Tuesday, September 27, 2011

PULP MODERN ISSUE ONE IS NOW AVAILABLE

Not quite September 23, as planned, nor September 30, as predicated last week.  Pulp Modern Issue One is now available here.  This is where you should purchase the book.  It will eventually be available on Amazon, where hopefully those who buy now it will post a review to help sell it to all those folks out there who don't already know about it.

Thanks again to all the contributors and thanks in advance to everyone who will help make this a success.

By the way, if you are asked for a password, it should be:

burnhollywoodburn

If they ask for a password and that one doesn't work, please let me know ASAP.

Monday, September 26, 2011

A few thoughts on the future of publishing

I just wanted to throw a comparison out there and see if anyone agrees:

Is the publishing industry about to see a shift of power similar to the shift that happened in Hollywood in the late 60s and early 70s?  I speak of the taking over by directors.  For a brief time, suits and ties were not making decisions in Hollywood based entirely on "the bottom line."  The directors had the power.

Are authors going to enjoy the same privilege now that the stigma of self-publishing is coming to an end (it's a struggle, I still hear older, PUBLISHED writers say self-publishing is a no-no, but that's just more dinosaur sloshing in the old tar pits)?  Are e-books (which even I have an aversion to) going to take the "big" publishers out of the picture?  Could this be the Golden Age for writers?

Let me know what you think.

Saturday, September 24, 2011

Pulp Modern Issue Two Notes

So I've started going over submissions for issue two.  Here some things to keep in mind:

1. Kill your fucking LY words.  Don't tell me SHE OPENED IT CAREFULLY.  Show me what that CAREFULLY looks like!  The constant use of adverbs (and a lot of adjectives as well) is very, very old fashioned.  While I dig the old fashioned stuff, we're writing new stuff, which means NO FUCKING -LY WORDS! (Unless it's absolutely necessary or an obvious part of your particular style)

2. Sentence variety!  SHE STEPPED INTO THE KICTHEN.  SHE NOTICED HER HUSBAND'S BODY ON THE FLOOR.  SARAH GRABBED A GLASS OF KOOL-AID AND SIPPED IT AS SHE STEPPED OVER HIM.  I want to see more sentence variety in the submissions I'm getting.  I have to sit in my MFA classes and listen to people bemoan genre fiction.  The only medicine is to make genre fiction better than literary fiction!

3. Please respect the word limit, which is 2000 to 5000.  A little bit over or a little bit under can be forgiven, but not by much.

4. Please send submissions in STANDARD MANUSCRIPT FORMAT.  Also, press 'RETURN' just ONCE after paragraphs.

5. Horror, science fiction and fantasy have been combined under the heading of fantasy.  I am looking for surreal stuff and stuff that scares YOU the writer so bad you almost can't write it.  Trolls and hobbits and stuff, I just don't see it happening.

Here's a big thing:  Make that first paragraph and that first page count.  I have to go through a lot of submissions.  Let me know RIGHT AWAY that you've sent me a story that I HAVE to read.

I don't mean to sound condescending.  I'm sure everybody knows everything I've written here already.  Just think of all of this as a friendly reminder.  I look forward to seeing what everybody comes up with.

Tuesday, September 20, 2011

A couple of countdowns...

Received the proof copy of Pulp Modern Issue One yesterday.  Made a few corrections, a few adjustments.  Barring any other problems, look for a September 30 release date.

Right after you place your orders for Pulp Modern, on Saturday, October 1, prepare yourself for the debut of Jodi MacArthur's story "Mantra" at All Due Respect.  If you don't feel a little drunk and psychotic after reading this one, you must already be drunk and psychotic!

Sweet Jumping Jesus... It's gonna' be one hell of an autumn!

Monday, September 19, 2011

In case you missed it

I wrote the intro for Edward A. Grainger's second volume of Cash Laramie and Gideon Miles stories.  You can check it out here (the intro, that is).  Thanks to Mr. Grainger for keeping the western alive and kicking (or should that be shooting?)

Friday, September 16, 2011

Alfred Hitchcock Presents... Garnett Elliott

Congratulations to Garnett Elliott.  His work will be appearing in a future issue of Alfred Hitchcock Mystery Magazine.  For the dozen or so loyal readers of No Moral Center, I don't have to tell you what an amazing accomplishment that is.  Anyone familiar with Elliott's work knows it's probably long overdue...

Wednesday, September 7, 2011

Ladies and gentlemen... The line up for issue one:

Here be your writers contributing to PULP MODERN, issue number one:

LAWRENCE BLOCK
JIMMY CALLAWAY
JAMES DUNCAN
C.J. EDWARDS
GARNETT ELLIOTT
MELISSA EMBRY
EDWARD A. GRAINGER
GLENN GRAY
DAVID JAMES KEATON
JOHN KENYON
CHRIS LA TRAY
YARROW PAISLEY
MATTHEW PIZZOLATO
THOMAS PLUCK
STEPHEN D. ROGERS
SANDRA SEAMANS
COPPER SMITH

Interior art:
BRIAN ROE

Cover art:
JEREMY SELZER


Deadline for submissions for issue two: NOVEMBER 1, 2011

Monday, September 5, 2011

Good Reading Around the Web

Get your fix of good fiction on the Internet:

Chris Rhatigan has a fine piece of flash fiction at Shotgun Honey.

The prose master, Garnett Elliott, picks up another serial at pulp fiction's Gold Standard, Beat to a Pulp.

And in case you missed it, someone who knows a whole lot about crime, IMPD officer C.J. Edwards provides this month's journey to the gutter at All Due Respect.

Enjoy!

Sunday, September 4, 2011

Some fine reviews for Manifesto Destination at Amazon

Three reliable readers have offered some interesting remarks about Manifesto Destination at Amazon.  Have you purchased your copy yet?  Why not?  Are you some kind of non-comformist?  You think you're better than everybody else!?! OH YEAH!!!???!!!

Saturday, September 3, 2011

Pulp Modern: Deadline for Issue Number Two Has Been Changed

The deadline for issue number two will be November 1, 2011.

Thursday, September 1, 2011

The Danger of Remakes and 'Reboots'

A lot of people over the age of, I don't know, 12, gripe about the lack of original stories coming from Hollywood.  The last time I checked, over 90 percent of the movies produced and distributed by American filmmakers were either remakes, 'reboots,' or movies based on old television shows or video games.  It seems obvious why this would bother anyone who still has the audacity to use his or her thinking cap.

I'd like to offer my take on why this trend scares the living shit out of me.  You remember those big lizards that used to roam the Earth?  We call them dinosaurs.  I'm sure if someone had asked them, they would have called themselves something else.  Regardless, the dinosaurs spent a great deal of their final days sloshing around in tar pits.  I bet the dinosaurs thought they were moving forward any time they moved a foot one way or the other while they were drowning in those tar pits.  Now, before the tar pits came along, dinosaurs were a mobile bunch who moved around the land, always moving in a forward direction.

That's what humans who made art used to do.  Even in Hollywood, filmmakers used to try to show something new with each film they made.  It's called progress.  It's called evolution.  The moment you circle back and repeat yourself, you have stopped evolving.  My theory is this:  If you cease to evolve, you begin to die.

So, we come back to this issue of remakes and 'reboots.'  Is Hollywood showing us how we're a species sloshing around in a tar pit?  Is this really it?  Do writers and actors and directors have no new ideas?  We didn't last a fraction of the time the dinosaurs did.  That makes us cosmic idiots, doesn't it?

This month at All Due Respect: C.J. Edwards

Well, after Patricia Abbott introduced some class to All Due Respect, it only makes sense that we dip right back down into the gutter with C.J. Edwards' The Peeper.  In addition to writing fiction and poetry, C.J. is a police officer who investigates sex crimes.  He brings an eerie authority to his depiction of a budding stalker who quickly graduates to the next chilling level.