Columns and Editorials

Column: Some thoughts on Electronic Publishing

Most of you know by now (or at least by RIGHT NOW) that I am the CEO and founder of Crossroad Press. This started out as simply me wanting to get my old, out of print books into the hands of some new readers through Kindle and other e-reader formats. It was a slow start. There's a lot to learn about e-BOOK formatting, and there are a lot of pitfalls along the way. I persevered, and as I started to "get" it, others asked for my help with their own work. That spawned the initial effort – Macabre Ink – which soon had to evolve into the more generically named Crossroad Press because I found myself publishing books in genres other than just horror.

Next came audiobooks. I am a long-time lover of audiobooks, and I have always wanted to see my own books produced in that format. I put out a query on my blog, Glimpses into an Overactive Mind, and hooked up with my (now) partner in audio, Jeffrey Kafer, a fine voice talent, and a very good producer with his own studio. We set to work.

And this is where my background information burst stops, and my column actually begins. You've heard a lot over recent months about the demise of publishing "as it has been," and I'm here to add one more voice to that. I agree, the old guard is crumbling, though not as quickly as others seem to think.

The problem is that things happen too fast on the Internet. Almost overnight e-BOOKS went from a bad word people shunned to something viable and profitable. In audio, the CD and even the DVD gave way to Audible's crushing popularity, and the MP3 download won the top spot. Paradigms are shifting all over the place.

Publishing, unfortunately, has been much slower to follow suit. On one hand successful authors like J. A. Konrath have shown that, if you have a...

Screaming Mimis

Screaming Mimis by Ian Grey

For me, it started with a blond. A German, muscled and pretty in that hard way you get working in the underground. And make no mistake—metal that isn’t Metallica is a real underground, a place of indigenous rituals, rights and lingo, where selling 25,000 copies world wide is considered a smash hit.

But back to that blond. She has a feral grin that suggests a delight in viscera-ripping when on stage with her ass-battering band Arch Enemy, but when facing interviewers, a softer smile emerges that when coupled with her athletic body makes you imagine her as a ski or gym instructor. Her name is Angela Gossow, and good fucking Lord Odin, the sound that comes out of that unlikely mouth when howling with the ol’ Enemy.

It’s a shriek, an Orc’s death howl run through the woodchopper in Fargo. On CD, there is no way to tell Gossow from a metal dude. And so I imagine those not familiar with Gossow cupping crotches in scared unison when they first encounter this true screaming Mimi (or SM for short).  

I mean, there have been women in rock for ages but rock isn’t metal (the yawning differences between music styles will be the subject of another column. Sorry.)  But thanks to the mad success of a lousy heroine we’re enjoying an increasing awareness of a worldwide explosion of female-fronted metal, from primal doom groaners to arty prog-metal shriekers to black metal rasp merchants, and finally, to a band whose singer may have the best singing voice in all of popular and unpopular music. And no, I’m not fucking kidding.

But onward, Until the '90s, there was no real history of femme metal partially because artists appeared and disappeared...

Column: Green and Twitter ? Rediscovering the Fun in Writing

Most of my writing career has followed a particular pattern. I write what pops into my head, and I write a lot. Some of it sells, some of it makes people go ?huh?? and some of it wins awards. Still, I generally have gone into projects with at least a general idea what I thought I?d do with the final product, at least in recent years. It seems, if not an exactly logical process, a workable one.

Sometimes, however, things change. For one thing, the way you interact with the world, and with people. You can live in a bubble, or you can expand with the world ? and contract with it, as well. Our world is much larger with all it has to share, and much smaller with how simple it has become to reach out and interact. I have always been a forward leaning sort of person. When something new and shiny comes along, I play with it... at least when it comes to Computers. I was an early adopter of message boards, online services, the Internet, E-mail, and now I enjoy the magic and madness that we call Social Media. While I?m still not sold on Facebook, I?m active on the micro-blogging service Twitter, and have been slowly building a network of contacts, followers, interesting characters, and shared thought.

Knowing that some among you, as usual, are clearing your throats and saying ?Get to the point, Wilson,? I will do so. The point is that the changes in the Internet and in my world have now had a profound impact on my career. At least, it?s potentially profound, and to cause the shift in my habits and my outlook, all that?s required is the potential.

Last February I found myself in the very hotel where I?m sitting as I type this, getting ready to open a branch office for my company. I had a book to work on, and I had all the files carefully...

Column: IN THE TRADITION OF... And Other Signs of Reflected Light

It has occurred to me lately that TV programming is a great way to explain what I consider to be one the biggest problems with books, the public, and publishing today—if not the biggest. The epiphany came to me first while watching the new program The Mentalist which is about a psychic turned detective who lost his wife and family to a serial killer he'd insulted on a live television broadcast. The problem is a very deeply rooted one, and I'm pretty well convinced that it's not one that can be fixed—but I think, at the same time, we need to remain aware of it.

I won't even try to guess which came first, but let's put all these shows in a row and see if something clicks. Monk, Psych, The Mentalist, Life—and I guess if you wanted to you could add in the main protagonists from the CSI shows and the profilers on Criminal Minds. What we have is a formula that works. We have a character with the super power of being able to observe a situation and catch details that other people miss. In one show it's a detective pretending to be a psychic, in another it's a retired psychic being a detective. All of these shows are interesting, entertaining, and popular.

Here's the problem. One person, a long time ago—probably around the time Arthur Conan Doyle began penning his Sherlock Holmes stories—realized that just paying attention to detail could give one an almost magical advantage over others. Doyle wrote this ability into a protagonist who has been raised to the level of icon and held a dominant spot in popular literature, media, and Western culture in general for decades.

The rest are clever reworks of the same idea, not even really changed very much, and so...

Column: Season of the Storytellers

I love October. It’s my favorite month for a number of reasons. For one thing, my birthday is in October, and though I’m reaching that point in my life where birthdays are losing their “sheen” I still like the notion that I have a spot on the big wheel I can reach up and high-five in passing. It’s also time for Halloween, which brings out the supernatural, spooky dark side of everyone around me. Television shows lean toward dark fantasy and horror; movies like “Zombieland” appear and make me smile. Pumpkins taunt me from roadside stands, waiting to be stabbed and sliced and recreated.

I’m also looking forward to November. November is the famed tumble of words and ideas known worldwide as Nanowrimo —or National Novel Writing Month. Forget for a moment that I participate in this every year, and that I’ve had great luck selling the books I’ve written in November. Forget me—in other words—and look at what this month has come to symbolize. Writers of all stripes are polishing off outlines, purging old stale projects, arranging their schedules, blogging, twittering and talking about writing. Books become more important, if only for a short period of time. Writing a novel is something more people are willing to attempt, and while many of those attempts will stagnate, fail, or produce crap that no one will ever read, it’s an incredibly energizing experience.

Most readers of this column have experienced conventions. When I leave a convention, where I’ve immersed myself for several days and long nights in the thoughts of fellow writers, books I would otherwise have never known about, panels and questions and...

The Times, They are a Changing

Every now and then I get the urge to speak my mind. Those of you who read this column are probably aware of this. I’ve talked about books and publishing before, but looking back I think a lot has changed since the last time I did so, so I believe I’ll take a stab at the state of things, as I see it . . .

The economy is in the crapper. There’s no doubt of this, and while it doesn’t seem to stem the flow of Blackberry Storms, iPods, and Macbooks, it has certainly put a crimp in the traditional publishing world. As usual, when things take a nosedive, about a million gurus have popped up with "the solution" and "the revolution," and—also as usual—most of this had led down short roads to nowhere. I am all for innovation, and I can see as well as the next person that publishing is evolving. What irritates me is how most of the "solutions" are just attempts to reinvent the original model in a new format. Instead of finding ways to spread words far and wide, people are still trying to attach the same levels of insular control to the new formats and venues as they did to the old. "E-zines"—rather than having constantly dynamic content that gives people a reason to visit daily try to emulate the monthly and quarterly models of print. (Yes, Brett, even Chizine (lol))—while interactive sites that change daily, like some of the top blogs, get thousands of legitimate hits daily and are great venues for actual advertising dollars.

Devices like the Sony E-reader and The Kindle are revolutionizing digital content. They’ve come a long way from the downloadable e-book. People are buying them and using them. These new devices and formats are, in other words, not going away. This doesn’t mean...

Column: It's The End of the World as We Know It... Is That Bad?

Every year when Brett reminds me I have a column due at year's end (and beginning) I get the urge to do some sort of retrospective. Then I feel bad because in most cases it seems like a cop out on writing something real. Then I end up with some sort of amalgam of topics culled from the retrospective and the oddly chambered brain where I store it. I guess I'm doing that again. You lucky people.

This was the year, for instance, when the bottom started to fall out of the ridiculous real-estate market. Houses that were $150,000 five years ago have jumped to $300,000 or even $500,000 for no reason other than that banks got the brilliant idea to loan too much money to people who couldn't afford to pay it back with shady arrangements on interest and balloon payments fueling the fire. People started defaulting on loans. Banks stopped making money. Banks now have to stop LOANING money at ridiculous falsified rates, and now no one can sell a house. Or buy a house—or, if they bought it during the boom period in the last decade, pay for it. This is American stupidity at its prime time best. The bottom line before everything…take the money and run. Get out before the bottom drops out. (sigh).

In my neck of the woods (and all over now), the next crunch of this stupidity is hitting. Tax re-assessment time has come to the valley, and despite the fact that no one is selling houses for the inflated prices, those have now become the assessed value. In my county, the average house taxes went up 85%. That's a lotta green, folks…a lot of folks already barely able to make their mortgages are now joining the huge ranks of the screwed.

Then there's oil. Wonderful, slimy oil. This is the year we saw that fat jowled bastard retire with NINE FREAKING...

Column: Just Because There are Dead, Horned Babies, It Doesn't Make it a Story

At one point or another, I think everyone who works in a creative field turns to their dreams for inspiration. It seems like such a natural source of stories and images on the surface, but much like alcohol and chemical reality enhancement, it comes with its problems, pitfalls, and disappointments.

I thought this time out I’d look back at one of the times I wrote bits and pieces of a dream into my fiction—how it worked, how it didn’t, and why. It’s a tricky business bringing things back from the land of Morpheus—most of the time bits and pieces get left behind, or when you stick the images against a backdrop of plot and reality, their “power” is lost.

When I was younger I had a recurring dream. In this dream, I started out in a huge basement store-room underneath some sort of larger store. I was an exterminator, though I had no equipment for that work. Someone was after me, so I ended up back against the wall behind the rear unit of lines of shelves. It was very dark; the only light was from the helmet I wore. I came to a set of shelves I kept moving quickly behind the shelves toward large doors at the far end of the basement where trucks backed in to load and unload.

One set of shelves was blocked by dark clumps of something. When I got closer, it began to look as if it was a pile of realistic baby dolls. There were flies. I got closer, and I saw that it was piles of dead bodies. All of them were babies… but there was more. They had horns like devils. Some of them had wings, or tails. There were skulls, half-rotted bodies, and some that seemed fresh. For some reason it occurred to me at that moment that there were no rats near me. Whatever had done this—whatever left that gruesome pile behind the shelves,...


The speed with which our world changes is dizzying, disorienting, and downright eerie at times. What got me thinking about it was a recent essay by fellow author Wayne Allen Sallee over at . Wayne hasn't flown into the computer age on the same flight as the rest of us, and his connections to things past are stronger. His memories are pretty clear, too, but I found that I had to sift back through a lot of modern day detritus to find these particular roots in my own tangled past.

When I determined, long ago, that I was going to get serious and actually start writing, I bought a portable, manual typewriter. It was what I could afford (I am guessing this was around 1982 or 1983. I was stationed in Spain with the US Navy Communications Station, and there weren't a lot of options available. One guy I worked with had an "Adam," which was a very early personal computer system that you plugged into your television. The printer was a piece of crap, the text it spit out came more slowly than I can type, and was so light you could hardly read it.

I wrote all my first drafts by hand. A lot of folks seemed, in the day, to be sold on legal pads, but I wrote in spiral bound notebooks with a nineteen cent Bic pen. For some reason the way these felt rolling across a page was right for me. I wrote a lot of pages with Skilcraft, government issue pens, also, but the pocket clip on these tended to pinch and cut my fingers, eventually, and they were (are) horribly unreliable. Bic was my answer to Mont Blanc.

The reason that I wrote my first drafts by hand was simple. In the early days of my writing career, I was not big on editing. I hated to rewrite, and...


As far as writing goes, I've heard it said again and again that the magic is in the details. My good friend and long time writing colleague Stephen Mark Rainey wrote about this same subject recently over at —and he got me thinking about it. This happens a lot; I read something someone else wrote, and my mind takes it further, or in a different direction, and I feel the urge to write it down. When Brett reminded me that I had a column due, I decided it was a perfect match.

I have not always been detail-oriented in my writing. In all honesty, I'm not always detail oriented in my writing now. There are a lot of different ways you can use the "little things" to strengthen written work, and an almost equal number of ways that too many details can screw you up. It's an art, as most things associated with writing and publishing are—something that has to be learned, studied, and perfected before it can become a tool.

For your fiction to catch in a reader's mind and imagination like hooks and stay there longer than the span of time it takes their eyes to cross a page, you have to build something real. It doesn't have to be real in the sense that you can get in your car, or in a plane, and travel there. It doesn't mean that you took all the descriptions and dialogue from history books. It means that when people enter the world you've created through your words, they see it. They taste it. When the characters speak, readers need to hear those words, and form the equivalent of memories in their minds. The closer this experience comes to recreating an event in the real-world life of a reader, the closer the writer has come to perfecting his art...