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Writing Advice: Creating Character (Red Sneaker Writers)

Writing Advice: Creating Character (Red Sneaker Writers)

Version 1.0.0

It’s been a year, so let’s look at another volume of William Bernhardt’s awesome Red Sneaker Writers books. These things are absolute treasures.

I started reading William Bernhardt’s Ben Kincaid books back in the mid-nineties. I seem to recall I went on a ‘lawyer’ kick and read him, Steve Martini, and Robert K. Tannenbaum, all around the same time. But years later, Bernhardt made a bigger impact on me with his Red Sneaker Writers series. These slim volumes with the brightly attractive colors are jam-packed with great writing advice. The first book I read was on story structure, and I think it’s still my favorite. Though every one has been both interesting to read and thought-provoking. If I ever get my act together, I’ll add “taught me a lot.”

I’ve read through a couple of them more than once, making notes on paper (I CANNOT highlight a physical book. I’m incapable of it). Last year, I decided to be a little more systematic and I went through EVERY title, be it Theme, Plot, Character – all of them: and I outlined the key points in each chapter. I printed them all out and have a very cool binder. Which, if I ever actually sit down and write a novel, will be of great use.

I sent one of the outlines to him, telling him that I’d like to include it in a Black Gate post, promoting the series. He kindly granted his permission. Today, it’s the third outline in this series.

I’m fortunate that many actual, real, Writers (note the capital ‘W’) with books you can buy on Amazon, or at bookstores (if you can find one that is still in business), are friends of mine. And they are FAR more qualified than I am to talk abut writing advice. I think I hold my own as a Black Gate blogger, and there are worse Sherlock Holmes short stories out there than mine (And certainly better ones!). But my unfinished novel is just a bunch of words strung together, until I finish it.

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We Are Not Commodities (Modern Marketing Scares Me)

We Are Not Commodities (Modern Marketing Scares Me)

An old woman standing in an empty dorm points a shotgun at the viewer. On the wall behind her is scrawled the words “We are not things”
A still from Mad Max: Fury Road

Good afterevenmorn, Readers!

You’ll have to excuse me as I’m currently on holidays, and the absence of the routine of heading into the office daily has thrown off my brain a little. Today, I wanted to muse about something quite personal to me. I had, for  quite a while, taken myself off most social media — I was still on Facebook a very little, and continued to watch YouTube videos — but the rest of them were used only to post a link to my blog post (such as BlueSky), or not at all (TikTok, looking at you). But I have since returned, albeit slowly and distantly.

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A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

A (Black) Gat in the Hand: Will Murray asks, ‘Do Lost Raymond Chandler Stories Exist?’

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.
– Phillip Marlowe in Raymond Chandler’s The Big Sleep
(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Will Murray makes a return to A (Black) Gat in the Hand. Last month, Strand Magazine (who I wrote DVD reviews for in a prior century) published a lost Raymond Chandler story. Which got Will to thinking…

The recent discovery of a previously unknown and unpublished short story by Raymond Chandler reminded me of a question that’s lingered in my mind for a very long time.

How did Chandler in the early years the Depression support himself and his wife writing for Black Mask and other titles when he only sold a two or three stories a year?

Black Mask was then paying only a penny or a penny and a half a word for fiction to any but their top writers. Chandler was writing stories that were roughly 12 to 18,000 words long. He received $180.00 for his first sale, Blackmailers Don’t Shoot. Even considering what a penny could buy in 1933, when a loaf of sliced bread cost 3 cents, Chandler wouldnt have been able to survive solely writing for Black Mask.

It wasnt until 1935 that he broke into Munsey’s Detective Fiction Weekly, which probably paid him two cents a word, and possibly more. A considerable raise, but still far short of what was required for subsistence living. And he only sold one story to DFW, Noon Street Nemesis.

Since Chandler had been a well-paid oil company executive until he lost his job in 1932, conceivably his savings carried him for some period. But according to Chandler biographer Tom Hiney, by the time he started working on Blackmailers, Chandler’s savings had been all but exhausted. The story took him five months to write. Add another month or so until he received the acceptance check. So that’s $30.00 a month for six months toil, paid at the end of the six-month period. At his old executive position, Chandler’s salary had approached $10,000 a year.

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By Crom, It’s Cimmerian September: Arthurian Elements In the Conan Canon – Part II

By Crom, It’s Cimmerian September: Arthurian Elements In the Conan Canon – Part II

It’s installment three of Cimmerian September, and I’m going back to Spring of 2018 for today’s post. But it’s not a reprint (Hey: I think people should read last week’s essay on “Rogues in the House”!

I took a fantasy template developed by John Teehan, citing Arthurian elements to be found in almost any fantasy work. Well, at least one element can be, anyways. I applied the principles to the first four Conan stories: “Phoenix on the Sword,” “Frost Giant’s Daughter,” “The God in the Bowl,” and “The Tower of the Elephant.” You can click on this link to see that three of the four scored pretty low.

Well, we’re gonna look at the next three Conan stories: “The Scarlet Citadel,” Queen of the Black Coast,” Black Colossus,” and Iron Shadows in the Moon.”

So, let’s see how the stories shape up.

John Teehan, in The Complete Guide to Writing Fantasy: Volume One, challenges the reader to think of their favorite contemporary fantasy novels. And we’re talking Tolkien-onwards here, not just the past few years. Then he gives a list and says it would be difficult to think of a book that didn’t have any of the five themes on the list. He is making the point that the Arthurian legend, largely brought to popular culture by Thomas Malory, was an interweaving of those five themes. High fantasy epics like David Eddings’ Belgariad still follow this path.

I immediately thought about Robert E. Howard’s Conan tales and how they didn’t really emulate this pattern. Or so it seemed to me. My friend Deuce Richardson immediately pointed out two stories that did significantly incorporate these elements. So, I decided to start at the beginning and take a good look at “The Phoenix on the Sword”: then, do a less detailed survey of the following stories.

This time around, we’ll give “The Scarlet Citadel extra attention, then move on to the other two.

So, here we go!

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A Bloody Good Time for Young and Old: Nathan Hale’s Hazardous Tales

A Bloody Good Time for Young and Old: Nathan Hale’s Hazardous Tales

These days, deciding what to get depressed about is like visiting a fabulous smorgasbord where the presentation is first-class and every delicious dish is cooked to perfection. Hmmm… what shall I have today? Let’s see… a generous spoonful of climate-change anxiety is guaranteed to make a good appetizer. Now let’s have some sides… umm… a little state of the economy worry is always tasty, and… where are they hiding it? Oh! There it is — it’s just not a meal without a steaming portion of AI apocalypticism. And now for the main course. Well, we all know that there’s nothing as filling as… er, let’s just stop there, shall we?

For myself, I tend to go in for the more exotic entrees. For instance, one of my favorites is a heaping plateful of “dammit, kids just don’t read comic books as much as they did when I was their age!” Though it might not be enough for a whole meal, it is something that I frequently find myself chewing on.

It’s true, too — in my role as a fourth-grade teacher, I spend every day in the company of elementary-age children, and I can attest that actual comic books play almost no role in their lives, certainly compared with the space those gaudy booklets took up in my life — and my bedroom closet — when I was a child.

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By Crom, It’s Cimmerian September: Rogues in the House

By Crom, It’s Cimmerian September: Rogues in the House

We’re rolling through Cimmerian September here at Black Gate. Well, on Monday mornings we sure are! I was fortunate enough to be asked to do some Youtube panels for the Robert E. Howard Foundation folks this month. And we had a great time talking about the first Del Rey Conan volume – The Coming of Conan – in the first one.

I got to give my thoughts on “Rogues in the House,” which was my Hither Came Conan title. That had been a mid-level Conan story for me. But it moved up the ranks after I finished my essay project. So, with some tweaks, here’s my take on a pretty cool story. And HOW was this six years ago??

When I was pitching this series to folks, I was using the title, The Best of Conan. I didn’t come up with Hither Came Conan for about eight months, I think. Yeah, I know… The idea behind the series came from an essay in my first (and so far, only) Nero Wolfe Newsletter. The plan for 3 Good Reasons is to look at a story and list three reasons why it’s the ‘best’ Wolfe story. And I toss in one ‘bad’ reason why it’s not. And finish it off with some quotes.

So, I’m going to take a somewhat different tack from those who have come before me (I doubt I could have measured up, anyways) and pick out two elements that make this story one of Howard’s best accounts of the mighty-thewed Cimmerian. Then, throw a curveball from the Wolfe approach and highlight a few items worthy of note.

OUR STORY

Obviously, you need to read this story, but here’s a Cliff’s Notes version: Nabonidus, the Red Priest, is the real power in this unnamed Corinthian city. He gives a golden cask to Murilo, a young aristocrat. And inside the cask is a human ear (remind you of Sherlock Holmes? It should.). We learn a little later on that Murillo has been selling state secrets, and the ear is from a clerk he had dealings with. The jig is up!

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Back Into the AI Debate

Back Into the AI Debate

Image courtesy of Pixabay, found under the “authentic only” search (not AI)

Good afterevenmorn, Readers!

This post is going to be a little “old lady yells at clouds” today, so prepare!

With the news that Anthropic, the AI company behind Claude Chaptbot, was sued and settled for their large-scale theft of books in order to train its AI model, I have been reading a glut of articles both for and against the use of AI, specifically to write fiction novels. Naturally, not being AI (I swear!), I’m firmly against. The theft of creative works to train these programs, and the environmental damage required to get the up and keep them running aside (and those two reasons alone are strong enough, I feel, to abandon AI) I don’t think AI belongs in creative fields; some aids, perhaps, some tools, yes. But I don’t think creating AI that can “write” a novel is in any way valuable.

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By Crom, it’s Cimmerian September! (And all my REH essays, too)

By Crom, it’s Cimmerian September! (And all my REH essays, too)

The seriously talented Jim Zub jumped on board last year

It’s Cimmerian September! Youtuber extraordinaire Michael K. Vaughn coined the term, in which he spends the month talking about my second favorite writer, Robert E. Howard (John D. MacDonald still holds the top spot). He’s going beyond Conan this year, and is starting out with my favorite Howard character, El Borak!

A month celebrating REH is the best thing I can think of. John Bullard of the Robert E. Howard Foundation invited me to join a panel with Michael, John Hocking, Mark Finn, Patrice Louinet, and my Hither Came Conan cohort, Jason Waltz. We recorded two long-winded but fun sessions, and I’ll share those links here when they’re online this month.

I mentioned here that I read the issues 1 through 115 of the Conan the Barbarian comic from Marvel. And with each issue, I read the accompanying chapter from Roy Thomas’ terrific three memoir series. I enjoyed it and will blog more about those comics.

I have also been reading some Savage Sword of Conan issues from the Marvel Omnibuses. And I am enjoying them in a different way. The black and white graphics are very different from the CtB color ones. I’m finding the adaptations of the REH stories are pretty faithful. I just finished up “The Treasure of Tranicos,” which was L. Sprague de Camp’s rewrite of Howard’s unpublished story, “The Black Stranger.”

“The Black Stranger” is in my Conan Top Five, and I enjoy de Camp’s version quite a bit. The Savage Sword version is a good read, covering two issues. The first one also has an informative history on the story, by Fred Blosser.

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What I’ve Been Listening To: August, 2025

What I’ve Been Listening To: August, 2025

What I’ve Been Listening To is back for another installment. Audiobooks are omnipresent in my life now. Work, home, car, walking, bedtime: I’m constantly listening to them. Often something I’ve listened to before, which lets my mind half-focus to no ill effect. But I’m still listening.

Some recent plays – all Audible, as I need to get Hoopla set up on my ‘new’ used phone. I have listened to five different Bruce Campbell projects recently, so that’s probably another post.

MIDDLEBRIDGE MYSTERIES

I wrote about Mistletoe Murders, which is an Audible original series. It’s like a Hallmark mystery movie. Emily Lane runs a Christmas-themed store, but she has a secret past. Of course, there’s a local cop boyfriend, with a daughter named Violet.

I like the series, and they turned it into a Hallmark TV series as well, though I’ve not seen that yet. It uses different actors, which I’m not too enthused about.

Well, Violet was trying to get into college at the end of season three, and she did. So, Anna Cathcart is back and starring in Violet’s freshman year in criminal justice studies. Her professor is played by Eric McCormack (Will and Grace). I was a big fan of his show Perception and he’s good as a supporting character here.

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A (Black) Gat in the Hand: Hammett & The Continental Op – Volume 3 (My intro)

A (Black) Gat in the Hand: Hammett & The Continental Op – Volume 3 (My intro)

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Pulp Fest took place in Pittsburgh first week of the month. It’s a really cool event, and the Hilton Doubletree is a nice site. I really enjoy it. Steeger Books rolls out its summer line at this event. And for the third year in a row, there was a new Continental Op collection, with a brand new intro by yours truly. Getting to write about Dashiell Hammett remains a definite thrill. This volume wrappd up his pre-Cap Shaw career. Here’s my  new intro. Looking forward to Volume IV. 

Welcome to Volume three of Steeger Books’ series on the Continental Op. Hammett had written fifteen Op stories of varying quality for Black Mask, and one rejection found its way into True Detective Mysteries (though they weren’t actually ‘true’).

He had followed hard on the heels of Caroll John Daly, whose Three-Gun Terry Mack appeared in May of 1923, and just two weeks and one issue later came the first Race Williams story, “Knights of the Open Palm.”

After one more Williams shoot-fest, Black Mask printed “Arson Plus,” and Dash Hammett began reshaping the fresh clay that was the new hardboiled school. The quality of Hammett’s work immediately surpassed that of Daly’s, though it was up-and-down. Hammett’s drinking, health issues, personal life, and problems with (his second) editor Phil Cody, made the Continental Op a bumpy ride.

Here we have the final five stories he wrote for Cody – before he quit Black Mask. Yep. Quit. Had Joseph ‘Cap’ Shaw not been committed to bringing back Hammett, we would not have had Red Harvest, or The Maltese Falcon. Hammett was willing to quit the Pulps, rather than continue to labor under Cody’s financially-unrewarding yoke.

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