How do I give someone a +K on Klout?

How do I give someone a +K on Klout?

First, go to Klout.com and log in (click on any of these photos to enlarge):




Then, go to your lists (which you can import from Twitter), to the list of people you influence, the people that influence you, your friends, or wherever else you might find people to bestow +K on.



Then, click on the item box on the right to give them a +K in something they're already known for, or write up a new category for them.



There you go! If someone is helpful to you or you like the way they do things, give 'em some +K love!

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Just Enough Power - 18

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Shiowshu Chen killed the engine of the Mercedes, and the three men sat in silence. Slatted sunlight lit the periphery of the parking garage, but where they'd parked, it was little more than an element of ther overall concrete gloom. Shiowshu had taken his sunglasses off once they'd made the turn onto the first upward spiralling ramp. Ricky Gao still had his on, even though the tinted windows of the Mercedes had made them unnecessary in the backseat. Simon assumed that he'd left them on for dramatic effect. They were the wide, wraparound style, tinted mirror-blue in shiny black frames. If Ricky's face had been thinner, they probably would have made him look like a killer robot, or something else even more lethal than he was. With those cheeks and that neck, though, Simon thought he looked like the sort of cartoonish pigs one found on birthday greeting cards.

He turned away from Ricky and looked out the window. Concrete, fluorescent lights and some windblown trash in the corners. Nothing of beauty here, and yet... Simon would never admit it to his captors, but these visits to his cardiologist had become immensely important to him. In the first month after he'd helped Lonnigan slip loose from Tong, he'd been confined to his rooms, his meals brought to him. As the weeks passed, however, Tong allowed him more freedom of movement, permitting him to range throughout the mansion during several hours of the day. This was in no way because Tong was feeling any better towards him; it was because he was afraid he looked foolish keeping an old man locked away upstairs. Simon's solitary confinement had become a house arrest. He was escorted and/or monitored wherever he went, but it was still better than being cooped up.

An overture about being allowed to walk the grounds of the estate was summarily refused. His customary daily walks among the manicured gardens, observing the progress of whatever flowers were in bloom, were replaced by walks in the hallways and stairwells, supplemented by hour-long sessions on the treadmill in the gym, where he got to smell the sweat of the hired muscle and try to tune out whatever was blaring from the TV in the corner.

"Let's go," said Shiowshu, "your appointment is at 2:00." He got out of the car and scanned the surroundings again before opening the back door. Simon got out. Ricky slid over and got out after him, bumping into his back. Deliberate or not, it wasn't important enough for Simon to comment on. The three men set off, walking abreast. They passed a dozen or more empty spaces. Shiowshu had parked the car in the center of the level, away from stairwells, ramps and elevators. The first time he'd been brought here for an appointment, Simon had questioned this procedure, then laughed at the scowl he'd gotten for an answer. He was far older than both of them put together; did they really expect him to make a break for it? To try to escape from them on foot?

Yes. That was exactly what they expected, and they were taking steps to prevent it.

Simon laughed again and began a running stream of sardonic commentary about Tong and how badly he must be frightened if he gave such instructions about an old man with a bad heart. Inside, though, he ground his teeth and gave Tong more credit than usual. Of course he might have tried to make a break for it, were circumstances a little different. A bad heart, weak bones and false teeth didn't mean he'd forgotten how to pull a trigger or how to gouge a man's eye with a soda straw held just so. Circumstances being what they were, however, he'd decided against any escape attempts. For now.

"I'll go scout up ahead. You stay with the old man." Shiowshu lengthened his stride and moved ahead, toward the skybridghe that connected the garage with the hospital. He got on a pace or two before Ricky replied, "Hey! Hey, chiung guk kai!"

The younger man stopped and turned. "Don't call me 'Junior', Ricky" he said.

Actually, Simon thought, that Chinese term translated to something more like little-boy-with-shit-in-his-diaper, but Junior was close enough.

"I'll call you whatever I want," Ricky said, waving his hand between them. "I'm the one in charge here, I give the orders. You stay with the old geezer; I'll do the scouting ahead." He put a big hand on Simon's upper arm and shoved. Simon stumbled forward into Shiowshu and went down to one knee. Ricky blew past both of them, with long strides that had him puffing before he'd gone twenty feet away.

With all the dignity of his years, Simon got slowly to his feet and made a production out of straightening his jacket and tie, as thought soothing a wounded pride.

Under his breath, Shiowshu said, "Fucking idiot."

Simon replied, just as quietly, "Well done." Ricky Gao wasn't actually stupid; he never would have risen to any position of responsibiltiy if he had been. However, he was a self-important bully, and lazy besides. This made him as easy to manipulate as if he truly had been saddled with substandard intelligence. In Ricky's wake, the two of them moved toward the skybridge, walking at an old man's pace.

"Have you contacted Lonnigan?"

His face impassive, Simon said, "My intermediates have almost certainly found her and made contact by now. I'm waiting for confirmation." Shiowshu's question wasn't a surprise, so Simon had his answer ready. The young man had been a great help, but that wasn't enough reason to trust him. Not completely, anyway. At first, Simon had tried to give him the impression that he had a network of operatives outside the Tong organization, that he'd set in motion a plan that had been constructed and held in abeyance for just such an occasion as this. However, Shiowshu was sharp, much sharper and more insightful than Simon had anticipated. During one of their private conversations, Shiowshu had made it clear that he knew damned well that Simon had no one on the outside other than Lonnigan, and that the "plan" was an improvisation. What impressed Simon the most, though, was that he'd also made it clear that he wasn't going to press for details, that he was content to wait until Simon was ready to confide fully. Until then, Shiowshu was willing to roll with it, whatever "it" was.

In Simon's long experience, the better the man, the more comfortable he was with uncertainty. Small men with small abilities felt it necessary to be in on every detail, be part of every decision. They liked having everything planned in advance, then went to pieces when the plan fell apart. For all his power and authority, the current head of the Tong organization was such a man. Shiowshu, on the other hand, was a young man with very little power or authority in the eyes of Tong. In his secret dealings with me, though, Simon thought, he did his part, gave me the tools I needed to do mine and then trusted me and himself to stay flexible and get the job done. Shiowshu was young, but he had the makings of a solid leader.

That conversation, which had established the two of them on a better footing, ended when Simon asked him the single most important question, the one he didn't expect to get a truthful answer to. Why was he doing this? Why help an old man whom Shiowshu's boss, the head of the Tong organization, had marked as a traitor and internal enemy?

His answer, when it came, had been phrased very carefully. "Mr. Simon," he'd said, "I think the day will come when it will be to my advantage to have you in my debt." That was all he'd said on the subject, and Simon had never brought it up again. It was enough to reassure Simon about the young man, and enough to work with him in this haphazard covert operation.

But it wasn't enough for Simon to confide in him that he'd put the Department of Justice onto Lonnigan, and thereby, eventually, on a course that would destroy the Tong.

From the skybridge, Ricky Gao called back to tell them both to get moving. His voice echoed through the parking garage, and Shiowshu put a hand under Simon's elbow so he could make a show of hurrying him along.


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Should I use a pen name?

In my post over at Write Anything this month, I talk about writing horror. Specifically, I talk about my conflicted feelings surrounding my horror writing. Chris Chartrand left a great comment about using a pen name to write Westerns, thereby to distinguish his work in that genre from his work in others.

Frankly, when it comes to writing fame, I'm a bit of an egotist. I've always looked forward to seeing banner headlines like "New Bestseller by Tony Noland" or "Tony Noland Signs Five Book Deal for $8,000,000". Seeing some other name in that slot just wouldn't be the same.

Or would it?

What if I were to use an "open" pen name? Instead of setting up a fictitious name and wearing it all the time, what about using it as an identified persona? Everybody would know it's me writing, but because the byline is different, it would be clear to my readers what to expect and what NOT to expect. That might clear up some of the reader confusion (and disappointment) that comes when readers approach my work, with all the different genres I cover.

If the byline says "Tony Noland", it will be a Tony Noland story (whatever that means). Could be sci fi, fantasy, lit fic, etc. Anything except horror.

On the other hand if the byline says (for example) "Valois Yafud", you'll know that Mr. Yafud writes horror and nothing but horror. If you like that kind of thing, you'll see the byline and keep reading. You might even seek out horror writing by Mr. Yafud, because you liked my horror stories. If you don't like my horror or any horror at all, you'll see the byline and skip it.

There wouldn't be any faking or confusion. It would be an open secret that "Valois Yafud" is really "Tony-Noland-writing-as-Valois-Yafud". Consider a story that opens with two kittens happily playing with a ball of yarn. If it's a Yafud story, you will have a clue about where the thing is likely going; if it's a Noland story, you may still be surprised, but you'll know that there is at least one direction it won't go.

There are certainly precedents for purposeful pen names and open secrets in writing.

What do you think? Is this something that would aid you as a reader, or is it an overly complicated solution? Is this the best way to handle the problem of writing in multiple genres?

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A scary story

Today at Write Anything, I talk about my work as a writer of horror. It's scarier than you might think. In fact, it's the scariest story of them all.

Read it at:

http://wa.emergent-publishing.com/2011/10/the-scariest-story-of-them-all/

I did my own cover art. Got a problem with that?


I did my own cover art for "Blood Picnic and other stories". I composed the elements, arranged the lighting, shot the photo, framed it, put it out for public comment, incorporated suggestions, added the touches of digital blood, selected the fonts and effects for the attribution and title and put it all together. Could a real graphic artist have done a better job, even building on the photo I took? Oh, absolutely. I don't know what details of color, shadow and proportions would have been changed, but it would be much better than I could do. When I send a piece of my photoshop work off to a real artist, the way it looks when it comes back always reinforces that fact. I do OK, but I'm no artist.

In the #bookmarket tweetchat yesterday, the topic was cover art. The opinion was expressed that an author doing his own cover art is taking a big risk, i.e. that it might end up looking lousy. Said opinion was expressed by a graphic artist; I agree, and I said so. I noted that I did it myself because I didn't have the ability to pay an artist for a cover. This reason was, to put it kindly, waved away.

At the end of the chat, the graphic artist said, to a chorus of agreement from other graphic artists, that any author that "claims they can't afford professional covers" is kidding himself and needs to "rethink his plan". I'm pretty sure this was intended to be insulting and dismissive of stupid amateurs, so I took it as such.

I've got a couple of standards that I'm bringing to it, OK? My published work needs to be a) good, b) salable, and c) result in a net positive on the balance sheet. Look, I would LOVE to be able to have gotten professional editing support, professional cover art, professional promotion for "Blood Picnic". The book would have been better because of it. It would be great to have such things for my future anthologies and novels. Will I get it? If I can find a way to pay for it, sure. The fact is though, this whole thing? This "writing"? It's a pay-as-you-go thing, which started from zero. Not only have I got no wealthy patron behind me, no big government grant, and no generous fellowship covering costs, but Mrs. Noland and the four little Nolands get first crack (and second, third, fourth and fifth cracks) at any spare money that happens to come along. It doesn't leave much for writing-related expenses.

My self-publishing only becomes vanity publishing when I sink more money into it than I could ever hope to recoup through sales. Hence my irritation with the graphic artist who was dismissive of my having done my own cover art. Book #1 had a few typos, has a tolerable layout and has a decent but not fantastic cover. My plan, what I intended all along, was for profits from Book #1's sales to pay for Book #2's pro editing and pro cover art. Book #2 would then pay for Book #3's editing, artwork and promotion. Lather, rinse, repeat until I have no more worlds to conquer.

That's my plan. I'm not going to "rethink" it because it's a good plan and it's working. It's been slower and more difficult than I expected, but every plan of attack suffers when it comes in contact with the enemy. For my next book, I might try putting out a call: "Will Edit In Exchange For Cover Art". Aside from that, the plan is what it is. Anybody who doesn't like it can either tell me how to do better within the particular constraints of my life, or shut the hell up.

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#FridayFlash: The Curious Case of the Chronofundibular Emancipation Engine

The Curious Case of the Chronofundibular Emancipation Engine

by Tony Noland

"You will, of course, forgive me if I think you an imbecile."

Professor von Kindermord puffed, blowing aside the minute particles of brass filed away from the piece he was working on. Squinting, he peered through the jeweler's loupe affixed to his spectacles. "But of course, my dear Harrison," he replied. "I should be honored to have you think me an imbecile. Nothing else would so utterly reassure me that I have settled on the best possible course of action." He set aside the tiny triangular file and picked up a set of micrometers. The measurement he took of the complex, bi-torsioned worm gear obviously pleased him.

"And if I take the further liberty of considering you to be a madman? A veritable Prince of Bedlam?"

"Such things are proven or dis-proven in the fullness of time, Harrison." The stoop-shouldered old German drew on a pair of white cotton gloves. With angelic care, he loosened the benchdogs and the lifted the worm gear from its cradle on the bench. Cupping it in his hand like the Star of India, he took slow, careful steps across the room. "If you would be so kind, Harrison? The door, if you please?"

Harrison, a protuberant man, wide of forehead and red of face, stepped around his rival and opened the heavy oaken door. He reached into the hall and turned up the gas, the better to light the Professor's path. "Shall I precede you, sir, or would you have me follow?"

"I take your meaning, Harrison, doubled and doubled again though it may be. Whether I would or no, you and every other man of Science shall follow where I lead, for this is to be the triumph of the age." His milky blue eye glanced into the face of Britain's native intellectual champion and saw that his bolt had gone true to the mark. With steady, careful steps, he carried the final mechanical element toward his lifework's culmination. "Harrison, I am an internationalist. May I extend my offer to you one final time? Assist me in this? We, working together as men of Science first and foremost, can set a precedent that could once and for all ages sweep away the foolishness of national ambition. Let us not be German and Briton, but man and man. Let it be so, Harrison. What say you?"

Their slow, steady walk had brought them down the hall to another door, which Harrison opened for the Professor.

"No, Professor. The nations of the world are what they are through divine providence. Our respective monarchs are fixed points on this Earth as the stars are fixed points in heaven. I would achieve the honors of Science for my nation and for my Queen, and for no other. What you propose is democratic anarchy, the only possible outcome of a gentle, pernicious, mass regicide. I would rather try and fail as a proud Briton than wear the laurels of success in a world without Britons at all."

"Ah, my dear Harrison. Such a pity."

"Not so very much a pity, my esteemed Professor, for this construct of yours cannot succeed. It simply... cannot." He looked up at the Chronofundibular Emancipation Engine, a massive structure of interconnected mechanica, electrum-plated drive rods, enhancement gearing and galvanic fluid conduits. Harrison stood, taking it all in. Sudden doubts were as plain on his face as his chin whiskers. If it worked as the Professor expected, then he was beaten and the world would see a new Golden Age. If it did not...

At the heart of it all gleamed what appeared to be a crystalline tank. Harrison nodded at it. "Is that one of Madame Curie's autoluminescent condensers? Rather large, isn't it?"

"Ah, Harrison. Must we play these games right up to the very last leg before the finish line? It is my own design, building on the principle of the Curie condenser. There are 279,936 infinitesimally narrow Curie condensers within that leaded crystal vessel. Once this final guidance element is in place... like so..." - the brass worm gear slid into its housing with a click - "the lignum vitate gearing will regulate the flow of liquified radium across the wolframite mesh. As you well know." The Professor closed the access panel on the control box, pushed a small rod upwards and opened a valve. He stood back, as did Harrison.

The central tank began to glow with the unearthly blue of Curian elemental combustion, but far more evenly and brightly than Harrison had ever seen in his own laboratory. His breath caught in his throat. The machine was coming to life. Pipes and gauges ticked and groaned as pressures built, then gearing began to turn as the thousand and one tiny push rods took up the strain. Harrison turned to face the Professor.

"Any.. any last words, Professor? What shall I say about you at your funeral oration?"

"Your bravery in the face of defeat does you credit, Harrison. Will you shake hands?"

Harrison clasped the old man's hand, dwarfing his thin, bony fingers with his own hand, thick, beefy and red. They stood together for a moment, then the Professor climbed slowly onto the seat of the Engine and said, "I should advise you to step behind the observation screen. If this does, by some evil chance, not quite live up to my expectations, I would not wish you to be injured in the explosion." Harrison bowed and moved behind the protective screen, his eyes fixed on the Professor, now outlined by the penetrating blue glow from the tank.

The Professor lifted a hand in salute, took a deep breath, then twisted a control valve open. In a brilliant flash, the entire engine disappeared. Harrison was thrown forward into the screen with the thunderous concussion of air rushing into the vacuum. Then, almost before he could register that the machine had worked, that the Professor's Engine had actually accomplished the impossible, he was thrown backward by a second pressure wave, equally explosive in the contained space.

Harrison picked himself up and rushed from around the screen, only to see the Professor leaping down from the seat of the Engine. Broadly muscled, with back straight and hair once again a dark, walnut brown, the Professor jumped up and down, shouting in his native German, "It worked! By heaven and by God, it worked! I'm young again! Young! Young! It worked! Harrison! It's fantastic! Did you see? Did you see? Where are you, my good man? Did you... see... the Engine... it worked..."

The Professor's neck craned back as he looked up at his erstwhile rival. Harrison, after a moment, crouched down to kneel on the floor, the better to speak with, congratulate and console Herr Doktor Professor Wilfred Mannheim von Kindermord, the unquestioned Titan of the Scientific Age, who now stood less than ten inches tall.

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Wednesday #poetry: eject, impact, render

Welcome to my regular Wednesday poetry corner, brought to you by Three Word Wednesday.

Today's words are: eject, impact, render 

Theia hit Gaia and sent her
reeling, and thus caused to render
by impact eject
the source of Selene's sect:


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Knocking someone's teeth in

I realized a while ago that the opening scene of my WIP had to establish a) a few key characters, and b) their motives for interacting. Why is this superhero tracking down the supervillain? Why is the supervillain trying to kidnap the superhero?

The first part (character introduction) has been done. As for the second... frankly, if the motivation on both sides boils down to "Well, duh. He's a superhero/supervillain! That's what they DO!" then the book is going to be pretty damned thin, no matter how many punches get thrown, bombs get exploded or innocent bystanders get brain-sucked and left for dead in dusty, rusty warehouses.

So why IS the Grammarian trying to find Professor Verbosity? Why the complicated game of cat-and-mouse? Why not just tase him for a simple cuff-and-stuff? Initially, it's because a pattern of criminal activity suggested that Professor Verbosity is planning something big. Verbosity used to be content with theft, arson, blackmail, industrial sabotage, etc., some of which he'd done on his own, others which were contract work. This is more ambitious, though, and the Grammarian wants to find out who is behind it all and make a bigger catch than just Professor Verbosity.

Alright, but why is Professor Verbosity keeping the Grammarian around? Why kidnap him instead of just putting a full clip into that super-powered brain of his and dumping the resultant not-at-all-super corpse into a vacant lot somewhere? Because when we first meet him, Professor Verbosity is a criminal, to be sure, but he's actually kind of a wuss when it comes to killing. He's not like the Joker, or even the Green Goblin. This changes over the course of the book, in ways that catch the Grammarian off-guard.

What prompts this change? Well, it's a modification I need to make to that opening scene I mentioned. I have to go back in and edit it so that the stakes get raised, thereby fueling the motivations and actions of not only the Grammarian and Professor Verbosity, but also the Avant Guardian, Parenthesis Woman and other characters. How to get the ball rolling?

(SPOILER ALERT)

Instead of someone escaping with bruises, cuts, etc. that will heal, leaving them essentially unchanged in any permanent way, I'm going to have the Avant Guardian overdo it while he's trying to show how tough he is. He's going to break Professor Verbosity's jaw and knock out a few teeth. The repercussions of that one super-powered punch will set in motion a sequence of escalating revenge attacks.


So, I've got escalating revenge attacks, superheros with high-tech weaponry, supervillains with pain-maddened monomanical agendas, shadowy criminal overlords, and the lives of hundreds of innocent victims hanging in the balance, including those of the brilliant love interest and the annoying sidekick. If I can't write an exciting book with all of that, then I might as well stick to bad limericks.

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Flowchart of the Top 100 Science Fiction & Fantasy Books

SF Signal has a flowchart (a hilarious, marvelously informative flowchart) of the NPR Top 100 Science Fiction and Fantasy books. I encourage you to go visit the site, because the discussion of how the chart was made is a good behind-the-scenes take on graphical representation of complex data.

Click on this picture to enlarge.

If you can read the decision point text without enlarging the above image, you've got better eyes than me, brother.

Also, I will note that I've read almost all of the books on the right side (science fiction), only a few of the books on the left side (fantasy) and about half of the books at the bottom (horror, lit fic, PoMo specfic, etc.)

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#FridayFlash: Cusp

Cusp

by Tony Noland

He stood up, heart thudding and sweat running down from his pits as, pretending to be cool but knowing that his brother knew he wasn't, and with a half-wave of a hand that was much steadier than he might have imagined it would be, he indicated the one he wanted, the one second from the left, a redhead in tight yellow shorts.

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7 Easy Ways To Give You Time To Write™

One of the big challenges we face as writers is not having enough time to get the words on the page, let alone the time necessary to then scrape those words off again and replace them with even better words that actually make sense.

You can prowl the Internet and get all kinds of advice on how to get more time for writing, like "Focus on your short term and long term goals" and "Make it a priority" and "Write in short bursts". You know what? They all work, but screw that. You want time to write? I'll give you time to write. In fact, I'll capitalize it and give you Time To Write™.

1. Have an affair. OK, the key to making this one work is that you have to tell your wife that you're having the affair. Binary result tree: either she leaves you, giving you more Time To Write™, or she is OK with it, in which case (prepare to be blown away by my genius), a couple of nights a week you tell your wife you're with your girlfriend, you tell your girlfriend you're with your wife, and you sneak off to Starbucks to get, BINGO, Time To Write™!

2. Sell your kids. Seriously, they're nothing but a damned timesuck, aren't they? Coaching little Jimmy's soccer team, driving Ann-Marie from piano to tae-kwan-do, meeting with their teachers, working out savings plans for college... to hell with it! Sell them off to the highest bidder, and you not only will have at least twenty more free hours of Time To Write™ every week, you can get at least ten grand for each one of the little darlings.

3. Shave your head. Actually, this is more of a blanket statement about personal hygiene, and how much more Time To Write™ you'll have if you just give it all up. How much time does that morning shower cost you EVERY SINGLE DAY? (Ladies, this one will be especially valuable for you, since, let's face it, a guy forgoing the rituals of person hygiene would save him about 10 minutes a day, max.)

4. Give away all your clothes. Think about it... doing the laundry? Washing, folding and putting away clothes that are only going to get unfolded and dirty again? Who needs it? Give away all your clothes and go naked as much as possible. The great thing is, the airing out this involves will dovetail nicely with #3. Think of all the time you'll save just because you no longer have to choose an outfit every morning! Time To Write™ City, baby!

5. Burn down your house. I know, I know... you're probably kicking yourself for not coming up with this one on your own. Unclogging the toilet? Picking out new curtains? Cleaning the kitchen? PFFFT! Dissolve one big bag of styrofoam peanuts in two gallons of kerosene and you, my friend, have all the makings for Time To Write™! Just add a match!

6.Quit your day job. Look, you've got no wife, no kids, no house, you never shower and you go naked 90% of the time. Tell me how your Honda Accord is NOT the perfect 24/7 living space/writer's garret for you? What do you need money for? No expenses means no need for a day job! No day job (and no commute!) means 10, maybe 11 extra hours a day. Can you say Time To Write™? I knew you could!

7. Get the hell off Twitter and Facebook! If you can't stomach the first six suggestions, then for God's sake, at least do this one. If you're anything like me, just getting the hell off Twitter and Facebook would probably give you as much Time To Write™ as the other six combined.

Remember, these will only work if you give them a try! I guarantee you will see RESULTS!

UPDATE: See what happens when someone actually implements these suggestions - read about it here.

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Review: The Guns of Retribution

Westerns, perhaps more than any other kind of novel, need to evoke a certain atmosphere. This genre has a long and rich tradition as literature, but it also bears a tangential weight derived from radio, television and cinema dramatization. We see and hear tales of the old West in a visceral way, whether the images that come to mind are of Gary Cooper, John Wayne or Clint Eastwood. The new novel by Icy Sedgwick, "The Guns of Retribution", gets the atmosphere right. It's the story of a bounty hunter named Grey O'Donnell, on the trail of an old enemy. Through the machinations of a corrupt sheriff, he's brought face to face with his past, in a hometown he thought he'd left far behind.

Unlike the clean-shirted heroes that represent one common trope of Westerns, or the law-unto-himself drifter that represents another, O'Donnell is a man led to a fight he'd rather avoid, a reluctant savior of a town gone bad. Presented with the opportunity to wash his hands of the mess, he tries to take it, only to have that option closed to him by his sense of duty to his family. It all plays well, with the main character believably drawn. By turns conflicted, disgusted and opportunistic, O'Donnell responds to events in a plot that unfolds with a satisfying resonance with the ley lines of Western fiction. The scenes and settings feel historically accurate, without technological or societal anachronisms to pull you out of the story.

There are a few familiar characters in this book: the silent Native American companion, the dopey sidekick, the sexy-but-dangerous femme fatale, the pretty-but-pure maiden (typically in the role of a schoolteacher, here in the role of a hotel keeper). However, the characterizations and back stories of each of them are presented such that they grow outward from their stock character assignments. Perhaps the only exception is the aforementioned femme fatale. She offers her charms to O'Donnell almost the moment she sees him; on being refused, she arranges to have him beaten half to death. She repeats her approach and on his second refusal of her, arranges even worse. Is she simply a homicidal nymphomaniac? Motivations for everyone else are either implicit or explained, but she is a puzzle. She's the trophy wife of the territorial governor, left alone and bored in a dusty two-horse town on the edge of nowhere. Is dealing pleasure with one hand and pain with the other simply a way to pass the time? I would have liked to know more about her.

A Western adventure in the classic style, "The Guns of Retribution" is no mere shoot-em-up. It's a well-written and engaging story, with a hero who, if there is any justice left in the West, will go on to for further adventures. 
 
"The Guns of Retribution" is published by Pulp Press, and is available for Kindle at Amazon.com and at Amazon.co.uk. The author, Icy Sedgwick, is on Twitter as @Icypop. You can find her on Facebook and on her blog, "Icy's Blunt Pencil" at http://blog.icysedgwick.com/.

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Where to get free books for your Kindle

Good news: you've got a new Kindle Touch or a new Kindle Fire!

Bad news: you spent all your money on a Kindle, and now can't afford any books.

Good news: there are lots of places to get free books for your Kindle!

Bad news: It's mostly classics and public domain works, so the Twilight books aren't among them.

Good news: Hang on, that isn't bad news. The Twilight books were terrible.

Bad news: Listen, you sneering snob, lots of people liked the Twilight books. It's not your place to judge. Just give the list of links to the free books for the Kindle, OK?

~~~~~~~~~



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Wednesday poetry: cherish, guarantee, nausea

Welcome to my regular Wednesday poetry corner, brought to you by Three Word Wednesday. Today's words are: cherish, guarantee, nausea


Rejection of works that I cherish
Brings nausea and makes me feel bearish
A sure guarantee
'Twill be death of me,
I must publish or else I will perish!

... but of course, the first step to publishing a book is finishing a book, no?

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Chinese Whisperings: The Dogs of War

The print edition of "Chinese Whisperings: the Yin & Yang Books" is coming out soon. In advance of which, the first part of my story "Dogs of War" is up at the publisher's website, along with a discussion from me about how I wrote the story, where it came from, and what it was like working in collaboration with Dan Powell, Chris Chartrand and the other authors in the anthology. "Dogs of War" is a short story, which gave me much more scope to develop characters and ratchet up the tension than I typically have in flash fiction.

If you're the kind of reader who likes a glimpse behind the curtain, read on!

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Interview: Icy Sedgwick

Today on Landless, I interview Icy Sedgwick, a talented writer whose new book, "The Guns of Retribution", was released by Pulp Press this month.
Q. Icy, in a minute, I'll ask you about how long you've been writing, if you always wanted to be a writer, etc., but first... you're a native of the North of the U.K., and have returned to Newcastle after living in London for several years. However, your new book, "The Guns of Retribution" is a tale of gunslingers and bounty hunters set in the American West. What prompted you to write a Western? What's a nice girl like you doing in a genre like this?
Yes, my publisher and I have a feeling I may be the first Geordie girl to write a Western! A Western was one of the genres my publisher gave me as an option, and given my predilection for writing historical fiction, it seemed like the obvious choice. I’ve been fascinated by the Old West since I did it at school, I enjoy the movies, and I’d had an idea for a gunslinger character for a while, so it was all good timing. Besides, women write gritty crime fiction, so why not Westerns?

Q. Were Westerns a big influence on you? Who are some of your favorite Western authors?
I’ll be honest, I’d never really read the books, only seen the films, but I’d read plenty of Old West non-fiction. My publisher recommended some novels and I really enjoyed “Flashman and the Redskins” by George MacDonald Fraser. It's a really fun read.

Q. This book is quite different in setting and language than some of your other works. What are the commonalities between Westerns and, say, steampunk?
Locations and themes are very different but if you write Westerns OR steampunk, you have to pay attention to your historical research. Sure, steampunk is more alt-history, and deals with the likes of airships and steam engines, but you're not going to suddenly stick computers in the middle of a steampunk story, and the same goes for Westerns. It's the right detail used at the right moment that brings the stories to life, regardless of their genre. 

Q. "The Guns of Retribution" is being published by Pulp Press. You also have works that you've published yourself. How does it feel having a foot on each side of The Great Divide?
I can see the appeal of self-publishing but if I'm honest, I prefer indie publishing. The very fact that someone has read your work and said they want to be involved with it is a massive confidence booster, and you get to work with people who really know what they're doing. Writing is a lonely business at the best of times, and indie publishing can help you feel a little less "lost at sea."

Q. So how long have you been writing? Did you always want to be a writer?
I can’t remember how long I’ve been writing – it’s something I’ve done for as long as I can remember. I’ve always been scribbling little stories and so on, but it wasn't until I was 16 and did a creative writing course that I really thought "I want to be a writer." I've been working up to it ever since.

Q. You're beginning a graduate degree program later this year. That's got to be an exciting step. Can you tell us about it?
I've wanted to do my PhD ever since I finished my Masters degree but I was always put off by the cost. I've since looked into it and found it was more affordable than I thought it would be, so away I go! I'm going to be looking at the representation of haunted spaces in contemporary horror cinema, using Freud's theory of the uncanny as my starting point. I'll be looking at all sorts of things, include set design and generic convention, so it should be pretty interesting.

Q. How do you see your graduate program informing your writing? What's your next writing project?
I think that the fact it's based on a particular strand of horror means it should dovetail nicely with my fiction, although my next project is the sequel to The Guns of Retribution. I was going to work on my historical vampire project but Grey keeps dragging my attention back to the sequel. Things take a supernatural turn in this one...it seems I can't get away from ghosts!

Q. Westerns, steampunk, horror... Icy, what do you think of the advice that's often given to emerging writers about picking only one genre to work in? The thinking is that it's better to hone one's craft to mastery in a single style of writing than to work in multiple genres. Care to comment?
I can understand the rationale behind such a supposition but I think that an emerging writer should write whatever story comes to them. While you're learning your craft, it's important to try as much as you can - how can you know you like writing science fiction but you don't like writing comedy unless you try them all? The mechanics of storytelling are the same across all genres - once you start choosing particular genres all you're really learning are conventions. They're useful, but I think it's more important to learn how to tell the story first. Once you decide you want to start pursuing publication, then it's time to narrow down the number of genres in which you'd like to work. Then again, it's worth bearing in mind that genres operate in "families", so if you choose to write sci fi and horror, then new fans won't be surprised. They might be if you suddenly turn to chicklit.

Q. Do you think writing can be taught?
Definitely. I think the impulse towards storytelling is inherent within humans - we're social creatures, we make sense of our world through narratives. Writing is just a way of recording these stories. Some people are naturally more skilled at that than others, but the tools you can use to order your thoughts and tell a story in the best way are definitely available to everyone. 

Q. Last question: John Wayne or Clint Eastwood?
Oh, Clint Eastwood every single time!
Icy Sedgwick is the author of the Western, "The Guns of Retribution", now available for Kindle at Amazon.com and at Amazon.co.uk. Icy is one of the bright lights of Twitter as @Icypop. You can find her on Facebook and on her blog, "Icy's Blunt Pencil" at http://blog.icysedgwick.com/.

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Spiders on drugs

Please, watch this video showing the effects of various common drugs on spiders. You'll see alcohol, THC, nicotine, LSD, etc. in a whole new light.


You're welcome.

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Volcano on video

A volcano eruption for you. Because what Saturday would be complete without a volcanic eruption?




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#FridayFlash: Palimpsest

Palimpsest

by Tony Noland

With both hands, he yanked her inside and slammed the door, hard. When he turned around, he saw her lying across the bed, on top of the floral print comforter that was probably older than she was.

He asked her name, who she was, where she'd come from. She didn't answer.

Voice more frantic than commanding, he told her to get up, get off the bed. She did.  After a moment, he told her to get out of her wet clothes. She didn't.

A heavy boom of thunder rolled across the sky, muffled to a softly thudding echo by the falling snow. It was coming down blizzard-thick, obscuring the lights out on the highway to dull orange glints, only barely and intermittently visible. He looked at her and told her again to go take off her clothes, or she would surely catch pneumonia. She looked back with an expression that was hollow, her dull eyes showing little recognition or understanding.

From double-wound scarf to thick leather boots, she was covered in snow. Where her hair pushed out from under her hood, it was encased in a mass of ice, melting and dripping onto her face in the warmth of the room. The tip of her nose was waxy-white; the florid red of her cheeks was rising and spreading like a slow poison across her skin. She lifted a hand to her face and covered a deep yawn that cracked the skin of her badly chapped lips. The motion seemed to make her swoon and she sank back down onto the bed, eyes closing.

He grabbed her and forced her to stand, shaking her, yelling in her face about hypothermia and going to sleep and never waking up and the need to get out of her wet clothes. Didn't she know they were trapped with no phone and the power could go out any minute? There was no help to be had, not until the storm was over. She blinked twice, slowly. Again, he asked her name, asked her where she'd come from, did she have a room here, why she was out in the parking lot in this storm.

She yawned and sagged into his arms.

The weight was more than he expected and he staggered backwards, dropping her. She slipped sideways and hit the bedframe, her forehead clunking off the edge of the metal with a wet, tearing sound. He grabbed at her shoulder, shouting at her to wake up. Her glazed eyes rolling up at him, full of hope and despair. She was an outcast from a race of angels, all tears and blood and ice water, running down the flushed skin of her smooth, perfect, newly-marred face.

He eased her head to the floor and ran to the bathroom. Arms full of thin hotel towels, he tore at her clothes, pushing at the heavy, wet canvas and nylon. Stripped to her skin, she was naked and blue-white in the spreading pool of her own blood and meltwater. She offered nothing, neither assistance nor resistance, as he dried her, bandaged her and put her in the bed.

As he kicked off his boots, he prayed that, whoever she was, the warmth of his own body would be enough.

~~~~~~~~~~
n.b. This story came about through the intersection of three separate story prompts:

The Six Words challenged of Easily Mused: thunder, softly, poison, boots, highway, ice

This week's Three Word Wednesday (for which I already wrote a limerick): dull, race, yawn

John Wiswell's writing challenge of September 14

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SCBA

I would like to thank Helen Howell for the Seriously Cute Blogger Award, which she was kind enough to bestow on me recently. The condition of the award is that have to discuss five books, television shows and or other creative works I’ve consumed lately.

1. The Hundred Dresses by Eleanor Estes. This heartbreaker of a picture book describes a school year in a middle grade. Set in the 1950s, it's told from the perspective of one of the popular girls in the class who goes along with the most popular girl in her campaign to tease and humiliate Wanda Petronski, a slow, shy and lonely immigrant girl. The favorite subject for ridicule is her threadbare dress, a faded blue that she wears every day. In response to the teasing, she says she has one hundred dresses at home, and, every day, she describes a different one and explains why she isn't wearing it. The narrator slowly comes to realize the cruelty of what she and the other popular girls are doing, but can't bring herself to fight the social pressures that make her continue. The end of the book is sharp, sad and masterfully told.

2. The Dead by James Joyce. A short story, one in a collection of his stories I've been reading. The story of a dinner party, told by one of the attendees. As the party unfolds, characters are illuminated, histories laid bare and futures charted. With just a few simple lines, Joyce creates people that live, breathe and walk. The plotting elements are simple: will this person show up to the party drunk, and if so, can his mother convince him to behave himself? Will the young men, clearly more interested in the young women than in the impromptu piano recital, be able to conduct themselves graciously, or will they embarrass the host? Why does that song sung by the up-and-coming tenor seem to affect the narrator's wife so deeply? This story is so simple on its face, and yet so complex and beautiful in its construction and narrative power.

3. Salt and Pepper, with Sammy Davis Jr. and Peter Lawford. Two hip, swinging owners of a hip, swinging nightclub in London's hip, swinging SoHo discover the body of a murdered secret agent. They get tangled up in a plot to overthrow the British government through nuclear blackmail, and have to save the day while continuing to be hip and swinging. Sammy Davis Jr. gets to sing, Peter Lawford gets to roll around in bed with a beautiful double agent. In every other scene, fresh cigarettes are lit, fresh drinks are poured and (for Sammy Davis Jr.) fresh outfits are stylishly worn. After watching this needy little screwball echo of the Rat Pack, starring the two least important members of the Rat Pack, I noticed that the executive producers of the movie were Sammy Davis Jr. and Peter Lawford, and I was not surprised. n.b. This is a movie, but I watched in on my TV via streaming Netflix, so I'm going to rule it eligible for the SCBA.

4. The Guns of Retribution by Icy Sedgwick. A gunslinging bounty hunter in the Old West is caught up in the dirty deeds of a corrupt sheriff. To save those nearest and dearest to him, he has to avoid killers, thugs and the unwanted sexual attentions of a dangerous woman. Later this month, I'm going to be posting a full review of this book, along with an interview of the author.

5. The Sword of the Lictor by Gene Wolfe. This is the third volume in the Book of the New Sun series, a complex and deeply interwoven science fiction tale. Set in the far, far future, Earth's sun has faded to a quiet red and human societies have spread to the stars and back again over and over. The narrator is a Torturer, an official societal role in the service of law and government. Through travels and challenges, he has come in contact with the highest rulers of the world, the lowest beggars and criminals, and visitors from beyond. Is there hope for the world, a way to revitalize Earth and make it a place where man can thrive again? Or are the old, old religious stories true, and the path for mankind leads to some New Sun? This is detailed, richly plotted high science fiction.

I'm pleased to pass this award on to Zoe E. Whitten (@Zoe_E_W) for her bracingly straightforward manner (and because "Seriously Cute Blogger" is surely not on her list of expected sobriquets) and to Jeff Posey (@Jeff_Posey) for his discussion of corporate communications.

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