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NaNoWriMo – Chapter 14 – Black Magic Bullets

I think it’s been about five days since my last post. The writing has been progressing, albeit slowly. 

In the last chapter, I imposed a device known as a ticking clock. I did this to add tension to the narrative and drive the plot. I also had Kenzi and Harris chased by an unknown group. They are even unknown to me, as in, they haven’t revealed themselves through the narration. 

I added the bit about how Dedra needing to self attach to the location as foreshadowing for later.  

Dedra came about because my research shows I need a mystery element in an Urban Fantasy. I should be able to craft one, my wife has been binging episodes of Criminal Minds on ION and WE. Haha! They’re always on in the background. Even while I write. 

Originally, I had envisioned Kenzi driving a black Mustang. I took inspiration from my wife who owned a fox-body Mustang when we met. As I began to get to know Kenzi better, I realized she’d be more at home driving a BMW.

 Also, I liked that some Bimmers have All-Wheel-Drive. Oh, and my research shows that a BMW car or SUV is not a Beamer (the Beamer nickname goes to the BMW motorbike) it is actually referred to as a Bimmer. I’m not sure how many people know that. I certainly didn’t, and my wife thought the real nickname was a typo. Maybe I’ll change it back to Beamer just for clarity. It’s not correct, but it’s the name most people use. 

I’m also trying to stay away from politics. I don’t like politics in my fiction, but sometimes, to ground the story in reality, I have no choice. 

Massachusetts gun laws are very restrictive and convoluted for law-abiding citizens, and I’m a stickler for characters following those laws, at least until they’re able to break them safely. 

Once Harris learns how to manipulate the Collective, they will have more leeway in what weapons they carry. My plan had been to have Kenzi carry a Glock 19, but civilians can’t buy those in Massachusetts. They’re not on the approved roster, and so I decided she’d carry an M&P. 

In this way, I hope the story will be grounded enough in reality that the reader can suspend disbelief as I ratchet up the fantasy elements. 

I should probably mention that I’m also trying to ground those, in reality, using real magical practices, exaggerated and enhanced for drama, with which I’m thoroughly familiar from research and experience gained in what feels like another lifetime. That’s a story for another day. 

While I’ve been waiting for my subconscious mind to catch up with the story, I haven’t been idle. I’ve been working on the third draft of a horror thriller called The Tower of Abandon. As of this writing, I only have one more scene to edit and then, after a short break, I’ll be polishing the manuscript with the help of ProWritingAid before handing it off to my wife for a proofread. 

I also prepared and sent out a short story to an anthology open call. Unfortunately, I somehow missed the word count guidelines. After I had sent it out, I realized my submission was 1,000 words under the required word count. At least I didn’t forget to attach the Word file! That’s probably the most common mistake committed by writers sending out submission. I hate when mistakes like that happen, but we are only human. I’ll just wait and hope for the best. Maybe I’ll get lucky. You never know.

 

BLACK MAGIC BULLETS

An Urban Fantasy

by

David North-Martino

Working as an Inhuman Resources Recruiter is no walk through the cemetery, especially when you’ve been cursed and your head is filled with stollen secrets from one of the most powerful occult groups in Boston. To survive, you might just need a few…

BLACK MAGIC BULLETS

Chapter 14

“Hold on, again!” Kenzi said, accelerating. 

The torque knocked me back into my seat. Then we were turning right on red with no regard for oncoming traffic. 

Tires squealed. 

Horns blared. 

“They’re still after us?” I asked wishing I knew who “they” were. 

“I need you to enter the Collective,” Kenzi said her voice tight, her fingers on the steering wheel even tighter. 

I hesitated.  

“Now would be a good time!”

Against my better judgment, I unbuckled my seatbelt and scrambled between the seats stretching to reach my bag. 

Another breakneck turn. Releasing my hold on the bag, I grabbed the back of both seats to keep from slamming into Kenzi. 

She turned again, in the opposite direction, and I gritted my teeth and held on for what some people like to call dear-life. Once the vehicle straightened, I snatched the duffle and dragged it through the opening between the seats. 

Not bothering to buckle up, I unzipped the duffle bag and struggled to get out my equipment. Once I had retrieved the concentrator, I plugged in a bottle of ethylene gas. 

I tossed the bag back between the seats and let it flop to the floor.  Now I bucked in and then turned the valve. Too little ethylene and I wouldn’t enter the Collective, too much and I’d end up dead. I only hoped my memory wouldn’t fail me. The events in the ritual room felt like they’d happened a lifetime ago. 

Seating the mask to my face, I pressed firmly, creating a tight seal, and then breathed in deeply. 

The car and the world flipped and then righted itself. Had I taken a little too much? It didn’t matter. I’d have to deal with the aftereffects and hope I could do whatever Kenzi wanted while still under the influence. 

In front of me, through the windshield and the driver’s side window, I saw all that had been hidden from humanity. Creatures and phantom buildings projected where they had been torn down but their physicality still resonated enough to make them psychically viable, at least within the Collective. 

What am I looking for, I wondered? 

Overwhelmed by the influx of new sensory input. A protective circle would have been a nice buffer. Now I really understood its importance. 

“What am I looking for?” I asked Keni as she continued her escape and evasion routine. 

“Look for a masked entrance. Something that only you can see.”

That was easier said than done. I didn’t have the experience to interpret what I was seeing. Masking a location was difficult and I had to believe that Dreadstone’s security measures were well above the feeble abilities of the sorcerers who worked at The Chasm. In that, the people who were chasing us would have a harder time finding said entrance than I had when I used to frequent the occult shop. It wouldn’t be a matter of just relaxing and thinking good thoughts. This was high-level wizardry. 

Then I saw it, an iridescent archway, unmistakable from the normal environment. Situated between two buildings, I could just make out the narrow opening. The question was: could Kenzi, even with my help, navigate through the gap?  

“There!’ I Said pointing to show her the location. 

“You’re my eyes,” Kenzi said through gritted teeth, turning the vehicle and then gunning it in the direction I had pointed. 

“A little to the left.”

“A little to the right.” 

I did my best to direct her and I was impressed at how easily Kenzi took my directions on faith. 

We entered the tunnel too close to the right, sparks flying on the passenger side as Kenzi sheared off paint. I hoped we were really being followed and this wasn’t just some sort of paranoia on Kenzi’s part. 

We slowed to a stop. 

Kenzi shut off the vehicle allowing the silence along with the darkness within the manmade cavern to blanked us. My own breathing sounded too loud in my head. Kenzi’s breathing was no more than a whisper. In the background somewhere in the dark water dripped, most likely the result of condensation. 

“Why don’t they just have a GPS point marked off on the system?” I asked, in frustration.  I kept myself from cursing, but I wanted to say every swear in the book. Professionalism won out. 

Yet you had to admit It seemed crazy that to find this place you had to either be a psychic or be jacked up on ethylene gas. 

“It’s harder to hack a human brain than it is a computer system,” Kenzi said.  “I only know the general whereabouts of the masked entrances. 

“I’ll have Cyber hack the traffic cameras in the area and find who was following us. That will take some time. In the meantime, we have some locations to assess.”

Kenzi set a text. 

Kenzi showed me her phone, its bluish-white glow the only light in the cavern. Cyber had sent over a complete list of abandoned buildings in the waterfront area. 

“Let’s hope we’ve lost our tail,” Kenzi said. “Time to take another hit of the gas. I need your eyes on each building. Look for anomalies.” 

“We haven’t even been to the first one yet!” I said.

“That’s right,” Kenzi said. “We better get cracking.” 

The BMW purred to life, lighting up what now really looked like a cave. Kenzi put her foot down on the accelerator performed a reverse 180 (J-Turn) and then rocketed us out of the hiding place and back into the busy street, my heart beating out of me. 

 To be continued…

The Scribe’s Arcanum: Anatomy of a Sale—The Hours of Sleep Part 2

 

I had momentum behind me from recent sales and figured it wouldn’t hurt to have another story acceptance. I had already tried to sell The Hours of Sleep to all the professional publications but no one wanted vampire fiction. Then I came across the open call for an anthology called You can’t kill me: I’m already dead: A Vampire Anthology. Here was a market tailor-made for my story. 

The editor was only offering royalties and a free e-copy of the book, but there was another reason to submit, besides money or placing what seemed an unmarketable story. Cool kids. Yes, I was keeping up with upcoming writers. When I found out that some were submitting or had been accepted, I wanted to be included with that group. I also knew that if they were submitting to this anthology, it would be quality and a worthwhile venture. 

Eric J. Guignard, a Bram Stoker Award winner, a finalist for the International Thriller Writers Award, and a multi-nominee of the Pushcart Prize has probably had the most success of all the alumni of that anthology. Good company to keep, and pages to share.

I also met a writer in that anthology who has also worked as an editor and invited me to submit to his print magazine and podcast. 

Pro Tip 2: Sharing pages with up-and-coming authors and editors can lead to friendships and market invites. You never know. 

Vampire Antho

Here’s the blurb and a list of the authors included in the book:

“You can’t kill me, I’m already dead: A Vampire Anthology” presents the chronicles behind modern vampires and provides a chronological tour through vampire literature. Vampires have long captured the imaginations of famous writers, who wrote novels, stories, poems, and plays about the creatures of the night.

Nikki Vogel

James Harley

Eric J. Guignard 

Rebecca L. Brown

Elise Thomas

Joseph A. Pinto

Norman A. Rubin

Jay Wilburn

Kenneth Whitfield

Gregg Chamberlain

David North-Martino

T. Fox Dunham

Mark Slade

Steven Deman

Tyson West 

Denny E. Marshall

D.J. Currivean

Joseph J. Patchen

Alan Russo

The editor sent an acceptance on 11/25/12 and then on 12/2/12 sent a contract for me to sign electronically. 

In the end, I found a home for my story, connected with other up-and-coming writers within the community, and continued my momentum.  

You can’t kill me: I’m already dead: A Vampire Anthology is available for purchase here. 

Next time we’ll continue this discussion and we’ll also touch upon editorial feedback and how it can enhance your career. 

The Scribe’s Arcanum: Anatomy of a Sale—The Hours of Sleep Part 1

I was hoping to tell you by now that I made a short fiction sale this year. Although that hasn’t happened yet, I’m pleased to report that I received an Honorable Mention for the 3rd quarter of L. Ron Hubbard’s Writers of the Future contest. I’m also told that it puts me in the top 2% of all entrants. I’m awaiting my certificate and will tell you more once it’s posted on their official blog.

award-honorable-mention-wotf

Last time I mentioned I would talk about giving your work away or, in this case, gambling on the potential for royalties, and a free electronic copy of the anthology. Think long and hard before you give up “first rights.”  Once you give those rights away, you can never get them back, and the next time you sell the manuscript, you must do so as a reprint. Reprint sales are not as lucrative as new story sales. 

Pro Tip: It’s never a bad thing to give your work away to a legitimate charity anthology.   

The idea for The Hours of Sleep began as, of all things, the original lyrics to a song. Back in 1996, I was working an interim job, and I had some extra time on my hands. My wife had purchased an entry-level keyboard/synthesizer for me to mess around on and burn through some of my creativity. This was a year before I began writing and submitting short fiction. I decided I wanted to write a progressive rock/thrash metal/goth-pop album. All I had to work with was a boombox with a double tape deck, an omni-microphone, the synthesizer, my voice, and a coffee can for reverb and echo. 

Back at my parents’ house, I would have been able to use my dad’s DJ and production equipment. But here in our new apartment, I didn’t have access to those niceties.  I no longer had a drum set, and I wasn’t hanging around musicians like I had in the ‘80s. Still, I was determined to make an album. 

Without going into the full story, I ended up writing a song called Vomit Dirt Cascade. Haha! I know… Great title, right? The title meant to call up the image of the undead exploding from a fresh grave. 

The Lyrics that inspired The Hours of Sleep short story:

Numbness kills the pain

The night was black in vain 

Latent Precambrian 

Urges to kill and win

I’ll make you my slave

Steal your blood from vein

When there is nothing left

You will be twice dead

Thirst in your black hole soul

Carrion has claimed his toll 

Now you’ve become the naïve 

But if I was the grave

Vomit Dirt Cascade! 

Vomit Dirt Cascade! 

The original title of my story was Twice Dead, but I took another song called The Hour of Sleep (inspired by John Carpenter’s Brotherhood of Sleep in the horror movie Prince of Darkness) and made it plural. 

I’ve been thinking about posting the audio on YouTube. If I do, I’ll provide a hyperlink here later. 

 Back in the year 2000, my wife and I made a return trip to New Orleans. We hadn’t been back to NOLA since our honeymoon in 1995. We stayed at the Bourbon Orleans, and a bellhop had given us some advice on where to visit and which areas to avoid. The dark and dangerous streets of the French Quarter excited my imagination. Then, in our youth, being adventurous, we had drinks at a vampire bar, as part of a tour led by a self-proclaimed “real-life vampire,” living in what is known as vampire reality, who called himself Vlad. In the center of the space, there was a cage large enough to hold a human standing upright.

NOLA1

When we returned home, this experience (along with my song lyrics) coalesced into the story I eventually titled The Hours of Sleep. 

After finishing the manuscript, I sent the story out and began collecting rejection slips. One editor said he thought The Hours of Sleep was the most original vampire story he had read in ages, but he didn’t take vampire fiction any longer and wouldn’t be buying it. 

I sent it to the now-defunct Dreams of Decadence and got a great rejection letter.  The editor thought the story was original and well written but she also passed. I would later study her magazine to discover why it wasn’t such a good fit. I talk more about this in my posts about the story, Despair. 

dreams_of_decadence__15

 

With The Hours of Sleep returned to my virtual trunk on my hard drive, I gave up on the story and moved on. 

In 2012, I noticed an open call for You Can’t Kill Me, I’m Not Dead Yet: a Vampire Anthology and tried my luck. 

I’ll tell you what happened next time.

The Scribe’s Arcanum: Anatomy of a Sale—Phantom Chasers Part 2

Having noticed the From Beyond the Grave anthology’s open call for submissions, from Grinning Skull Press, I sent out Phantom Chasers, and received an acknowledgment on September 26, 2012. 

During this time, I was finishing up the final edits of a novel I’d been writing, a reimagining of the original manuscript, and coordinating with a cover artist and a professional editor for a self-publishing effort. 

On December 25, 2012,  an acceptance from Grinning Skull Press hit my in-box. I couldn’t believe it! With the help of excellent editorial feedback and my wife’s brilliant proofreads, I had edited Phantom Chasers into print! 

GSP

The work that came after the sale: I signed the contract, provided the publisher with an author bio, reviewed and approved the galley proof, and received payment. Then, as with every anthology or magazine where I’ve been published, I assisted with promotion. 

I was included with a very noteworthy group of writers. 

Brent Abell

Gordon Anthony Bean

Rose Blackthorn

Tim J. Finn

Scott M. Goriscak

Marianne Halbert

Jeffrey Kosh

Lisamarie Lamb

Mark Leslie & Carol Weekes

Edward J. McFadden III

Adam Millard

David North-Martino

Jeffrey C. Pettengill

Nelson W. Pyles

Michael Thomas-Knight

Robert W. Walker

Cynthia Ward

Jay Wilburn

Jennifer Word

 

Description: 

For some, death is not the end. There are those who are doomed to walk the earth for all eternity, those who are trapped between one plane of existence and the next, those who, for whatever reason, cannot or will not let go of the lives they left behind. These are the vengeful spirits, the tortured souls, the ghosts that haunt our realm. Welcome to FROM BEYOND THE GRAVE, a collection of 19 original ghost stories.

You can buy From Beyond the Grave here. 

From Beyond The Grave cover 2

The editor contacted me with an opportunity for feedback. Turns out an author he admired, on the condition of anonymity, offered to give a critique to the writers in the anthology. This author read the stories and commented. If we were interested, the editor would send the author’s comments and suggestions for future improvements. You bet I was interested!

Pro-tip #3: Always take feedback. You don’t have to use it, but constructive criticism should always be welcome. You don’t get better through praise; you get better by accepting that you’re not perfect and neither are your stories. Then you get to work making them better, learning with each experience until you reach a professional level. It doesn’t happen overnight. It can take a long time. For some, it never happens. All you can do is work as hard as possible to reach your potential. 

I’m having a hard time finding the original un-redacted comments. Here are the positives I’ve shared publicly. I pulled it from an earlier blog. I’d love to know who this author is, but I respect his or her privacy. 

“Another good one. A very unusual idea which was extremely well executed. Even as short as it is, the character development is pretty damned good. We know who these people are in just a few lines. The foreshadowing… is a mite obvious, but it doesn’t matter. We KNOW that someone’s going to… die from very early on, but the author makes it work anyway…” 

Okay, first, what can we take away from the anonymous author’s comments? The author felt the story was unique and well constructed. This reinforces my proficiency with story structure. Also, character development is noted as a strength. I’ve been told that previously by other editors. Always concentrate on your strengths. I’ll write a blog on why that’s so important in the future. 

On the negative side, I telegraphed the ending. Yet, the anonymous author thought the story worked anyway. Not a big deal, since genre stories often follow a pattern. The idea is to make the story so enjoyable that the reader forgives formulaic structure. Readers will excuse your deficiencies as long as you excel at other elements of the story. 

If memory serves, the anonymous author took umbrage with my description of behind-the-scenes television. He felt that I didn’t know that TV shows need plenty of people off-screen to produce a TV program. Fair enough. That is how I present the pre-production in the story. 

I am taking liberties. Ghost shows, especially Ghost Adventures, make it appear as if the main people are alone during the investigation. This might just be TV magic, but isolation is a big part of the show. 

ghostadventures2

The same with crafting a horror story. A sense of isolation, a feeling of being trapped, is important. If there’s avenue for escape, why don’t the characters leave? 

You must also condense a short story’s narrative.
For those reasons, I didn’t fret realism.  

Now, just because it’s fun to write about, I have some experience in television. In the early 90s, for a few semesters, I completed a work-study program in the broadcasting department of a local community college I was attending. I worked with students on their projects, including taped TV programs shown on a local cable channel. 

I ran audio and worked as on-screen talent. I even had the chance to learn old school linear editing. I ran audio and lighting for Dr. Timothy Johnson (ABC) at a lecture he gave in the college auditorium. I performed the job of many people that night (yes, I did it all alone). It was hectic, but it was a lot of fun!

abc_gma_johnson_121207_wg

Anyway, the anonymous author was right. Anyone who has worked in TV would shake their head at how I presented the production in the story. Most readers don’t know what it takes to create the shows they watch so it’s safe to keep the story as is. Most will never know.

Yet, it is important to acknowledge where the weaknesses in the story lie, and then to weigh dramatism against realism. Bruce Willis loves to squeeze through air ducts in the movie Die Hard even though it’s not possible to do this in real life——and we love it. For 90 minutes we believe he can do it! Drama wins out!

die_hard_prequel-2048x1152

In our next thrilling episode, I’ll go over the judgment call of giving away your stories. Is it ever worth not getting paid for your work? We’ll talk “sharing pages” with the cool kids. When you’re starting out, can association be as good as money? I’ll try to answer these questions next time. 

Thanks for reading. 

Hey, feel free to give me feedback. I’d love to hear from you. Tell me about your own attempts at publication and about any successes. I’m sure readers of this blog will benefit. Better yet, blog about your experiences and leave a link. We can never have too much information. 

The Scribe’s Arcanum: Anatomy of a Sale—The Mesomorphic Woman Part 3

When I returned to writing fiction, the first thing I did was pull out the manuscript for Violent Fall and give it a reread. I liked it, but the story was too long for a “beginning” writer to get published and the story itself was incomplete. 

Incomplete as a manuscript. I had the ending sketched out in my mind for years. 

One thing I forgot to mention last time was that in 1996 I had just watched the movie Titanic. In that film, as the story unfolds, fictional characters Rose and Jack brings us on a tour of the whole ship from top to bottom.  

Titanic4

I wanted to do the same thing with Violent Fall. My central character Irina Kira would bring the reader through most of the Audallis sphere from the city of New Boston East to the forest and farmland at the top of the biosphere where she would have a “violent fall” returning to where she started in the narrative. The lower portions, the bowels if you will, remained mainly unexplored and only hinted at in various drafts. 

As I reimagined the story, I also changed the title. I had come across Somatotypes; the ectomorph, the endomorph, and the highly muscular mesomorph.  Somehow I put Mesomorphic with woman and a new title was born: The Mesomorphic Woman. I thought the title sounded like a science fiction story. I worked at erasing subplots, cutting to the heart of the narrative. 

female-body-types

I also wanted the ending to be hard-hitting. This is a secret of good storytelling. The resolution should have some impact. Think Shirley Jackson’s The Lottery. With this story, I wanted the ending to have the emotional resonance of Amy Tann’s The Joy Luck Club.

 

When I finished the new draft, I put it away for a while and worked on other projects. After a second draft, I asked my wife to proofread. Then I began the submission process. 

Back in 2000, most magazines, especially the science fiction magazines (the old SF writers had a distrust for technology), required the old method of submission. This meant I had to print out a copy of the manuscript (after putting it in proper manuscript format) along with a cover letter,  clipping a SASE to the package, placing it an 8×10 envelope, and then driving to the post office to send it off.  Then I would wait a week and run to the mailbox every day for months while awaiting a reply. 

Responses came. They were all rejections. One prominent SF mag complimented me on my world-building skills but they didn’t like the story. Eventually, almost everyone began to use email for submissions, the years had gone by without a sale, but another prominent small press SF magazine said the whole editorial staff loved it but had decided not to purchase my story. And so it went over the years. I had some anecdotal evidence that The Mesomorphic Woman was a good story. A tell-it-like-it-is receptionist, who was also a frequent reader where I worked, read it and identified with my major character Irina Kira. Despite positive feedback, I wasn’t able to sell the manuscript.

It wasn’t until six years later in 2006 when my short fiction began to sell. Yet, for the life of me, I couldn’t figure out why The Mesomorphic Woman wouldn’t sell. I got better at my craft and over the years tweaked the story, tweaked the language, hoping to make the manuscript salable. 

I finally decided I had to put the manuscript away. I could write new stories in the time it took to polish old stories that weren’t selling. I abandoned The Mesomorphic Woman, consoling myself knowing that I might include it in a future short story collection. 

Later, with the manuscript secured in my virtual trunk (my hard drive) an open call for submissions for a new anthology market caught my attention. They were looking for stories just like The Mesomorphic Woman. Was it worth resurrecting the manuscript one last time? I figured I’d give the damn thing one final edit and send it out, but not without some trepidation. 

I’ll talk about this more next time. 

The Scribe’s Arcanum: Anatomy of a  Sale—Malfeasance Part 2

The Scribe’s Arcanum:

Anatomy of a  Sale—Malfeasance Part 2
Two months later, I got word that awaiting publisher approval, Malfeasance had made the cut. I was cautiously ecstatic. The editor didn’t think the publisher would kick anyone out, but she couldn’t officially accept any story without the publishers go-ahead.   
Here’s what she wrote about the story:

I really liked it. It was a great premise, good writing. I love Law and Order SVU and it reminded me of that but with an evil twist. I liked too that the villain really wasn’t in the story till the end yet he was a huge presence. I have to think that’s not easy to do, but you pulled it off.
About 21 days later, she gave me permission to announce the acceptance on social media. Then in August, I signed the contract. Realizing I could take part in my first reading and signing, I committed to attending the inaugural, but now defunct, Anthology Convention (AnthoCon) in New Hampshire. 
I had a fantastic time at the convention. 

After the reading, I took part in my first signing. Epitaphs: The Journal of the New England Horror Writers did well, selling out the 100 copies we had on hand. Then it continued to sell at other conventions and at online retailers. 

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I would be remiss if I didn’t mention that this was my first opportunity to share pages with the late great Rick Hautala (sometimes billed as the other writer from Maine, as he was Stephen King’s roommate in college), one of the authors who inspired me as a teenager during the 1980’s horror boom. 

Here’s some information on the anthology:

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The anthology features 26 stories and poems from the delightfully scary to the deeply macabre. 

Epitaphs, edited by author Tracy L. Carbone, includes an introduction by award-winning author and publisher Peter Crowther, as well as a cover by Danny Evarts. The table of contents in this chilling anthology is as follows: 

Perfect Witness – Rick Hautala 

To Sleep, Perchance to Die – Jeffrey C. Pettengill 

The Christopher Chair – Paul McMahon 

A Case of the Quiets – Kurt Newton 

Build-a-Zombie – Scott T. Goudsward 

Not an Ulcer – John Goodrich 

The Possessor Worm – B. Adrian White 

Make a Choice – John McIlveen 

The Death Room – Michael Allen Todd 

Stoney’s Boneyard – Holly Newstein & Glenn Chadbourne 

Kali’s Promise – Trisha J. Wooldridge 

The Sequel – David Bernard 

Malfeasance – David North-Martino 

Private Beach – Stacey Longo 

All Aboard – Christopher Golden 

Holiday House – LL Soares 

Lines at a Wake – Steven Withrow 

A Deeper Kind of Cold – K. Allen Wood 

Alone – P. Gardner Goldsmith 

Pandora’s Box – Roxanne Dent 

Chuck the Magic Man Says I Can – Michael Arruda 

Burial Board – TT Zuma (Tony Tremblay)

Windblown Shutter – John Grover 

Cheryl Takes a Trip – Stephen Dorato 

The Legend of Wormley Farm – Philip Roberts 

Church of Thunder and Lightening – Peter N. Dudar

Wow! What a talented group! Looking back, I find it humbling to have been part of this project. 

Epitaphs is now out of print, but an ebook version is still available. Since you can still purchase the anthology for the low sum of $2.99, I won’t be publishing Malfeasance on this blog.  Although, I am planning on recreating my reading, a reading that at one point in the narrative initiated a gasp from the crowd. Once I make a video and upload it to Youtube, I’ll link to it on this blog. 

Here’s a mixed review of my story by a reader on Amazon. It’s interesting, I was actually trying to make it feel like the reader was on a train, looking out a window, and seeing that the bridge is out ahead, knows nothing can be done about it, except take the plunge.

Malfeasance by David North-Martino: This was perhaps the most maddening story in the bunch. Just as with the previous story, I knew how it would end very early on. And yet it was crafted so intricately, I kept thinking no, I’m wrong, there’s a twist here I’m not seeing. But then… it ended just how I thought it would. Disappointing in that regard, yes, but it was still very much worth the read.

 Still, it’s good feedback, and I’m always trying to improve. Many times, a mixed or bad review can teach you much more than a fawning one. Check your ego at the door. 

If you’re interested, you can read a sample and get your e-copy here. 

Review of Hank Schwaeble’s Angel of the Abyss

angel-of-the-abyss

Hank Schwaeble’s Jake Hatcher is back in his third novel, The Angel of the Abyss. As always, and just like his short fiction, Schwaeble crafts a rollicking good tale that will keep you turning the pages.

The beginning of this tale has Hatcher facing a demon, although it’s more complicated than that, giving Hatcher time to exercise his sarcastic wit. Fans of Supernatural and Ash vs. the Evil Dead will definitely appreciate the humor.

The mood becomes more serious and dire in the second act. The middle of the book, unlike many writers who get bogged down at this point, is where Schwaeble really shines. He does a great job writing from the perspective of Amy, Jake’s true love, who is also a former cop. I actually enjoyed Amy’s scenes even more than Hatcher’s. The two of them fight like the proverbial married couple, of which, I’m sure, many readers will be able to relate.

Schweable also does a fine job of taking on the perspective of a young boy. We meet the boy while he’s in a precarious situation, and we know from the beginning that the boy will converge with Hatcher and Amy at some point in the story. I won’t spoil it for you, but I think you’ll be racing to the end to find out what happens.

Hatcher’s past is constantly catching up with him, complicating things, and fans of the series will get some closure on events that were set up in the previous volumes. New readers can start here; Hank does a great job of bringing you into Hatcher’s world. You won’t feel left out or confused.

The last third of the book builds up to a hellish crescendo leaving this reader wanting more. There are questions left unanswered, promising a fourth book in this popular series. The Angel of the Abyss has it all: likable characters, demons, black magic, possession, secret military installations, cults, and lots of action. If you want a story to get you in the mood for Halloween and beyond, pick up The Angel of the Abyss. You won’t be disappointed. Highly recommended.