Atlanta, GA—In the wake of Georgia’s shelter in place order, many folks find themselves at home looking for ways to occupy their time without spending a lot (or even any) money. For readers and fans of sci-fi and fantasy conventions who normally get their fix of meeting their favorite authors and listening to them do readings during the con, that stay at home can be doubly difficult during what is normally a strong and busy convention season.
That’s why Lawrenceville-based writer Sean Taylor created Indie Authors Read, a website devoted to providing video “convention reading” for those stuck at home. “Panel readings are one of my favorites things to take part in at conventions, both as a writer and as a fan. Knowing I’m not alone in that, I asked several fellow writers from my ‘convention family’ if they’d be interested in helping out with a project where we could just sit at home and read our stories as if we’d been at the big shows at the local convention center. The response has been humbling, and many have joined the group,” said Taylor.
Although the project has its creation in the closure of sci-fi and fantasy conventions, the stories included on the site will include various genres beyond just those two. Fans can expect action stories, thrillers, drama, horror, romance, and everything in between.
“I love this idea and am honored to be part of it. Especially now, when the arts are more essential than ever,” said Bobby Nash, whose story “Beyond the Horizon” actually does fall into the fantasy category.
The website launches April 6, and fresh readings will be added weekly.
“All that oohing and aahing, that cringing and crying, that laughing and wowing you’re expected at the con is missing from your life. This is a taste of it,” said Robert J. Krog, who contributes a Cthulhu-themed tale to the site’s launch.
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. For more information visit his website at http://www.thetaylorverse.com.
Sean Taylor: He’s just a man whose circumstances got beyond his control, beyond his control. I’m Kilroy. Okay, maybe not.
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.”
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)
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.
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.
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.
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.
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.
Bobby Nash is a writer that has always impressed me with his versatility. You name it, he’s probably written it. New Pulp, Classic Pulp, Science Fiction, Planetary Romance, Mystery, Horror, Hard-Boiled P.I. Thrillers. And in a variety of formats; novels, novellas, comic books, graphic novels. He’s also acted in a number of movies and television shows. Just going over his resume makes me feel like a lazy bum.
In the interest of full disclosure, this review started out as a blurb Bobby asked me to write for him. I had read SNOW FALLS sometime last year but to refresh my memory before I wrote the blurb I sat down to read it again. And SNOW FALLS at 110 pages is a pretty fast read, thanks to Bobby’s can’t-put-it-down prose. And a funny thing happened…the more I read, the more I started taking notes and before I knew it I said; “Ah, screw it…might as well write a fargin’ review.” That’s how my brain works. Ask me to write a short story and you’ll end up with a novella. Ask me for a novella and you’ll get a novel. Ask me for a novel and you’ve really made an error in judgement because you’ll most likely find a trilogy in your lap.
Undercover agent Abraham Snow is forced to take an early retirement thanks to being shot twice by Miguel Ortega, an international crime lord who must employ the same press agent Keyser Soze uses. After a long and painful period of recuperation he returns to his hometown of Atlanta, Georgia to continue to rest, heal and reconnect with his family. And quite the family it is. Abraham’s grandfather Archer created Snow Security Consultants which has grown from a local security consulting firm to an international one. It’s now run by Abraham’s dad, Dominic. Father and son don’t get along. Grandpa tries to mediate but he’s much better at doing that in the boardroom than with his own family. But Abraham doesn’t really mind all that much that dear old dadums isn’t glad to see him. Baby sister Samantha and baby brother Doug are more than happy that their big brother has returned to the family business.
Abraham insists that he has no such plans. He just wants to rest and recuperate. He’s still not back up to being 100% physically and the psychological effects of being shot are still fresh in a mind continuing to cope with such a frightening event. But an attempt on the life of Owen Salizar, a billionaire biochemist suspected of secretly funding terrorist groups pulls Abraham back into his old life. Good thing he’s got his family backing him up this time around.
SNOW FALLS plays out like the prose version of a pilot for a 1970s action/adventure TV show and Bobby makes no secret about that. And being a lover of 1970s action/adventure TV shows, I had no problem with it. The relationship between Abraham and his grandfather has echoes of the relationship between Lee Horsely and Buddy Ebsen in “Lee Houston” (although I visualized Archer Snow as Dennis Farina). Being a screenwriter as well as a novelist I imagine that Bobby knows exactly what will transfer well from one medium to another.
And I applaud Bobby for giving us a character that is not yet another Mike Hammer clone or a loner ex-cop crippled with guilt, a drinking problem and an ex-wife. Not that I’m against those types of characters but it is refreshing to have a character in this genre who has a different set of issues to deal with. It’s also nice to see a character in this genre who has family that he gets along with (mostly) and who isn’t an orphan. Again, not that I got a problem against those characters. After all, many of our greatest pop culture heroes such as Batman, Superman, Tarzan, Sherlock Holmes and James Bond were orphans. But a hero with family has a different worldview and mindset than an orphan and it reflects in his thoughts and actions.
That’s not to say I’m totally in love with SNOW FALLS. It’s set in Atlanta but I really didn’t get much of a feel of the city or what makes it unique. Oh, Bobby makes Abraham’s love of the city clear but I never got a feel of why. I’ve been in Atlanta many times myself as my sister lived in Covington for about ten years so I would visit her often. Atlanta is a terrific setting for fiction and I’d like to see Bobby exploit it more.
I also like a bit more description in my prose. Bobby works hard at helping us visualizing his characters and defining their relationships. And his prose is wonderful to read. It sounds very natural and there are passages where Bobby doesn’t tell you who is talking to whom because after a certain point, he doesn’t need to. I could tell from the dialog who was talking. But there were spots where I was fuzzy on where the events were taking place and I could have used some help in orientation.
But then again, SNOW FALLS is meant as introduction to Abraham Snow and his world and at 110 pages it’s a solid introduction that makes me want to dive into the sequels right away. Give SNOW FALLS a try and I think you’ll feel the same. If you’ve never read anything by Bobby Nash before, this is an excellent gateway drug to his work. Enjoy.
If the daytime Soap Opera ever makes a comeback, Bobby Nash could give up writing thrillers, New Pulp action adventures, science fiction and make a good living writing for them. Before you laugh yourself into a heart attack, let me explain. Soap Operas were excellent at making sure their characters were constantly miserable and unhappy with their lot in life. If anybody in a Soap Opera had so much as a minute of happiness, you knew it wasn’t going to last long.
Now, I don’t mean to call BAREFOOT BONES a Soap Opera at all. But what I am saying is that Bobby Nash (writing as Jack Tunney) does an outstanding job of making his hero miserable. Matter of fact, the first half of the book the protagonist is hit with one emotional sucker punch after another. This is a guy who’s life is so bad that it actually gets better when he enlists to fight in the Korean War.
James Mason is a broomstick thin kid living on the wrong side of the tracks in a small Georgia town. He and his mama are so poor he can’t even afford shoes. That and his painfully thin appearance earns him the nickname of “Barefoot Bones” and it’s a name the town bullies love to yell in his ears as they’re beating the living daylights out of him.
Things change when James is taken under the wing of Old Man Winters who teaches him how to box and control his temper, make it work for him in a fight. Previously to this, James had thought of Old Man Winters as being just the town recluse who kept to himself. But James soon learns that there is far more to him. James and Old Man Winters even become friends and since James is now able to successfully defend himself against the bullies, his life starts to look a little better.
But that’s before James experiences several devastating tragedies and is forced to go on the run, living as best he can by stealing and begging until making his way to Chicago. And it’s when he meets Father Tim Brophy, the Battling Priest of St. Vincent’s Asylum For Boys that his story really gets going.
Bobby spends a considerable amount of wordage dealing with the sad childhood of James Mason and that might disappoint those who want to see more action in the ring. Oh, there’s plenty of that, don’t worry that you won’t get your share of boxing action in the ring. This is a Fight Card book after all and when it comes to depicting fight scenes in the ring, Bobby Nash delivers the goods. But what I think he’s going for here is telling the story of a young man whose real opponent is the crummy life he’s been given, a life that he fights every day. Compared to that, stepping into the ring with a flesh and blood opponent is gravy.
And to tell this story, Bobby does it in simple, uncomplicated prose. Since BAREFOOT BONES is told in first person, Bobby tells it in simple sentences, using simple words. It’s a very appropriate storytelling technique as our narrator is a boy/young man of limited education.
So should you read BAREFOOT BONES? Sure you should. If you’ve been reading the Fight Card series of books then you don’t have to be sold on this one. If you’ve never read a FightCard book, this is a good one to start with. If you’re a fan of Bobby Nash who has read his other books then by all means read this. One of the pleasures of reading a Fight Card book is that you get to read a story by a writer like Bobby Nash who might never have written a boxing novel, or even thought about writing one. It’s a win-win situation all the way around for both the writer and the reader. He gets to stretch his creative muscles in a new direction and we get to read the results. Enjoy!
Jack Tunney is the unifying pen name for authors of the FIGHT CARD series – created by Mel Odom and Paul Bishop. Up-and-coming new authors, such as Eric Beetner, David Foster, Kevin Michaels, and Heath Lowrance have all penned entries in the series alongside more established names in the field such as Wayne D. Dundee, Robert Randisi, Bishop, and Odom. Also included in the Fight Card series are two spin-off brands, Fight Card MMA and Fight Card Romance.
The books in the Fight Card series are 25,000 word novelettes, designed to be read in one or two sittings, and are inspired by the fight pulps of the ’30s and ’40s – such as Fight Stories Magazine – and Robert E. Howard’s two-fisted boxing tales featuring Sailor Steve Costigan.