Every field of work, every career, every fandom, every anything that catches peoples’ interest and involves creative types producing works comes with its own mysteries. Obscure players and disregarded pieces that get lost to history and end up nearly completely forgotten, except for whispers of ‘Do You remember…?’ and tales of ‘Someone told me about…’
Such are the rumors of Vincent St. Germain and his nearly literal flash in the pan self-named pulp publishing company-St. Germain Publishing. Pro Se Productions announces that after exploring the nearly unknown stories and whispers about this extremely short lived publishing outfit, it has licensed from the owner and potential creator’s estate all characters featured in five apparently and two unpublished magazines.
“As little is known about the man St. Germain as is about his alleged almost momentarily St. Louis, Missouri based magazine publishing concern,” says Tommy Hancock, Editor in Chief of Pro Se Productions. “I have uncovered no written records confirming his existence, except potentially a few pieces of paper held dearly by reclusive collectors of such ephemera. No copies of signatures, of his own handwriting, not even of checks issued by his company. This last matter has led to speculation among the few who still discuss St. Germain that he may not have had many employees beyond what it took to physically publish magazines. In other words, there is a belief that Vincent St. Germain, ‘Vinny’ to a very few apparently, may himself have written every story that his company published, all of them under a variety of pen names. This is further potentially supported, based on lists of the works he published, each story by an author that had not published before or since St. Germain Publishing’s one month rise and fall. It is curious, though, that a Vincent St. Germain died in New Orleans, Louisiana in late 1938. Also, other than supposedly eyewitness encounters with the man, the only possible proof that he ever lived are two images, taken a few years apart apparently, that, based on my own personal deductions, are likely Vincent St. Germain.”
“There is even less available evidence of the five single issues, each one the first of a hopeful magazine within the St. Germain line, that the company allegedly released on the same day in the first week of April 1938. I have been allowed access to information and such surrounding the characters and contents of each magazine, six stories in each issue, all intended to be the first in series within each title. If the magazines ever existed, actual issues are either in the hands of the very protective collectors I mentioned earlier or hiding possibly in someone’s basement in a box thrown in the corner. Fortunately, the creator, if St. Germain, or creators, if multiple writers, made detailed notes and character descriptions and synopses, all supposedly at the direction of St. Germain, another way that he stood out from other Pulp publishers of the era.”
Also, there were allegedly two magazines prepared to debut the month after the first five. Though they were reportedly never published, Pro Se does have access to purported notes and details of these two books, and they will also be a part of this project, meaning that there will be seven anthologies featuring new stories starring these characters alleged to have appeared in St. Germain’s works.
The magazines that were supposedly published included ENDLESS MYSTERY, EVERLASTING TERROR, IMMORTAL ACTION, FOREVER WESTERN, and TIMELESS TALES. UNDYING LOVE and ETERNAL FANTASY were the two unpublished magazines. All these titles indicate that Vincent St. Germain was aware of the folklore associated with his surname and the infamous Comte de St. Germain, possibly a relative.
Based on a few notes left by St. Germain, it was intended that every story in each magazine would continue as a series. This did not occur, however, because there was no second issue of any of the five periodicals, or anything else ever published by St. Germain Publishing. The characters in St. Germain’s magazines at least on the surface resembled types made popular in other Pulp magazines. But, upon closer review, it turns out that Vincent was not only revolutionary in how he chose to do business, but he attempted to be tremendously forward thinking in both style of storytelling and crossing certain boundaries.
This has been,” Hancock states, “more than just a research project for a curious publisher, though. In the weeks I’ve invested in putting together the scarce remains of St. Germain Publishing, I have made progress that I did not expect. Pro Se Productions has licensed the characters believed to be included in St. Germain’s seven magazines from the person who currently owns them. To this end, Pro Se intends to bring all seven magazine titles back initially, each one as a book, an anthology. Each will feature a story for all the characters that reportedly debuted or would have debuted in the original pulps in the order in which they first appeared. The intent is to publish these seven new collections over the next twelve to eighteen months, twelve being the target. Following this ‘re debut’, we would then most definitely do novels, anthologies, digest novels, and even standalone digital short stories of the characters and expand them in their own series, hopefully as St. Germain might have intended.”
Pro Se Productions proudly announces that artist Kristopher Michael Mosby has agreed to provide a cover fore each anthology, each one bearing the title of a St. Germain magazine. Also, 42 writers have signed on to be a part of this project. The writers involved are-
Ron Fortier, Melinda Lafevers, E. W. Farnsworth, Adrian Delgado, Ariel Teague, Joshua Pantalleresco, Troy Osgood, Atom Mudman Bezecny, Andrew Butters, Rich Steeves, Raymond Embrack, HC Playa, Davide Mana, Quenntis Ashby, Paul Brian McCoy, Richard B. Wood, Colin Joss, Mark Bousquet, Derrick Ferguson, Sean Taylor, Neal Litherland, Susan Burdorf, Gary Phillips, Barry Reese, Frank Schildiner, Rob Howell, Gordon Dymowski, Richard C. White, Ernest Russell, Thomas Fortenberry, David Farris, Barbara Doran, Aaron Bittner, David White, Erik Franklin, Mike Hintze, Guy Worthey, Emily Jahnke, Mandi M. Lynch, Derek M. Koch, Aubrey Stephens, and Dewayne Dowers.
So, FINALLY, Tommy Hancock over at Pro Se has done his reveal of three author imprints where I got to do the initial logo designs…
The plan was to reveal them over the weekend at the convention that hosts the annual Pulp Factory Awards in Chicago.
Not that I’ve ever been, but I’ve won one to my complete surprise.
So the three authors involved with this part of the reveal were Kimberly Richardson, Frank Schildiner and my good friend and partner-in-virtual crime Derrick Ferguson. All three are authors in something called “New Pulp” but really that’s kind of a narrow definition of their particular brands of storytelling. All three are well regarded, they’re unique in their own rights, they all have their followings who eagerly await their latest projects and all of them have happened to be offered a chance to exercise their prodigious imaginations under their own brands with Pro Se.
And lucky me, I get to contribute by building the first part of that brand with these imprint logos…
So, though you’re probably not asking, how does that work? Well I’m glad you didn’t ask, let me tell you the intricate planning that went into each one of these and the meticulous work we in the independent publishing game go through to make our talent shine…
Last weekend, Tommy hits me up on Facebook with no warning whatsoever and says he needs some author imprint logos for this show in Chicago: “can you do it?” I ask for details because obviously I’m just getting to a party already in progress, and he kicks out the rough ideas for Kimberly and Frank…
…which, BTW, for a guy so full of ideas and stories and plans was woefully light on details just generalities, and he turns me loose after I inform him I’ll talk to Derrick who had already contacted me. Derrick and I do all our stuff more like a couple of guys shooting the breeze on the front stoop on a Sunday afternoon. Yeah we work, it’s just more of a relaxed thing where we kick back and chat and at some point we, usually accidentally, hit on the right thing. I love our process because when we do chop it up, I never fail to end our conversation without a smile at the end and at least two good belly laughs from the soul.
Which is pretty much how his brand POWER PLAY! was done. I, in the course of our discussion run an idea of what I’d like to use as his look and he shows me the very thing I had in mind, which in an odd bit of coincidence was sitting on his desk: a gold clenched fist with that 1960s/70s Soul Brother/grindhouse film vibe as the logo. In my head, what you see as the POWER PLAY! logo was a black light velveteen poster stuck to a ceiling between some mirror tiles with a fish net full of fake starfish.
It was the 70s, you had to be there.
So he was easy and POWER PLAY! was done in one. There are colored variants and, as a last minute thing, I added the tag line “Old School New Pulp” which is what Derrick does. He’s got an updated Men’s Adventure/Action Hero/Thriller feel to a lot of his projects, so it felt right.
Now Kimberly’s came with the most detail from Tommy. Crossed guns, gothic mansion, emboss this, something something that…
So I did that first and like an old “Men On Film” sketch: “Hated it!” It didn’t matter how many ways I crossed the 20 pistols I put together, none of them looked right. So instead I went to work on the manor house bit and abandoned the guns. Nice… but generic. The house was sitting on a cliff, so I pulled the cliff, threw in a really basic shield, colored it all black… better, but still needed something. I uncrossed the guns, used them as a frame and was there.
But then I wanted to make it hers. Any schmuck could build a lady a house but it needs to be HER house. So I took a look at the lady I was building the house for since I’ve never had the pleasure IRL or online of getting to know her. First thing I noticed, which is the first thing I notice about a lot of women in photos, were her eyes…
…that, kids was the hook, she’s got great eyes. I stared at those eyes and attempted to be as accurate as I could be despite simplifying them for an illustration. Stared at them for so long, I think I owe her dinner and one failed rom-com running through the airport scene. I tossed an oversized moon in the background added the eyes and I was in love…
…with the final product.
So PULP GOTHIC gave me the Lady of the House, a touch of Stephen King in the mansion, got the guns in and it all was an echo of the old paperbacks that used to come with the mapback covers telling you about the location of the story.
Last, but not least, came Frank Schildiner. His was done first, I really didn’t like it but I took Tommy’s rough idea too literal. Frank and I aren’t online running buddies, but he and I enjoy decent fight techniques, he’s a martial artist and instructor (in addition to being an author) and I’m immensely impressed by his focus and skill. Unfortunately the logo I came up with didn’t really reflect Frank or his work. It was sort of a hero shot that reminded me of a rejected logo for the old fitness guru Jack LaLanne. It was passable, but it wasn’t Frank. As Friday rolled around I still wasn’t happy with it and it’s hard to put out something I’m not in love with as I send it out. Tommy’s looking for logos and I’m one short. But it was also something Tommy said that sparked an image early on: “Frank’s work goes everywhere.” The image that invoked was pure Jack “The King” Kirby. If you don’t know Jack and his work in changing the face of comics as we know them with Stan Lee…
…move out of that cave so I can get you some help.
So the image I came up with was a complete re-do which is inspired by guys like Kirby and the late Darwyn Cooke and we had something worthy of Frank in particular and his work in general.
And I FINALLY learned how to DIY the famous “Kirby Krackle”…
…yeah, whatever, it’s a big deal to me.
So SCHILDINER’S WORLDS final look is probably more due to Tommy’s summation of Frank’s work than anything else. I had the image in my head, but thought I had to do the other thing based on his explanation of what he said the look should be.
So I did what he said over what he asked.
I submitted both though, as I did with the manor only version of PULP GOTHIC, because you should give a guy options…
I’m glad he chose the ones he did.
Bet you’re wondering where that planning aspect went that I mentioned at the start, right?
Tommy and I refer to this as the “Butch and Sundance”…
If you’ve ever seen how BUTCH CASSIDY AND THE SUNDANCE KID ends for them, you’ll get it.
Sometimes we just have to take a leap, man…
So, if you follow these folks and missed Tommy’s press releases…
…big things are coming from some of your favorite folks…
Whenever I’ve talked about trips I’ve taken in the past (especially to Florida) you’ve usually heard me talk about driving down there. And driving is usually how I do travel. I’ve driven down to Florida and back to Brooklyn at least a dozen times. Which has led some people to think that I don’t like to fly or am scared to fly. Actually, I’m not. I’ve flown many times in the past. Flying’s cool. I just prefer driving because I like to take my time to get to where I’m going and I like to run on my own schedule. I start taking planes and bam! everything is out of my hands. I gotta be here at this time and I gotta do this and I gotta do that. All of a sudden, it’s as if all the fun has gone out of travelling because now it’s more about meeting schedules that others have set for me rather than me just jumping in my car and going wherever I please and doing whatever I want.
So why did I jump on a plane and come to Chicago for the 2019 Windy City Pulp & Paper Convention?
Simple. I thought it would be fun and there were people here I hadn’t seen in awhile and I wanted to see again.
Such as Ron Fortier and Rob Davis, the Captain and Chief Engineer of Airship 27. I haven’t seen these cats since the first Pulp Ark many moons ago and it was high time I hung out with them again.
And I never pass up a chance to harass Tommy Hancock. I’ve been doing it for twenty years. Why should I stop now?
And doubtless there are many more people I will resume an acquaintance with here and those I will meet for the first time. And that’s really what it’s about, isn’t it? Or at least it should be. It most certainly is for me. Making connections. Meeting new people. Renewing friendships with fellow writers, colleagues and enthusiasts of Pulp, be it Classic or New. Talking about the things we love in Pulp and how we can make it better and how we can expand the audience and share it with the world.
I’ll be here in Chicago at the Windy City Pulp & Paper Convention this weekend so get used to seeing these dispatches for the next couple of days. Like those war correspondents you see in those old Black & White WWII movies who went out on the front lines during the day and then at night filed stories about what they had heard and seen? Yeah, this will be kinda like that. You guys know how I be.
Tommy and I have already talked about major Dillon and Fortune McCall stuff. Ron and Tommy are going to be making major announcements tomorrow as Friday is the actual day this shindig starts. We just got here early because there’s a whole LOT of stuff that has to go on behind the scenes before the jump-off jumps off. I may even do a Facebook Live from the floor of the convention. Anything to show you guys how much fun we’re having.
We haven’t even really gotten started yet and we’re already having a ball.
SUBMISSIONS OPEN FOR FIRST IN NEW ANNUAL ANTHOLOGY TO DEBUT IN 2019- ‘NEW PULP UNITED VOLUME ONE’ TO BENEFIT CREATORS IN NEED
Pro Se Productions, a publisher of Genre Fiction, is also a publisher and a leading figure in one aspect of what is considered The New Pulp Movement. This movement focuses on fiction that is inspired and in the style of Pulp Fiction published in the early 20th Century, influenced by Pulp of the past, but written by modern writers with an eye toward the future. New Pulp exists outside this movement, obviously, and many recognize all aspects of this style of fiction as a community. This feeling has been so prevalent in the past that it has led to creators coming together to produce benefit books in memory of other creators or, in the case of Pro Se’s Editor in Chief, Tommy Hancock, to assist during hard times.
“LEGENDS OF NEW PULP FICTION,” says Hancock, “was a project put together by Jaime Ramos and Ron Fortier and Rob Davis of Airship 27 Productions. Over 100 creators threw their talents into the mix to put together the biggest volume of modern Pulp ever to help me after I was diagnosed with a rare form of Congestive Heart Failure. It was the single biggest outpouring of support I have seen in a long time in publishing, especially within New Pulp. And I will personally be forever grateful for it.”
New Pulp Author Sean Taylor noted this very thing recently in
a post on social media, expressing concern about growing divides between writers today, due to politics and different world views. In this post, Taylor made a call to return to the sense of community that existed when collections were done for Hancock or when Pro Se produced “WHEN THE SHADOW SEES THE SUN”, a collection of essays about creatives and depression in honor of Logan Masterson, a writer who lost his battle with depression. Taylor’s post caused many creators to think, including Hancock.
“We don’t expect,” says Hancock, “to replicate LEGENDS or any other collections with what Pro Se plans to do, but the course of discussion Sean started this past week demands that we do something, at least it demands it of me. That’s why Pro Se Productions is now taking submissions for what will hopefully be the first of a yearly collection entitled NEW PULP UNITED! All proceeds from this collection will go into a fund that is aimed at supporting New Pulp creators when there are medical issues or emergency situations beyond normal limitations. A committee will be formed that will oversee the distribution of funds. A website and Facebook page will be established prior to the release of the first volume with more details concerning how a creator may request funds.
“Any creator, be they writer, artist, or editor that wants to contribute can submit a story,” explains Hancock, “to NEW PULP UNITED! With all money made going into the NPU fund, no royalties will be paid and Pro Se will absorb costs that we usually cover with royalties as well. Length of individual stories does not matter, only that the tales are some sort of largely unpublished Genre Fiction with an aim at adventure, action, thrills, and/or suspense. Previously published tales will be considered, but the collection should be more new material than anything else. Also, artists wishing to contribute can provide spot illustrations for stories. Editors wanting to help can also participate. All anyone who wants to be a part of this has to do is email me at firstname.lastname@example.org. Writers need to send me a few lines about what they intend to write and/or submit, and if the story is good and meets Pro Se’s standards, it’s in.”
NEW PULP UNITED! Is currently slated for publication in March 2019, and if subsequent volumes occur, they will be published in March of each year. This collection WILL ONLY go to print if the number of stories reaches a minimum of 30,000 words. There is no maximum limit. For a story to appear in the first collection, writers MUST email Hancock to show intent to participate and the final work needs to be emailed to email@example.com no later than November 1, 2018.
Hancock says, “I know people will immediately have questions about how the money will be distributed, how it will be determined who is considered a New Pulp creator, and such things. To that end, all sales figures and earnings on this collection and subsequent volumes will be made public. As to who qualifies as a New Pulp writer, that will in part be up to the Committee to determine and guidelines will be set up to oversee that, although the intent here is to help, not to create a bureaucratic, complicated process. Right now, the focus has to be on seeing if the first collection even makes. If it doesn’t, it does not necessarily mean that there is a divide in the community. It may also indicate, though, that maybe there isn’t a community at all. Either way, Pro Se wants to help its creators and those outside our company who are why New Pulp exists today. This is a small way, but it is our way.”
For more information on this submissions call, please contact Hancock at firstname.lastname@example.org.
I know what you’re thinking; “Damn, Derrick…this thing came out back in 2015 and you’re just now getting around to reading and reviewing it?” Well, I did read it back in 2015 and fully intended to write up a review of it back then as I am an avid fan of the work of Joel Jenkins and Percival Constantine. But as so many of my editors/collaborators know, I’m so easily distracted by bright shiny objects. But thanks to Christofer Nigro (who I’ve since also become a fan of) I revisited this book and ta-da…here at last is the review. I hope it’s worth the wait.
“Black-Hearted Killers: A Monica Killingsworth Story” by Joel Jenkins. Monica Killingsworth is one of Joel’s favorite characters. I can tell because of my firm belief that if a writer is truly having fun writing a story/novel then that fun can’t help but be translated to their prose. He’s written several stories about Monica, all of which I recommend. The story itself is in Full Tilt Boogie Action Movie In Prose Mode from start to finish. The only drawback I can point to here is that for somebody like me who has read other Monica Killingsworth stories and so am familiar with the character and her background so that I was able to fill in the gaps from memory. But for somebody who is coming to the character cold they might be a bit bewildered by exactly who these people are and what’s going on. But if all you’re looking for is plenty of shootouts, wiseass dialog and eccentric characters, you should give this one a try. I especially liked how the ending turned out to be a real surprise.
“The Damsel of Disaster” by Christofer Nigro. Christofer does a good job of setting up the scene, letting us know where and when we are. I like that he sets the story in Buffalo as it’s a good reminder than organized crime was operating everywhere and not just in New York City and Chicago. But I do question as to why one mob boss would bring along his daughter and the other one would bring along his girlfriend to a sit-down where they are going to discuss things that are best not discussed with potential witnesses in the room. He’s got good characters and a solid plot but everything feels compressed and rushed and just shoved into too small a space for events to happen organically. Too many moments in the story feel like they happen just because Christofer wanted them to happen and not because they came from the interaction of the characters and the decisions that they make. But overall, it’s a well-paced story that doesn’t slow down for a bit and it does the job it’s supposed to do; tell a hard and brutal story about hard and brutal people and on that level, it succeeds.
“Tragic Like A Torch Song” by Shannon Muir. If I had to categorize the stories so far, I’d say the first one is 1980s Action Movie while the second is 1930s Warner Bros Gangster. This one is firmly in the arena of Film Noir. I could easily visualize this story in nourish black & white while reading it. Torch singer Hazel Atwood agrees to do some amateur detective work for her manager Frank who thinks his wife is cheating on him. The manager is skeptical but Hazel’s father used to be a P.I. and she persuades him that since she knows Hazel, Frank’s wife won’t be suspicious if she does her snooping around. When Frank turns up dead shortly afterwards, everybody is not only suspicious, they’re suspects as well. But Frank’s murder isn’t the only mystery to be solved. There’s also the secret of Hazel’s parentage that gets coiled up in Frank’s murder and she needs to unravel the both of them. Out of all the stories in the book, this is the one you’ve got to pay the most attention to because the solution to both mysteries is both tricky and convoluted. I’m not ashamed to admit that I had to read the ending twice to make sure I understood how and why everybody and everything was connected.
“Shikata Ga Nai” by Percival Constantine. Know what I miss? Private eyes who keep a bottle of booze in their lower right-hand desk drawer, a loaded .38 revolver in the pocket of their trench coat and who solve their cases with experience and knowledge of human nature along with sheer brainpower instead of computers and DNA results. Private investigator Kyoko Nakamura is just such a private eye. In a relatively short story, Kyoko comes to life and Percival uses the location of Osaka, Japan almost as another character in the story. The missing person case Kyoko accepts at first appears to be a fairly easy one. But that’s before the Yakuza gets involved and soon Kyoko has a hired killer stalking her. This isn’t a twisty, convoluted mystery where you have to really work to make sense of what is going on but it is an excellent introduction to the character of Kyoko Nakamura and her world (Note to Christofer Nigro: go read this story for the dialog. THIS is how people in this kind of story talk)
Even though it was published in 2015, this could be the perfect time for THE DAME DID IT to be discovered and find an audience as we’re seeing strong women characters in prose, TV and movies stepping into the spotlight in all manner of fresh, new and exciting ways. A book of stories, all with female protagonists kicking ass and taking names may have been ahead of it’s time in 2015 but in 2018 it’s right on time. Enjoy.
The hard-boiled private eye genre is one I dearly love. The trench-coated shamus with a cigarette dangling from his lip, .45 automatic or .38 revolver in a well-worn shoulder holster, fedora pulled down low over his forehead, the faithful gum-chewing secretary and even more faithful fifth of scotch in the desk drawer. Using his experience of having lived a tough life and insight into human nature to solve mysteries, not fancy computers and DNA. it’s a genre I never get enough of. And since television and movies have apparently abandoned the P.I. it’s up to writers like Lee Houston, Jr. and books like HUGH MONN, PRIVATE DETECTIVE to give me my fix.
Let me explain; even though Hugh Monn lives and works on the far distant planet of Frontera interacting with many different species and using advanced technology, the tone and feel of the character and the eight stories in the book are pure 1950’s. Lee drops in a mention here and there of some bit of sci-fi such as a character having green or purple skin or Hugh’s weapon of choice being a Nuke 653 Rechargeable but that’s just throwaways Lee lobs at us once in a while to remind us that we’re not on Earth. But he doesn’t go into any real detail as to how this future civilization operates or how the technology works. When the subject of detective stories crossed with science fiction comes up, I usually mention Larry Niven’s stories and novels about Gil The Arm or Roger Zelazny’s “My Name Is Legion” since in those stories, the science fiction is integral to the story. Take out the science fiction and you wouldn’t have a story. Not so with Lee’s Hugh Monn stories. They could easily have been set in 1950’s Los Angeles or New York with a little rewriting. But I digress…let’s take HUGH MONN, PRIVATE DETECTIVE for what it is, not for what it isn’t.
Hugh Monn is a Human and yes, he freely admits to his clients that his name is a gag. But one he prefers to use as he’s got some pretty big secrets in his past he’d prefer to keep to himself. As a detective, Hugh is capable, sharp, principled and dogged in his determination to solve his cases and get to the truth. Hugh isn’t a pain-in-the-ass who rebels against authority and isn’t a lone wolf who doesn’t play by the rules. Matter of fact, Hugh conducts himself as a total professional. He doesn’t shoot when he doesn’t have to, he’s polite to everybody he meets and he co-operates with the authorities. In particular, Lawbot 714 who he runs into in a couple of stories and who I wouldn’t mind seeing become a regular if Lee gives us more Hugh Monn cases. He doesn’t smoke, doesn’t drink, he likes kids; he holds open the doors for old ladies. I think you can tell where I’m going with this. Hugh’s a fine detective but as a character I found myself wishing that once in a while he’d haul off and slug a suspect for no good reason other than he doesn’t like the fact the guy has eight eyes. Hugh could stand to be a little rougher and not so polite.
The story “Shortages” is a good example of how Hugh Monn solves a case using his understanding of both humans and aliens and his powers of observation. It also introduces the character of Big Louie, a Primoid. Big Louie is the main suspect in a series of thefts being committed at a high security pier. It’s a pretty good locked room mystery and the relationship between Hugh and Big Louie is the primary attraction in this story, as in “At What Price Gloria?” Hugh and Big Louie have to rescue Big Louie’s wife Gloria and stop an assassination attempt. I only wish more of the stories had been as suspenseful as this one. In some of them, the mystery really isn’t that hard to figure out as there’s a lack of suspects so the solution comes down to either being this one or that one. And I never got a sense of Hugh being in any real danger in any of these stories. But Lee should be commended for trying different types of stories such as “For The Benefit of Master Tyke” which hinges more on the healing of a family than the solving of any real crime. I picked up halfway through “Where Can I Get A Witness?” is intended as a homage to the 1944 film noir “Laura” and I enjoyed it until the very last paragraph where it felt to me as if the writer had stepped in to give his opinion of his own story and didn’t allow his character to do so.
So should you read HUGH MONN, PRIVATE DETECTIVE? As this was his first book, I’m inclined to give Lee a pat on the back. There’s a lot to like in his writing style. He does know how to keep a story moving but he shouldn’t shy away from rolling in the dirt and giving his characters some sharp edges. I wouldn’t mind seeing Hugh Monn tackle some more cases but I also wouldn’t mind seeing Lee Houston, Jr. strip away the political correctness and explore the real darkness of Frontera.
Jilly Paddock; I’m a British woman, no longer young but not yet ancient. There’s a lot of grey in my hair, which used to be black, and my joints ache in wet weather. I’m interested in biology, geology and astronomy – I like to know the names of animals, wildflowers and trees, rocks and gemstones, constellations and stars. I like Pre-Raphaelite artwork, Romantic poetry, folklore and folk music. I’m very practical and have dabbled in a lot of different crafts, including jewelry-making, silversmithing and knitting. I collect studio glass perfume bottles and tarot decks. I’m a cat person, but don’t have any pets at the moment. I have a dark sense of humor.
I used to live in South London near Crystal Palace, which has a park with life-sized dinosaur statues sculpted by Benjamin Waterhouse Hawkins. They date from 1854, were the first of their kind in the world and were scientifically accurate at the time. I saw them as a child – how could I not write fantastic stories after that?
DF: Where do you live and what do you do to keep the creditors away?
JP: I live in the UK, in a cathedral city in the Fens in East Anglia. I have a small house packed with books, CDs and other stuff, and I share it with Dave, an editor and book reviewer. I miss the chalk hills and woodlands of South East England, where I grew up. It’s very flat here, with wide open skies. I live on the edge of the city and can drive out to the countryside in a few minutes.
I spent most of my working life in the NHS (National Health Service). I was a Biomedical Scientist, which sounds very grand but is just a posh name for a lab technician. I worked in Microbiology, growing and identifying bacteria, testing for antibiotic resistance and doing blood tests to diagnose all kinds of diseases. I’ve handled all kinds of pathogens, including TB, typhoid, cholera and diphtheria, and also viruses like Hepatitis B and HIV on a daily basis and somehow lived to tell the tale. I took early retirement in 2011 and now survive on my NHS pension. It may sound odd but I still miss the bacteria, the colors of the colonies on the various media, the smells (some Streptococci smell of caramel and other bacteria have very distinct odors like pear drops or geraniums) and the sense of wonder when you find something unexpected or unusual.
DF: How long have you been writing and what have you learned about yourself through your writing?
JP: I started writing when I was eleven, inspired by two schoolfriends to put pen to paper. I’d always lived in imaginary worlds inside my head, but now the three of us wrote stories, shared them and had a lot of fun doing it. Both of my friends are now published writers working in the fantasy, science fiction and horror genres. I kept writing, selling a couple of short stories in the 1990s and trying to get a novel published. It was the first of the Zenith Alpha 4013 series and although several editors liked it, it never made it into print. After I retired I self-published it as an e-book, along with two novellas and a collection of short stuff. Then Pro Se Press picked it up and TO DIE A STRANGER finally came out in paperback in 2014. It was very satisfying to finally hold a real, solid book in my hands after so long.
I suppose I’ve learnt that I can complete a novel, that I can make that journey from first line to ‘The End’ through the twists and turns of the creative process. There are recurring themes in my work; I seem to be obsessed by walled cities, AIs and dragons. There’s probably a deep psychological meaning behind that, but better not to dwell on it!
DF: What audience are you trying to reach with your work? Is there an audience for Jilly Paddock?
JP: I don’t write with any particular audience in mind. I just write for me, using mainly female protagonists. I suppose that my books have a flavor of the science fiction I read in the 70s and 80s. I’m surprised that I have many male fans, as my work isn’t hard science fiction and has a feminist slant. I’ve had several people who’d never dreamt of reading science fiction pick up my books and tell me they enjoyed them, which is very gratifying.
DF: Where do see your writing career five years from now?
JP: Hopefully all of the Anna and Zenni books will be out by then, plus the huge space opera, WARBIRD. I’d like to still be going to conventions, maybe two or three a year. It would be nice to be better known and to sell more books, of course.
DF: What are you working on now?
JP: I’m finishing the fifth Anna and Zenni book, which was inserted into the original chronology so I could play with the characters a bit more. I have other unfinished pieces, notably a fantasy that’s a simple fairytale with a big dose of folksong and a talking horse, LADDER TO THE MOON, which I need to complete and release into the world.
DF: A. Afton Lamont and her partner Jerome are characters you obviously have a lot of affection for. What is the origin story behind your creation of them?
JP: Afton and Jerome came from a small seed – I needed a pair of detectives on a colony world for a short story, which turned into BLIND WITNESS, which is in the LEGENDS OF NEW PULP anthology. A friend had mentioned that most of my male characters were bastards, so I decided to have a nice man as my first-person protagonist. Poor Jerome – as well as being my first likeable man, I made him black and bisexual as well! He isn’t human; he was rescued from a barbaric desert planet by a team of Earth scientists, who then mutilated him with surgery and inflicted our culture on him. He doesn’t quite fit in the society he lives in; as he says of himself, he’s a stranger in a strange land. Afton started out as the classic cynical police detective, belligerent and disliked in the ranks, full of anger and sarcastic quips. We still don’t know much about her past; she was born on Earth and probably spent some time in the military, but how she ended up on a backwater colony world is a mystery.
I do like my characters, some more than others. I spend so much time with their voices in my head that it’s hard not to see them as friends.
DF: TO DIE A STRANGER mixes science fiction with elements of the thriller and detective genres. Mashing up different genres seems to be a trademark of yours. Why do you enjoy blending genres together?
And what’s the secret to mixing different genres together and making them work smoothly with each other?
JP: I didn’t realize that’s what I was doing until my reviewers pointed it out. When I started out, choosing science fiction was a no-brainer – what other genre allows you to write about anything you can imagine? I’d read a lot of thrillers and detective novels as a teenager, so that went into the mix, and it didn’t seem odd to add a little supernatural and magic, mythology and folklore. Real life has traces of all of that, plus a big dollop of coincidence and synchronicity that readers would baulk at if you put it in fiction. I just let the story go where it wants.
I’m not sure I know the secret of mixing genres, as I don’t do it deliberately. Keep your nerve and make it plausible – if you’re confident and believe in the plot your readers will go right along with you.
DF: WITH AMBER TEARS is the sequel to TO DIE A STRANGER. How many more books have you got planned for this series?
JP: It’s planned to be a ten book series. The fourth book, THE BEAUTY OF OUR WEAPONS, is with Pro Se and due out in May/June this year. Book five is unfinished, six to eight are complete but need minor re-writes, nine exists as fragments and ten needs a bit more work. This series is unusual in that I started writing it in 1973 and the books have been lurking on my hard drive since then, constantly being tweaked and altered as the story arc unfolded.
DF: STARCHILD is your latest novel. What’s it about and why should we be reading it?
JP: STARCHILD is the third in the Zenith Alpha 4013 series. Anna and Zenni are now working for Earth Intelligence (EI) and need to prove themselves, so they’re sent to Ile Garoque, a world that severed all contact with Earth two decades ago. The initial plan is to put Anna in the entourage of StarChild, a hugely popular band who’ve been invited to play on the planet, but when Taheera, the lead singer, refuses to go the mission turns into an impersonation of her, using Anna’s acting skills and EI’s technology. Add to that a hostile first contact situation with a group of predatory aliens, an enemy making yet another attempt on Anna’s life, an unexpected romance and being caught up in two weird storms in hyperspace that can destroy unwary spacecraft.
This series is at the lighter end of science fiction, edging towards pulp sci-fi. I think of it as space soap opera; this one has romance stirred into the mix. It has humor and isn’t too gritty, although it does have some swearing and a sex scene, so I wouldn’t recommend it to kids. You should read it because it’s fun and I think most people would enjoy it.
DF: What is the one book or story of yours you would recommend to somebody to start with? And why that book or story?
JP: That would have to be NO EARTHLY SHORE, a novella that’s currently only available as an e-book. It’s another tale of first contact, between the colonists of a world called Calvados and giant telepathic sea slugs, who were assumed to be just dumb animals until they save a girl from drowning and start talking to her. This time the mix includes a marine biologist, another EI agent (although he isn’t revealed as such within the story and he lacks psionic powers) and quilt patterns. It’s a very uplifting feel-good story and seems to appeal to science fiction fans and people who don’t usually read in that genre alike.
DF: Most of your novels and stories are connected. Did you start out to do this on purpose and is it easier to create stories once you have a fully developed universe in place?
JP: Again, this happened by accident. I can’t claim to have invented the universe – it’s a future variant of our own. I’m enough of an optimist to hope that we will go to the stars someday and set up colonies on other worlds. Some of the links between books seemed obvious and logical – the agent that Terrapol sent to help Afton and Jerome in THE SPOOK AND THE SPIRIT IN THE STONE had to be an agent-pair from EI – and some were in-jokes to amuse me and any readers who were paying attention. The world Jerome lives on was discovered by the spacecraft from WARBIRD, so some of the street names are surnames of the crew and Jerome’s cat, Gresham, is named after the ship’s captain, who is also ginger.
I suppose it’s a symptom of my scientific brain to keep things simple – don’t reinvent the wheel – so, if you need a planet, ship or character for the plot, why not use one you already have instead of starting again from the ground up?
DF: What keeps you motivated when you have a creative slump?
JP: There have been times when I’ve stopped writing, when life really got in the way. The stories keep bubbling away in the back of my brain and I have to let them out eventually. I write to empty my head, to get it down on paper so it stops bothering me and I can move on to the next thing. I’ve always found that forcing words out when they aren’t ready doesn’t work well. I don’t like deadlines; that said, I have produced some short stuff very rapidly when necessary.
DF: Drop some much-needed Words of Wisdom on all the young aspiring writers reading this that are thirsting for your knowledge.
JP: Other people have said this, but it’s true – if you want to be a writer, write. Keep writing and finish stuff. Even if you think it’s awful don’t throw it away – keep it and you might be able to use it one day. Read, a lot.
And, if you write on a computer, for pity’s sake keep multiple copies and back-ups of your files!
DF: What writers have influenced you?
JP: So many! I read a lot of classic science fiction and fantasy – Heinlein, Asimov, Clarke, Tolkien, Leiber – they’re buried in the landscape that lurks under my writing style. I adore Cordwainer Smith, who had such a quirky voice, so deceptively simple with strange psychological depths. There are touches of him in STARCHILD, in a chapter title and the notion behind dragon-storms. I like Peter S Beagle, who writes lovely, poetic prose, and Tanith Lee, Louise Cooper, John Wyndham and Iain Banks – too many of those have died recently. The poetry of W B Yeats and John Keats haunts me, and also the song lyrics of Melanie and Leonard Cohen, which have also inspired titles.
DF: How much room in your head do you allow critics or criticism to occupy?
JP: Too much, I guess. One bad review overshadows ten good ones. I wish I could be more like Iris Murdoch, who said “A bad review is even less important than whether it is raining in Patagonia.”
DF: What’s a typical Day In The Life of Jilly Paddock like?
Ooh, I’m dead boring! I have porridge for breakfast and drink lots of tea. I don’t have an office of desk to write at – my computer is next to my armchair and I type with the keyboard on my lap. There’s usually music on in the background, as Dave has a vast and eclectic collection of songs and albums on his computer. I switch between writing, reading and the latest knitting project, and play solitaire to rest the eyes.
In winter I don’t venture out much – one of the joys of being retired is that you don’t have to go out in the rain or snow. About once a fortnight I take my father shopping and out to lunch. He’s 91 now and still lives independently, but he gave up driving last year and needs me to take him to medical appointments and the supermarket. I hope I’m still as fit and mentally alert (and alive!) when I get to that age.
Derrick Ferguson: Anything else we need to know?
Jilly Paddock: In the question about which book I’d recommend as an introduction to my work, I was torn between two, so can I mention the second one here? It’s THE THIRD WORST THING THAT CAN HAPPEN ON MARS and it appeared in PRO SE PRESENTS #19: SUMMER 2013. It’s about the misadventures of Vonnie, a teenage girl who isn’t at all happy when her parents move to Mars. It seems to be a popular story, particularly with youngsters, and will come out soon in a version illustrated by the award-winning fantasy artist, Morgan Fitzsimons. She did the covers for WITH AMBER TEARS and the e-book, THE DRAGON, FLY.
Born in New Bedford, Massachusetts, Len Levinson served on active duty in the U.S. Army from 1954-1957, and graduated from Michigan State University with a BA in Social Science. He relocated to NYC that year and worked as an advertising copywriter and public relations executive before becoming a full-time novelist.
Len created and wrote a number of series, including the Apache Wars Saga, The Pecos Kid, and The Rat Bastards. He has had over 80 titles published.
After many years in NYC, he moved to a small town (pop. 3100) in rural Illinois, surrounded by corn and soybean fields, a peaceful, ideal location for a writer.
I live in a small town (population 3000) way out here on the great American prairie. Therefore I have little contact with the wider world of publishing although I’ve written 83 published novels to date.
Last Sunday (4/23) I attended the Windy City Pulp and Paper Convention in a Chicago suburb called Lombard, and became aware of the future of fiction publishing. Many of you probably have come to this awareness already, but it was a major revelation for me.
I realized that there is a huge, growing indie publishing movement fully underway, and has come into being because traditional publishing has narrowly focused on conventional “safe” fiction, and tends to reject anything new, weird, crazy or bizarre.
This policy has left a huge vacuum now being filled by the new indie press which operates under a different business model. They don’t have offices in Rockefeller Centre in NYC like Simon and Shuster. They operate out of home offices, barns, or other low-cost spaces. Everything is handled over the internet. And they don’t pay advanced. Authors receive royalties only, as in the early days of publishing. And they produce GREAT eye-catching covers that are works of art on their own.
During the convention I spoke with Ron Fortier, publisher and editor-in-chief of one of the larger indie publishers, Airship 27. He said that famous authors sometimes call him about books of theirs that were rejected by their usual publishers, because those books were considered too far out. But nothing is too far out for today’s indie publishers who market, among other items, novels about vampire cowboys, lesbian werewolves from Mars, hard boiled crime-fiction, other action-adventure novels including traditional Westerns, and all kinds of sci-fi, fantasy and sword and sandal fiction. They also publish new novels about characters in the public domain such as Sherlock Holmes. It’s called “the New Pulp Movement.”
I also spoke with Tommy Hancock, Editor in Chief of Pro Se Productions, which is also a major indie publisher marketing hundreds of titles. He told me that the big five publishers are buying up some indie publishers, because they can see where the business is going. But Tommy isn’t interested in selling out. His main interest is exciting new fiction.
Evidently there’s a whole new publishing world out there of which I was unaware, although some of my old books have been republished by indie publishers such as Piccadilly, Destroyer and Blackstone. But I never realized how important this New Pulp Movement is becoming. It is wildly creative, fully energized and intensely ambitious, the new kid on the block fighting for a bigger slice of the pie. The welcome result is more choices for readers and hopefully more income for writers.