A GIFT FOR MY FRIENDS!

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For the next FIVE DAYS, my novelette, BLOOD WILL TELL, will be free! How cool is that?

http://www.amazon.com/BLOOD-WILL-TELL-ebook/dp/B0050219BW

So many of you have asked what exactly does a rare blood courier do?

They save the world ... one life at a time.

For Luke Winters, the definition of "life" takes on strange hues.

He is a telepath, the only one he knows about in a world full of thoughts that drive him to the lonely occupation of Blood Courier.

When the world is invaded by alien, intelligent blood, he finds the only thing worse than discovering the invasion by his curse is surviving the invasion because of it.

The aliens have won. He is alone. Now, what does he do? It is a story of love found in the strangest of situations.
***
Free promotions will start at approximately 12:00 AM Pacific Standard Time. Depending on system latencies, it may take a few minutes to several hours for the free promotion to start.
***
If after the five days, there have been 10 reviews, I will draw from the 10 or more names for an AUTOGRAPHED PHOTO BY ALEXANDER SKARSGARD, {ERIC NORTHMAN of TRUE BLOOD!}

***

DEATH and MADNESS

{"Men of broader intellect know
that there is no sharp distinction
betwixt the real and the unreal."

- H. P. Lovecraft.}


Ah, you say. The ghost of H. P. Lovecraft.
Now, he will tell us if what he wrote was true.

Short-sighted mortals. I dare not say. I can not say.

I will but put forth this : my imagination was too stunted,

my words too feeble to paint what lies beyond.

Sometimes I believe that this less material life is our truer life,

and that our vain presence on this terraqueous globe is itself

the secondary or merely virtual phenomenon.


Then, what brings me to Roland's blog?


I was wandering Thalarion, the City of a Thousand Wonders,
where many have passed but none returned,

where walk only daemons and mad things that are no longer men,

and the streets are white with the unburied bones of those
who have looked upon the eidolon Lathi, that reigns over the city.

Abruptly, the ghosts of Samuel Clemens, Raymond Chandler, Will Rogers, and Ernest Hemingway (all heavily armed) made their cautious way to me.

And well they should have been careful,

for I am no longer altogether ... human.

I watched them from the shadows with some amusement. They stepped warily around shards of marble that thrust up from the misty ground.

The shards gave the illusion of ancient bones of some grotesque corpse protruding from an ill-made grave.

The ruins projected a diseased aura as if the very stones were cursed.

Clemens approached me. "You can roll around in your horrors like they were catnip for all I care, Lovecraft. But you owe Roland."

"Indeed I do. What would you suggest?"

"Write a piece for his ... computer newspaper."

"How quaint. On what exactly, Clemens?"

"Why the blue blazes you chose to write what you did."

"It chose me, Clemens."

"Then, write that. And try to remember what it meant to be human while you're doing it."

I fought down the gibbering darkness. "You are lucky I owe DreamSinger, ghost."
***
So I am here. Why did I come? I came because of my lost childhood :

There are not many persons who know what wonders are opened to them in the stories and visions of their youth;

For when as children we learn and dream, we think but half-formed thoughts,

and when as men we try to remember, we are dulled and prosaic with the poison of life.

But some of us awake in the night

with strange phantasms of enchanted hills and gardens,

of fountains that sing in the sun, of golden cliffs overhanging murmuring seas,

of plains that stretch down to sleeping cities of bronze and stone,

and of shadowy companies of heroes that ride caparisoned white horses along the edges of thick forests;

and then we know that we have looked back through the ivory gates

into that world of wonder which was ours before we were wise and unhappy.

Enough of me. I ask : Did your genre pick you?

I know mine did.

My reason for writing stories

is to give myself the satisfaction of visualising more clearly the

fragmentary impressions of wonder which are conveyed to me by certain
ideas and images encountered in art and literature.

I choose weird stories because they suit my inclination best -

one of my strongest and most persistent wishes being to achieve the
illusion of some strange suspension or violation of the galling limitations

of time, space, and natural law which forever
imprison us

and frustrate our curiosity about the infinite cosmic spaces
beyond the radius of our sight and analysis.

These stories frequently emphasise the element of horror because fear is our deepest and strongest emotion,

and the one which best lends itself to the creation of Nature-defying illusions.

Horror and the unknown or the strange are always closely connected,

so that it is hard to create a convincing picture of shattered natural law
or cosmic alienage or "outsideness"

without laying stress on the emotion of fear.

As to how I write a story - there is no one way. The following set of rules might be deduced from my average procedure :

1.) Prepare a chronological order of events.

2.) Prepare the narrative order of those events if you are beginning in the middle or the end.

3.) Write out the story - rapidly, fluently, and not too critically.

4.) Revise the entire text, paying attention to vocabulary, syntax, rhythm of prose, proportioning of parts, niceties, and convincingness of transitions.

5.) One last note : Prime emphasis should be given to subtle suggestion.

Imperceptible hints and touches of selective associative detail

which express shadings of moods and build up a vague illusion
of the strange reality of the unreal.

Avoid bald catalogues of incredible happenings which can have no substance or meaning

apart from a sustaining cloud of colour and symbolism.

**And so now I ask you again :

Did you pick your genre, or did it pick you?

Why has this genre captured you?

Do you have a blueprint you follow when you write your story or novel? Let me know. The remnant of humanity still clinging to me is interested.

And remember :

"Pleasure is wonder —

the unexplored, the unexpected, the thing that is hidden and the changeless thing that lurks behind superficial mutability.

To trace the remote in the immediate; the eternal in the ephemeral;

the past in the present; the infinite in the finite;

these are to me the springs of delight and beauty."
***
Now, Clemens would have me insert this photo to keep a pledge to Laila Knight. Since, I, in my own way, am an old world gentleman. Here it is :

***

G is for G.A.S._what every C.A.R. needs

We talked about C.A.R. a few days ago ...

C ..... Conflict

A ..... Action

R ..... Resolution

Using C.A.R. will get you a good story.

But you don't want a good story ...

You want a GREAT story.

To get that great story, your C.A.R. needs G.A.S.

G ..... Goal

A ..... Adversary

S ..... Sex

GOAL :

1.) Goals in great stories are not anemic ...

A.) Primal

Any goal in a great story is primal, high stakes, CAN'T LIVE WITHOUT!

Love to a loveless man. Food for children to a mother in a world turned upside down. Revenge to a man robbed unjustly of everything that made life worth living.

B.) IDENTIFIABLE

The reader must see herself in that goal. We all yearn to belong. We all have been mocked and snubbed. We all feel alone in some form or fashion.

Once you have the reader looking out of the MC's eyes, you have her hooked into rooting for her to win ... because if the MC wins, a part of your reader wins, too.

In becoming the MC, the readers become more than they are, experiencing things in a way they might never experience any other way. Each of us is an on-going equation striving to answer itself. Reading is one way we do that.

C.) POSSIBLE

You're switching channels on the TV and stumble across an announcer going crazy. You pause. The horse in the back of the race has just pulled ahead ... one horse ... three horses at a gallop ... two more. Now, there is only the lead horse.

The runt pulls ahead only to fall behind. The runt closes just a bit. The jockey on the lead horse spurs his mount ahead. The runt stumbles. Your heart goes into your mouth. Then, somehow, the runt reaches into its last strength and pulls even. The two race like that for long, agonizing moments.

Then, the runt pulls ahead by a nose, winning the race.

You had no money on the race, but you feel like cheering. Maybe you do cheer. We all root for the underdog ... remember that in your writing.


ADVERSARY :

1.) "Oh," you say, "you mean antagonist."

Pardon me? Did I say antagonist? Antagonist is for ivory tower discussions of Jame Fennimore Cooper.

I'm talking Adversay, buddy!

Eric Northman, who, when you try to escape his cellar, tears out your throat with his teeth. Then, when your spurting blood ruins his highlighting dye job, repeatedly kicks your corpse for good measure.

We don't need no stinking antagonists! "You wanna mess with me? Here, let me introduce you to my little friend!"

2.) IMPOSSIBLE ODDS : (Remember the Underdog Principle)

Remember Jodie Foster going to interview Hannibal Lector for the first time? Then, he escapes. Who would you have bet cash money on in the real world?

Little Harry Potter versus Lord Voldemort :

Hagrid to Harry: "Some say he died. Codswallop, in my opinion. Dunno if he had enough human left in him to die."

"We bow to each other, Harry," said Voldemort, bending a little, but keeping his snakelike face upturned to Harry. "Come, the niceties will be observed.... Dumbledore would like you to show manners.... Bow to death, Harry...."

3.) ROADBLOCK

The best adversary directly roadblocks your MC from her/his goal in a way that is threatening and nearly unbeatable.

He/She is always one step ahead of your MC. Your heroine is swimming against the current, getting nowhere ... but at the end, the reader realizes the MC has also been getting stronger, wiser. The adversary has learned nothing because everything seems to be in her/his corner, necessitating no growth.

SEX :

1.) Romance is all very well and good. But come on. Picture Eric Northman from TRUE BLOOD. Romance or sex?

For most readers, romance is just good table manners for sex. Witty talk is all fine. Flirting is fun because it delays the pleasure. But the goal is always in the backs of the minds of the readers in the exchange of words and actions.

I get around that somewhat with Samuel McCord because he is from both the era of the Revolutionary War and the Old West. And Victor Standish, for all his bluster and brass, is a 13 year old boy, struggling with his first love.

2.) Tension is the key to making music with violins and smitten hearts.

You have happy characters? Look around. You have no readers. Angst is the magnet for readers.

Tension is everything. Look at Bella and Edward ... who are the King and Queen of delayed gratification. A goal easily gotten is cheaply held.

Remember the underdog runt of a racehorse?

Victor Standish loves Alice Wentworth, the ghoul. And she loves him. She also has almost surrendered to her hunger for his flesh three times in the first novel. He knows she hungers for his flesh nearly as much as his heart.

But Victor, who in the past has so often bet his life for food and shelter, has no problem betting it for love ... something he has been without all his days.

Victor knows. Alice knows. All who care for them know : Alice will one day lose the battle to keep from eating Victor alive.

To lose his life for the love he never had? "Fair trade," Victor thinks.

And who are we to say different -- we who throw our lives away for so much less?

Whatever the tension ... it must be for most of the novel. Only at the end may it be released ... but only for a time. For in real life, there is no "happy ever after."
***

WHAT EVERY C.A.R. NEEDS_GAS

We talked about C.A.R. yesterday ...

C ..... Conflict

A ..... Action

R ..... Resolution

Using C.A.R. will get you a good story.

But you don't want a good story ... You want a GREAT story.

To get that great story, your C.A.R. needs G.A.S.

G ..... Goal

A ..... Adversary

S ..... Sex

GOAL :

1.) Goals in great stories are not anemic ...

A.) Primal

Any goal in a great story is primal, high stakes, CAN'T LIVE WITHOUT!

Love to a loveless man. Food for children to a mother in a world turned upside down. Revenge to a man robbed unjustly of everything that made life worth living.

B.) IDENTIFIABLE

The reader must see herself in that goal. We all yearn to belong. We all have been mocked and snubbed. We all feel alone in some form or fashion.

Once you have the reader looking out of the MC's eyes, you have her hooked into rooting for her to win ... because if the MC wins, a part of your reader wins, too.

In becoming the MC, the readers become more than they are, experiencing things in a way they might never experience any other way. Each of us is an on-going equation striving to answer itself. Reading is one way we do that.

C.) POSSIBLE

You're switching channels on the TV and stumble across an announcer going crazy. You pause. The horse in the back of the race has just pulled ahead ... one horse ... three horses at a gallop ... two more. Now, there is only the lead horse.

The runt pulls ahead only to fall behind. The runt closes just a bit. The jockey on the lead horse spurs his mount ahead. The runt stumbles. Your heart goes into your mouth. Then, somehow, the runt reaches into its last strength and pulls even. The two race like that for long, agonizing moments.

Then, the runt pulls ahead by a nose, winning the race.

You had no money on the race, but you feel like cheering. Maybe you do cheer. We all root for the underdog ... remember that in your writing.


ADVERSARY :

1.) "Oh," you say, "you mean antagonist."

Pardon me? Did I say antagonist? Antagonist is for ivory tower discussions of Jame Fennimore Cooper.

I'm talking Adversay, buddy!

Eric Northman, who, when you try to escape his cellar, tears out your throat with his teeth. Then, when your spurting blood ruins his highlighting dye job, repeatedly kicks your corpse for good measure.

We don't need no stinking antagonists! "You wanna mess with me? Here, let me introduce you to my little friend!"

2.) IMPOSSIBLE ODDS : (Remember the Underdog Principle)

Remember Jodie Foster going to interview Hannibal Lector for the first time? Then, he escapes. Who would you have bet cash money on in the real world?

Little Harry Potter versus Lord Voldemort :

Hagrid to Harry: "Some say he died. Codswallop, in my opinion. Dunno if he had enough human left in him to die."

"We bow to each other, Harry," said Voldemort, bending a little, but keeping his snakelike face upturned to Harry. "Come, the niceties will be observed.... Dumbledore would like you to show manners.... Bow to death, Harry...."

3.) ROADBLOCK

The best adversary directly roadblocks your MC from her/his goal in a way that is threatening and nearly unbeatable.

He/She is always one step ahead of your MC. Your heroine is swimming against the current, getting nowhere ... but at the end, the reader realizes the MC has also been getting stronger, wiser. The adversary has learned nothing because everything seems to be in her/his corner, necessitating no growth.

SEX :

1.) Romance is all very well and good. But come on. Picture Eric Northman from TRUE BLOOD. Romance or sex?

For most readers, romance is just good table manners for sex. Witty talk is all fine. Flirting is fun because it delays the pleasure. But the goal is always in the backs of the minds of the readers in the exchange of words and actions.

I get around that somewhat with Samuel McCord because he is from both the era of the Revolutionary War and the Old West. And Victor Standish, for all his bluster and brass, is a 13 year old boy, struggling with his first love.

2.) Tension is the key to making music with violins and smitten hearts.

You have happy characters? Look around. You have no readers. Angst is the magnet for readers.

Tension is everything. Look at Bella and Edward ... who are the King and Queen of delayed gratification. A goal easily gotten is cheaply held.

Remember the underdog runt of a racehorse?

Victor Standish loves Alice Wentworth, the ghoul. And she loves him. She also has almost surrendered to her hunger for his flesh three times in the first novel. He knows she hungers for his flesh nearly as much as his heart.

But Victor, who in the past has so often bet his life for food and shelter, has no problem betting it for love ... something he has been without all his days.

Victor knows. Alice knows. All who care for them know : Alice will one day lose the battle to keep from eating Victor alive.

To lose his life for the love he never had? "Fair trade," Victor thinks.

And who are we to say different -- we who throw our lives away for so much less?

Whatever the tension ... it must be for most of the novel. Only at the end may it be released ... but only for a time. For in real life, there is no "happy ever after."
***