JB’s NOTE: Writing across a variety of genres Madeleine D’Este has consistently delighted me. With her most recent release, the horror/dark comedy Bloodwood, Madeleine ups the ante by offering something new under the sun: a fresh (pardon the word play) take on the undead.Knowing my fascination with how music and narrative intertwine, she has graciously shared her soundtrack for the story.
Bloodwood – how do you fight a vampire in Australia?
Bloodwood is a tale of ecological funerals and roaming revenants set in the fictitious town of Ludwood in the Goldfields region of Victoria, Australia. When I first got the idea for Bloodwood, I knew I wanted to bring a new spin on the tired vampire cliches, and Bloodwood questions whether the old world folklore would apply in a new land.
To put readers in the right spooky mood, I’ve collated an official author soundtrack, a list of dark songs from Australian and elsewhere. Although Bloodwood is not all grim – there are sparks of dark Australian humour throughout, and so I’ve thrown in a few cheesy tracks to lighten the mood.
DEAD EYES OPEN – SEVERED HEADS
An Australian dance music classic, a song which frightened many youngsters with its strange spooky vocals about the murder of Emily Kaye.
And then the dead eyes opened…
BELA LEGOSI’S DEAD – BAUHAUS
As Brigitta, the strange East European backpacker, says…‘The truth is very different to Hollywood… The creatures are not well-dressed aristocrats. Vampires are monsters. Pure and animalistic.’
TOZ – JAKUZI
During the bleak days of final edits of Bloodwood, I listened to this album from the dark synth Turkish bank Jakuzi on repeat and absorbed myself into the deep vocals.
GALLOW DANCE – LEBANON HANOVER
More gothy mood setting with Lebanon Hanover with their Joy Division meets Swiss Neko vocals sound.
A GOOD HEART – FEARGAL SHARKEY
Wait, what? A vampire book and Feargal Sharkey? Ten points for any reader who has spotted the reference.
THE CULLING – CHELSEA WOLFE
The current queen of goth indie rock, Chelsea Wolfe. Sparrow, the gothy high school work experience kid would listen to Wolfe over and over in her dented hatchback as she drove through the empty dark country roads of Ludwood in search of a revenant.
DAY-O – HARRY BELAFONTE
A song which strangely has taken on a supernatural life of its own
TAINTED LOVE – SOFT CELL
Shelley, Bloodwood’s main character, loves a car singalong to commercial radio and Soft Cell’s cover of Tainted Love is a classic pop banger.
And a song which plays on Shelley’s mind.
BACK IN BLACK – AC/DC
Where would an Australian soundtrack be without some Acca-Dacca? While I prefer old school Bon Scott era AC/DC myself, I picture Back in Black playing in the background as the kitted-up Shelley and Brigitta approach the revenant’s lair in slow motion.
Bloodwood – how do you fight a vampire in Australia?
Nothing interesting ever happens in sleepy, rural Ludwood. Not until undertaker Shelley sets up shop with her eco-friendly burials.
Her latest funeral, farewelling an environmental legend, was meant to help her struggling business – even the gatecrashing priest condemning her heathen ways didn’t damper her spirits. Much.
But when frightening screeches wake Shelley in the middle of the night days later, she finds an empty grave and things start to go wrong. Horribly wrong. Like vicious attacks in Ludwood wrong.
Were the priest’s protests of blasphemy right? Has Shelley unwittingly unleashed the undead and reduced the headcount in Ludwood instead of reducing their carbon footprint?
And where does Shelley even start? There’s no manual for hunting vampires in the bush!
Growing up in Tasmania, obsessed with books and the shadows at the end of the bed, Madeleine now writes dark mysteries and female-led speculative fiction. Her supernatural mystery novel The Flower and The Serpent was nominated for the Australian Shadow Award for Best Novel 2019.
Our Q&A series with creators of War of the Worlds-themed media continues this week with C.A. Powell, author of the Last Days novels and naval history aficionado.
Q: Tell me a little about your Last Days stories?
The first story came about by a happy accident. I used to attend a writing class and our tutor used to set 1200 words homework each week. Tales with a twist, a slice of life etc. One week she asked us to do 1200 words of someone else’s story from a different perspective. When I read this out in class, many encouraged me to go for a full pastiche story with a beginning leading to the actual event. This I did and it developed as a full project novel. Afterwards, other ideas came about with new story lines.
Q: How did you first discover War of the Worlds, what attracts you to using that setting for your own stories?
I always liked H.G. Wells’ many story lines. The Invisible Man, The Time Machine, The First Men in the Moon and, of course, War of the Worlds. I often wondered about the ship HMS Thunder Child and tried to imagine other things about the vessel. I also liked the 1950s movie, but liked the Victorian setting of the novel too. I saw the film before I read the book as a youth.
Q: What kind of research did you do for these stories? How did you approach that research?
I had a fascination with a British turret ship called HMS Devastation (1871 – 1903). She had a sister ship called HMS Thunderer. Each ship had a ram and sat low in the water. I tried to model the fictional Thunder Child ship on these particular vessels that would have been outdated in 1898 but still in service. I also wanted to retain old muzzle loading guns for Thunder Child. Even though the Royal Navy got rid of such guns after a dreadful accident in 1879 on board HMS Thunderer. They all converted to breech loaders after this. I used poetic licence and invented a big (whopper) of a lie to keep fictional Thunder Child more obsolete. She is the only ship overlooked for breech loading conversion in the story.
I looked up many of the ships of the day, including the paddle steamer (Southend Belle.) Many of the areas Thunder Child visits, and also the land-based characters visit, are places I know. I had to learn a few things concerning naval personnel etc, but by and large, I was containing the story around areas I know. I often get criticised by some fans who wanted the ship to be like HMS Polyphemus. I wanted Thunder Child to look like HMS Devastation or HMS Thunderer. Therefore I had architectural plans of the ship and roughly knew the vessel inside and out.
Q: It’s clear you have a great interest in the technological aspects of this the Victorian world (reflected both in your stories and in blogposts such as the one on the technical aspects of HMS Thunder Child) tell me about the background of that fascination and expertise as well as how it informed the way you wrote these stories?
I knew some historical things about revolving turret ships because of a book I read about HMS Captain. A revolutionary ship that was designed by British captain Cowper Phipps Coles. It was a revolving turret ship that retained all its sails and rigging etc. It capsized at sea during stormy weather taking almost all of the crew including Captain Cowper Phipps Coles to the bottom of the sea. There were arguments afterwards in the British Admiralty. A man named Sir Edward J. Reed was part of the investigation or review of the catastrophe. He would design HMS Devastation and Thunderer using the revolving turrets like those of Cowper Phipps Coles’ HMS Captain. I twisted and used some of these things, in the story, to explain the fictional HMS Thunder Child.
Q: What was the greatest challenge of creating the Last Days stories? What aspect of it did you enjoy the most?
To be honest, there was no great challenge. I thoroughly enjoyed the adventure as it unfolded before me. I knew the ending before I started and went on an exciting journey to get to the ending. It was terrific fun all the way with ideas falling into place as I went along. The following stories of Last Days were formed in the same way. They are fun to do and I’m like a school boy reliving my version of the Victorian War of the Worlds fantasy.
Q: Do you have plans for future WotW themed stories?
I have had another idea form. However, I am doing two new projects at the moment. That all said and done, I know I have one more idea. That means sooner or later, I’m going on another Last Days – WOTW adventure again.
Q: Talk a little bit about yourself and your other works?
I’m always looking at new ideas. I have always wanted to write a novel that people would enjoy. This ambition has been with me since I left school back in 1977 at age 16. I knew I wanted to write a fictional story. I liked historical fiction and loved science fiction. Especially post-apocalyptic. I would read novels all the time and often read historical documentary books too.
I travelled from the suburbs of East London and county of Essex into the city of London every day. The fifty minuets journey each way was my reading time. I was a glutton for so many books. I was inspired by good stories and some rather dreadful ones too. I would think of the dreadful ones, “If they can get published, surely I can.” I was certain I could create something worthwhile. It was the one little ambition that always remained with me.
I started to write a story set in Britain’s Dark Ages. Then I did another set in Ireland of 1920. I also tried one about an ancient British queen called Cartimandua. She reigned in the Brigante areas of Roman Britain when Boudicca led a rebellion against Rome. Then I did The Last Days of Thunder Child and the follow ups etc. Gradually over the years things began to develop. It has been a forty-three-year journey so far. But I have enjoyed the writing quest, and continue to enjoy with new enjoyable ideas and drafts to complete.
I have a new supernatural book coming out very soon. The edit and proof reading is all but done with a cover design to follow. The novel is called: Never Let Them Kiss You. It’s about a group of mischievous fairies living in England’s New Forest area. It is set in today’s modern times.
Q: What are the best ways for my readers to find you online?
I have the usual blog, Amazon, and Facebook Author page, etc. I have listed the other main sites below. I usually update the sites on a regular basis and they all have links to various books.
For the first in my Q&A series with creators of War of the Worlds-themed media, I had the pleasure of “sitting down” with H.E. Wilburson, author, musician, and creative driver behind The Martian Diaries, a soon-to-be-completed trilogy of audio dramas complete with original soundtrack.
If you’re too impatient to read the interview first, go ahead and click to listen to samples of H.E. Wilburson’s The Martian Diaries.
Q: Tell me a little about the Martian Diaries trilogy?
My sequel to The War Of The Worlds is based on a second, more devastating Martian invasion. The astronomer Ogilvy–from H.G Wells’ original book– has kept a record of everything he has learned about the Martians, and his account becomes The Martian Diaries.
In volume one The Day Of The Martians, an unopened Martian cylinder–that had crash landed at the time of the first invasion–is discovered in the mountains of Wales in 1913 and transported to London for examination. Separately, it becomes evident that the Martians are actually on their way back to Earth, in a huge armada that looks like a green comet. Ogilvy and other original H.G Wells characters remain key to the new plot.
In volume two Lake On The Moon, we learn the back story of how Ogilvy survived a Martian heat ray attack on Horsell Common during the first invasion. Then in 1919 an unexplained outbreak of Red Weed occurs in southern England, just as Ogilvy discovers that fresh water supplies are widely contaminated by mutant alien bacteria, responsible for a sinister water borne plague that is spreading around the world.
Ogilvy is convinced that the cure for this mutated bacteria lies within the Martian shadow-weapon carried inside the 1913 comet, and which he believes is now on the moon. His idea to locate the weapon comes to fruition in 1945 with an early manned mission to the moon–pre-dating NASA and Apollo spacecraft.
Volume three Gateway To Mars, the final title in The Martian Diaries trilogy, covers what happens on the moon in 1945 and moves forwards in time to the first human colonies on Mars. Right from the start of The Martian Diaries, it was my intention to bring H.G Wells’ story full circle and to give my interpretation of why the Martians came to Earth. To me, it is important to keep the element of hope and surprise running through the series, as it is in the original War Of The Worlds.
Q: How did you first discover War of the Worlds and what attracts you to using that setting for your own stories?
In the 1970s, when I was about twelve, I saw the 1953 film on TV in black and white. Of course the film is loosely based on the book, however I could not imagine how it would turn out for humans, after they did all that they could to defeat the Martians. Over the years I longed for a continuation of the story–but none came. In 2015 I decided to create a sequel myself and now I am always being asked ‘Does it turn out well for humans?’ It gives me hope that I am doing something right!
Q: How long has it taken to do this trilogy so far.
I came up with the idea of doing a sequel to The War Of The Worlds in late September 2015 and the first version of volume one was finished and recorded by early April 2016. After a few months doing other projects, I revisited the manuscript again and this time I lengthened it. Then I re-recorded with Harry Preston as the main narrator.
Q: What kind of research did you do for the trilogy? How did you approach that research?
My research was done using an old copy of H.G Wells’ book. I also spent many hours listening to an audio version from LibriVox which is a great place to find audios of published books that are in the public domain. Then of course there is Jeff Wayne’s ‘War Of The Worlds’ from the 1970s, which I still listen to from time to time.
Q: What was the greatest challenge of creating the Martian Diaries?
Sitting in front of three blank pieces of paper and trying to come up with something H.G. Wells would find entertaining as a sequel!
Q: What aspect of it did you enjoy the most?
No one was happier than I, hearing Harry Preston’s opening lines of volume one: “The terror of the coming of the Martians was all but a distant memory–a bad dream that had faded with time.” And later with volume two: “Are your dreams your own?” To hear his performance for the first time, together with the music I had specially composed, was definitely something. I’m looking forward to releasing a remastered version of The Day Of The Martians in the near future.
Q: You created the trilogy as an audio drama. Tell me a little bit about why you chose that format.
I have long wanted to have the opportunity to be involved with something significant, and with so much competition for projects, and with many fine artists vying for work, I decided to create my own audio sequel to The War Of The Worlds, even though I had not done much writing in the past. Having been composing music for years I felt I wanted to include some of my own compositions and so an audio drama seemed a good way to present my trilogy. Hopefully the synergy between it all–music, text and the fact that everything came from the same mind–will come through and be entertaining. Just like the composer Hans Zimmer, I love creating melodies and painting pictures with music. Given a choice between writing a book or composing film music, the music wins every time.
Q: Involving actor Harry Preston to voice the narrator in The Martian Diaries was a huge coup. How did that come about?
Pure chance. I got talking to someone who loved The War Of The Worlds while waiting for my car to be fixed in a garage. He gave me the number of an actor with a great voice who turned out to be Harry Preston. Things might have been very different if my car didn’t have a problem that day.
Q: What was the recording/production process like?
I had to build my own studio and learn how to use Apple’s Logic program. It was the only way to stay within budget. Then I spent many hours learning how to produce and master my own tracks in a quest to get the recordings up to a recognised quality. The whole trilogy will be re-mastered one day. The sounds you hear on the radio, film and TV, whether it is music. films or plays, are delivered by sound engineers who hardly get a mention. It is ironic that the better they are, the less you are aware of the amount of work they have done.
Q: Do you have a background in radio/recording/audio production?
I do now! And I feel I am getting better at it. Here are my two best tips for anyone hoping to make a decent recording, 1. LEARN HOW TO USE AN AUDIO COMPRESSOR and tip 2. LEARN HOW TO USE AN AUDIO COMPRESSOR…
Q: Original music is interwoven throughout The Martian Diaries. Tell me a little bit about that. What inspired your take on the music? Tell me about the composition and recording process. What is your background in music and some of your main influences (both for Diaries and generally)?
I enjoy musical sounds and for me they conjure up pictures. I love using a variety of instruments and putting them together in unexpected ways–it could be as diverse as a harp matched with a distorted mosh pit electric guitar. I am not too bothered about the instrument used, but rather the mood it creates. Although most of the tracks have been composed specifically for The Martian Diaries trilogy, the music used for the ‘Arrival of the Comet’ (track 15, volume one) goes way back to 1994 and is one of my earliest compositions.
I find composing very easy and enjoyable to do, unlike writing. One of my most recent tracks for volume three, took only two hours to create and produce from start to finish and I think it’s one of my best, so I’m looking forward to sharing that.
My favourite instrument to compose with is the piano because from the tone of a single note on a given day, can come a new and finished piece. Inspiration can come in most unexpected ways and track 11 in volume one, ‘Laura Has Gone,’ was inspired by seeing a spontaneous pirouette.
I don’t have a favourite music genre–I enjoy each piece for what it is. I absolutely get the music of Hans Zimmer, and if it were possible, one day I would love to work with him on a score. (Dreamers do what they do I guess!)
Q: The conclusion to the trilogy, Gateway to Mars, is coming out soon. Do you have a release date? What can listeners expect? Do you have plans for future War of the Worlds themed stories beyond the trilogy?
I am aiming for a release date around February 18th 2021. NASA’s Perseverance Rover is slated to arrive on Mars that month and so it seemed to be fitting and rather apt for me, especially with the word ‘perseverance’ as its name.
As for future War Of The Worlds themed stories from me–well, I deliberately designed my sequel around the diary idea so that I could insert short spin-off stories featuring some of the characters. Actually, I make a fleeting cameo appearance in Gateway To Mars–as a writer–in the second half of the book, set in the year 2135 on Mars Base Three.
This last volume is going to sound rather different to the previous two, and I hope listeners will be pleased. The Martian Diaries trilogy will be released as digital ebooks later this year or early next year, so those who would prefer to read, rather than listen, can also access the story. The audiobooks can already be purchased at most online digital platforms.
Q: Talk a little bit about yourself and your other works?
Composing music has always been in the background of my life. My first attempt at a project combining text with music was my own adaptation of Pilgrim’s Progress by John Bunyan, which I did a couple of years before starting my trilogy. I am hoping to release it in the near future–perhaps later in 2021 when I have five minutes to spare. I also have several hundred pieces of music that I would love to see used in some way.
Q: What are the best ways for readers to find you online?
I am most active on Twitter which is a great place to connect with creative people of all types. s
Joining my email list via the websiteis another way of getting updates and news, such as release dates and broadcasts of the titles. Volume two is going to be broadcast by Radio Woking soon, together with a re-run of volume one–dates to be finalised. Readers may remember that Woking is the town in England where the Martians first landed in H.G Wells’ original book. He lived there for a couple of years while he was writing it during 1896-97.
Check out other installments of the War of the Worlds Q&A series, including author C.A. Powell.
This time last year, I was a seething mass of nerves and excitement as I prepared to be a guest at ArmadillioCon, Austin’s long running science fiction and fantasy literary convention. I had the honor of participating in panels on the use of music in fiction and writing for roleplaying games, as well as hosting a reading of my works.
Lonely without us…
What a difference a year makes. This year, of course, there is no mass gathering of wonderful weirdos on the south side of town. ArmadilloCon has gone virtual, with more limited offerings. I respect and appreciate their concern for attendees and guests. Of course it won’t be the same, (though “Free” offsets a little of the heartache) but I’m still excited.
So, what am I especially enthusiastic about this year?
A reading by Usman T. Malik
A panel and readings by four nominees for the Salam Award for Speculative Fiction in Pakistan
The “Speculative Poetry for Speculative People” panel
A screening of “All Hail the Popcorn King,” the Joe Landsdale documentary
“Con Suite at Home! How to Throw a Great Party,” (Melissa Tolliver, the Queen of ArmadilloCon’s legendary Con Suite, gives tips on running a big party)
You can register for all this year’s virtual Con excitement here.
For all the Central Texas people, I know it’s not the same, but I hope you’ll join me in coming out to enjoy and show our support. Let’s give ArmadilloCon a solid foundation to come roaring back in 2021! For the rest of you, hey, this is a chance to check out what we’ve got!
My steampunk/weird west novella “The Clash at Crush” will appear in the upcoming anthology Absolute War, from 18th Wall Productions, an anthology of stories set against the backdrop of H.G. Wells’ War of the Worlds.
In real life 1896, an enterprising railroad executive named William George Crush organized an event smashing two locomotives into each other as a publicity stunt for the Missouri, Kansas, and Texas railroad. The event, dubbed “The Crash at Crush” by journalists on the lookout for a clever turn of phrase, drew 40,000 people to a lonely spot just north of Waco, Texas. If you’re curious about what actually happened, check out the short video below…
“The Clash at Crush” imagines what might have happened if you grafted a caper story AND a Martian attack onto the Crash at Crush.
So, that’s the setup, and it’s a fairly typical Jon Black one. What’s different is the approach…
Instead of cameos, the historical figures are getting significant screen time. Three of the five members of the caper crew are drawn from history’s pages. More distinctively, I am not using the names by which they are generally known, at least not at their introduction.
The one which never gets properly named will, paradoxically, probably be the easiest to identify. For anyone with a cursory knowledge of American musical history, the name by which he is known in “The Clash at Crush” stops just short of a dead giveaway (much as if I said “Country Hank” or “Rockin’ Presley,” no one would have any doubts as to their identity). If that weren’t enough, the entertainer is commonly described using an epithet which happens to be the title of his best known composition.
While there are frequent hints dropped as to the identity of the other two, and they are most commonly thought of as a pair, those clues will likely only be useful to those with in-depth knowledge of the Wild West. With that in mind, I do reveal their identity in the novel’s final scene.
One reason I think this approach works is that, in 1896, none of the three were yet famous. Nobody interacting with them would have reacted with “Oh my god, it’s [X]” or “Be careful, that’s [Y and Z].”
I will be curious if readers enjoy this approach as much as I have.
(And, yes, maybe a couple of hints dropped in this page as well…)
Woody Guthrie, and his guitar declaring that music has the power the change hearts and minds and promote justice.
What Can I Do?
It’s a question I’ve asked myself a lot over the past week-and-change as I see concern and frustration for long unaddressed social injustices spill on to the streets of America and, increasingly, beyond.
Sure, there are little things I can and have done to help. But, as a music journalist and music historian, maybe there is one thing I can do better than most. Below, I’ve put together a playlist of my ten favorite protest songs. I hope you enjoy and, please, feel free to share.
If this list provides inspiration, comfort, or even just a means to while away 45 minutes or so to someone, especially someone taking a more active role, then I’ve been able to put my talents to work for the forces of good.
A Caveat: I make no claims this is a list of the best protest songs, they are the are the ones which most move me…but that reflects my age, my geography, and my background (which is to say, this is protest music through the filter of a middle-aged white guy … albeit one very knowledgeable in music). I am very aware that large sections of protest music are either unrepresented or underrepresented here (especially the contributions of hip-hop and folk). If you find this list does not move you, I encourage you to assemble and share your own list.
#10 Fortunate Son — Credence Clearwater Revival
While largely identified with the Vietnam War (to the extent that there are jokes about the requirement it be played during any helicopter scene in movies about that war), its lyrics are explicitly appropriate to any situation where the privileges of the few are built upon the backs of the many.
#9 “Vietnam” — Jimmy Cliff
While another explicitly Vietnam song, its author, Jamaican Reggae virtuoso Jimmy Cliff, has a lifelong record of musical and personal involvement with issues of social justice and anti-colonialism/anti-neocolonialism. No less a personage that Bob Dylan called Vietnam “the best protest song I’ve ever heard.”
#8 “Which Side Are You On” Dropkick Murphys
A traditional labor movement song, written by Florence Reece, an organizer with United Mine Workers in Kentucky during the troubled 1930s. While versions by Pete Seeger and Billy Bragg are better known, this Dropkick Murphys cover better matches my musical taste and, perhaps, the vibe of the moment.
#7 “Do You Hear the People Sing” – Les Mis
Created for the 1980 musical Les Miserables, set against the backdrop of the 1832 Paris Uprising, the song very rapidly gained genuine protest cred, being used in Eastern Europe at the end of the Cold War as well as for demonstrations in Hong Kong, Taiwan, the United States, Turkey, Ukraine, and Iraq. But, please, people … why isn’t there a punk cover of this available?
#6 Born in Chicago — Paul Butterfield Blues Band
An early hit for the PBBB, an Chicago-based outfit that were pioneers in taking blues mainstream (or, more accurately, universally mainstream) the song is condemnation of violence and the poverty, deprivation, and lack of opportunity that underpin it.
#5 “God Save the Queen” – The Sex Pistols
Yes, at the end of the day, no matter how punk rock they were, the Sex Pistols were a pre-fab boy band. That never stopped them from delivering blistering, high-octane criticism of Thatcherite Britain’s social policies (and probably works just as well for Johnson’s tenure).
#4 Rockin in the Free World – Neil Young
While Buffalo Springfield alum Neil Young has a lengthy protest pedigree, this masterpiece of scathing social commentary wasn’t released until 1989; a portrayal of Reagan/Bush I-era America (a period which seems almost quaint today). While, in Britain, such social critique was largely associated with punk; in North America, along with homegrown punk musicians, Heartland Rockers such as Young were powerful voices in protest music.
#3 The Revolution Will Not Be Televised – Gil Scott-Heron
A poet and spoken-word artist as much as a musician, Scott-Heron’s classic offers an almost scholarly yet impassioned catalog and analysis of 1970 America’s social ills (most of which remain with us to this day) set to a feverishly hypnotic beat. No disrespect is intended to Scott-Heron for selecting a video which does not feature his image, I was fortunate to find this video montage with scenes from recent events and felt that took precedence.
#2 This Land is Your Land – Woody Guthrie
If you know anything about me, you know I’m not a big folkie. I like noise, energy, and amplification. But I find it impossible not to like to the modest, soulful poet from Oklahoma who took folk music into the mainstream (and who embossed his guitar with a declaration that music had the power the change minds and promote justice). In many ways, that simple refrain expressed in ten words, “This Land is Your Land, This Land is My Land,” is the Ur-text of American protest music. Every else is commentary and expansion.
#1 The Man in Black — Johnny Cash
I continue to be amazed how many people I run into, from all parts of the political spectrum, who either don’t know or actively deny that “Man in Black” is a protest song. Not only is it a protest song (a simple perusal of its lyrics will put that issue to rest), for me it is perhaps the greatest protest song of all time. To paraphrase some Wikipedia contributor (who, to be honest, did better than anything this music journalist would have come up with) it is a stinging indictment of the exploitation of the poor by the rich, war, mass incarceration and many other issues – delivered by a once-troubled man who grew into an almost Christ-like compassion for the downtrodden and dispossessed.
A little editorializing: So, do I agree with every sentiment expressed in the lyrics of these songs? Or, for that matter, every image in the videos accompanying them? A fair question. No, I don’t. But I agree with enough of them and, most important, the underlying sentiment behind them to include them here.
JB’s NOTE: I recently had the pleasure of discovering The Flower and the Serpent by Madeleine D’Este, a remarkable and adult-friendly YA tale straddling the line between horror and supernatural mystery set in 1992 Tasmania. Knowing my fascination with how music and narrative intertwine, Madeleine was gracious enough to sit down and assemble a soundtrack for the story.
Picture yourself in 1992, in Hobart, Tasmania.
These were the days of no internet, when Tasmania was an isolated island at the bottom of the world and new music came from the radio or television – Triple J and Rage or magazines like the NME.
This is the setting of my latest novel, The Flower and The Serpent, a supernatural mystery set during a high school production of Macbeth.
To help you immerse yourself into the world of The Flower and The Serpent, I’ve curated an official author soundtrack. It contains a selection of songs my characters would have liked around the early 90s and a few atmospheric pieces which inspired me during the writing process.
Don’t Go Now – Ratcat
A poppy breezy Australian early 90s classic, Ratcat was a permanent fixture on the stereo at teenage parties in the early 90s.
Tomorrow Wendy – Andy Prieboy
A dark depressing song for the teenage bedroom angst.
Connected – Stereo MCs
At a time when electronic music left the clubs and re-entered the mainstream.
Hieronymus – The Clouds
Another indie music Australian classic with a little more of an intellectual edge.
Leave Them All Behind – Ride
An epic shoegaze classic.
Higher Than The Sun – Primal Scream
Perfect for skating through the empty suburban streets at night with a joint in hand.
A Forest – The Cure
The classic Cure track which conjures up dark forests and spooky things within them.
Wardenclyffe – S U R V I V E
Readers have likened The Flower and The Serpent to Stranger Things, which is interesting because I didn’t make it past episode 1 of the TV show. Perhaps the similarity is due to the music. While writing the book, I avidly listened to S U R V I V E and two of the members of the band are responsible for the Stranger Things soundtrack.
Titel 2 – Bohren & Der Club of Gore
1992 was also the era of Twin Peaks and Bohren & Der Club of Gore continued the ‘doom jazz’ spirit of Angelo Badalamenti’s Twin Peaks soundtrack with their own languid dread-laden jazz.
Madeleine D’Este is a writer, reviewer and podcaster from Melbourne, Australia. A lover of folklore, black coffee and dark synths, find out more at www.madeleinedeste.com or connect with her on Twitter at @madeleine_deste.
As both a writer and a reader, I am very excited about Horror USA, the ambitious new anthology series from Sotiera Press. They envision a fifty volume series, with one anthology decidicated to horror stories set in each American state.
Their California anthology (both from a thematic and a marketing perspective, a wise place to start) was released on December 13th and has already generated substantial buzz. And it’s a 560-page monster, offering readers great value for the price.
I’m pleased to have one of my own tales, “Rock ‘n’ Roll Eats Its Children,” included in the collection. Drawing on my background in music journalism and music history, it’s the tale of an ambitious young music journalist from L.A. who uncovers a forgotten bit of musical history and follows the trail to an ill-fated Salton Sea community … and into darkness.
“Too Greedily and Too Deep,” with apologies to Tolkien.
And I’ve signed contacts for stories to be included in their next two anthologies, Texas and Washington State, scheduled for release in March 2020.
I think of “Darker than Black” as H.P. Lovecraft meets Cormac McCarthy: a tale of isolation, madness, and what happens when a rig crew “delved too greedily and too deep” during the West Texas oil boom of the 1920s.
Washington State’s best-known missing person turns up in “Rapture of the Birdman.”
While I eschewed anything involving the Sasquatch (figuring the publisher would receive a bigfoot-sized pile of submissions involving the Northwest’s favorite Cryptid), “Rapture of the Birdman” draws together one well-known bit of Washington Forteana with several lesser-known pieces of history and folklore into a story with influences as diverse as Deliverance, “The Most Dangerous Game,” Pet Semetary, and 1980s sci-fi/time travel film “The Final Countdown,” with the obligatory nod to Twin Peaks.
The ill-fated Salton Sea
Of those three, “Rapture of the Birdman” is the one of which I am most proud. Having spent most of my four+ decades there, I was perfeclty comfortable with the Texas story. With “Rock ‘n’ Roll Eats Its Children,” by revolving the tale around music journalism and setting 95% of the action in the Salton Sea region (an area I arguably know better than most Californians), I was able to control the parameters of the story to keep myself on comfortable ground. With Washington State, however, I had no such assurances. Sure, I could (and did) do my research, but I couldn’t really know it rang true. Apparently it did (at least enough).
Even aside from reasons of self-interest, this is a series I wish Sotiera Press all luck with. The concept is as fabulous as it is ambitious, an opportunity to showcase the tremendous diversity both of the horror genre and of America itself.
And, yes, I intend to continue submitting. I don’t know if I’ll try my hand at all 50 anthologies but I do know the next states they’re opening for submissions are Lousiana, Alaska, and Hawaii. I already have notes for all three.
As writers, our craft constantly takes us to parts of the human experience we, personally, know little about. Sometimes, these are niches of the modern world, the lifestyles of cops, convicts, hackers, or aviators. Others are hard to be had under circumstances in 2019: black powder weapons, Renaissance etiquette, or gathering food from nature.
Writers in the Field(WitF) is a two-day event dedicated to giving us the hands-on, personal experience we need to bring these things vividly and credibly to life on the printed page.
I sat down with the unstoppable Arianne “Tex” Thompson, writer extraordinaire and one of WitF’s “associate instigators,” for a Q&A about the event.
SPOILER ALERT:WitF is next weekend, October 12 & 13. So, if I’ve piqued your interest, don’t say “I’ll come back and read this later.” There is no “later.” If you need the TLDR, jump to the event’s schedule and ticket info.
And, in case you’re wondering, I’ll see you there.
Q: Paint us a picture of what the event looks like when it’s in full swing.
At any given moment, there will be projectiles of some sort being lobbed or shot across the back meadow (bullets, arrows, atlatls, etc.) Over in the garden grounds, our dyer will have her students shouting ‘gardy-loo!’ as they heave a few dozen gallons of water into the ditch during their mordanting lesson. Someone will be leading a craft demo with small, fiddly bits – leatherworking or jewelry-making or the like – over in the Saloon, while someone else demonstrates bullet fragmentation or GPS tracking or bone analysis in the Mead Hall, and a small foraging expedition goes in search of edible plants in the trees behind it.
Somewhere on the grounds, a lone writer will have lost the plot entirely, and be squatting down to take pictures of a flower, or maybe some kind of larva. That is always our favorite person, because we were all ‘that kid’ on the field trip.
Q: What is the idea behind WitF and how did it came to be?
Well, it started when my friend Bud Humble introduced me to Shane Richmond, a professional stuntman, bladed combat maestro, and the mastermind behind Steampunk November.
“Honestly,” Shane said, “I’m not a writer. I’m a reader. But I read things like ‘and then Conan hefted his ten-pound broadsword up over his head’ and the thing is… he didn’t. Because broadswords top out at 2.9 pounds. So I was wondering if writers might like to come over and handle some swords, so they can write about them more effectively.”
“You know, that would be a pretty neat idea,” I said.
“Oh, and we could also do wine tastings,” Shane said. “Do writers like wine?”
“Sir, I believe we have ourselves an event,” I said.
And the rest is history.
Q: What were some highlights from last year’s event?
For me, the highlight was the tornado. There was a massive ‘run for cover’ operation to herd everyone to safety in the Mead Hall, about twenty minutes worth of impromptu ‘networking session’ while we all wrestled with the life-choices that had led us there, and then – JUST as the tornado warning lifted – the margarita machine was delivered. A ragged cheer went up from all assembled as we gave thanks for life, health, and ‘ritas. Honestly, it was like Christmas in October.
Q: Tell us about some of the presenters and activities on offer for this year.
This year, we are really excited to have Larry Enmon and Sam Simon coming out to join us. Larry has retired from the Secret Service, and Sam is a former FBI agent with extensive experience in counterterrorism and weapons of mass destruction. It is always a treat to bring out folks with the kind of life experience most of us only ever see in the movies!
On the other side of the grounds, we’re also really psyched about Becky Burkheart and Tamara Woodcock, who are bringing their horses and MANY years of award-winning riding and driving experience to share with us. Becky is the author of The 33 Worst Mistakes Writers Make About Horses, and a writer herself. We love it when an expert knows what it’s like to be the one behind the keyboard, too!
Q: How does WitF benefit writers?
Well, writers tend to worry a lot about the “one wrong detail” that will expose them as a total fraud. (Your credibility can go out the window pretty fast if you have a character cock a Glock, for example.) And those are a real concern. But even more than that, we like to provide our attendees with the one RIGHT detail – the smell of black powder fired from a musket, the warmth of your palms after you start a fire with a hand-drill, the way the last pin tumbler feels right before the lock picks open – that will utterly convince, amaze, and enthrall the reader. And you can’t get that from a YouTube video.
Q: Give us a bit of background on you.
Okay, but we can skip over most of my priors, right? 🙂
Arianne “Tex” Thompson demonstrates “Practical Locksmithing for Authors,” also on offer at Writers in the Field.
The short story is that I started in the traditional writing world. I am tremendously proud to have an agent and three beautiful fantasy-Western novels published by Solaris. These days, I am much more in the business of organizing literary events and working to build up the North Texas writing community at large. And for some reason, I have lately been turning into a passionate apprentice locksmith, with a concentration in investigative locksmithing. I figure it’s important to be able to get into AND out of trouble with equal facility!
Q: Tell us about your favorite publication credits and current projects you’re excited about.
Now that’s an easy one! My great ‘passion project’ was the Children of the Drought trilogy – the aforementioned epic fantasy Western series from Solaris. It is a dense story, beautiful and strange, and I’m not sure it will be everyone’s cup of tea. But I am terribly proud of it, and I hope it will continue to find its way in the world. I also have a short story coming out next year in Baen’s Straight Outta Dodge City anthology – I’m looking forward to that!
Q: What is your position within the event?
Hmm, that’s a good one. “Associate instigator”, I suppose. We kind of have a triumvirate going. I have the local writers’ network we need and a good-sized literary megaphone to promote with. Shane has the world-class venue and a HUGE Rolodex of performers and instructors. And Bud is the one truly ambidextrous person who could bring us together – the ever-patient master of both pen and sword who engineered this unlikely union to begin with!
Q: Anything else you want people to know about WitF?
Dearest reader, if you can’t make it out to Writers in the Field this year, but want to cast your vote for this event and others like it – please say so with your outside-voice! The good news is that we are young and hungry for absolutely everything – ticket sales, yes, but also sponsorships, references, publicity, likes, comments, shares, the whole nine yards. The default setting for EVERY new-thing-maker is “cosmic yawning indifference” – and anything more than that is manna from heaven. Thank you so much for helping us take our Field game to the next level!
Also, for those from beyond DFW, improved camping is available onsite and there are several hotels in the vicinity.
AT A GLANCE: WRITES IN THE FIELD
WHAT: Two days of hands-on activities and demonstrations on topics handled (and often mishandled) in fiction.
WHEN: Saturday and Sunday, October 12 & 13, 2019.
WHERE: The Steampunk November Grounds, 492 Cordes Dr., Mansfield, TX 76084
“I’ve only recently encountered fiction from Mr Black, it’s made a serious impact on me…”
“It’s a cracking story, distinct and engaging with a great cast of three-dimensional characters, and really evokes the 1950s atmosphere that the anthology has as its theme.”
“…deftly creates a multi-layered atmosphere of adrenaline, paranoia, ritual and family…”
“…the heart of the story is the race itself, the heart-thumping, gut-clenching, gear-crunching duels between drivers, and these are beautifully written…”
Those are a few of the choicer words I found in a review of my novella-length Mythos-tinged supernatural mystery “Totmann’s Curve” by the Sci-Fi & Fantasy Reviewer (as part of a broader review of Sockhops & Seaces, an anthology of 1950s-themed horror and supernatural tales published by 18th Wall Productions).
Koenigsburg hot-rodders park on the town square before going for a burger and a malt (actually, Kerrville, Texas)
“Totmann’s Curve” is a fast-paced tale of ghosts, teenage hot-rodding, and evil sorcerers serving dark entities set against the backdrop of the 1950s Texas Hill Country.
I have, of course, presented the entire text of the review of “Totmann’s Curve” below. And I’ve written in-depth about the story elsewhere. You’ll find the Sci-Fi & Fantasy Reviewer’s full review of Sockhops & Seanceshere.
The anthology closes with a novella-length tale from Jon Black, Totmann’s Curve. Although I’ve only recently encountered fiction from Mr Black, it’s made a serious impact on me; especially with his tale The Green Muse in The Chromatic Court, a Cthulhu Mythos anthology also from 18th Wall Productions. The background to Black’s latest story is illegal hotrod racing in the hills of a backwater Texas county, and the complex spiderweb of relations between the key drivers and racers in this small community. Black expertly develops these relationships within the various groups that exist within the racers, and deftly creates a multi-layered atmosphere of adrenaline, paranoia, ritual and family; all of which constantly blend together into a complex mishmash as races take place. Black does all of that exceedingly well, but the heart of the story is the race itself, the heart-thumping, gut-clenching, gear-crunching duels between drivers, and these are beautifully written; Black gets into the heads of the drivers, their hopes and fears, while also writing some incredibly tense racing sequences. Then there’s also the grim mystery of the titular Totmann’s Curve, and the strange girl suddenly appearing during races. To near-fatal effect to the drivers who encounter her during races. It’s a cracking story, distinct and engaging with a great cast of three-dimensional characters, and really evokes the 1950s atmosphere that the anthology has as its theme. It’s a great way to end the anthology.