About WMG Publishing
Founded in 2010, WMG Publishing, Inc. is located in Lincoln City, OR. The company publishes more than 450 fiction and nonfiction titles in trade paperback, ebook and audiobook formats. In 2013, the company launched Fiction River: An Original Anthology Magazine, which publishes six volumes a year containing short fiction from New York Times bestsellers to debut authors. For more information about the company, go to www.wmgpublishing.com or follow us on Facebook and Twitter.
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I’m just wrapping up my third cover design branding workshop co-taught with Dean Wesley Smith, this time for science fiction covers (and working on a new promotion concept—but more on later in a bit). Sci-fi covers are simultaneously simple and complicated.
The simplicity comes in the art and typography choices (although I can hear the workshop participants yelling now that this stuff is anything but simple <grin>). As a designer, sci-fi calls for a distinct look, which makes it more formulaic (and thus simple for a designer) in the choices of art and fonts. Sci-fi art and typography looks futuristic for the most part. The art is fairly easy to search for, usually. And there are multiple great options for typography.
The complexity, for me, comes in making the covers look individualistic enough that the books stand out in the field even as they clearly represent their genre.
That was my biggest concern when I agreed to do a sci-fi cover workshop. Could I, the same designer, generate enough disparity in covers when doing them in bulk as I do for these workshops.
I was pleasantly surprised to discover that yes, I could. (And relieved.)
The following composite shows the cover templates I created for the authors in this workshop. Some of them are pretty raw because I was having to cobble together art quickly (the final versions would be much cleaner). But they’re a good representation of the possibilities in sf cover design.
There are a couple of YA books in here as well as a post-apocalyptic offering (bonus points if you can tell which ones those are).
Designing these covers is fun, but my time is limited, so we probably won’t be able to offer one of these again for a while.
However, if you want to get in on the newest offering from WMG, you’ll need to act fast. It’s a Promotion and Sales Package that includes a cover and a whole lot of promotional materials for a complete sales package for one of your books. You can read more about it here, but don’t delay because the offer ends Dec. 18.
Allyson Longueira is publisher of WMG Publishing. She is an award-winning writer, editor and designer
December is here and with it comes an annual visitor to my household. No, I don’t mean Santa (although he’ll be making a stop there, too). I mean Christina, my daughter, Nola’s, Elf on the Shelf.
We came to the Elf on the Shelf tradition a bit later than some. Nola got her elf for Christmas only two years ago, so last year was the first series of “visits.” And it was at that point that I realized I’d screwed myself with holiday duties.
You see, we already had three advent calendars going: an elaborate and awesome one on the computer (designed by the incredible Jacquie Lawson and gifted to us annually by the equally awesome Kristine Kathryn Rusch), one with magnets that simply mark the days, and a more traditional door-opening kind). And we also have a Northpole Communicator, with which Nola can speak daily directly to the North Pole and, sometimes, Santa (and which now requires more prep work to find the no-longer-made cartridges so the messages are different every year). And then, we have Christina.
I love the holidays, but that’s a lot of daily upkeep to keep the magic alive. In hindsight, I overdid it (duh). But there we are.
You see, the premise of the elf is that she (or he) flies off to the North Pole every night and reports back to Santa whether the child was naughty or nice that day, then returns in the wee hours to a different position than the previous day. Many folks, as I see on Facebook, create elaborate scenes for their child’s elf: fishing for Cheerios in the toilet, skiing across the room to the tree, having a dance party with Barbie…the list goes on. Nola’s elf is more introverted, like John and me. She does her job and settles in for a day of quiet observation.
Even with a low-maintenance elf, I had trouble last year remembering to move the damned thing. By the end of the day, I’ve been going nonstop since 6 a.m., so once Nola goes to bed, I’m not much good for anything.
This year, gratefully, John has taken over Christina duty. He moves her around in clever and creative (although simple) ways.
And I’ve discovered an unexpected benefit to that wonderful man’s helpful act: Now, I get to look for Christina, too, and share in my daughter’s joy when she finds her.
Sometimes, it’s the little things in life that mean the most.
Allyson Longueira is publisher of WMG Publishing. She is an award-winning writer, editor and designer.
Image copyright starlight789/Depositphotos.
Written by Gwyneth Gibby, WMG’s Associate Publisher:
Do you have a secret superpower? Wish you had one?
I sure wish I did sometimes. The end of the year approaches and WMG Publishing is positively bursting with projects. Super projects!
Before I go rushing off to ask for some special powers to get everything done, Rebecca Moesta who edits the new volume of Fiction River, themed Superpowers, reminds us that “superpowers are tricky things.” After all, she points out, it is not having extraordinary powers that makes us human, it is our weaknesses and imperfections. (No worries there—I’m as human as they come!)
The heroes of the stories in Superpowers speak to our common humanity; they also captivate and astonish. And go right straight to your heart.
Also zooming up is Issue Zero of Pulphouse Fiction Magazine, the relaunch of Dean Wesley Smith and Kristine Kathryn Rusch’s award-winning Pulphouse: A Fiction Magazine from the 1990s. Issue One of the new quarterly publication comes in January 2018. But to get a running start for subscribers and supporters of the Kickstarter campaign, Issue Zero blasts off this week with more than a dozen great stories, comics, and works of art. I think I can hear Dean <grinning> in excited anticipation as he puts the magazine together.
Kris offers another superb short story, “Snow Angels,” for free on her blog. It is a holiday story, yes. It’s not a superpower story, although it is very powerful. Let’s just say the story is surprising, brutal, and heartwarming in a way that only Kris can master.
Those are just the projects for this week.
I think I’ll leave the superpowers to others. Although, I admit that I did some years ago have a recurring dream that I had telekinetic powers. I could do things like make a book move from a table onto a chair, or I remember once making some towels move from one shelf to another. A less interesting power my unconscious could not have invented. It sounds like the wish-fulfillment dream of a chronically messy person who hates tidying up. (Who, me?)
However, speaking of those who do have superpowers, I am delighted to say that topping off a wonderful week, Superpublisher Allyson Longueira returns.
Boy are we glad to have her back!
Gwyneth Gibby is Associate Publisher for WMG Publishing.
Written by Gwyneth Gibby, WMG’s Associate Publisher:
Travel and Thanksgiving have gone together for Americans for a very long time. I was thinking about it today as Allyson Longueira went off to visit family. I decided to look up the song that I always remembered as “Over the River and Through the Wood to Grandmother’s House We Go…” It actually began as a poem called “The New-England Boy’s Song about Thanksgiving Day”; it was written by Lydia Marie Child and published in 1844. (Those New England boys were headed to Grandfather’s house, by the way.)
At Thanksgiving time it is still a tradition to traverse whatever distance has separated us from our families and friends, to give thanks for one another and for the good things in our lives. Child paints an idyllic picture:
“…the horse knows the way to carry the sleigh,
through the white and drifted snow….”
“Over the river, and through the wood—
When Grandmother sees us come,
She will say, ‘O, dear, the children are here,
bring a pie for everyone.’”
But in real life Thanksgiving can be empty of happy things such as drifted snow, sleighs and pie. Families quarrel, expectations are dashed, Uncle George still rants about politics, and Aunt Marie always says the turkey is too dry. And sometimes there isn’t a turkey, dry or otherwise.
Child herself had few illusions about the world at large. She was a lifelong political activist; a vehement abolitionist, a women’s rights proponent, and an advocate for Native American rights in the mid-nineteenth century when none of those was a popular cause. Still, she found it in herself to celebrate the joys of a rural New England childhood during the holidays, while during the rest of the year she was dedicated to fighting vigorously to make those joys a reality for every child, African Americans and Native Americans included, if she could.
Maybe because travel is both ingrained in our national character—we are a mobile nation—and entrenched in our holiday traditions, writers continue to write about it.
Every week, Kristine Kathryn Rusch offers a free short story on her blog. This week’s, “Snow Day,” takes place in Chicago’s O’Hare Airport during a Thanksgiving snowstorm. Yes, holiday travel. The story will warm your heart and remind you of why it is important to reconnect, to reassess, and rediscover what comfort we can offer each other in this world that is sometimes so harsh.
My own world has been anything but harsh in the year I’ve been at WMG Publishing. It’s been a blast! Nothing makes me happier than working with creative, talented, generous and good-humored folks. And for that I am very grateful.
All of us at WMG Publishing, those of us staying at home as well as those traveling, wish all of you good cheer wherever you are and whomever you are with.
Gwyneth Gibby is Associate Publisher of WMG Publishing. She is an award-winning journalist. Allyson Longueira is on vacation.
Our own Dean Wesley Smith had a birthday last week. And it was full of surprises. (Well, not for me…I know more about that man than he’s probably comfortable with <evil grin>).
First, Dean doesn’t usually talk about or celebrate his birthday. So, that alone is monumental.
Second, he decided to celebrate his birthday by launching into a writing challenge that few (if any) writers could accomplish.
Which basically means same Dean, different age.
The challenge, you see, is to write his age. That’s 67 books by the time he’s 68. And yes, I’m aware that means we’ll be publishing at least one book a week for Dean next year. It’s okay. I don’t sleep now <grin>.
First up is Death Takes a Diamond: A Mary Jo Assassin Novel. Those of you who read this blog regularly might remember that this is the book about which I detailed the steps for how I manipulated the art for the cover. Dean hadn’t written that book yet, and he used my cover as inspirations for some of the details in the book.
Here’s the synopsis:
When a contract comes in on another assassin, Mary Jo must discover why. Assassins don’t kill assassins.
With four ancient-order assassins working together, anything becomes possible.
Sex, murder, and diamonds. And pretty much in that order.
Only Mary Jo Assassin can deliver all three with a smile and a vodka orange juice drink in her hand.
So, there you go. One down, 66 to go.
And if you want to read more about Dean’s challenge, click here.
Allyson Longueira is publisher of WMG Publishing. She is an award-winning writer, editor and designer.
Change. It feels like it’s everywhere these days. Despite how much we humans complain about change, we certainly seem to precipitate it at every turn. Some change is good, some bad, some just plain necessary. But all of it means adjusting to a new reality.
Technology offers the fastest change, it seems. Let’s take TV. In our house, John and I have different areas of responsibility. He is the one in charge of television and music. We decided a while ago to get rid of cable TV. Since then, John has been experimenting with different apps, services, and devices to see what works for us (the fact that we have enough choices TO experiment is evidence of technology change in and of itself).
At first, we tried to go old-school and get network TV with an antenna (John’s a sports fan, so live TV is still important). But as we feared, to get a signal here on the Oregon Coast would require an antenna of such size that it would be visible from space.
We tried using apps through our Smart TV, the Xbox and the Playstation, but none of those platforms offered everything we were looking for (we also have Nola and the kids’ shows to consider).
So, last week we received our Amazon Fire TV Stick. (Not endorsing that specific product over the Roku or other devices, mind you. We haven’t tried the others.) We chose the Fire in large part because of Alexa. I’m notoriously bad at figuring out remotes, and now I can just press a button and talk to the TV to get it to do what I want. (Change is good!)
We’re bingeing a bit on TV at the moment. Turns out we can play games on the TV, too, and Nola wanted an app called Crossy Road. As soon as she started playing it, I realized this was basically Frogger reinvented. I loved Frogger when I was a kid. Later, I spent years searching arcades with “retro” games to see if Frogger was among them. And now, it’s more or less in my living room any time I want it. Changed but familiar. Crazy. (I wonder if I can find a modern reinvention of Pitfall?)
We’ve been doing our own modernizing of the past here at WMG lately, too, and many of you might remember. We’ve brought back Pulphouse Fiction Magazine, for example, after more than twenty years. Same old Dean Wesley Smith, same old attitude, modern new format and technology. We launched it on a platform not remotely conceived of in Pulphouse’s original run (crowdfunding via Kickstarter), and we’re in the process of getting Issue Zero ready to distribute to all of our amazing Kickstarter supporters (thank you, thank you, thank you!!!).
If you missed the Kickstarter, never fear. You’ll be able to buy Issue Zero by early December, and you can still subscribe in time to start up with Issue One. Just click here to go to the Pulphouse website and click on subscriptions.
As for me, I’ve got to run. I have to try to beat John’s top score on Disney Crossy Road.
Allyson Longueira is publisher of WMG Publishing. She is an award-winning writer, editor and designer.
As today is All Hallow’s Eve eve, and I was very been busy last week teaching the Master Class workshop here on the coast, I thought the best thing to do with this particular blog was to just give you a wonderfully terrifying story to read for free.
And so I shall. The following story is called “The Hook” by Kristine Kathryn Rusch.
Kristine Kathryn Rusch
When my daughter heard the story, she was ten. Her first sleepover, far from home, at her friend Anne’s cabin on Lake Nebagamon.
I’ve been there; I can picture it.
Eight girls clustered together on the screened-in porch. Carly is tired; she has spread out on the porch swing, her back against the slates, a musty blanket pulled over her legs. Nights on Nebagamon are cool, the rusty smell of the lake nearly overpowering. Moths bat against the screens, and mosquitos squeeze through the tiny square holes. Buzzing and absent-minded slaps accompany the crickets harmonizing outside. The girls are armed with two buckets of popcorn, s’mores, and three brands of sugared soda that my wife and I don’t allow at home.
They use a flashlight because Anne’s mother won’t allow a campfire on the lawn. The girl with the light shines it on her face, close so that her features are distorted, and tells a scary story. Most, in Carly’s opinion, are dumb, like the one about the guy who sleeps in a haunted house, sees something white at the foot of his bed, grabs his gun and shoots off his own toe. I think she doesn’t understand the story; she says she understands it too well. She believes the man deserved what he got for sleeping in a haunted house in the first place.
She forgets—or perhaps she’s too young to know—that all our houses are haunted, in one way or another.
Each girl tells a story, some tell two, and none of them frighten her. None of them except the Hook.
You’ve heard about the Hook. These days, it seems everyone has. Some books on urban legends say the tale was devised in the 1950s to scare teenagers away from parking, to prevent them from having inexpert sex in the crowded back seat of their parents’ car. It doesn’t seem like the sort of story to scare a ten-year-old, particularly a naive one. Carly’s friends laughed, not the response the teller wanted. But Carly, sensitive, aware Carly, remained awake all night, staring at the star-filled night sky, slapping mosquitos and listening for the scrape of a hook against metal, afraid that a murderer was on the loose, afraid that he would come for her.
Children are so attuned to the world around them.
I could not comfort her when she came home. I couldn’t even hold her. I left her to the warm, enveloping arms of my wife, who gazed at me over our child’s head with something akin to sympathy mixed with something closer to anger.
You see, the tale of the Hook, is not, as urban folklorists would dream, a myth designed to stop teenagers from illicit behavior. Nor is it simply a tale children tell in the dark. The Hook has its basis in fact. I should know because it’s my hook two teenagers found embedded in the door of their car that hot August night.
A murder no one sees fit to remember. Crimes of passion I can never forget.
If she finds this record, my wife will be angry. It is, in its own way, a confession that will blow our lives apart. She will have a right to her anger, since she has kept me safe for more than forty years. Carly is the child of our old age; an accident that happened because we thought my wife was going through menopause. We discovered our mistake too late; the symptoms of menopause became the symptoms of pregnancy, and we found ourselves the parents of a child we felt inadequate to raise, but one we couldn’t part with. Carly is not our future, but our redemption, and because of that, it is her discovery of our secret, however obliquely, that forces me to write this.
I work in the room we call my office but which is really the attic. Its sloping ceiling follows the roofline. Two small windows open on either end. Through them, I can see the yard and the neighborhood beyond. So quiet, so suburban. So seemingly safe. What would my neighbors say if they knew the truth of my past? What would I say if I knew the truth of theirs?
No one is allowed up here but me. The books that line the walls are my books, the desk my desk, the stereo my stereo. This is the only room in the house with a lock on the door. We made the decision decades ago, when we learned that I needed privacy almost more than I needed freedom, that I needed a place to hide when pressures got intense, that I needed a prison to bar me from society on those days when I frighten everyone—including myself.
I type with my left hand, sixty words a minute with the thumb, forefinger and pinky. A virtuoso performance that my professorial colleagues at the university never cease to marvel at. The prosthesis is obvious at moments like this. The rest of the time, it hides beneath the long sleeves of my dress shirts, the even longer sleeves of the dark suits my wife buys and dry cleans. I come home each night dusted with chalk. Sometimes a line runs across the back of my jacket. My wife shakes her head as she brushes me off, my daughter laughs at my clumsiness, and I find joy in those details, joy in the way life’s small pleasures add up into even greater ones.
There are days I don’t even think about my past.
There are days.
But not many.
On the tenth of October, 1954, I murdered Delbert Glaven.
I sliced open his throat with the hook at the end of my right arm.
I was fifteen years old.
On the twelfth of October, 1954, I was arrested.
On the sixteenth of October, 1954, I escaped from jail with the help of two friends, one of them a deputy sheriff. They returned my bloodstained hook to me, and attached it with electrician’s tape before I disappeared across the countryside.
On the thirty-first of October, 1954, the sheriff’s department found my hook imbedded in the door of Edna Wilson’s Nash Rambler. Mrs. Wilson’s son, Tom, was hysterical with terror. His girlfriend, one Anna Mae Connelly, spoke not a word, not about her disheveled clothing, or the bruise on her left cheek, or the child she birthed and abandoned exactly nine months later.
Edna Wilson’s Ramber, if it still exists, is half a continent away from Lake Nebagamon. Half a continent, and forty years away. The world has changed. I have changed. I speak in sentences now instead of fragments. I have good diction and use middle-class English instead of the slurred dialect of that long-ago time. I look in the mirror and see nothing of the tall, gangly boy I had been. Nowadays six feet is not such a great height. Many of my students tower over me and, if the genes tell, my daughter will too.
The world has light in it now, while I think of the past as darkness, unrelieved darkness.
Yet my past catches up to me in stories little girls tell in that darkness, a flashlight distorting the features of their cherubic faces.
October nights are cool in the south. Cool and damp, with a touch of frost, a touch of winter-to-come. Southerners hate the winter. They think they suffer through it more than the rest of us, that their delicate skin, used to sweltering summer nights, heat so thick it is a live thing, makes them even more susceptible to cold.
They are wrong, for they have a protective layer that inures them to everything. Cold, pain, emotional distress.
Everything, and nothing at all.
I grew up in New Orleans (Nawlins, as I called it then, before the precise pronunciation and flat vowels of the Midwest coated my voice), and had never been farther north than Slidell until I was thirteen. That year, I ran away from home, thinking that life in cosmopolitan New Orleans had prepared me for everything.
It had not.
It had certainly not prepared me for cross-country travel, with a pack on my back, a hook taped to my arm, and an APB notifying every peace officer within shouting distance of my presence. I slept on the ground, and woke with hard frost on my face. I hoarded the fifty dollars cash them good ole boys gave me, and only twice did I venture into the small towns that lined my backcountry route.
Twice was once too many.
On October 31st, I went into a town whose name I learned only later, when the news reports appeared, went in for some food and a jacket if I could find one, and a night on a bed provided by the Sisters of Charity, or whatever mission was operating in that dark place in those dark days.
I had thought I was far enough north to escape the news. I had thought no one would be looking for me outside of Louisiana. I was young, I had never seen a movie, read a book, or watched television. I thought I was invincible.
I was wrong.
When I left the general store, my pack heavier for the cans of pork ’n beans and the packages of jerky that would carry me through, the store clerk called the local sheriff. He and his dogs never found me, but the radio station interrupted its programming every fifteen minutes with a bulletin about the “deranged escaped murderer with a hook” who was haunting the countryside.
I heard the first report from that Nash Rambler’s radio, a tinny announcer’s scared voice filtered across an unnamed lake on Halloween night.
But I get ahead of myself.
The story, as my daughter relates it, is this:
A couple is parking on an abandoned road near a lake. They have the radio on and hear a special bulletin about a crazed murderer with a hook for a hand who has escaped from the local penitentiary. The bulletin says anyone who sees such a man should flee, and then report to the police.
The announcement makes the girl nervous.
“I think we should leave,” she says to her boyfriend.
“Nonsense,” he says. “What are the chances of the murderer turning up here?”
The girl reluctantly agrees. She lets the boy kiss her some more, then, unable to shake the feeling, says, “I really think we should leave.”
The darkness of the woods, the silence, the seclusion are getting to the boyfriend as well. “All right,” he says. He starts the car, puts it in reverse, and backs away, all in one motion.
It is that motion, he says, that saves his life. For when he gets home, he finds a hook hanging off the passenger side door.
It all changes with time.
What I remember is this:
The moon was full. I had made camp beneath a large tree near the edge of a lake. The water lapped against the shore and, despite the air’s chill, the night sky had a beauty I had never noticed before. There had been a frost two days before, and all the bugs were dead. I had seen no animals.
I was alone.
Except for the car across the lake.
The car didn’t bother me. It was a Nash Rambler, and its driver was obviously young. The blaring radio had announced the car’s arrival long before I heard the crunch of tires on gravel. The car parked near the water’s edge. The windows were steamed, the chassis shook, and I knew the two occupants were much more interested in each other than they were in me.
Besides, I got to hear Opry music, mixed with some early rockabilly. I had escaped the law once again. I had a meal of jerky, mixed nuts, and freshly baked bread. Everything seemed perfect.
Until I heard the slap.
I didn’t know it was a slap until the second one, followed by a thud, and a woman’s voice screeching in anger mixed with terror.
I bent back over my meal, telling myself it wasn’t my concern. But the third slap, ending with the trailed-off scream, decided me.
That, and the bulletin cutting into the wailing guitars.
The bulletin about me, the escaped convict. It didn’t matter that I was merely accused, nor did it matter that I had escaped, not from a penitentiary, but from a jail. What mattered was my crime, and the fact that I had killed a man by slicing his neck open with what passed for my hand.
It made me sound crazed.
Perhaps I was.
I crept along the lake’s edge, not caring that my feet broke brambles, that the echoes, carried across the water, announced my presence. The radio was too loud, the couple in the Rambler too preoccupied with their struggle to notice me.
Until I rapped on the window with the pointed end of my hook.
Here it all gets jumbled. Every time. Perhaps a shrink could separate it out. I cannot.
My hands on his shoulders. Hands. Shoulders. Yanking him back. He turns, face shrouded in darkness. Lit by the dials on the dash. Air steamy. She gazes up at me, the prettiest girl I’ve ever seen, despite the cut lip or perhaps because of it, gazes at me with fear and thankfulness and relief.
I pull him off. He falls to the pavement. She gathers her ripped clothes together, slides up the hood. He slams and locks the door. She reaches for the passenger side. He turns the key in the ignition. I circle around, grab the passenger door, as he shoves the car in reverse.
Mud slicing through the air.
Awful ripping pain.
Awful bone crushing pain.
And I am on my knees in the dirt.
On the pavement.
In the wilderness.
Near the laundry.
My right hand cradled against my chest.
The blood seeping from the rips in my stump.
It is, some say, the devil’s own luck. My future wife finds me, drags me to her cabin, hides me when the law comes searching for me. They find my camp, my stuff. They question her, and she says nothing. She is a young woman, on her own at her parents’ second home, proving that she can spend a weekend alone.
She keeps me there for nine months, sneaking in from town to feed me. She nurses me to health, and plans our escape.
We go north, get new identities, enroll in college, become real young people with no pasts and important futures. We marry but do not procreate.
Except by accident.
My wife saw everything, or so she says. She heard the scream, came to the clearing, saw me pull open the car door, yank the Wilson boy up so hard he hit his head on the rearview mirror. The girl scrambled up, grabbing her clothes, while he recovered, slammed and locked the door. I ran to the other side, grabbed the door handle as the car peeled backward, covering me in dirt and leaves and blood.
She did not know I was wounded until I passed out.
When I awoke, she had already decided that I was falsely accused, a hero, a man who deserved her love and loyalty for the next forty years.
But she did not see it all. No one has seen it all, or knows it all, not even them two good ole boys who busted me out of jail. Busted me out for guilt, because they couldn’t stomach seeing me going down for something we all did.
When I am feeling rational, I pass it off to hormones.
When I am feeling truthful, I know it is more.
Too much beer and not a little loneliness. That’s what I remember from those days. That, and discovering that my buddy Scott actually worked for the sheriff as a sometimes deputy, as a more often janitor. Scott swore not to tell that I was a runaway, and I swore not to tell that he carried a non-regulation gun and a then-illegal Swiss army knife, hidden in his sock.
I would like to say it was their idea. Or, barring that, I would like to say we all came on the idea at once. But it built over time. Scott said he knew of a place that hired out women by the hour, and with his connections, his gun, and his badge, we could get one for free.
But only one, he thought. So we decided to share.
The night blurs into a haze of cigarette smoke and Okie music, a bar with a pool table and no patrons, and too much beer. A girl with the face of an angel, whose no somehow became yes, and whose escape outside became an enticing dance, leading us to the Promised Land.
Scott started, taking her on the hood of a green Ford, while the other guy, whose name is lost to traitorous memory, had one hand over her mouth. She squirmed and pounded and screamed, and somehow that seemed right to me, impatient me, so I grabbed Scott by the shoulders with my two good hands and pulled him off, shoving him aside so that I could take my turn.
And as I did, I didn’t even notice the headlights in my face, or the fact that the girl started to scream. I just thought the other guy was getting ready for his turn. But the hands on my shoulder weren’t his. They belonged to Delbert Glavin, the girl’s brother, who pulled me back and beat me black and blue, and stomped on my right hand so hard he broke all the bones from my wrist to my fingertips.
The doctors couldn’t save it. They cut it off. And gave me the hook instead.
Delbert’s sister disappeared, and no one discussed the incident for the shame of it. He didn’t press charges—how could he when it was clear—in those unenlightened times—that just by being in that bar she was asking for it?
And so when I got out of the hospital, I somehow thought the wrong was visited on me and not on him, and certainly not on the girl whom we saw as nothing more than a piece of ass, nothing human certainly, nothing with any more feeling than a blow-up doll bought mail order.
So I tracked Delbert Glavin down, used my new weapon to rip open his throat, and let the law come after me.
And my friends saved me, as I knew they would.
So what was I doing, opening that car door, crazed murderer that I was? Hero’s journey, Campbell would have said, from ignorance to enlightenment. God, the Christians would say, had given me a second chance to redeem myself, and I took it, saving a poor girl from the very thing that caused it all.
But I remember the emotion, the charged adrenaline that shot through me when I heard that scream, and the blurred memories that still combine when I think of this. And I wonder, hands on shoulders, why I was pulling the Wilson boy aside.
I think altruism became part of my nature when pain ripped through my right arm a second time. Only a fool would fail to realize that no moment of hideous pleasure was worth the price of hand.
Only a fool would need to learn that lesson twice.
I’ve been a good, fine upstanding man for forty years. A man who minds his own business, a man who looks the other way when he needs to, a man who leads his life and no one else’s. I have been unusually blessed.
Or unusually cursed.
This daughter of mine will be a world-class beauty. I have kept my distance from her, hoping to protect her from that thing which is her father. And I can continue to do that until she is old enough to go out on her own. Then she must make her own choice, live her own life, in the world that spawned me.
And I fear for her.
Oh, I fear for her.
Because she is bold, and she is bright, and she will not heed warnings told by schoolgirls in the dark.
And she needs to.
They all need to.
And that knowledge is punishment enough.
Copyright © 2012 by Kristine Kathryn Rusch
First published in Urban Nightmares, edited by Josepha Sherman and Keith R. A. DeCandido, Baen Books, November, 1997
Published by WMG Publishing
Cover and Layout copyright © 2012 by WMG Publishing
Cover design by Allyson Longueira/WMG Publishing
Cover art copyright © Gilles Glod/Dreamstime
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the author, except for the use of brief quotations in a book review.
Well, now I’m going to tell you to embrace your fears again. But this time it’s with a fear-themed Storybundle.
The Fear Bundle, curated by Kristine Kathryn Rusch, features ten fantastically frightful books for an anything-but-scary price.
Here’s a few words about this bundle from Kris herself:
Fear comes in many forms. The hair slowly rising on the back of your neck. That imaginary icy finger that sends shivers up your spine. The jolt of adrenaline when something topples over in your supposedly empty house. I’ve tried to assemble all the various fears for this Storybundle. We actually do have rabid vampires, thanks to Rebecca M. Senese. Sean Costello and Dean Wesley Smith provide two different kinds of serial killers. Mark Leslie and Leah Cutter examine the ways that magic can taint the user. J.F. Penn and I both show how the world itself can go mad. And Michael Warren Lucas adds a touch of science fiction by examining what happens after an alien destroys the world and everyone in it.
If we missed some great fictional fears, I’ll be surprised. Because we have ghosts and wee beasties, thrills and chills, and things that go bump in the night. All of it brought to you by writers with vast pedigrees—award nominees, New York Times and USA Today bestsellers, critical darlings, and worldwide bestsellers.
And if you’re a writer, you should check out this year’s NaNoWriMo Writing Tools bundle, curated by the masterful Kevin J. Anderson. It includes two WMG Writer’s Guides (Time Management by Kris and The Magic Bakery by Dean Wesley Smith), along with eleven other guides to help you improve your writing and your writing business.
Finally (and I’m not the least bit afraid to tell you this), thank you to everyone who supported our Pulphouse Fiction Magazine Kickstarter. We obliterated our goal of $5,000 and reached a mind-boggling $35, 215. Rewards start going out in November.
So much reading to do. Now, that’s what I call a scary good problem.
Just in time for my birthday, I received an early present: the first official copy of the new Protectors hardcover.
I’d never designed a hardcover book before, so holding that book was a bit of a miracle. You see, we use Createspace for our paperbacks, but they don’t do hardcovers. That’s one of the reasons we’ve never done a hardcover before. So, this was my first foray into the world of Ingram Spark and Lightning Source, and the process is quite different.
For example, they don’t send physical proofs. So, you review it electronically, and then hope you don’t find any mistakes in the physical product. That’s all well and good for the interior, but you can’t really review the cover properly that way. Those of you who know me know I’m a bit of a perfectionist, so that concept scared the hell out of me.
Designing dust jackets are quite different from designing paperback covers—that wrap around the cover for the flaps, for example, is tricky. And because of the way the proof process worked, I knew I only had one shot to get it right.
So, when the first copy arrived (yes, I ordered one early…I needed to know), it was like a little miracle. It was a real book. As in a book you’d pull off the shelf at Powell’s. But I made it. That took a while for my brain to process.
And yes, I know that’s ridiculous. I’ve created hundreds of books. But for some reason, that hardcover was like winning a gold medal in the Olympics for me.
And then, I prepped for my next event: designing my first limited edition hardcover.
And tomorrow, you can buy them both.
Protectors, if you haven’t read about it yet, is Edgar and Shamus award-nominated author Kris Nelscott’s latest novel. It launches a new series telling the stories of three strong and very diverse women. Protectors features all three and is an origin story of sorts.
Here’s the synopsis:
A former combat nurse, a former legal secretary, and the owner of one of the first women-only gyms form an unlikely alliance in this fast-paced and riveting new work by the acclaimed historical mystery novelist Kris Nelscott.
The novel opens on the day of the Moon landing, July 20, 1969, two years after the Summer of Love changed Berkeley forever, and left lots of broken teenagers in its wake.
One of the first (if not the first) women-only gyms in the nation and the start of the Women’s Self-Defense Movement bring June “Eagle” Eagleton, Valentina “Val” Wilson, and Pamela “Pammy” Griffin together.
They never intended to face the kidnappings and murders of college students. But no one else paid attention.
An amazing trip into the experiences and lives of 1969 Berkeley told with riveting attention to detail. A read that will keep you turning pages into the late night and shock you at the same time.
You might recognize Val from the Smokey Dalton novel Stone Cribs. And you might remember Eagle from the Fiction River: Hidden in Crime story “Combat Medic.” Plus, you can read more about Pammy in “Blaming the Arsonist,” which is available on Kris’s website this week as her free fiction offering.
Protectors, which releases Tuesday, Oct. 17, continues those background stories and sets the stage for a new start for all of them. The novel is available in ebook, trade paperback, hardcover and limited-edition hardcover. You can find more information about all of those editions and buy links here.
And now that I have two hardcovers under my belt, you can expect more from WMG. Maybe in time for Christmas…
As we make our way through this spookiest month of the year, my house has been taken over by cobwebs, skeletons, pumpkins, and ghosts. Halloween is one of my favorite holidays—for both its whimsy and its creepiness.
Although, I will admit, I’m prefer a more PG-13 celebration of the holiday. Haunted houses, horror movies, horror stories…not really for me. Truly scary is not my style.
But fear comes in many forms, so when Fiction River editor Mark Leslie proposed the theme for our latest volume, Feel the Fear, I was curious what he would do with it.
Mark, who as Mark Lefebvre works as Director of Self-Publishing & Author Relations at Kobo, is well known for his dark fiction as well as paranormal activity-inspired nonfiction. And in Feel the Fear, Mark brings together sixteen authors who together explore the many ways fear might haunt us.
Here’s the synopsis:
Fear. The word alone evokes a powerful response. And in Feel the Fear, editor Mark Leslie takes readers on a haunting tour of the many ways fear presents itself. From genuine horror stories filled with frightening monsters to the real-life horror of losing a loved one to the terrifying idea of losing one’s own mind, these tales run not only the genre gamut but also the emotional gamut. With each fearful twist, the sixteen talented writers in this volume prove why Adventures Fantastic says “[Fiction River] is one of the best and most exciting publications in the field today.”
Table of Contents
“Murmuration of a Darkening Sea” by Lee Allred
“Swimming on the Grass” by David Stier
“Get Inside” by Dayle A. Dermatis
“The Dark Queen” by J. F. Penn
“Fear in Black and White” by Dory Crowe
“A Fall of Life and Death” by Michael Kowal
“High Places” by Laura Ware
“Legs” by Steven Mohan, Jr.
“Power Outage” by Bonnie Elizabeth
“The Taste of Red” by T. Thorn Coyle
“The Playground of Lost Children” by Erik Lynd
“Tin Can Man” by Annie Reed
“Piggyback” by Robert T. Jeschonek
“The Well” by Lauryn Christopher
“Mechanical Advantage” by Eric Kent Edstrom
“The Visit” by Anthea Lawson
Like the last Fiction River volume Mark edited, Editor’s Choice, Feel the Fear is the product of a publishing partnership with Kobo. And as such, if you buy the paperback edition, you will find a code in the back for a free ebook edition exclusively from Kobo.
So, go get settled in your favorite chair, or even under the covers, and indulge in these fearful tales. They’re a perfect way to get into the spirit of spooky October.