Berry. He was very entertaining and personable, as well as inspirational for all of us who are still slogging away, trying to get published. I was also able to attend a class he taught on suspense, which I found interesting. He shared his approach to writing and his style in creating suspense within a ms. If you get an opportunity to see him speak, I'd recommend it!

Two agents are interested in seeing partials of my manuscript so that's fantastic! I got to hang out with Joanna Stampfel-Volpe again, which is always awesomeness personified.I met her last June at a conference and totally got to schmooze with her. I was excited to see she was coming to the SCWW con. She was very busy all weekend, unfortunately, and we didn't get to goof off together as much as at the other, but it was great seeing her again.

I was also able to meet and speak with Holly Root, of the Waxman Agency, and Jim McCarthy of Dystel & Goderich Literary Management. Both of these agents are personable and fun to speak with, as well as being very passionate about what they do. The conference had what they called "slushfests." These were group sessions where folks would bring in a 2-page transparency which was either a synopsis or the first two pages of their novels. So I was part of the SF/Fantasy slushfest and offered the first two pages of my novel. Unfortunately, somehow the decision was made to only do the first page of them. A few of the issues they had with the first page would have been addressed had the second page been read. However, there were a couple things they identified that will really help strengthen that scene, so I'm very grateful! Afterwards, I went up to each and asked if they'd be interested in seeing a partial. Both said yes (yay!) and Holly even asked for a few more pages than she normally requests (she made a point of this). As I said, they're both pretty damn cool! (And not just because they asked for my pages! ;) )

There were a number of other agents there, but those are the ones I actually interacted with.

I also want to toss a shout-out to Echelon Press. I hung out a lot with one of their editors and an author and man, are they great people! 

I took not one, but two classes on synopsis writing! So expect a WIL post soon!

Okay, so bear with me as I get my footing on the blogging again! 

Something new! :)

Write a scene where one of your characters (from any story you've written) meets a well-known historical figure. Use the time period current for your character. Shoot for 500 words.

Let me know how it goes!

For those who don't know, the magazine Realms of Fantasy, which has been in print for fourteen years, announced a couple months ago that the last issue would be April's, due to rising cost and less income. They just couldn't afford to keep the doors open.

The SF/F community rose to the occasion. "Save Realms of Fantasy" petitions, Yahoo groups and Facebook groups popped up all over the net. Folks raised money and wrote friends to spread the word.

And now, that hard work has paid off! Realms of Fantasy has been bought by Tir Na Nog Press and will continue to provide the fantasy and literary community with fabulous stories and artwork under the editorial direction of Shawna McCarthy.

For more information, see the post on SFScope. Happy day!