Ryan Callaway's Blog
June 29, 2015
Yearly Harvest - Movie
Yearly Harvest: A True Story of Christmas
Happy to report the movie version of The Yearly Harvest is almost finished editing. First screening is happening December 4th!
Trailer
Facebook Page for the Movie
Happy to report the movie version of The Yearly Harvest is almost finished editing. First screening is happening December 4th!
Trailer
Facebook Page for the Movie
January 10, 2014
Yearly Harvest (website)
While working on some other things I came across the Yearly Harvest website which hadn't been updated since it was first published in 2008. To my surprise after logging in I saw that the site was created back in 05. For whatever reason I was on top of the advertising early, I started the book in October of 05 and didn't finish until March or April 06. I didn't know tripod was still in existence but it's still a pretty good web provider. Check out the site:
Yearly Harvest
Jin Duyen, a reporter, is
assigned to do a story on the
origins of Christmas' many
traditions. After some
research, she traces them back
to Selah, a remote town in the
Midwest, and travels there to
dig for the truth.
Amy Carson, a private
investigator from a nearby
town, is there looking into
several cases of missing
children which have gone
unsolved.
Oddly, the residents of Selah
aren't caught up in the
festivities that the rest of the
world is celebrating. Jin and
Amy soon discover Christmas
holds a much darker meaning
here... one that pitches them
into the very same terror that
has held Selah captive for
years...
Yearly Harvest
Jin Duyen, a reporter, is
assigned to do a story on the
origins of Christmas' many
traditions. After some
research, she traces them back
to Selah, a remote town in the
Midwest, and travels there to
dig for the truth.
Amy Carson, a private
investigator from a nearby
town, is there looking into
several cases of missing
children which have gone
unsolved.
Oddly, the residents of Selah
aren't caught up in the
festivities that the rest of the
world is celebrating. Jin and
Amy soon discover Christmas
holds a much darker meaning
here... one that pitches them
into the very same terror that
has held Selah captive for
years...
January 8, 2012
Interview with David Wisehart Part 2
DAVID WISEHART: What was your journey as a writer?
RYAN CALLAWAY: A long one (laughs). I've been writing since I was a child; short stories, fan fiction, and the like. At the age of 17 I wrote and finished my first original novel, Six Faces. It was self-published, then traditionally published, and is now back in my hands again. I've also written a sequel, another couple of horror novels, and an action/suspense book as well. I suppose two words that would sum up my journey would be "always learning." I'm always checking out the books on the bestseller lists, observing different techniques and styles. My own writing has developed nicely over the years, thanks to the authors I admire, as well as two really good editors I've worked with. I'm still, hopefully, at the beginning of what I hope will be a successful and, more importantly, fulfilling journey.
DAVID WISEHART: What is your writing process?
RYAN CALLAWAY: First a story or idea comes to mind—which can literally happen anywhere. Sometimes I'm driving along a dark road and something creepy pops in my head, or I see something in the news, or I'm having a conversation with a friend. I've got a bit of a weird mind so a single sentence can spring a deep, intricate plot. Once I've got the idea I usually map out the characters and get to know them as well as possible—making sure I've got the appropriate people to carry us through whatever journey the book takes us on. Then I do chapter by chapter planning—I don't like to plan out every detail because spontaneity can be important—but I need to know where it's all going. Sometimes that changes though. My own characters can surprise me at times or a subplot or roadblock pops up that really adds to the overall story. Then once it's all planned I get to work.
DAVID WISEHART: What authors most inspire you?
RYAN CALLAWAY: Nathan Archer, SD Perry, Danielle Steele, Ted Dekker, and Frank Peretti. The first three may sound a little odd coming from someone who writes mostly horror, but I've read more of Perry and Archer's novels than any other author, including Stephen King and Dean Koontz. Their writing style is what dragged me in, as well as their methods of developing characters. Although descriptions are vivid, they don't drown me in unnecessary details. I remember one of my readers commenting that they liked the fact that I didn't take 2 pages to describe the sun coming through trees. Although that takes talent, if I'm reading a horror novel—or any book other than some literary masterpiece, I want a good story, and description that adds to it—and doesn't take away or distract. Dekker's themes are deep and creepy whether you agree with his ideology or not. The man is a genius storyteller. Same for Peretti. And Danielle Steele is just amazing all around.
DAVID WISEHART: How did you create your cover for Lights Out?
RYAN CALLAWAY: I usually take pride in coming up with creative ways to do my covers when the choice is mine—not this time. I found the photo, which I think is awesome, on a free stock photo site. With some cropping, color editing, and a neat font, I had my cover.
DAVID WISEHART: How have you marketed and promoted your work?
RYAN CALLAWAY: I haven't done enough, to be honest. Mainly I've just tried to do it by word of mouth. I was posting chapters up on a website while I was writing the story—that enabled me to get feedback early on, and it also gained me some additional fans who were awaiting its publication. Since then, I've continued to try to let people know that it's out there. Both new readers and those who have read and enjoyed my past work. I think the basic idea is one people find compelling, so it's just a matter of spreading the word.
DAVID WISEHART: Why publish on Kindle?
RYAN CALLAWAY: Ebooks seem to be taking over the literary world. They're usually a little cheaper than paperbacks, and they also are more convenient to some readers. They don't take up shelf space, get old and yellow, or get lost at a friend's house when they want to borrow one (except for those kind enough to loan out their Kindles). For any publisher or author to ignore this rising trend would be foolish.
On the other hand, it's also more beneficial to authors. With Amazon's new 70% royalty offer, it allows us to keep a lot more of the money we earn. It's really a shame that most authors only make 5-10 percent of the profit from each book sale, especially when books are going for $5-10. Not to mention publishers usually charge a lot more than they need to. Kindle publishing allows us to set our own prices and maintain control. It also puts us before a growing audience.
DAVID WISEHART: What advice would you give to a first-time author thinking of self-publishing on Kindle?
RYAN CALLAWAY: Go for it! You really can't lose anything. Some publishers will be more hesitant about accepting a previously published book, but others won't care. Especially if you've managed to be somewhat successful on your own. That ought to give them greater confidence in what they'll be able to do with the book. Publishing on Kindle is a great option and as I said above, that's where the market seems to be going.
DAVID WISEHART: Thanks, and best of luck with your books.
RYAN CALLAWAY: A long one (laughs). I've been writing since I was a child; short stories, fan fiction, and the like. At the age of 17 I wrote and finished my first original novel, Six Faces. It was self-published, then traditionally published, and is now back in my hands again. I've also written a sequel, another couple of horror novels, and an action/suspense book as well. I suppose two words that would sum up my journey would be "always learning." I'm always checking out the books on the bestseller lists, observing different techniques and styles. My own writing has developed nicely over the years, thanks to the authors I admire, as well as two really good editors I've worked with. I'm still, hopefully, at the beginning of what I hope will be a successful and, more importantly, fulfilling journey.
DAVID WISEHART: What is your writing process?
RYAN CALLAWAY: First a story or idea comes to mind—which can literally happen anywhere. Sometimes I'm driving along a dark road and something creepy pops in my head, or I see something in the news, or I'm having a conversation with a friend. I've got a bit of a weird mind so a single sentence can spring a deep, intricate plot. Once I've got the idea I usually map out the characters and get to know them as well as possible—making sure I've got the appropriate people to carry us through whatever journey the book takes us on. Then I do chapter by chapter planning—I don't like to plan out every detail because spontaneity can be important—but I need to know where it's all going. Sometimes that changes though. My own characters can surprise me at times or a subplot or roadblock pops up that really adds to the overall story. Then once it's all planned I get to work.
DAVID WISEHART: What authors most inspire you?
RYAN CALLAWAY: Nathan Archer, SD Perry, Danielle Steele, Ted Dekker, and Frank Peretti. The first three may sound a little odd coming from someone who writes mostly horror, but I've read more of Perry and Archer's novels than any other author, including Stephen King and Dean Koontz. Their writing style is what dragged me in, as well as their methods of developing characters. Although descriptions are vivid, they don't drown me in unnecessary details. I remember one of my readers commenting that they liked the fact that I didn't take 2 pages to describe the sun coming through trees. Although that takes talent, if I'm reading a horror novel—or any book other than some literary masterpiece, I want a good story, and description that adds to it—and doesn't take away or distract. Dekker's themes are deep and creepy whether you agree with his ideology or not. The man is a genius storyteller. Same for Peretti. And Danielle Steele is just amazing all around.
DAVID WISEHART: How did you create your cover for Lights Out?
RYAN CALLAWAY: I usually take pride in coming up with creative ways to do my covers when the choice is mine—not this time. I found the photo, which I think is awesome, on a free stock photo site. With some cropping, color editing, and a neat font, I had my cover.
DAVID WISEHART: How have you marketed and promoted your work?
RYAN CALLAWAY: I haven't done enough, to be honest. Mainly I've just tried to do it by word of mouth. I was posting chapters up on a website while I was writing the story—that enabled me to get feedback early on, and it also gained me some additional fans who were awaiting its publication. Since then, I've continued to try to let people know that it's out there. Both new readers and those who have read and enjoyed my past work. I think the basic idea is one people find compelling, so it's just a matter of spreading the word.
DAVID WISEHART: Why publish on Kindle?
RYAN CALLAWAY: Ebooks seem to be taking over the literary world. They're usually a little cheaper than paperbacks, and they also are more convenient to some readers. They don't take up shelf space, get old and yellow, or get lost at a friend's house when they want to borrow one (except for those kind enough to loan out their Kindles). For any publisher or author to ignore this rising trend would be foolish.
On the other hand, it's also more beneficial to authors. With Amazon's new 70% royalty offer, it allows us to keep a lot more of the money we earn. It's really a shame that most authors only make 5-10 percent of the profit from each book sale, especially when books are going for $5-10. Not to mention publishers usually charge a lot more than they need to. Kindle publishing allows us to set our own prices and maintain control. It also puts us before a growing audience.
DAVID WISEHART: What advice would you give to a first-time author thinking of self-publishing on Kindle?
RYAN CALLAWAY: Go for it! You really can't lose anything. Some publishers will be more hesitant about accepting a previously published book, but others won't care. Especially if you've managed to be somewhat successful on your own. That ought to give them greater confidence in what they'll be able to do with the book. Publishing on Kindle is a great option and as I said above, that's where the market seems to be going.
DAVID WISEHART: Thanks, and best of luck with your books.
December 8, 2011
Interview with David WiseHart (Part 1)
I'm not much of a blogger (I have never liked talking about myself) so I don't imagine posting too often here but to start off, this is an interview released back when "Lights Out" was published back in August of 2010.
http://kindle-author.blogspot.com/201...
DAVID WISEHART: What can you tell us about Lights Out?
RYAN CALLAWAY: Lights Out is a pretty simple but compelling story about a bad decision leading to a night a horror. The protagonist Durrell has been struggling financially and is presented with the opportunity to earn easy money and security by joining a gang. To join he has to participate in what's called the "Lights Out Initiation"—drive around late at night with the headlights of his vehicle off and wait for someone to give a courtesy flash. Then chase and murder that person in cold blood. On this night, Durrell is out with his girlfriend Jennifer and two senior gang members Ben and Damien.
A white van passes and flashes its headlights, leading to a pursuit down a long dark path. When they finally catch up to the vehicle it's idling in the middle of the road with the driver's door open and engine running. Durrell is forced to get out to carry out his task, but the driver has abandoned the van, leaving a cache of corpses in the back. At the same time, one of the others vanishes while no one is looking. The remaining three try to get back to town for help but end up trapped on the road—and find themselves in a cat and mouse game with something far more evil than any of them.
DAVID WISEHART: How do you create and maintain dramatic tension?
RYAN CALLAWAY: There are a few different tools I utilize. One is making sure that the reader is connected to the character(s) in the scene as much as possible. We have to be in his or her head. That's always important because a character we don't know and care about won't provide the same tension as one we love. I then pick different fears or phobias that the character has that are common to most people. Be it claustrophobia, fear of the dark, or even some of the childhood fears a lot of us seem to hang onto. Often when something frightening or suspenseful is happening around us, time seems to stand still. And that time leaves us alone with our thoughts which can sometimes make the situation all the more stressful. I try to maintain that throughout Lights Out because, in essence, it's a story taking place over the course of about 12 hours. But 12 hours can seem like an eternity when you want it to end—especially under frightful circumstances. So using the characters to portray that is one of my favorite ways to create that tension. It can also be in the descriptions, certain word choices, and even what you depict first. Applying frightening characteristics to everyday sights, for instance. There is a sort of "art form" to it and one that I find challenging and fun as a writer and reader.
DAVID WISEHART: How do you develop and differentiate your characters?
RYAN CALLAWAY: Well the "cast" is relatively small which makes it easier to identify all of them, and it also allowed me to develop them as fully as possible, despite the story being relatively short as far as real time. Durrell and Jennifer are the ones we spend the most time with, and both characters were based off of good friends of mine. Neither one is in a gang, I should mention. :) But Durrell is a basically goodhearted but, in this instance, foolish young man, and Jennifer is a sweetheart but hardened by life's experiences. Horrific situations can allow you to really delve into a character's mindset and discover who they really are deep inside. And the scenarios they both are presented with throughout the story reveal both of them pretty well. The other characters are developed as much as necessary, but Durrell and Jennifer were my focus.
DAVID WISEHART: Your story begins with a gang about to commit a crime. How do you establish reader sympathy for your lead character?
RYAN CALLAWAY: This was something I really thought about when I was developing the story. For Durrell, he's a kid who was taken care of by his grandmother all of his life, who now sees her beginning to break down, and he isn't able to return the support she once offered him. With the use of some carefully placed flashbacks and introspective character thoughts, I reveal that this wasn't an easy decision for Durrell. It's something he resorted to out of desperation. Right from the beginning readers will discover that he really is a nice guy—he's just made a stupid decision. Same with Jennifer and to a lesser extent Ben and Damien.
A lot of the people in gangs today, carrying out all sorts of violence and evil, aren't doing it because it's something they enjoy. Many of them do it because of the poverty they were born into, or the violence and abuse they experienced in their homes early on. There are a lot of factors that can lead to such a lifestyle. I don't excuse them, I'm all about justice and accepting responsibility for your actions—but living close to Camden and Philadelphia, I know quite a bit about what desperation can lead people to do. We all make bad decisions, some are just a lot worse than others. And a lot more costly.
DAVID WISEHART: Who do you imagine is your ideal reader?
RYAN CALLAWAY: Pretty much anyone who can enjoy a good horror/suspense story. There is some drama and a bit of romance, and redemptive elements are sown throughout as well. So it's not just a horror story for the sake of horror—there are several good themes I think a variety of readers might enjoy.
http://kindle-author.blogspot.com/201...
DAVID WISEHART: What can you tell us about Lights Out?
RYAN CALLAWAY: Lights Out is a pretty simple but compelling story about a bad decision leading to a night a horror. The protagonist Durrell has been struggling financially and is presented with the opportunity to earn easy money and security by joining a gang. To join he has to participate in what's called the "Lights Out Initiation"—drive around late at night with the headlights of his vehicle off and wait for someone to give a courtesy flash. Then chase and murder that person in cold blood. On this night, Durrell is out with his girlfriend Jennifer and two senior gang members Ben and Damien.
A white van passes and flashes its headlights, leading to a pursuit down a long dark path. When they finally catch up to the vehicle it's idling in the middle of the road with the driver's door open and engine running. Durrell is forced to get out to carry out his task, but the driver has abandoned the van, leaving a cache of corpses in the back. At the same time, one of the others vanishes while no one is looking. The remaining three try to get back to town for help but end up trapped on the road—and find themselves in a cat and mouse game with something far more evil than any of them.
DAVID WISEHART: How do you create and maintain dramatic tension?
RYAN CALLAWAY: There are a few different tools I utilize. One is making sure that the reader is connected to the character(s) in the scene as much as possible. We have to be in his or her head. That's always important because a character we don't know and care about won't provide the same tension as one we love. I then pick different fears or phobias that the character has that are common to most people. Be it claustrophobia, fear of the dark, or even some of the childhood fears a lot of us seem to hang onto. Often when something frightening or suspenseful is happening around us, time seems to stand still. And that time leaves us alone with our thoughts which can sometimes make the situation all the more stressful. I try to maintain that throughout Lights Out because, in essence, it's a story taking place over the course of about 12 hours. But 12 hours can seem like an eternity when you want it to end—especially under frightful circumstances. So using the characters to portray that is one of my favorite ways to create that tension. It can also be in the descriptions, certain word choices, and even what you depict first. Applying frightening characteristics to everyday sights, for instance. There is a sort of "art form" to it and one that I find challenging and fun as a writer and reader.
DAVID WISEHART: How do you develop and differentiate your characters?
RYAN CALLAWAY: Well the "cast" is relatively small which makes it easier to identify all of them, and it also allowed me to develop them as fully as possible, despite the story being relatively short as far as real time. Durrell and Jennifer are the ones we spend the most time with, and both characters were based off of good friends of mine. Neither one is in a gang, I should mention. :) But Durrell is a basically goodhearted but, in this instance, foolish young man, and Jennifer is a sweetheart but hardened by life's experiences. Horrific situations can allow you to really delve into a character's mindset and discover who they really are deep inside. And the scenarios they both are presented with throughout the story reveal both of them pretty well. The other characters are developed as much as necessary, but Durrell and Jennifer were my focus.
DAVID WISEHART: Your story begins with a gang about to commit a crime. How do you establish reader sympathy for your lead character?
RYAN CALLAWAY: This was something I really thought about when I was developing the story. For Durrell, he's a kid who was taken care of by his grandmother all of his life, who now sees her beginning to break down, and he isn't able to return the support she once offered him. With the use of some carefully placed flashbacks and introspective character thoughts, I reveal that this wasn't an easy decision for Durrell. It's something he resorted to out of desperation. Right from the beginning readers will discover that he really is a nice guy—he's just made a stupid decision. Same with Jennifer and to a lesser extent Ben and Damien.
A lot of the people in gangs today, carrying out all sorts of violence and evil, aren't doing it because it's something they enjoy. Many of them do it because of the poverty they were born into, or the violence and abuse they experienced in their homes early on. There are a lot of factors that can lead to such a lifestyle. I don't excuse them, I'm all about justice and accepting responsibility for your actions—but living close to Camden and Philadelphia, I know quite a bit about what desperation can lead people to do. We all make bad decisions, some are just a lot worse than others. And a lot more costly.
DAVID WISEHART: Who do you imagine is your ideal reader?
RYAN CALLAWAY: Pretty much anyone who can enjoy a good horror/suspense story. There is some drama and a bit of romance, and redemptive elements are sown throughout as well. So it's not just a horror story for the sake of horror—there are several good themes I think a variety of readers might enjoy.
