Category: Kickin’ The Willy Bobo

Kickin’ The Willy Bobo With…Christofer Nigro

Derrick Ferguson: Who is Christofer Nigro and what are you all about?

Christofer Nigro: I am a humble Italian writer born and raised on the mean streets of a big city in New York State, but not fortunate enough for that big city to be the one that shares a name with the state itself and is associated with an apple and the Empire State Building. So, I’ve had to make do. Sometimes very opinionated, sometimes not funny when I try to be (okay, maybe more than just sometimes *sigh*), and always hoping to tell a good story. On pen and paper, or the modern digital equivalent thereof, that is.

I am a lifelong fan of the fantastic fiction genres, particularly those we all know as horror, sci-fi, fantasy, pulp adventure, superheroes, tokasatsu, and yes, crime noir. I have always been fascinated by the inherent subversive and larger than life nature of these genres. Hence, they are my own favorite way to tell stories, for imagining a more exciting and interesting variation of the world we live in, for pushing the limits of scientific and theological thinking; and ultimately, what they say about our culture’s vision of that which passes for heroism, villainy, the expected future, ideas of the past, what could be, and what actually is via the dynamic interplay of archetypes – some of them unique to the industrial age, others being  post-industrial versions of age-old epitomes. As in, the ancient world had Hercules and Thor, and we in the post-industrial era have Superman and Shazam. And we also still have Hercules and Thor! How awesome is that for the best of both worlds?

As such, it has been a lifelong dream of mine to add my own two or three cents to this literary mix. Hopefully, Wild Hunt Press will end up adding a silver dollars’ worth of that metaphorical currency. Stranger things have happened.

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DF: Where do you live and what do you tell the IRS you do for a living?

CN: I live in Buffalo, New York and I tell them I am running a business that I hope takes off like a business, but must have an accountant figure out what I owe nevertheless. Owing nothing is great, but that suggests you’re making next to nothing, which is not so great. I think you get the gist. I also take into account all freelance work I do, including the writing assignments I complete for other publishing companies which I get paid for, however meager said payments happen to be.

DF: How long have you been writing? And what is your motivation for writing?

CN: I have been attempting to write since I was five years old, when I stapled together a very crude little book about dinosaurs. My love of dinosaurs is reflected in much of my writing today. During my early elementary school years I attempted to put together horribly rendered comic books drawn into loose-leaf notebooks featuring various superheroes — I recall trying to do a “split book” featuring the Hulk and the Sub-Mariner, a concept of publication that always fascinated me but which has long since gone out of vogue – and one featuring Doc Savage, a classic pulp hero I came to know and become fascinated with due to the rather awesome black and white comic magazine version published by Marvel back in the day.

My first honest-to-goddess short story was one called “Evil of the Wolf Man,” which I penned in sixth grade, featuring some werewolf character whose identity I do not recall pitted against a vampiric villain I called Dr. Morbius. A name I shamelessly stole from Marvel’s vampiric anti-hero, I should fess up to. I remember being so proud of that story that I actually gave it to my grandmother to read and assess, not caring about all the explicit cuss words it had. To her credit, she read and evaluated it without making nary a complaint about all the expletives and f-bombs in the dialogue.

I wrote continuously through my high school and college years, finally getting a few things published locally in the late ‘90s when I published two editions of my college journal The Poet for academic credit (I majored in English during my second and successful attempt at obtaining a Bachelor of Arts degree). It was no big deal in retrospect, to be honest, but it was one of those things that seemed big to an aspiring writer at the time.

My first official published work was a short story in Volume 8 of Black Coat Press’s annual Tales of the Shadowmen anthology in 2010 (featuring new tales of pulp heroes and villains from vintage French literature and cinema), and I will be forever grateful to Jean-Marc Lofficier for believing in me and giving me this first big break. Much as I am likewise grateful to Tommy Hancock of Pro Se Press, Nicholas Ahlhelm of Pulp Empire, and the crew at Sirens Call Publications for giving me similar early breaks as a published author. And finally, the crew at Severed Press for publishing my first two novels.

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I am also forever indebted to Win Scott Eckert, Chuck Loridans, and other authors from the Wold Newton circle of successors to the groundbreaking work of the late, great Philip Jose Farmer for providing me with so much inspiration and the networking that eventually made it possible for me to get published.

What is my motivation? To achieve the type of immortality that most people crave, but usually attempt to achieve simply by passing on their DNA to a new generation of people bearing their surname. In the case of authors, we hope to pass on our ideas and psychic creations to successive generations. I also simply love doing it, I enjoy doing my best to make a difference and impact on the world via the written word, and I cannot think of a better form of hard work that is suited to me as an individual.

DF: What have you learned about yourself through your writing?

CN: Well, for one thing, I learned that I have a habit of making overly long sentences with a lack of finesse for brevity, which has driven some of my editors crazy at times. Which has in turn taught me to be very appreciative of their efforts and patience, which I like to think has been carried over to my own work as an editor.

I learned how important perseverance and determination are to human achievement, not to mention the requirement of having a thick skin for when the inevitable negative reviews and criticism of your work come in. Not to mention the rejections.  I always wondered if I could handle these things and learn the discipline required to be prolific and successful in this field. Sometimes I still wonder, but so far, so good, I like to say.

I also learned that, thankfully, I am capable of pushing myself to do things I enjoy doing, even when the going gets rough. I was stoked to discover this, considering how poorly motivated I am to do things that need to be done but which I am not quite so fond of doing. Like managing time, cleaning up the potato chip crumbs I left all over my carpet following a snack, and making those dentist appointments.

Most importantly, I also learned that there is indeed a field where being opinionated, having a lot to say about a lot of things, and providing a sounding board for my ideas is useful rather than counter-productive. Well, most of the time, anyway. These days we live in a world predominated by political correctness, so not all opinions are welcome. However, writers are supposed to be subversive, and supposed to make people think when they do not want to. It can be nice to know you are providing a service that society needs, even though it’s one they often do not want. That is part of the risk this particular field entails.

People have a strong psychological requirement of feeling needed. But they also like to feel wanted, and this is a field where you quickly learn you cannot have everything.

So, one thing you quickly find out about yourself with writing is whether you prefer to play it safe and simply be entertaining, which writers can certainly do to great success; or try to say something about the world we live in and hopefully do so in an entertaining way, which can be quite dangerous. Not only to society, but to you. So, in some ways, being a writer helps you test your mettle against the world around you and see how often you can get up again after being knocked down. Not to mention learning to struggle in a field that, contrary to popular outside belief, is notoriously difficult to make a good living from. This forces us to ask whether making a lot of money is truly the sole measure of accomplishment or success in the world we know.

DF: How much room in your head do you allow do you allow for critics and criticism?

CN: I try to leave quite a bit in there for that, because writers (and all creatives, of course) have to be prepared for a lot of serious criticism – both personally from friends and editors, and publicly via critics you do not know. In fact, you need to be prepared for a serious public drubbing at times. You quickly learn that this is not work for sissies, because you must leave yourself vulnerable and open to public scrutiny.

Are there times when I want to give up after I get the latest bad review or drubbing that is visible for all to see? Of course. Until several minutes of teeth gnashing pass and you realize these types of psychological beatings and public verbal floggings are a routine occupational hazard for writers. Much like carpal tunnel syndrome is.

Of course, there are different types of criticism, with varying degrees of value. Constructive criticism that is genuine is a blessing despite the pain involved in receiving it, because it can tell you what your specific weaknesses are in storytelling, and what you should work on to improve your craft.

Ironic criticism, i.e., light-hearted roasting, is also to be expected, and I think, useful. It teaches you to be humble and not to take things too seriously all the time. This is good for your ego, as it keeps you grounded and resistant to becoming too full of yourself for each success you may achieve.

Derogatory criticism, that which is clearly designed just to be nasty and make someone feel bad about themselves, is not helpful. However, it is also an occupational hazard you have to expect and learn to deal with when you put yourself out there like creatives do. For instance, when I get a negative review that simply says, “Do not buy this book! It was awful, and if you must read it, see if you can rent it or borrow it for free. But do not spend any money on it!” … and nothing other than that, they are not helping either you or their fellow readers understand why they are feeling that way, or what you, as a writer, may need to improve on. They are just taking jabs at you with no real point behind it except to vent over feeling they wasted their time and money on your work.

I also have a pet peeve for nitpickers, because I believe all readers should not expect any work to be perfect and without a few nits to pick, especially considering how writers already have to take a lot of criticism for often genuinely serious matters. Adding a few kicks to a flurry of punches can be perceived as adding insult to a bullet wound, even if that initial shot to the gut was necessary. Kicking a guy after he is already laying there in a pool of his own blood is arguably not particularly necessary.

And of course, there are some people who find it easier to be critical than to say positive things even if they honestly feel more positive than negative feedback was warranted. And there are those critics who feel it’s simply their job to tear things apart rather than to criticize in a balanced fashion. Then there are those who dislike what you wrote because they may have picked up your book with a specific set of expectations that you never intended to meet.

So, again, criticism is a thing a writer must be prepared for, and something he/she needs to steel him/herself against no matter how much it may sting or be the written equivalent of a kick to the diaphragm. I try to take the genuine constructive criticism to heart for the useful and necessary feedback it is, and inure myself against the nitpicking, pointless “venting” critiques, and outright mean-spirited attacks while taking the constructive criticism to heart in the proper spirit for which it was generously offered. It’s going to come, and you have to be ready for it, just as a construction worker needs to wear that metal safety helmet in preparation of getting hit on the noggin from a metal bolt dropped from a hundred feet up.

One important thing I try to keep in mind, which all writers must, is that it’s utterly impossible to please everyone. One thing you are likely to notice with your reviews is that the things which some readers hated about your story/book are precisely the things that others absolutely loved about it. What is “good” or “bad” is often very subjective, and readers have a variety of aesthetic and stylistic tastes.

This is why, as an editor and publisher, I try to accept all professionally rendered submissions even if they happen to have a style or method of storytelling that I do not personally like. Because I know its very likely many readers will indeed like the work, even if I and certain other readers may not.

DF: What’s with the obsession with The Wold Newton Universe?

CN: The idea of a shared universe where many characters and concepts created by a vast array of writers, illustrators, game designers, etc., co-exist side-by-side and can actually run into each other just as surely as you and I can in the world outside our window is fascinating to many. As is the idea of a world, an entire universe, that is shaped by the activities and consequences of this multitude of exceptional beings and events while still reasonably resembling the one we know (and sometimes love) is ripe for creative inspiration and ruminations on how much more interesting the world we live in could be if only this or that physical law was a bit laxer.

Which one of these many extraordinary personages may be related without anyone – including possibly their own creators or original writers – knowing about it? Which of them may have contributed actions that beget or aided and abetted the life story of another personage, or this or that significant event, recorded in disparate sources by other writers? What type of hidden world or sequence of events would result from the sum of their various actions, independent or otherwise, over the course of that secret history going on alongside an analogue of the one we know?

It takes a lot of overthinking, yes, and it’s certainly not for every writer or consumer of genre fiction. But for those of us who find it a useful and interesting mental exercise to conceive of such a world, it can be quite fun and creatively inspiring to dwell on. And yes, maybe even obsessive. I am certainly one of the guilty parties in that regard.

For many, the Wold Newton Universe was the Holy Grail that got the New Pulp Movement started in many ways. Or, at least those of us fascinated with para-scholarship that seeks out hidden connections dispersed throughout a huge number of sources, sometimes via a variety of creative mediums outside of prose, both intentional and perceived.

There are actually a lot of intentional and semi-intentional “Easter Eggs” in the form of cross-source references, some blatant and others subtle/merely implied, thrown into works intended to make connections to others. This includes sources composed by entirely different creative teams from a variety of eras. Seeking these little gems out and making further connections for inclusion in the overall tapestry of a shared universe is the basis of a literary methodology that Win Scott Eckert christened ‘creative mythography’ (I strongly believe it was Win who coined the term, but if I am misremembering, I have no problem with being corrected).

The Wold Newton Universe is specifically Win Scott Eckert’s extension of the shared pulp universe connections conceived by the great sci-fi and pulp adventure author Philip Jose Farmer, largely within his para-biographies Tarzan Alive and Doc Savage: His Apocalyptic Life, as well as further short stories, articles, and other works by PJF. This was primarily embodied in the Wold Newton Family, a group of famous pulp heroes and villains of yesteryear who were genetically connected as a result of a few horse-driven carriages of their ancestors being irradiated by the mysterious energies of a meteor that landed in a field located within Wold Newton, Yorkshire, England circa 1795 (hence, the name of both that lineage and the shared universe it occurred within). The Wold Newton Universe was further added to and extrapolated upon between the late 1990s and mid-2000s by the creative inspiration of Chuck Loridans with the original MONSTAAH site, Dennis Power with his Secret History of the Wold Newton Universe site, and numerous other dabblers contributing articles to these sites (including yours truly).

After several years, it was decided by Win that the term “Wold Newton Universe” should be reserved for PJF’s specific oeuvre of work, or those directly connected to it by his successors. This is because the term “Wold Newton” was derived from PJF’s work and was not entirely about crossovers, which the expanded view of the Wold Newton Universe became associated with. Win therefore differentiated the expanded shared universe that incorporated the numerous additions extrapolated from crossover refs that were well outside of PJF’s personal body of work as, appropriately enough, the Crossover Universe. He provided a timeline for the Crossover Universe, now officially coined as such, in two big great volumes of Crossovers: A Secret Chronology of The World, followed up by two additional and similarly impressive  authorized volumes of Crossover Expanded by Sean Levin.

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The idea of a shared universe where many characters and concepts created by a vast array of writers, illustrators, game designers, etc., co-exist side-by-side and can actually run into each other just as surely as you and I can in the world outside our window is fascinating to many. As is the idea of a world, an entire universe, that is shaped by the activities and consequences of this multitude of exceptional beings and events while still reasonably resembling the one we know (and sometimes love) is ripe for creative inspiration and ruminations on how much more interesting the world we live in could be if only this or that physical law was a bit more lax.

Which one of these many extraordinary personages may be related without anyone – including possibly their own creators or original writers – knowing about it? Which of them may have contributed actions that beget or aided and abetted the life story of another personage, or this or that significant event, recorded in disparate sources by other writers? What type of hidden world or sequence of events would result from the sum of their various actions, independent or otherwise, over the course of that secret history going on alongside an analogue of the one we know?

It takes a lot of overthinking, yes, and it’s certainly not for every writer or consumer of genre fiction. But for those of us who find it a useful and interesting mental exercise to conceive of such a world, it can be quite fun and creatively inspiring to dwell on. And yes, maybe even obsessive. I am certainly one of the guilty parties in that regard.

For many, the Wold Newton Universe was the Holy Grail that got the New Pulp Movement started in many ways. Or, at least those of us fascinated with para-scholarship that seeks out hidden connections dispersed throughout a huge number of sources, sometimes via a variety of creative mediums outside of prose, both intentional and perceived.

There are actually a lot of intentional and semi-intentional “Easter eggs” in the form of cross-source references, some blatant and others subtle/merely implied, thrown into works intended to make connections to others. This includes sources composed by entirely different creative teams from a variety of eras. Seeking these little gems out and making further connections for inclusion in the overall tapestry of a shared universe is the basis of a literary methodology that Win Scott Eckert christened creative mythography (I strongly believe it was Win who coined the term, but if I am misremembering, I have no problem with being corrected).

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The Wold Newton Universe is specifically Win Scott Eckert’s extension of the shared pulp universe connections conceived by the great sci-fi and pulp adventure author Philip Jose Farmer, largely within his para-biographies Tarzan Alive and Doc Savage: His Apocalyptic Life, as well as further short stories, articles, and other works by PJF. This was primarily embodied in the Wold Newton Family, a group of famous pulp heroes and villains of yesteryear who were genetically connected as a result of a few horse-driven carriages of their ancestors being irradiated by the mysterious energies of a meteor that landed in a field located within Wold Newton, Yorkshire, England circa 1795 (hence, the name of both that lineage and the shared universe it occurred within). The Wold Newton Universe was further added to and extrapolated upon between the late 1990s and mid-2000s by the creative inspiration of Chuck Loridans with the original MONSTAAH site, Dennis Power with his Secret History of the Wold Newton Universe site, and numerous other dabblers contributing articles to these sites (including yours truly).

After several years, it was decided by Win that the term “Wold Newton Universe” should be reserved for PJF’s specific oeuvre of work, or those directly connected to it by his successors. This is because the term “Wold Newton” was derived from PJF’s work and was not entirely about crossovers, which the expanded view of the Wold Newton Universe became associated with. Win therefore differentiated the expanded shared universe that incorporated the numerous additions extrapolated from crossover refs that were well outside of PJF’s personal body of work as, appropriately enough, the Crossover Universe. He provided a timeline for the Crossover Universe, now officially coined as such, in two big great volumes of Crossovers: A Secret Chronology of the World, followed up by two additional and similarly impressive authorized volumes of Crossovers Expanded by Sean Levin.

This is where the differentiation stands today, though of course many fans and creative mythographers are still in the habit of referring to the Crossover Universe as the “Wold Newton Universe” out of sheer habit, something I was guilty of a long time myself. But the current distinction is important to note.

And from there lies the genesis of the Wild Hunt Universe, as I call it. Back in the day, such an expansive concept as the Wold Newton Universe (before it became dis-entangled from what would eventually be called the Crossover Universe) obviously led to a host of disagreements and creative differences among numerous creative mythographers and pulp fiction fans as to what should or should not be included within its shared framework, and what might or might not appropriately fit into what was essentially a universe of pulp heroes/villains and monsters/horror heroes. The divide was crossed at many different lines, so many of us developed what back then we would call a “personal Wold Newton Universe,” whereas the one authorized by Win and his main fellow curators was often referred to as the “consensus Wold Newton Universe.”

Obviously, the expected creative differences, be they subtle or extensive, between such a large pool of authors and researchers resulted in a multitude of alternate variations of the Wold Newton Universe/Crossover Universe. Think of what Krona in the DC Universe did to create the Pre-Crisis Multiverse (before it was temporarily wiped out a few times and brought back again via Crisis after Crisis), only a lot less cosmic, and with we creative mythographers to blame for it rather than a rogue alien scientist.

Out of that cosmic catastrophe of creative conflicts came the Wild Hunt Universe. Among others. So, now we have another new multiverse. It’s getting crowded out there. Hence, while the Wild Hunt Universe is not the same as the Crossover Universe, it is a similar variation of it in that it is first and foremost a pulp hero and monster universe but may include or dispense of some elements known to exist in the Crossover Universe proper.

DF: Tell us about Wild Hunt Press.

CN: It is, plain and simple, my dream. I hope to one day make a living off my writing as do so many of us in this racket, and to help many other authors and artists do the same with an indie niche of my own in the field. One that is inundated with my way of doing things and building from there with the contributions of others.

Like many indie imprints, I hope to experiment and publish works that the big labels would deem “too risky” or “not commercial enough” and see what may actually click with the readers. As well as some publications that are not subject to the too-common PC rules of many other indie publishers. There is too much of that right now, as I see it. Sometimes you have to risk offending people to get them thinking, to expand boundaries, and to provide something new or a serious exchange of ideas; otherwise, no matter the quality of the work you publish, you end up fading into the crowd. Not that taking risks is necessarily the road to success, as that can break you as well as make you if all doesn’t go well, but part of the risk in doing something new is, well, taking these risks in the first place.

I will be focusing heavily on the genres I most like to read/view and write myself: horror, sci-fi, fantasy, tokasatsu, crime noir, and pulp adventure fiction. But I am hoping to expand into more experimental territory and play with other genres outside of the above from time to time and see what comes of it.

I will publish my own novels and single-author anthologies, those of others, and multi-author anthologies. Some of these works will be my own take on concepts others have published, and in other cases going in directions that no one has ever gone before. Hopefully.

DF: Tell us about The Warp Event Universe.

CN: This is distinct from the Wild Hunt Universe, which is essentially a pulp /monster/sci-fi universe, a similar variation on the Crossover Universe as noted above. In contrast, the Warp Event Universe will be an actual shared superhero universe. This will be an Earth whose history was very much like the world outside our window, save for a series of periodically occurring mysterious flashes of cosmic energy in the near-vicinity of the planet. They hit very localized areas across the globe, and when they do, the physical laws of that part of the universe changes so that what was previously improbable now becomes nightmarishly likely.

Many people caught in the energy surges of the Warp Events begin developing metahuman powers, on a world where they previously existed only in comic books or on film etc. Some of them change in cool and spectacular ways, others that are actually disturbing and even horrific. Certain animals caught in the Warp Events mutate into strange creatures; certain locales have a dimensional breach punched in time/space that permit access to other dimensions, with strange beings entering this reality from another… some of them may become heroes themselves, and others something decidedly different. And to top it off, exotic forms of technology that wouldn’t work previously suddenly become functional and viable – everything from suits of power-conferring armor, to plasma rifles, to sentient robots.

In short, a once more or less mundane Earth like our own suddenly becomes an amazing, much more interesting, and often outright terrifying place. The corporations and governments of the world respond accordingly, particularly the armed forces and various mercenary guilds, each hoping to study and exploit all of the above phenomena to their advantage. The various publications taking place in this shared universe will show the trials and tribulations of various individuals who are struggling to become heroes after ascending into metahumanity, or deciding to use their powers for very different purposes; or beings from beyond who suddenly gain access to this brave new world from another world; or simply striving to oppose or gain some measure of control over these forces.

The first two published novels in the Warp Event Universe, both written by me, are Centurion: Dark Genesis and Moonstalker: A Knight in Buffalo. Also taking place in the Warp Event Universe is my short story “An Un-Bear-Able Day in Cuyahoga” featuring my teen hero duo Moth Girl & Locust Lad, published in the multi-author superhero anthology The Good Fight 4: Homefront by Local Hero Press. They will soon get their own novel published by Wild Hunt Press.

Granted, the first batch of these heroes are teens, but all similarity between them ends beyond that. And future heroes and villains I have planned for the Warp Event Universe will not be limited to teens. One of them will be Ultimus, an adult who becomes the premiere superhero of  that world and respected by most for his genuine and inspiring nobility… but only because the public is unaware of his rather bizarre secret. Another will be Mr. Mystik, an otherworldly master of magick who enters the Warp Event Universe through a dimensional portal and attempts to protect the people of Earth from the various phenomena that has also bridged the gap between worlds… except that his system of ethics conflicts with that of the human race in some rather unsettling ways. And yes, a team featuring many of these heroes is also planned along the way.

For the record, Centurion is an emotionally troubled young teen who is suddenly beset with extraordinary powers due to being suffused in the energies of a local Warp Event. It’s his intention to become the type of hero he had always admired in the comic books, but the serious emotional scars he carries as a result of being a severely bullied social outcast causes him to lash out in ways that make him as great a menace as the Warp Event-spawned threats he tries to oppose.

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Moonstalker is another teen hero who inhabits the same city as Centurion but is without superhuman powers. Rather, he has extremely formidable martial arts training and other skills & various weaponry related to that, and he takes up the mantle of a ninja-like vigilante to launch a brutal one-man war against a dangerous street gang that seeks to rule Buffalo’s East Side. The only thing is, Moonstalker’s ego is every bit as large as his set of martial arts skills and he believes he can control the East Side in a more benevolent fashion than the gangs. And then there is the matter of the several copycat vigilantes who begin springing up in the wake of his reputation, along with the fact that the police want to take down Moonstalker as much as the street gang itself.

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DF: How difficult was it creating your own superhero universe?

CN: It was something I definitely had to do some planning on. Centurion and Moonstalker are actually updated versions of characters I created way back during my high school years, and I had written some short stories and dossiers featuring these early versions of the characters. I even published one story for each of them locally — one in my aforementioned college journal The Poet (where Moonstalker appeared under his original name of Nightstalker, before I became convinced that moniker was much too ‘taken”); and the Centurion story in the first issue of a long gone, locally published zine that was called The Rebel’s Advocate. The new versions are updated so their stories take place in the 2010s. So now, each will be able to make use of an incredible technological breakthrough known as cell phones, devices unavailable to their earlier versions.

As you may surmise, I have long wanted to put these characters into official publication, and it’s far past the time that it finally happened. There are many superhero universes in prose right now, with the various authors going in some wild directions, whereas others take a more traditional route. Will the Warp Universe stand out amongst this mighty crowd? I do not by any means consider myself a superior writer to the many awesome authors of superhero prose fiction contributing to the market right now (many of whom are terrific inspirations to me). However, I am hoping that the characters and universe under my pen and editorial hand provide something unique and special to that market, much as all the other superhero characters and universes guided by other authors and editors are providing their own unique offerings. Is there room for all of us? Well, it’s a mighty big multiverse out there, so I like to think so.

What I had to really think about is whether or not this shared universe would be united by a specific source that connected virtually every instance of metahuman powers and strange phenomena, as was the case with Marvel’s old New Universe experiment (remember that? I sure do!); or, would multiple fantastic phenomena that are oftentimes unconnected to each other form the backdrop, as with the Marvel Universe proper. I ultimately decided on the former, with the obvious hope that this universe thrives better than the one whose basic premise partially inspired it. However, the heroes of the Warp Event Universe will often be much more powerful than the likes of D.P.7 and Psi-Force from the New Universe, and a wider range of phenomena will erupt from the Warp Events, including other dimensional sentient beings, actual supernatural monsters, and truly advanced technology (including fully sentient machines).

I also had to ask myself this: Do I want characters who are essentially people first, and heroes second (as was most often the case in Marvel’s Ultimate Universe), thus providing good-intentioned albeit highly flawed individuals we can all relate to? Or, have a universe full of essentially noble and selfless heroes of the traditional sort that inspire us? I decided to go for both of the above, and everything in between and outside any definition of “hero” altogether. Secondly, do I go for a grim and gritty tone, or something more fun and light-hearted? I again opted for variance in accordance with varied taste among the readers, with Centurion and Moonstalker being grim and rather dark characters, but Moth Girl & Locust Lad being heroes whose exploits and overall tone puts the word “fun” back in the superhero genre.

DF: Tell us about DORIAN GRAY: DARKER SHADES

CN: This is a multi-author anthology designed to deal with what was, prior to Halloween 2018, a glaring omission in the world of gothic horror: the utter lack of original prose tales featuring Dorian Gray, one of the most intriguing and versatile characters (from a storytelling point of view) in the history of fantastic fiction. And certainly, Oscar Wilde’s greatest creation.

Dorian Gray has been featured in movies, TV shows, video games, comic books, an excellent audio series from Big Finish – but no original prose, save for a duplicate of the novel that features additional erotica so that some of his hornier fans no longer had to rely on their imagination to fill in the gaps (pun not intended, honest!). Other than that, we had a good number of novels and anthologies that featured alternate reality versions of Gray or stories inspired by the concept behind the character, but no original prose that continues the actual saga begun in “The Picture of Dorian Gray.”

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This anthology rectifies that rather inexplicable oversight. It features contributions from some of the best authors in horror fiction today, including none other than Peter Rawlik, Micah Harris, and the legendary comic book writer T. Casey Brennan (his first officially published prose to my knowledge). And more, including a novella from yours truly, a new short story by Kevin Heim, and a short one act play (just call it a playlet) by playwright David MacDowell Blue. The volume tops off with an extensive Dorian Gray timeline chronicling his history in the Wild Hunt Universe, culled from numerous sources across all mediums, and it’s co-authored by Robert E. Wronski Jr. (who provided the framework) and moi (who provided a bunch of extrapolations to Rob’s work).

Oh, and for crossover fanatics, the various tales feature Dorian Gray meeting up with the likes of Dracula, Dr. Pretorius, Becky Sharp (of Vanity Fair), Carmilla (of Sheridan Le Fanu’s classic eponymous vampire novella), Richard Pickman of the classic Lovecraftian tale “Pickman’s Model,” and… well, you’ll see!

DF: Tell us about THE EXPERIMENT

CN: This is a linear, multi-author anthology of separate but interconnected stories that is the brainchild of author Zach Cole. It occurs in a reality distinct from the Wild Hunt or Warp Event Universes, as well as Zach’s Blue Moon Universe where the novels featuring his monster hunting werewolf Jeremy Walker and the heroic daikaiju Marugrah take place. But it’s definitely a horror universe, and when Zach gets around to giving it a name, I’ll let you know!

The initial framing story, penned by Zach, features a black ops bio-weapons program called Project Hydra that is sequestered in the notorious Area 51 military facility at Groom Lake, Nevada. Basically, this top-secret program had the goal of creating six distinct and ultra-deadly new lifeforms created by splicing various genetic combinations of some of Earth’s most dangerous predatory animals with strands of alien DNA recovered from a crashed spacecraft. The resulting Subjects were supposed to be under the control of the U.S. Armed Forces for use as biological weapons on the battlefield. Of course, as is often the case with such things, plans go horribly awry, all six of the Subjects break free from the base after first going on a bloody rampage inside of the facility itself, and promptly go their separate ways to find refuge throughout the hidden byways of Nevada (and even beyond the state’s borders, as you will see).

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What follows are short stories and novellas scribed by different authors, including Zach and yours truly, which chronicle the bloody havoc wreaked on the lives of different groups of unwary civilians who come into contact with each one of the monstrous Subjects of Project Hydra; along with the efforts of special task force units of armored soldiers sent from Area 51 to track down and neutralize the incredibly dangerous creatures. And it ends with a final framing tale co-authored by Zach and yours truly that shows the aftermath of these events, along with revealing the plans that the Area 51 bureaucracy have in dealing with the residual problems left over from Project Hydra.

This anthology features the debut of several new authors, and I am proud to provide them with an outlet for some of their first published work.

DF: So where does Wild Hunt Press go from here?

CN: I can only hope it will go where successful small indie publishing efforts go. Towards that end, I will continue to strive to do what indie publishers do best: bring experimental genre titles to readers, to help many new professionally qualified authors and artists get the big break they need and deserve, and to put my own stamp on it in the process. One of those tasks that sounds simple when described, but is actually not quite so simple in practice, of course. But here’s to the effort!

DF: What’s an average Day In The Life of Christofer Nigro like?

CN: Dealing with whatever life may throw at you, much like everyone else. More specifically for a typical day, a lot of reading (and trying to become faster at it!), listening to music, drinking coffee, Green tea, or soda (whichever I most have a fancy for that day), and doing my share of writing, editing, formatting, discussing project ideas with contributing authors and artists, and hopefully treating myself to a pizza on that particular day.

Derrick Ferguson: Anything else we need to know?

Christofer Nigro: One other major thing! Wild Hunt Press is honored to have a collusion with author/artist Zach Cole, the scribe of the A Jeremy Walker Thriller series, the mastermind behind Wild Hunt’s just published linear horror anthology The Experiment, and with more from him to come under the Wild Hunt imprint, including Legion: A Thriller, Lovecraft: A Kaiju Thriller, and new editions of his first kaiju and Jeremy Walker novels that comprise his Blue Moon Universe. As for the immediate present, The Titans’ Children, Zach’s newest novel in the saga of Jeremy Walker, monster hunting werewolf, and Marugrah, his heroic kaiju, is now on sale from Wild Hunt Press.

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Kickin’ The Willy Bobo With…PERCIVAL CONSTANTINE

Derrick Ferguson: It’s been something like 42 months since we last talked like this so we’ve got to do the obligatory thing where you tell the folks reading this something about you and what you’re all about. So, who is Percival Constantine and what are you all about?

Percival Constantine: I’m a professional author and university lecturer originally from Chicago, but I’ve been living in southern Japan for almost ten years. Basically, I’m a huge geek. Growing up, I was a massive fan of superhero comics, video games, and movies, and those interests haven’t abated now that I’m in my mid-thirties. I started writing comic book fanfiction when I was in high school and I published my first novel, Fallen, in 2007. Since then, I’ve been continuously writing and have produced over twenty novels, plus several short stories collected in various anthologies. My writing has been spread across many different genres, such as science fiction, fantasy, horror, mystery, and action/adventure.

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DF: You’ve been writing professionally for quite a few years now. Have you found your audience? Or have they found you?

PC: A little bit of both. When I first began publishing, I didn’t know what I was doing and I had no idea how to find an audience, so I’d just throw stuff out there and hope it stuck. Nothing ever really did. Over time, I learned about the importance of self-promotion and began doing things like paid advertising through avenues such as Facebook, Amazon, and different book recommendation email lists. That helped me find an audience for my work. In the process, as I was able to advertise my work to more people, it led to my books ending up in search results for related books, so it helped other readers find me.

DF: What’s the secret to good writing? Have you cracked the uncrackable code?

PC: I don’t think anyone will ever crack that code because the definition of good writing depends so much on the reader. I think as writers, the only thing we can really do is write books that we’re interested in writing. Readers are savvy and they can smell a phony a mile away. If you’re writing a book that you’re not interested in, readers will pick up on that and it will turn them off.

DF: What keeps you motivated to keep writing?

PC: My entire life has been devoted to storytelling. I devoured it as a fan, I studied it as a student, and I write and teach it as a professional. To me it’s as natural as breathing. I’ve had moments when I was frustrated and swore, double-swore, and triple-swore that I would give up writing. But I always ended up coming back. I’ve got stories I want to tell and that’s what motivates me to keep going even when readers aren’t buying.

DF: How much room in your head do you allow for critics and criticism?

PC: As much as is needed. My approach to criticism is to consider the source. Sometimes you’ll get criticism from people who simply aren’t part of your audience—and that’s fine, not everyone will be part of your audience. That kind of criticism I’ll consider, but I won’t stress myself out over it. Other times, you might get criticism for not doing something you never set out to do in the first place. I’m not going to worry about that kind of critique at all.

The most important criticism that I’ll consider is criticism that comes from people who are my intended audience. Those are the comments I’ll think about and it will make me take another look at my work. But sometimes, even after considering those critiques, I might still choose to go my own way.

I think the writer who ignores all criticism is too egotistical and the writer who takes all criticism personally is too sensitive. It comes down to something Stephen King said in On Writing: “You can’t please all of the people all of the time. You can’t even please all of the people some of the time. You just have to settle for pleasing some of the people some of the time.”

DF: What are your thoughts on where New Pulp is at today?

PC: To be honest, I don’t give a whole lot of thought to New Pulp these days. It’s something that kicked off with a lot of fanfare, but I think too many people who identify with New Pulp are more hobbyists than serious about creating a professional movement. And if they just want to be hobbyists, that’s fine. But I see far too many frustrated at a lack of momentum, yet those same people aren’t doing much to help change the landscape.

DF: Is New Pulp going anywhere? If so, where is it going? If not, why isn’t it?

PC: I don’t think so. I think it will remain a niche field for hobbyists and I doubt you’ll see a whole lot of momentum, and this ties into my previous answer. There’s a wealth of information out there for how people can take advantage of the new indie market. We have more tools than ever before—access to affordable advertising, access to wonderful cover designers, access to the kind of market research that publishers would have killed for twenty years ago.

And yet, the people in New Pulp aren’t taking advantage of these things. If you look at the successes in indie publishing, a few commonalities start to emerge: they produce books quickly, they get genre-appropriate covers, they pay attention to the genres that are hungry for books, they target the right categories on Amazon, they take advantage of advertising and mailing lists, etc. How many people in New Pulp are doing these things? I know I do it and I’ve seen my success grow as a result. But too many people are tied to the romantic notion of being an artist who doesn’t worry about the business side.

Problem is unless you’ve got someone to handle that business side for you, you aren’t going to make any money.

It’s a bit tragic, I think, because I see so many immensely talented New Pulp writers who should be killing it. I’ve read these books and they’re very good. But they aren’t getting the right covers, they aren’t targeting the right categories, they aren’t advertising or reaching out to readers with mailing lists, their production schedules are inconsistent and have far too much of a gap between releases, etc.

And yet the readership is hungry for New Pulp, they just don’t know it’s called New Pulp. Space opera came from pulp. Urban fantasy came from pulp. Superheroes came from pulp. Romance came from pulp. Horror came from pulp. Westerns came from pulp.

These genres are big right now and there are authors who are producing books in those genres and making a lot of money selling those books. But none of them are part of the New Pulp crowd.

And the difference between us and them? It’s not the quality of the writing. It’s not luck. It’s because those other authors are treating it like a business. A New Pulp writer thinks, “I want my western to have an illustrated cover just like the westerns during the pulp era had and I want readers to find me.” A successful genre author thinks, “What westerns are selling well? What do those books have in common? What do those covers have in common? How can I get my book in front of those readers? How can I get those readers onto my mailing list?”

If New Pulp writers want to be more than hobbyists, then they have to start asking these questions of themselves.

DF: Who is Luther Cross?

PC: Luther Cross is a character that came to me a long time ago. I was in the midst of writing the second novel in the Infernum series, Outlaw Blues, when tragedy struck. My computer crashed. For some reason I can’t remember, I had to wait several months before I’d be able to use software computer on the failing hard drive. So instead, I got the hard drive replaced and rather than keep writing from memory, I thought about doing something else. I’d just started binge-watching Supernatural at the point and it made me want to write something in the same vein. I was also a big fan of John Constantine from the Hellblazer comics as well as Warren Ellis’ Hellstorm: Prince of Lies comic book from the early 90s, so all those went into my conception, as well as a bunch of other stuff.

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Luther Cross is a cambion—half-human, half-demon. He was raised and trained by a secret society called the Sons of Solomon in the hopes that he would use his abilities against the forces of darkness. As an adult, he works as a paranormal investigator in Chicago. Also, somewhat uniquely in the world of urban fantasy, he’s a black man whereas most protagonists are white. That wasn’t really a conscious decision on my part, when I first visualized the character, for some reason I just pictured Idris Elba with glowing red eyes (though I’ve come to believe that if a live-action version were ever made, DB Woodside would make the perfect Luther).

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I never finished that first novel, but the character stuck with me. Years later, Tommy Hancock of Pro Se Press came to me about Pro Se’s Single Shot Signatures line and asked me if I wanted to contribute. I pitched him a few ideas, including Luther, and he liked that one the best. Jeff Hayes designed a wonderful cover and I started writing 10,000-word short stories starring Luther. Some setbacks pushed back the publication schedule and eventually, Tommy had to make the decision to scale the line back. I’d already been planning to do some novels with Luther, which Tommy was fine with and we had talked about doing some cross-promotion. But when the scale-back came, Luther’s series was one of the victims. That actually did work out for me though, because I was able to then focus solely on the novels. And so far, those books have been doing very well for me.

DF: Have you always been a fan of urban fantasy?

PC: Yes, but I didn’t always know it was called urban fantasy. Growing up, I became a big fan of Buffy the Vampire Slayer and then the spinoff Angel, plus short-lived series like The Crow: Stairway to Heaven and Brimstone. I became a fan of horror movies in college and that led me to comics like Hellblazer and Hellstorm, plus later on I watched TV shows like Supernatural and Constantine. So I’d always liked the genre, but it wasn’t until I became active in publishing that I learned it was called urban fantasy.

DF: One of the things I enjoyed most on reading your Luther Cross books is the cosmology involved that Luther operates in. I’m especially tickled by the notion that the hierarchies of Heaven and Hell are no more than celestial bureaucracies. Did you draw upon established religious doctrines for your conceptions of Heaven and Hell?

PC: I’ve looked at various sources when describing them, but I haven’t relied too heavily on any one source. When angels were introduced in Supernatural, one of the things that I really liked was that the angels were portrayed as haughty, self-righteous assholes. And it made sense. It also got me thinking a lot about the nature of both. The whole notion of 100% good or 100% evil is something that I don’t really agree with and seems very simplistic.

So that got me thinking: what is the difference between Heaven and Hell? What is the difference between angels and demons? They had to be two sides of the same coin, but it couldn’t just be good vs. evil. I needed more there.

Then it hit me: angels were made to obey. They follow orders. Lucifer was banished because he refused to follow orders, because he was prideful. So that meant Heaven was a place where rules matter more than anything else and it became a simple calculation—not good vs. evil, but order vs. chaos. And that’s when everything clicked.

DF: What are your plans for Luther Cross as a character and as a franchise?

PC: I’m currently writing the fifth book. I won’t reveal the title here because it might spoil the ending of the fourth book, Devil’s Conflict (which came out this past August). But I have at least six books in the series planned and I also have ideas for a potential spin-off series. As long as fans are still reading and I can still come up with ideas, Luther will continue on.

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That’s what I have control over. Absolutely I would love to see Luther translated into other mediums. Nothing would please me more than to see a Luther Cross series on TV or a Luther Cross movie. I’d totally be willing to write a Luther Cross comic book. I’d love a Luther Cross video game. But those things are beyond my control at the moment.

DF: Tell us about Vanguard.

PC: Vanguard was my first attempt at publishing my own original superhero series. The concept is that the world experienced a strange phenomenon in which a small percentage of humanity was granted superhuman abilities, called specials. In the face of these new challenges, the US government in secret gathered together a team of these specials in order to deal with superhuman threats. It was influenced by my love of superhero comics, especially the X-Men and the Avengers.

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My original idea was to reproduce a structure similar to many of the comics I loved growing up, where I’d write it as a serial with each installment featuring a self-contained story, but with subplots stretching out across the length of the series.

The serial approach didn’t work so well and I abandoned it about halfway through and just released season compilations. The series lasted for a total of five books (or seasons), which was my initial plan going in. I do have ideas for further books and the books that are currently out there go through periods when they experience a bump in sales. At some point, if both time and sales are preferable, I would like to return to that world.

DF: Are we going to see more adventures of Elisa Hill, The Myth Hunter?

PC: The final book ended with Elisa’s death, but there’s always the possibility for resurrection, and I’ve thought about doing more books in that world. At the moment though, there aren’t any plans. Unfortunately, the sales on The Myth Hunter books were never very strong, so it’s hard to justify it at this time when I’ve got other books that are selling far better. But I still love that character and that world and would love to return to it at some point.

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DF: Are we going to see the Infernum series return?

PC: No, no plans whatsoever. That series definitely performed the poorest of all the ones I’ve written so far. I didn’t leave open a lot of doors for future installments, either, so even if interest were there, I’m not even sure where I would go with it.

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DF: What’s a Typical Day In The Life of Percival Constantine like?

PC: I wake up around 6-7 am, shower and have my morning coffee, then I check email and do some writing. I try to shoot for 2,000 words every day, but some days are better than others and some days I just don’t do it at all. I teach at a few different locations, so my schedule every day is a little bit different, some days I’m working until evening, other days I have the afternoon off. When I get home, that’s just my decompression time. I have dinner and then either play video games, read comics or books, or watch a movie or some TV. Nothing very exciting.

Derrick Ferguson: Anything else we should know?

Percival Constantine: My website is http://percivalconstantine.com. For anyone who’s interested in discovering the world of Luther Cross, those short stories originally published by Pro Se, plus an exclusive novella, are available for free by visiting http://cross.percivalconstantine.com. There’s also a Facebook group, called Luther Cross Fans (https://www.facebook.com/groups/luthercross/) where fans can gather together and talk with me and each other about the books.

Kickin’ The Willy Bobo With…RAYMOND EMBRACK

Derrick Ferguson: Since it’s been three years and eight months since I last interviewed you we have to refresh people’s memories. Who is Raymond Embrack? Where do you live and what do you do to keep the bill collectors away?

Raymond Embrack: A member of Usimi Dero. Los Angeles. Haven’t kept them away yet. Have taken up day trading as my new art form.

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DF: Any major changes in your life since we last talked?

RE: Retired from close to doing 20 in L.A. County. Soon to move back to Washington DC.

DF: Last time I interviewed you I asked you if there was an audience for Raymond Embrack. Have they found you or have you found them?

RE: The weirdness has been out there long enough an audience is actually finding me, almost a following today. Mostly younger, a mix of exiles and hipsters. Who thought I would wind up the Jeff Goldblum of nobodies?

DF: How do you feel you’ve grown and developed as a writer in the past three years?

RE: Since Kindle Create I do all parts of production, plus design my covers.

DF: How has your attitude about your work in particular and writing in general changed or modified?

RE: I ended the intent to make book sales. I cut half my book catalog, now only write my desert island catalog of only Surf product. Turns out I only like writing Surf.

DF: Update us on Peter Surf. First off, for the folks who don’t know who Peter Surf is, tell us about him.

RE: Peter Surf is my private eye series private eye since 1996. His name comes from the music in Pulp Fiction. First published 2000. Operates in west coast Blonde City, the city Trump would build with Madonna. Surf is in part composed of Derek Flint, Hunter S. Thompson, John Shaft, Chris Rock. He runs a dojo to meet women, invents martial arts like Aztec Karate. He specializes in unusual dangerous and difficult cases, never does missing persons cases because most PI novels are missing persons cases.

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DF: Where is Peter Surf going as a character and what are your future plans for him?

RE: Perfecting the swagger this began with.

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DF: What else are you working on now?

RE: Nothing. For now less writing, more reality.

DF: What is the one book of yours you would recommend to someone to start with? And why that book?

RE: Pick the description you find hottest, work your way to the coolest. Or vice versa.

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DF: What keeps you motivated to continue to write?

RE: My aspiration to build a series of at least 20 dope Peter Surf units, a collection of WTF? to one day gaze upon with chill self-gratification.

DF: Drop some much needed Words of Wisdom on all the young aspiring writers reading this that are thirsting for knowledge.

RE: Only write what you love most. Be your own favorite writer.

DF: What’s a typical Day In The Life of Raymond Embrack like?

RE: Day trading from a desktop, earning more, losing less, learning by doing, writing my own textbook as I go. Each person has to write their own textbook. Night, that’s another question….

Derrick Ferguson: Anything else we need to know?

Raymond Embrack: No

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Raymond Embrack’s Amazon Page

Kickin’ The Willy Bobo With…NICOLE GIVENS KURTZ

Derrick Ferguson: We’ve been through this before but no doubt there’s a lot of people who will be reading this who don’t know a thing about you so: Who Is Nicole Givens Kurtz? Where do you live and what do you do to keep the bill collectors away?

Nicole Givens Kurtz: I am originally from Knoxville, Tennessee (Go Big ORANGE!), but I currently reside just outside of Winston-Salem, North Carolina. I’m a public-school teacher by day, a writer at night and a mother 24/7.

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DF: It’s been a year and four months since I last interviewed you. What have you been doing since then?

NGK: So much has happened in the last year! An anthology I submitted a story to, was named as a Bram® Stoker Finalist in Horror Anthology (Sycorax’s Daughters), I’ve sold a few short stories, and finished a new urban fantasy series that I’m currently shopping around. I’ve also had the pleasure of attending BlackTasticon in June and some other pretty amazing events this year.

DF: I asked you in our last interview if there was an audience for Nicole Kurtz. Have you found your audience yet? Or have they found you?

NGK: Alas, my audience remains a bit elusive. I’m still working on refining my author brand, and also increasing my in-person presence. I write a lot of different types of stories, and for that reason, it may be difficult for me to find an audience that are “Nicole Givens Kurtz” fans, but rather they like specific things I write. For example, I do have “Cybil Lewis” readers, and “Minister Knight” readers, etc.

DF: How is Mocha Memoirs Press doing?

NGK: Mocha Memoirs is going through an overhaul in terms of direction. It’s not entirely new, but we are refining our model. Publishing is always changings and we’re shifting with the sands, too.

Our tagline is Bold. Fearless. Fiction. We want to continue to amplify marginalized voices in speculative fiction. We opened our submissions doors two months ago and are actively seeking novellas and novel-length submissions.

DF: What are you working on now?

NGK: Currently, I’m revising a romance novella for Falstaff Crush, the romance line of Falstaff books.  After that, I plan to finish revisions on my second urban fantasy series.  There are short stories and short story collections I’m also putting together, including on for Cybil Lewis and my weird western short stories.

DF: Who is Cybil Lewis?

NGK: Cybil Lewis is a private inspector in the future who investigates violations (crimes) for those who are afraid or don’t want to go to the police. She’s like a female Shaft in dystopian Washington, D.C., following her own moral compass, and getting the job done.  She’s by far my most personal and favorite character out of all of those that I have created over the last 20 years.

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DF: In the year since we’ve talked, has the prominence of female African-American Speculative Fiction writers grown? Diminished? Stayed the same?

NGK: It has exploded in the year since we talked! There are so many African-American Speculative Fictions writers that I struggle to keep up and to read others’ works! There’s just so much and that’s not a complaint! It’s so encouraging that younger African-American girls and boys and read books in speculative fiction with protagonists that look like them. They’re the heroes and heroines, the super powered people in those stories and that is beautiful.

DF: How do you see your role in the community of female AASF writers? IS there a community of female AASF writers? And if not, why isn’t there one?

NGK: There’s a community of AASF writers, but I don’t belong to an “official” one. I have a solid group of AASF authors who support each other, work together to network and share ideas, and push each other to be great. It’s something African Americans have always done, especially black women. We’ve taken care of things when we need to and for the community. Over the years, I have found and been gifted with really intelligent and brilliant AASF who may be further down the road in their career than me, but who reach back and mentor. Linda Addison does this as well as Tananarive Due and others.

DF: Who should we be reading these days? Who are you reading?

NGK: Right now, I’m reading Daniel Jose Older, Tomi Adeyemi’s, Eden Royce, and Sherrilyn Kenyon.  Everyone should be reading and supporting independent authors! My currently reading list has independently published authors on them, and honestly, I met some amazing authors at Blacktasticon. If you’re into comics, you should read Robert Jeffery’s Route One, and William Satterwhites’ Stealth.  There’s so much good reading being put out by small presses and independently published authors.

DF: How was Blacktasticon 2018? How much fun did you have?

NGK: Blacktasticon 2018 was a warm hug! It was mind-blowing, stimulating, and a huge creative bump for me. I did have to pinch myself several times as I sat on panels with my writing heroes. Sheree Renee Thomas, Linda Addison, John Jennings are the stars of black speculative fiction and I couldn’t believe how generous they were with their time, with their knowledge, and that was what really made the event for me. This community of individuals coming together to talk about speculative fiction through the lenses of Afro-centric beliefs, ideals, and historic context. I learned so much. My soul was fed. No other convention does that in the way that Blackstasticon did.

DF: For someone who hasn’t read any of your work, what should they start with and why?

NGK: For those who haven’t read any of my work, I would start with SILENCED, the first Cybil Lewis novel. It’s such a great story, and it’s a pretty good example of the types of stories I tend to tell. Of course, my writing has changed a lot over the years, but that’s the best representation of my writing style.

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DF: Where can people find out more about you and your work?

NGK: People can find me at Other Worlds Pulp, which is my website: http://www.nicolegivenskurtz.com, on Twitter at @nicolegkurtz or a facebook at https://www.facebook.com/NicoleGKurtz

DF: Anything else we need to know?

NGK: I’m giving away a free copy of my Cybil Lewis short story, “Recruited,” when people sign up for my newsletter. Interested parties can go here: https://nicolegivenskurtz.com/newsletter/

Thank you, Derrick for the interview. It is always a pleasure.

Kickin’ The Willy Bobo With…MICHAEL A. GONZALES

Derrick Ferguson: Who is Michael A. Gonzales?

Michael A. Gonzales: Born on June 23, 1963, I’m a kid from Harlem who has been interested in books, movies and comics since I was a small boy, and knew I had to figure out a way to make those things a part of my life. I grew-up on 151 Street between Broadway and Riverside. My biological father lived in Westchester while my step-dad, a Puerto Rican barber/hustler, lived on 7th Ave and 123rd Street, so I always tell folks I had the best of both worlds.

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DF: Where do you live and what do you do for a living?

MG: Currently I live in Baltimore. I write full-time, but I’ve had all kinds of jobs including working as a NYC foot messenger in the early 80s, working at a coffee shop restaurant, a clerk at Tower Records and, my longest job, was working at a NYC homeless shelter for a decade. I started out mopping floors, but a few years later worked in the recreation department with the kids. That was trip, believe me. It was also the height of crack, so the shelter could get wild. It was a family shelter…the first one I worked in was in Brooklyn in the middle of Fort Green Projects while the second was on Catherine Street on the Lower East Side. Needless to say, it was an adventure, but I was writing for various newspapers and magazines during that time as well.

DF: You have an interesting background. Tell us some of it.

MG: Growing-up in NYC in the ‘70s was a great adventure. Our block and building was full of kids, so I had a lot of friends. I was raised by my mom and grandma, but my biological father as well as my stepfather was a big part of my life. My stepfather adopted me, which is why my last name is Gonzales. His name was Carlos. My “real” father was named Lafayette Dixon and he came from down south. For most of my young life I went to private (The Modern School) or Catholic (St. Catherine of Genoa) school and was a kind of shy as a boy. I went to Rice High School for a year, then my mom moved to Baltimore in ‘78. Our NYC neighborhood crew went to the movies together every week, so I saw a lot of films as a boy. Also, my mom was a big reader and film lover. My mom was (is) the coolest and exposed me and baby brother (two years younger) to museums, concerts, Greenwich Village and all kinds of arty stuff. I was also a TV junkie and watched EVERYTHING from “The Brady Bunch” to cartoons to PBS.

DF: How long have you been writing?

MG: My mom said she used to put books and magazines in play pen and I would look at them like I was really reading them. I had a cool German godfather whose family came to NYC when Hitler came into power. Uncle Hans was a writer and one day, out of the blue, asked me to dictate a story to him. My mom had just taken me to see a movie called “The Gang That Couldn’t Shoot Straight”, so I stole the plot for my own story that Uncle Hans typed up. I was eight years old. When I saw the collected pages when I was finished, I was hooked. That same year, Uncle Hans bought me an Olivetti typewriter and that was that. But, many years later, it was my late girlfriend Lesley Pitts who believed in my work and told me she would support me until I finally broke through. I wrote about her in my essay “Love in the Age of Prince.”

Love in the Age of Prince: https://catapult.co/stories/love-in-the-age-of-prince  

DF: What have you learned about yourself through your writing?

MG: Besides the fact that I spend too much time living in the past, I’m not sure.

DF: What audience are you trying to reach with your work? IS there an audience for Michael A. Gonzales?

MG: That’s an interesting question, because I’ve been blessed to have written for a wide variety of publications from New York magazine to a ghetto-lit collection edited by Shannon Holmes to various erotica and crime fiction anthologies. I love telling stories, all kinds of stories, and always hoped my stories reached everyone from the b-boys on the corner to the be-boppers in a jazz club, from the around the was girls to the Spellman College grads. Also, while I write from an obvious Black perspective, I hope the stories can be appreciated by folks of all races.

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DF: The first thing of yours that I read was “Jaguar and The Jungleland Boogie” in the BLACK PULP anthology. An improbable mash-up of Hip-Hop, New Jack Swing, Blaxploitation and Pulp, after a single reading it became one of my favorite stories in the book. What’s the origin of the story?

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MG: Oh, man, thank you. I had started writing that story years before Black Pulp but asking to be a part of that book gave me the courage to finish it. Really, I wanted to write a hood version of Batman and Robin with a little bit of the Shadow mixed in. Growing-up, I loved Batman, the TV show and the comics. As a kid, my favorite Batman artist was the late Marshall Rodgers. In 1978, he and Denny O’Neil did a weird mash-up of comics and fiction called “Death Strikes at Midnight and Three” and I was so inspired by that. Comic Book artists and writers (but mostly artists) are a big influence on me and I channel their work when I’m writing those kinds of stories. Guys like Howard Chaykin, Michael Kaluta, Alex Nino, Berni Wrightson, Jim Steranko and, of course, Jack Kirby.

http://diversionsofthegroovykind.blogspot.com/2012/08/grooves-faves-death-strikes-at-midnight.html

“Jaguar and the Jungleland Boogie” excerpt http://www.egotripland.com/jaguar-jungleland-boogie-michael-gonzales

DF: How familiar were you with Pulp before you wrote the story?

MG: I’ve been a pulp fan since I was a boy. I used to order old Shadow radio shows on records, I watched Flash Gordon serials on PBS and read Byron Preiss’ Weird Heroes series of paperbacks. I think that was when I first heard the word “pulp,” but I’ve been a fan since childhood.

DF: Having dipped your toes into New Pulp waters, do you plan on diving in again anytime soon?

MG: I hope so. I wrote a second Jaguar story that hasn’t been published. It was done for BLACK PULP II, but I have no idea what is going on with that project. I really like writing pulp stories and, if given the opportunity, I’d love to write some more.

DF: Your musical knowledge is extraordinary and you are perhaps best known for your articles and essays about music. How important has music been in your life?

MG: I’ve been buying records since I was a kid. Growing-up uptown was the best music education because I heard everything: jazz, salsa, soul and pop. I grew-up listening to WABC-AM as well as WWRL and later WBLS. I was a major rock fan too, which got me teased, but I didn’t care. I loved Curtis Mayfield and Isaac Hayes, but also Elton John and Queen. My mom took me to see Little Anthony in Central Park when I was kid. Her friend Chucky played drums with the group and we went backstage after the show. I was about six or seven, but that changed my life. I couldn’t sing or play an instrument, but I knew I wanted to be in music somehow. Later, music critics Lester Bangs, Greg Tate, Nelson George, Barry Michael Cooper and other became my guides.

DF: Your opinion on the current musical landscape?

MG: I’m going to be 55 this year, but I try to stay somewhat current. I don’t listen to as much new rap, but I’m down with guys like Kendrick Lamar and J. Cole. Still, I am very much an old school head…still blasting the Super Fly soundtrack like it came out yesterday.

DF: I’ve read the term “culture writer” applied to you. Does that fit? Exactly what is a “culture writer” anyway?

MG: I stole that tag from my critical writing hero (and now friend) Greg Tate. In the ‘90s, when I was on staff at both Vibe and The Source, I was writing about music, but also books, films and old school NYC life…to me, cultural critic best described my beat. I did stories on Snoop Dogg, Lauryn Hill, Pete Rock and CL Smooth, The O’Jays, Barry White (spent a few days in Europe with him), Curtis Mayfield, Kool Herc and many others. I also co-authored a book about hip-hop called Bring the Noise: A Guide to Rap Music and Hip-Hop Culture, published by Random House in 1991. I wrote it with my buddy Havelock Nelson.

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DF: I’ve read a few of your articles where you describe your movie going experiences back in the 1970s/80s and I’m convinced that you and I must have been in some of the same 42end grindhouses at the same time back then. How important have movies been in your life?

MG: Very, though I must admit I didn’t start going to Times Square until I was an adult. Our hood had some great movie houses…the Tapia (which was The Bunny when my mom was a teen and later became The Nova) was my childhood spot. There was also the Roosevelt on 145th and 7th Ave, the RKO Coliseum on 181 Street and Broadway, and The Olympia on 107 Street and Broadway.

DF: How much of an influence do movies have on your writing?

MG: Man, I don’t even know where to begin. The movies I grew-up with, from “Across 110th Street” to “Annie Hall” “The Mack” to “Network”, have perhaps influenced me more than any books. Then, as a teenager I discovered foreign films. I think “The 400 Blows” was the first one I saw and I was hooked. I’ve written a few essays about my love for film and its influence on my work, but “Into the Cinema, Onto the Page” is perhaps my favorite.

​Into the Cinema, Onto the Page: https://catapult.co/stories/into-the-cinema

DF: What are you working on now?

MG: Well, I have a new book column I’ve been writing for a site called Catapult. The column is called The Blacklist and it explores out-of-print books by African-American authors. I have a heist novel called Uptown Boys that I’m ready to dust off and try to sell. I also want to revisit a few short stories I have in the can. I have an essay of New York City graffiti coming soon in the Smithsonian Anthology of Hip-Hop and Rap as well as an essay about the Gordon Parks/XXL magazine collaboration A Great Day in Hip-Hop, which will be published in Contact High edited by Vikki Tobak. Also, my essay on the book Hog Butcher, which was adapted into the film “Cornbread, Earl and Me”, will be published later this year in Sticking It To the Man: Revolution and Counterculture in Pulp and Popular Fiction, 1956 to 1980 edited Andrew Nette and Iain McIntyre.

The Blacklist: https://catapult.co/editorial/topics/the-blacklist/stories

DF: What’s a typical Day In The Life of Michael A. Gonzales like?

MG: I need coffee first thing in the morning. Strong Bustello. It used to be coffee and a joint, but now it’s just coffee. I try to write every day. I’ve been blessed to having never had to deal with writer’s block, because, usually if I get stuck on something, I jump to something else. Also, if I get stuck I usually watch a movie, watch cartoons, listen to Miles Davis or the speeches of Malcolm X. Also, reading the Beat poets including old LeRoi Jones also helps.

DF: For anybody wanting to know more about you and your work, where should they start?

MG: My most recent short story a weird semi-gothic joint called “Roses,” that The Root published earlier this year. Fiction wise, I’d love folks to check out my erotica in the Brown Sugar series and other collections. One of my favorite non-fiction pieces that combines music and crime is called How Cool C and Steady B Robbed a Bank, Killed a Cop and Lost Their Souls, about these Philly rappers who became bank robbers and killers. I’ve also published some cool music pieces at Soulhead.com, Complex and Wax Poetics, where I did major articles on Curtis Mayfield, Nina Simone and D’Angelo.

ROSES: https://www.theroot.com/roses-1823731825

How Cool C and Steady B Robbed a Bank, Killed a Cop and Lost Their Souls : https://medium.com/cuepoint/how-cool-c-and-steady-b-robbed-a-bank-killed-a-cop-and-lost-their-souls-d24d404f120a

Wax Poetics: http://www.waxpoetics.com/author/michael-gonzales

Complex: http://www.complex.com/author/michael-a-gonzales

Derrick Ferguson: Anything else we should know?

Michael A. Gonzales: I could go on and on, until the break of dawn. But, this is cool. Thanks for the honor.

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Kickin’ The Willy Bobo With…SEAN TAYLOR

Derrick Ferguson: Who is Sean Taylor?

Sean Taylor: He’s just a man whose circumstances got beyond his control, beyond his control. I’m Kilroy. Okay, maybe not.

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I’ll drop the official bio instead:

Sean Taylor is an award-winning writer of stories. He grew up telling lies, and he got pretty good at it, so now he writes them into full-blown adventures for comic books, graphic novels, magazines, book anthologies and novels. He makes stuff up for money, and he writes it down for fun. He’s a lucky fellow that way.

He’s best known for his work on the best-selling Gene Simmons Dominatrix comic book series from IDW Publishing and Simmons Comics Group. He has also written comics for TV properties such as the top-rated Oxygen Network series The Bad Girls Club. His other forays into fiction include such realms as steampunk, pulp, young adult, fantasy, super heroes, sci-fi, and even samurai frogs on horseback (seriously, don’t laugh). However, his favorite contribution to the world will be as the writer/editor who invented the genre and coined the term “Hookerpunk.”

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For more information (and mug shots) visit http://www.taylorverse.com and his writer’s blog at http://www.badgirlsgoodguys.com.

DF: What do you do to keep the creditors away?

ST: I’ve been everything from a corporate media strategist to a local newspaper editor, and I’ve written comics and short stories and even a novel thus far, but for the day job at the moment, I edit for several places as a freelancers/contractor to keep the bills paid. It’s a dirty job, as they say, but someone’s got to love it.

DF: How long have you been writing and what have you learned about yourself through your writing?

ST: My first magazine article was in 1991, a marketing article about doing a summer reading display for a bookstores to highlight summer book sales. It was a hit, and I kept doing it. My first short story was publishing in 1995 in O’ Georgia: A Collection of Georgia’s Newest and Most Promising Writers, and I caught the bug and haven’t stopped yet.

What have I learned? Well, I’ve learned how to survive close to the poverty line, that’s for sure. Writing and editing is one of those comes and goes industries, and in an economy as volatile as the U.S. one has been during the years I’ve been a writer and editor, it’s bounced up and down several time. But what I learned from all that is that writing is something I make time to do whether or not it’s paying the bills. It’s more a calling than a career choice.

DF: What Next Big Project are you working on now?

ST: My current projects are a few short stories I have to knock out in order to get to the Next Big Project. I’ve got a Golden Amazon, Phantom Detective, and Secret Agent X story for Moonstone, then a novella for my Spy Candy property at Pro Se. After that, I’ll finally be free to get back on my Armless O’Neil novel for the Pulp Obscura line. That one’s going to be so much fun. I love Armless so hard. He’s more fun to write than just about any characters I know. I’m also in the process of releasing a book of essays on writing and reading, along the lines of the kind of articles I write for my blog. I did mention my blog, right? Bad Girls, Good Guys, and Two-Fisted Action. (www.badgirlsgoodguys.com)

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DF: What audience are you trying to reach with your work? Is there an audience for Sean Taylor?

ST: That’s a tough one because I have my hands in so many writing pies. On the one hand, I write a lot, a big whole lot, of New Pulp tales. Then I also can’t quite pull myself away from horror. And I got my start in lit fiction and super-hero prose. Ultimately, I guess, I’m writing for an audience that likes a sense of adventure and wonder to go along with interesting characters. I think somewhere deep inside me is a magical realism writer who likes to paint the edges of my work with extraordinary stuff from time to time.

DF: What is the one book or story of yours you would recommend to somebody to start with who is not familiar with your work? And why that particular book or story?

ST: Ouch. Which child will best show off my Roman nose? Hmmm… I suppose the truest picture of who I am comes through the stories in Show Me A Hero, my collection of super-hero tales from Cyber Age Adventures/iHero Entertainment. But if you want to see the newer me, you’ll need to read The Ruby Files. That one really hits on all cylinders of who I am too. A little bit of lit (that holds on doggedly), and a lot of action and character, with a bit of mischief in taking the truth of history (racism, sexism) and dragging it into the light to try to make a point about today too.

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DF: How much room in your head do you allow critics and criticism to occupy?

ST: Just what is needed. You take the good, you take the bad, you take ’em both and then you have… Well, not The Facts of Life, but something you can use to improve. If it doesn’t help me improve my work, then there’s no room for it up in my head.

DF: This has been a good year for Rick Ruby. Tell us the origins of the character.

ST: Good ol’ Rick Ruby came about when I suckerpunched Bobby Nash in The Pulp Factory Yahoo Group list. We had talked about a Richard Diamond anthology very vaguely, and then the idea of taking that idea, tweaking the hell out of it, and making it all ours hit me one day, and suddenly I posted in the group, dragging Bobby into my madness, and like the wonderful partner in crime (and writing) he is, he just ran with it.

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Jump forward a few weeks or so, when he and I are in a Golden Corral, putting together a story bible for the character. Between bites of steak and chicken, we talking about bloody murders and bad guys and stealing diamonds and putting meat on Ruby’s back-story. To say that the other patrons looked at us funny would be an understatement.

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When we fleshed him out, we knew most of all that even though folks like Spade and Diamond and even Hammer were our starting point, we wanted something different. And that’s where the idea of a white man in two worlds, the black, other side of the tracks, world and rich white uppercrust world of the ’30s, came from. We wanted a man who was a sort of pure-hearted louse because the world didn’t give him any other options.

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DF: What else have you got planned for Rick Ruby? Comic books? Graphic Novels? TV show?

ST: At this point we’re just riding the wave with our three (yes, that’s right—THREE) Pulp Factory Awards for The Ruby Files Vol. 2. But that doesn’t mean we don’t have some awesome plans for Rick and his cast. For starters, we’re working on Vol. 3 for a release date early next year, and you’re going to be a big part of that one, which I can’t wait to read. After that, there will be a Rick Ruby novel, and then even further out, we’ll get into Rick’s legacy when I write the adventures of his grandson in something tentatively titled The Ruby Legacy.

I’d love to see comics and TV, but baby steps, Bill Murray, baby steps.

 

DF: What are your thoughts on where New Pulp is at today?

ST: I just wrote an essay on this for my upcoming book Giddy and Euphoric: Essays on Writing and Reading (And Ray Bradbury). I think New Pulp is in a pretty enviable spot right now. Now that it’s outgrown its source material and can play with style instead of just characters or settings, New Pulp is literally being made and remade every day.

We have the freedom to tell new stories about nostalgic characters and legacy characters we can add to their stories. We have the freedom to create new characters that share their type and tone. And we have the freedom to simply use the style of those stories to create something even more new and original than either of those.

In a lot of ways we New Pulp writers are just laying claim to the summer reading adventure or crime novel and taking them back home to the stuff that influenced them in the first place. Only we doing it with bigger settings, more varied characters, and lots more panache.

DF: Is New Pulp going anywhere? If so, where is it going? If not, why isn’t it?

ST: Man, I really hope so. I think it’s probably becoming more broad in its definition, like I hinted it above. One publisher has even already embraced the term “Genre” rather than “New Pulp” for its catalog, and I think that’s probably a good thing. I have no problem with New Pulp being more a movement than a genre, because it’s about tone and style and influence than it is about a marketing term or creating a new section in the local Barnes & Noble.

DF: In what direction do you think your work is going?

ST: Make that “in what directions” do I think my work is going, because I’m always moving in about three different directions.

I’m pretty sure at this point that my stories are settling into one of two camps: pulpy tales and horror stories. In my pulp stuff I’m starting to move mainly into just novels and will be weaning myself away from the short stories, except in a few, rare cases. As for my horror work, that’s going to always be short stories. There’s very little I enjoy writing more than horror short stories. That’s an art form I’ll never be able to leave behind.

DF: Netflix calls you up and says they’re going to spend fifty million to turn one of your books into a twelve-episode series. They’ll let you pick the book and one director for all twelve episodes. Which book and which director?

ST: As much as I’d love to see a Fishnet Angel series based on my iHero Entertainment/Cyber Age Adventures tales and the Shooting Star Comics comic book, I think at this point, I’d still have to zero on in Rick Ruby. I think an ongoing series with an underlying C-plot (a la Longmire) would be something that could really make Ruby a hit visually. Besides, I like very few things more than a good period piece on TV.

DF: What’s a typical Day in The Life of Sean Taylor like?

ST: As the old saying goes: Shit, Shower, and Shave, only often without all that pesky shaving nonsense. I’m a contract editor by trade right now, so if there’s work in my inbox, I’m off to the Grayson Coffee House to put lots of red marks all over the pages I’ve been sent. If I have that rare day off, I’ll usually be writing at either the coffee house or my home office. Wash, rinse, and repeat, with occasional Netflix, Amazon, or anime binges thrown in for relaxation.

Derrick Ferguson: Anything else we should know?

Sean Taylor: I once had to break a date because I fell down an elevator shaft, and no, she didn’t believe me either. Which was a bummer. She was cute.

I lost a job one because of a pair of thong. Long story, but it involved Cafepress, a requested item for a friend, and a national religious organization. And a friend in my corner who wished he had a baseball bat at the time. But everything’s good now.

I have two new books coming out pretty soon.

One will be a collection of essays about the art and craft of writing and reading— Giddy and Euphoric: Essays on Writing and Reading (And Ray Bradbury). Anyone who follows my work will know how much I love to pontificate about the craft. What can I say? I’m a wordy fellow.

The other will be a collection of horror stories I’ve written, and it’ll be called A Crowd in Babylon and Other Dark Tales. I’m really looking forward to that one too because, like I said earlier, I love horror stories, and done right, I don’t think there’s a much better American art form. It’s the jazz of genre stories, I think.

Interested? Then check out Sean’s other books HERE.

Kickin’ The Willy Bobo With…LISA MARIE BOWMAN

Derrick Ferguson: Who is Lisa Marie Bowman?

Lisa Marie Bowman: Lisa Marie Bowman is a writer, a dancer, a dreamer, a film lover, a history nerd, a loyal friend, a thankful sister, a loving daughter, and a pop culture fanatic.  For the longest time, I used to tell people that I was “just a sweet little thing with morbid thoughts.”  Seeing as how my thoughts are a lot less morbid now than they were 10 years ago, I probably need to revise that description but to be honest; I like the way it sounds.

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I also used to tell people that “I can be your dream or I can be your … NIGHTMARE!!!!” but I was just quoting The Perfect Teacher, one of my Lifetime movies.

DF: Where do you live and what do you tell the IRS you do for a living?

LMB: I live in the suburbs of Dallas, Texas. I have a degree in Art History so, of course, I work in office administration. In general, I try to tell the IRS as little as possible.

DF: Tell us as much about your background as you’re legally allowed to.

LMB: I was born in Texas. I’m Italian/Spanish on my mother’s side and Irish on my father’s side. My family moved around a lot so, by the time I was twelve, I had already lived in six different states but I’m pretty much settled into Texas now. I’ve got three older sisters, a boyfriend who I love, a cat that I spoil, and more DVDs and Blu-rays than I really have room for.

DF: How long have you been reviewing movies?

LMB: Forever and ever! Well, I guess it really depends on what you mean by reviewing movies.  Even before I ever sat down and wrote my first film review, I was always the person who you would see walking out of a theater, loudly explaining why the movie she had just seen either sucked or was the greatest thing ever. Eventually, I moved from annoying people in theaters to annoying people on the IMDb message boards.  (I miss those message boards so much!)  And, of course, when I joined twitter in 2009, almost all of my tweets dealt with movies.  Well, movies, cats, and some other things that I probably shouldn’t mention but that’s another story…

Anyway, it was in 2010 that I started to seriously review movies. That was when my friend, Arleigh Sandoc, asked me if I would be a part of the entertainment website that is now known as Through the Shattered Lens. Originally, I was brought on to review old grindhouse and exploitation films.  In fact, the very first review that I posted on Through the Shattered Lens was of an old blaxploitation film called “Welcome Home, Brother Charles”, which is about an ex-con who magically strangles people with his penis. That review got such a good response that I was like, “Hey, I might have to do this regularly.” Then, a few months later, I published a post entitled “10 Reasons Why I Hated Avatar” and that caused so much controversy that I was pretty much hooked from that moment on.

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So, in other words, 8 years

DF: Why do you love movies so much?

LMB: For as long as I can remember, I’ve loved movies. I guess you could argue that, no matter what else was happening in my life, the movies that I loved were always there. It didn’t matter where I was living or what was going on in the real world, I could always sit down and watch one of my favorite movies. Movies provide stability in an occasionally unstable world.

Also, I’m a totally unapologetic history nerd. I’m fascinated with stuff that happened before I was born. I guess that’s one reason why I love old movies. A lot of them – especially the low budget B-movies that tend to get unfairly dismissed by some critics – are about as close as you can get to owning a time machine.

DF: Where so many movie reviewers come off as snarky or determined to prove how smart or how funny they are in their reviews, yours are very relaxed and friendly as if you’re having a conversation with the reader. Is this a style you’ve refined or are your reviews an extension of your personality?

LMB: For the most part, that really is my personality. At the same time, it’s also definitely a style that I’ve worked to refine. There are so many people out there reviewing movies now that, if you don’t have your own unique voice, you’re going to run the risk of just disappearing in the crowd. Myself, I’ve never really been a fan of the bitter (but woke) nerd persona that so many online critics seem to adopt. To them, I would say, “Just tell me what you thought about the movie and save the Devin Faraci imitation for another time.”

DF: What audience are you trying to reach with your reviews? Is there an audience for Lisa Marie Bowman?

LMB: It’s interesting.  When I first started writing reviews, another blogger checked out my work and told me that I was making a huge mistake by not specializing in only reviewing one or two genres of film.  His opinion was that, instead of trying to review every single movie that I saw, I should just focus on either horror films or sci-fi films or new releases or whatever.  He was particularly confused as to why I had recently reviewed “Test Tube Babies” an obscure exploitation film from 1948.  His response reminded me of one of my former creative writing teachers who once told me, “You’ve got talent but I get the feeling that you mostly write to amuse yourself.”

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But here’s the thing. I have no interest in limiting myself. I appreciate many different genres and therefore, I’m going to review many different genres. I don’t see what the problem is with reviewing a blockbuster one day and then, the next day, reviewing some cheap movie that was shot on an iPhone and uploaded to YouTube. I mean, who says that you can’t watch both “Citizen Kane” and “Degrassi Goes Hollywood” in the same night and have a good time doing it?  Certainly not me!

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The audience I’m trying to reach is made up of people who not only enjoy watching movies but who are also constantly on the search for new movies to discover. The best compliment anyone can give me is to let me know that one of my reviews either inspired them watch a movie for the first time or to take another look at a previously viewed movie. That’s my audience.

(Of course, I’m also hoping to reach people who really love “Degrassi” because seriously, that show is the best!)

Hopefully, there’s an audience for me. I’ve been doing this for 8 years so if there isn’t, I have to wonder about the hits that my sites have been getting. Hopefully, the views are coming from people and not a cat randomly walking across as keyboard.

DF: What are the elements of a good movie review?

LMB: It all comes down to sincerity. Lately, it seems like too many film reviewers are more concerned with making sure that they give “the right” opinion, as opposed to actually reviewing the film. Right now, a lot of critics are more concerned with establishing their woke credentials (or, in the case of some critics, their unwoke credentials) than in actually considering whether a film is good or not. A film can be made with very best of intentions and still not work as entertainment. A film can be made by your favorite director and still not work. A film can totally conform to every single political or cultural belief that you may hold and still not work. Not admitting that doesn’t do anyone any good.

I also think that, sometimes, film critics fall into the trap of reviewing the film that they wish they had seen as opposed to the film that they actually did see. This happens a lot with online film critics. For instance, so many people wanted “The Dark Knight Rises” to be the greatest film ever that they kind of ignored the fact that the actual movie is a bit of unwieldy mess.  A more recent example would be 2016’s “Ghostbusters”, which was far more forgettable than a lot of us were willing to admit at the time when it was released. It’s always interesting to compare the way that people talk about a movie like “Ghostbusters” to the way they talked about it after it was first released. Of course, on the other side, you have films that are criticized just because critics don’t want to run the risk of being the only person to admit they liked that film. That happens frequently with the horror genre, though the success of “Get Out” would seem to indicate that maybe critics are finally willing to admit that movies can be both scary and good.

Basically, my number one rule for film reviews: If you didn’t like the film, say you didn’t like it.  If you liked it, say you liked it. Be open about your biases. If, for some reason, you have a natural tendency to like movies where Adam Sandler performs open heart surgery, then your readers need to know that before reading your very positive review about the latest movie to feature Adam Sandler performing open heart surgery. What it really comes down to is just being honest about the film and not worrying whether the rest of the world agrees. Those are the reviews that will remain relevant in years to come.

DF: What is it with you and Lifetime movies?

LMB: Heh heh. I just really enjoy them. I always love a good, over-the-top melodrama and the best Lifetime films usually are a bit more self-aware than they’re usually credited with being.  That said, I’m a little disappointed in the current direction that Lifetime seems to be heading.  I’m not a fan of the celebrity biopics and the overly morbid true crime reenactments. I prefer my Lifetime films to be silly, melodramatic, and preferably Canadian.

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DF: Do you have any aspirations of getting into the movie industry yourself? Scriptwriting? Acting? Directing?

LMB: Scriptwriting, maybe.  I’m involved in some projects right now but I don’t want to say too much about them until I have something more definite to share.  (If Marvel needs someone to write a Black Widow movie, I’ve got a few ideas.)

DF: Okay, you knew this was coming. Your 10 Favorite Directors, Actors, Actresses and Movies. Go.

LMB: This is always the most difficult type of question for me to answer, just because there’s so many movies that I love that it’s really difficult for me to narrow it down to just ten. Here are the ten of my favorite films, listed in alphabetical order. I should note that these are the ten films that popped into my head today. Ask me tomorrow and you might get a totally different list!  (I’ve also tried to limit myself to one film per director, though you’ll notice below that I did cheat a little.)

1: ALL ABOUT EVE directed by Joseph Mankiewicz

2: CASINO directed by Martin Scorsese

3: THE GODFATHER TRILOGY directed by Francis Ford Coppola

4: THE THREE MOTHERS TRILOGY directed by Dario Argento

5: IT’S A WONDERFUL LIFE directed by Frank Capra

6: LOST IN TRANSLATION directed by Sofia Coppola

7: MULHOLLAND DRIVE directed by David Lynch

8: THE NIGHT OF THE HUNTED directed by Jean Rollin

9: THE RULES OF THE GAME directed by Jean Renoir

10: UPSTREAM COLOR directed by Shane Carruth

As for my top ten directors, the same rules apply.  Off the top of my head: Dario Argento, Andrea Arnold, Mario Bava, Sofia Coppola, Ang Lee, David Lynch, Jean Renoir, Jean Rollin, Martin Scorsese, and Joe Wright.

Again, following the same rules, here’s my current top ten actors: James Franco, Donald Glover, Tom Hardy, William Holden, Robert Mitchum, Bill Murray, Gary Oldman, Chris Pratt, Jimmy Stewart, and Denzel Washington.

And, finally, my top ten actresses with the same rules applying: Amy Adams, Vera Farmiga, Greta Gerwig, Audrey Hepburn, Scarlett Johansson, Veronica Lake, Saorise Ronan, Edie Sedgwick, Mia Wasikowska, and Naomi Watts.

DF: Have you ever written any fiction? If so, where can we find it. And if not, why not?

LMB: I have! However, in the past, it’s been stuff that I usually just wrote for myself and a few intimate friends. But, who knows?  Maybe I’ll start sharing some of it soon. I also used to write extremely emo poetry that didn’t rhyme.  (My pen name was Pandora DeSaad.)

DF: What’s a Typical Day In The Life of Lisa Marie Bowman like?

LMB: When I was in the 5th Grade, our teacher had us do one of those things where we divided our day into three 8-hour blocks and then you had to write down how much time you spent on certain things during the day. So, it was like – 8 hours of school, 8 hours of sleep, and then, because she assumed we’d spend two hours studying and one hour eating dinner every night, that left us with only 5 hours of free time. That not only taught me how little time there is in the day but it also totally freaked me out. So, as a result, I not only try to cram as much as I can into a day but I’ve also trained myself to only need two or three hours of sleep a night. I also start every day with a to-do list. Usually, I save my to-do lists even after I’m finished with them, which I guess is kind of obsessive behavior on my part. Oh well!

So, a typical day for me is: I wake up from my nap, I go to work, I either go shopping or dancing (depending on the day), and then I watch a movie or two and I usually schedule a few reviews to post the next day. On Saturday nights, I usually watch a bad horror or science fiction movie with a group of friends of mine. (Every Christmas, we watch “Santa Claus Conquers The Martians”.)  One good thing about becoming an adult is that I no longer feel like I have to go out and do something crazy every single night.  I’ve come to appreciate relaxing.

DF: Where can interested parties find your reviews?

LMB: There’s a few places:

Through the Shattered Lens – unobtainium13.com

Horror Critic – horrorcritic.com

SyFy Designs – SyFyDesigns.com

PrimeTime Prepper: The College Career of Zack Morris — primetimepreppie.blogspot.com

Reality TV Chat Blog – realitytvchatblog.wordpress.com

Big Brother Blog – Big-Brother-Blog.com

I also share daily music at Lisa Marie’s Song of the Day (lmsod.wordpress.com) because who doesn’t love music?

Derrick Ferguson: Anything else we should know?

Lisa Marie Bowman: Follow me on twitter at @LisaMarieBowman!  Since I start a new project every other day, that’s the best way to keep up.