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A Horror-Movie Imagination: The Old Dark House We Lived In

A Horror-Movie Imagination: The Old Dark House We Lived In

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Introduction

house of twilightMy frame of reference is at least partly informed by years of being entertained by horror stories and films. Frame of reference shapes expectation, and expectation influences perception. In other words, if you’re a horror fan, you may feel a little twinge of nervous anticipation every time you go alone into the basement. You’re primed for it.

Even if you don’t for one second think that anything is actually lurking down there more frightening than a basket of laundry or a bit of black mold (which actually can be pretty scary, health-wise: not good to breathe that stuff), it’s just that you’ve seen so many artful and artless portrayals of What. Might. Be. Down. There… You get that twinge, a frisson that can be quite delightful, given that you know there’s no real bogeyman waiting to pounce from behind the furnace, just the thrill of imagining there is one. Which is why you’re a horror fan.

I am a storyteller, yes. Sometimes I write horror stories, and I am an aficionado of the genre: guilty as charged. But everything I recount in the following pages really happened. I have restrained myself from the storyteller’s natural tendency to exaggerate for the sake of effect. In this case, the facts are arresting enough without embellishment. My aim is simply to reconstruct some of the thoughts and impressions that went through my head at the time, thoughts and impressions colored by a horror-movie imagination. This may thereby serve to illustrate how one’s perspective can shape perception.

Some of what follows may seem a bit strange. But if you doubt any of it, just ask my ex: it might have gotten weird at times, but to the best of my memory it all happened. (Except for the part where she claims I screamed like a little girl. Take that with a grain of salt. When I am startled, I tend to think of my vocalization as a deep, throaty, manly yell.)

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Just Call Me Folklore: A Whimsicality on a Whimsical Character

Just Call Me Folklore: A Whimsicality on a Whimsical Character

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You’re from what newspaper? You want to write the story of my life? Oh.

No, no, it’s not a problem at all. Come in. Here let me take your coat. Go into the sitting room. There’s a fire going and it’s much warmer.

I have to admit that I’m a little surprised that you’re interested in me. I’m not as famous as some of the other characters my Creator brought to life. I admit that honestly. You wouldn’t know it to look at me today but there was a time I reached incredible heights. It seems like only yesterday I was almost a legend; so I’m only too happy to relive those days. Sadly, there are many today who don’t know my rich history or how distinguished I was.

Just sit down over there. Yes, yes, clear off that chair. You can move those books and all that memorabilia over a little. No, not too close to the fire. Better put them on the mantle. I’ll pour you a cup of tea. It’ll fortify you against the snow and the bitter cold outside.

Now, let me see, where shall I start? Of course! It’s always best to start in the beginning. I think I remember Bilbo Baggins saying that once? I could be mistaken though. The old memory isn’t what it used to be.

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Down These Mean Streets a Pastiche Writer Goes

Down These Mean Streets a Pastiche Writer Goes

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NOTE: The following article was first published on April 12, 2010. Thank you to John O’Neill for agreeing to reprint these early articles, so they are archived at Black Gate which has been my home for over 5 years and 250 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

amis_colonel_sunPoodleSpringsPulp fans are united by an uncommon passion for literary authors and their creations. We read and re-read these seminal works time and again savoring each thrill as if discovering it anew. We read one another’s thoughts on these works in the hope of gaining a greater appreciation of the material or, at the very least, finding some justification for why they affect us so deeply. We dread to consider awakening to a world where there are no new tales of these characters to discover.

A small number of us set out on the precipitous path of making that dream a reality by adding to the existing canon of our favorite characters. Many of those who do so choose to work in the relative safety of fan fiction, content in the knowledge that none will judge their efforts too harshly. Fan fiction, however, is a double-edged sword for while it allows us to work free from criticism, we do so in the knowledge that none will treat our work as a legitimate continuation and that, at the end of the day, is what we all strive to achieve.

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An Adventurer’s Guide to the Middle Ages: What if There’s No Room at the Inn (or No Inn Whatsoever?)

An Adventurer’s Guide to the Middle Ages: What if There’s No Room at the Inn (or No Inn Whatsoever?)

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…you are automatically interesting. You have stories to tell that people will repeat for years to come…

So, by definition, adventurers travel. Where do you stay?

With the elves is good.

Seriously, Tolkien got it right. His two parties of adventurers travel across Middle Earth (which has an empty Early Dark Age/Early Middle Ages feel) and how many times do they stay in inns?

It’s pretty much camping and hospitality all the way. In Middle Earth, this means craving the hospitality of elves, shape-shifters, and humans of various social ranks.

In the real Middle Ages, you’re stuck with just humans.

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The Public Life of Sherlock Holmes: Was Holmes Fooled in “Thor Bridge”?

The Public Life of Sherlock Holmes: Was Holmes Fooled in “Thor Bridge”?

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Thor_GlassPart of the fun of being a Sherlockian (I use the term to mean someone who has read the stories and delves into them, studying and possibly writing about them: not having watched the BBC television show Sherlock and expounding the wonders of Benedict Cumberbatch) is speculating on the stories. In a post last November, I posed that perhaps Holmes was actually fooled by Lady Brackenstall in “The Adventure of The Abbey Grange.”

I don’t think that actually happened, but in Playing the Game, I laid out what I thought was at least a plausible scenario for it. Similarly, I pondered the possibility that Holmes set himself up in the blackmailing business after matters were concluded in “The Adventure of Charles Augustus Milverton.” Now, I don’t believe what I wrote in that one at all, but it was fun and it’s not impossible (just preposterous).

So, I ask you, is it possible that Holmes had a blind spot regarding the fairer sex and that he once again was duped by a pretty woman?

SPOILERS – SPOILERS – SPOILERS

Though frankly, if you’re reading this post and you haven’t read “The Problem of Thor Bridge,” I’m a little perplexed. But click on this link and read it. It won’t take long.

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The Public Life of Sherlock Holmes: Stanford Does Holmes and More…

The Public Life of Sherlock Holmes: Stanford Does Holmes and More…

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Stanford_CoverI don’t know how many Holmes and Sir Arthur Conan Doyle related books I have on my shelves. But it’s certainly several hundred. And I know almost every one of them and where they are. Some days, I like to simply pull various volumes out, look at them a bit and put them back. And once in awhile, I run across something I had forgotten about. Such happened to me as I was trying to decide what to write about this week.

Did you ever hear of the Stanford Victorian Reading Project? This admirable effort, currently on hiatus, released facsimiles of Charles Dickens and Sherlock Holmes stories. Regarding Dickens, they explored Great Expectations, A Tale of Two Cities and Hard Times.

I’m not much of a Dickens reader, so I’m only going to look at the Holmes project here.

You could sign up and they would send you, in the mail, free, an issue with a recreated cover from The Strand Magazine, a very short essay somehow related to Holmes or Doyle, a facsimile of a story with Sidney Paget’s illustrations, and annotations, often including a map or other picture. Quite simply, these are neat! Starting in January of 2006, I received (on a weekly basis), ”A Scandal in Bohemia,” The Speckled Band,” The Hound of the Baskervilles in nine installments, and “The Final Problem.”

Beginning in January of 2007, the sent out “The Empty House,” “Silver Blaze,” “The Musgrave Ritual,” “The Reigate Squire,” “The Greek Interpreter,” “Charles Augustus Milverton,” “The Abbey Grange,” “The Second Stain,” “The Bruce-Partington Plans,” “The Devil’s Foot,” “The Dying Detective” and “His Last Bow.”

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An Adventurer’s Guide to the Middle Ages: Town Watch? Where?

An Adventurer’s Guide to the Middle Ages: Town Watch? Where?

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…an Ankh Morpork-style town watch

The first thing that Conan — or Locke Lamora, or Grey Mouser, or Vimes, or a D&D party  — would notice about a real medieval city would be the almost total absence of an Ankh Morpork-style town watch.

It’s a stock trope: here come a dozen Keystone Cops town watch in their funny armour, to arrest the drunken barbarian or catch the thief. Only it’s not like that in reality, or at least not quite like that in Later Medieval and Early Modern England, France, and Germany.

That’s not a criticism. Fantasy writers must write what they will. Dickensian thief takers are plausible, and raise themes to do with policing and justice. However, if, like me, you write Historical Adventure Fiction , then you need to know how policing worked because integrity, and because somebody else will know and will gleefully correct you in reviews. (It’s funny when your research is better than theirs though — and the one time I ever answered a review.)

It’s actually quite hard to drill down to D&D level details about the medieval past. Scholars are usually more interested in the development of legal systems and local authority than what happens when Conan gets into a brawl. However, there are a few useful sources: This PhD thesis on trial by battle; The Time Traveller’s Guide to Medieval England: A Handbook for Visitors to the Fourteenth Century (link); The Martial Ethic in Early Modern Germany: Civic Duty and the Right of Arms (link); plus various more antiquarian tomes on my research shelf.

And, there are some surprises beneath the crust of sometimes dry text. Let’s kick off with what every aspiring thief and rogue needs to know…

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The Series Series: Why Do We Do This To Ourselves? I Can Explain!

The Series Series: Why Do We Do This To Ourselves? I Can Explain!

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What’s up with the Big Fat Fantasy books? Books that crest a thousand pages, books that fell forests, books that travel in savage packs of series. We wait three years, five years, ten years for the next volume. Meanwhile, the scope of what the author must remind readers about between installments expands (a storytelling problem anatomized over here by Edward Carmien). We click over to the fan-run online encyclopedia to remind ourselves who the characters are, both because it’s been so long since the last volume, and because the cast size is just that large.

Yet many of us love such books. In my case — and maybe yours, too — not just a few odd specimens of the type, but the type itself.

Thomas Parker laid out all the objections that can be leveled against the sprawl of our genre’s most popular novels, not as an outsider but precisely as an insider shocked at what has become normal to him. (Embrace the tongue-in-cheek hyperbole and just go with it — the main point’s still sincere.)

Someone please tell me. Why? Why do we do this to ourselves, we devotees of science fiction, horror, and (especially) fantasy? What did we do to deserve this? What crime did we commit in some previous existence that we now have to expiate with such bitter tears? Judge, I deserve to know! I demand answers!

If readers are asking themselves that question in that way, even in jest, you can bet the authors are, too, often with a greater level of frustration.

I have to marshal all my hubris to say this in public, but guys, I think I might have the answer. Seriously, not just an answer, but maybe the central answer.

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Kickstarting the Mindjammer Universe: A Far Future Transhuman Utopia?

Kickstarting the Mindjammer Universe: A Far Future Transhuman Utopia?

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Yesterday Mindjammer Press launched a Kickstarter for my far future transhuman science-fiction roleplaying game and fiction setting Mindjammer, to fund a series of RPG supplements and fiction for the game, including sourcebooks, adventures, and even a version for the Traveller rules. It made its initial funding goal this morning in a little less than 24 hours, and John very kindly invited me to Black Gate to speak about the Kickstarter and the Mindjammer setting.

You may know something about Mindjammer already — John O’Neill and Howard Andrew Jones have both written about it before, and I’ve blogged about it here too. It’s set in Earth’s far, far future — approximately 17,000AD — during the Expansionary Era, when a formerly stagnant civilization on Old Earth has reinvented itself as a “New Commonality of Humankind” following the discovery of “planing” — faster-than-light travel. Now, two centuries on, the Commonality is journeying to the stars, rediscovering lost colonies settled from Old Earth by slower-than-light generation and stasis ships millennia before. Cultural conflict is everywhere, between this vibrant, optimistic, yet overwhelmingly strong interstellar civilization, and the disunited, often highly divergent lost colony cultures which are facing “integration” at the Commonality’s hands.

The Commonality considers itself the brightest and greatest civilization of humankind. The Mindscape, a vast interstellar shared consciousness and data storage medium to which all Commonality citizens are linked by neural implant, gifts its citizens with technological telepathy and the awesome powers of technopsi. It also lets them upload their memories, and download the memories of other people — even dead people. Artificial life forms with synthetic personalities based on the memory engrams of dead heroes abound: even the starships are sentient beings, the eponymous “Mindjammers”, faster-than-light vessels which travel between the stars, updating the Mindscape and knitting transhumanity’s interstellar civilization together.

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How I Used Steampunk to do George Orwell (But With More Sword Fights and Magic)

How I Used Steampunk to do George Orwell (But With More Sword Fights and Magic)

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“Holy ####! I’m a Steampunk author!”

“Holy ####! I’m a Steampunk author!”

I was staring at the Amazon Kindle rankings and the first volume of Swords Versus Tanks had just crept into the top 10.

Actually, I like Steampunk, but the story was supposed to be Heroic Fantasy or even Sword and Sorcery. After all, swords is what I do for fun.

Back when I was planning what I hoped would be my début novel, I wanted to put magically-enhanced medieval knights up against tanks, but I didn’t want to involve a modern military — too sophisticated with too much tech; I would end up spending most of the novel finding magical ways to break drones and cruise missiles that didn’t also break the medieval setting.

If my tanks were going to be pre-modern, then I might as well pick the era with the coolest looking tanks — that gave me WWI, which also gave me Zeppelins.

So Great War tanks and Zeppelins and semi-automatic weapons. That made at least half the story Steampunk  (Decopunk actually)… not half the novel as in the first (or second) half. Rather half the genre. The other half is Heroic Fantasy. As a reviewer kindly put it:

…it’s like every fantasy, steam punk or alternative history novel thrust screaming into a thunderdome and told to fight for our entertainment.

But Steampunk provided more than just carefully calibrated tactical situations with nice aesthetics, it also let me write about big ideologies.

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