Weldon Burge's Blog

 

A common question asked of writers is, "So, where do your story ideas come from?" Stephen King answered the question this way: "I get my ideas from everywhere. ... 'What if' is always the key question."

 

I wholeheartedly agree. Ideas come winging at me like missiles from anywhere and everywhere—overheard snippets of conversations, newspaper items, dreams, pretty much anything. Story prompts suggested online and in writing workshops provide fodder for thought, as well. I was even inspired to write a story about sea monsters while watching a Geico commercial. It happens.

 

There are so many ideas that I couldn't possibly write all the stories that occur to me. I have notes everywhere, jotted in moments of hot inspiration. Post-It notes are plastered all over my desk. Moleskine notebooks littered with scribblings and random thoughts (many now indecipherable—what the hell was I thinking?).

 

Writer's block? What's that? I've found my own experiences and observations spark stronger imagination and story ideas. The trick is just being open to whatever occurs to me, and then asking that magic question, What if? 

 

Case in point is my short story "Another Highway Fatality" (originally published in Future Mysteries Anthology Magazine and subsequently added to my short story collection, Broken: Stories of Damaged Psyches). The story originated years ago when a coworker told me she believed she'd been stalked while driving after midnight in rural New Jersey.

 

She was returning with her husband from a weekend trip to the Jersey shore. She drove while her husband slept in the back seat. On the dark back roads of New Jersey, a car raced up from behind, high beams in her rearview mirror blinding her, and then stayed behind her for miles. She slowed, hoping the person would pass. No, the car kept pace behind her. Miles later, with the car still following, she was so freaked out that she woke her husband. When he sat up in the back seat and looked out the rearview window, the car behind them suddenly accelerated, passed their car, and sped away. They could not see, much less recognize, the driver.

 

She assumed, when her "stalker" realized she was not alone, that he was no longer interested in her and hurried away. But was her imagination just working overtime, or was she genuinely in danger? Would the car have eventually forced her off the road? If so, what then?

 

On hearing her story, I recognized a "what-if" story buried there, one involving fear, perception, and paranoia, what is real and what might not be real. I enjoy reading and writing psychological horror and suspense, and the story quickly took shape in my mind with a psychological slant, focusing on a disturbed central character (a damaged psyche). Of course, my story ends far darker than my coworker's story—no happy ending here! What I find fascinating is that someone else hearing my coworker's experience would likely develop a storyline far different from the one I developed.

 

Story ideas are funny that way.

 

 

 

 

 

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In a previous blog about building author platforms, I mentioned the importance of writing book reviews. We, as writers, consistently seek them; some argue they're crucial for book sales. But do you write book reviews for other authors? I think there are more pros than cons to do so. Consider these points.

 

What do you hope to accomplish? The clear aim is to provide sufficient details to convince readers to purchase the book. Pinpoint who would appreciate the book and customize your review for them. However, reviews shouldn't simply summarize the book; summaries exist on Amazon, Goodreads, or Bookbub, so why repeat them? It's not supposed to be Cliff's Notes. Instead, review the book as a reader, focusing on the value of the book and what you found impressive.

 

As a fellow writer, you can provide a unique perspective on the work, unlike the typical "I loved the book" review that offers no information to a potential reader. Focus on the story, what worked for you as a reader, and what you particularly liked about the story as a writer. If there are significant craft problems, pass on the review. Writers often slip into "editor" mode when writing reviews. Strive to stay in "reader" mode.

 

I never write negative book reviews because I know how important a complimentary review is for a writer. I know how hard it is to succeed as a writer, and I have no desire to make their jobs more difficult. If I can't write a positive review, I won't write one. Simple as that. Some would argue that you cheat a writer of helpful advice if you don't point out the problems in their book. That's the wrong emphasis. Remember, the purpose of a review is to persuade readers to buy the book, not to teach the writer a lesson. Review the book, not the author. I leave reviews for most books I read if I have something positive to write. You should do the same.

 

Be wary of "review swapping," which many writers encourage. Amazon removes reviews deemed as swaps (as well as reviews from family members and friends). That's one reason why Amazon gives more preference to reviews from verified purchasers. If you see this as a problem, post your reviews on your blog or in your newsletters, providing links in your social media to the author's online content. This approach also helps build your author platform and targets your readers, offering them information they'd appreciate.

 

Let the author know you've reviewed their book. Of course, beyond the ego boost, this helps the author build their platform and expand their audience to your readership. The author will likely post links to your review on their social media, subtly building your platform and extending your reach to that author's readership as well. And maybe they'll reciprocate and review one of your books on their blog in the future. It's a win-win. 

 

Ask other writers, especially those who share your genre, to review your books. There is a stigma against this, especially considering the review swapping mentioned earlier. Bear in mind that writers maintaining blogs and newsletters constantly look for content, such as book reviews. I do this in my newsletter. Also, keep in mind that many bloggers entertain guest reviews for their postings. Volunteer to write guest reviews if the opportunities arise. 

 

From time to time, I'm asked to read an advance reader copy (ARC) of a book yet to be published. The strategy is to gain an early review or to solicit a short blurb. If you have an upcoming book, consider asking your writer friends if they will read an ARC and provide a review. In my experience, people rarely decline unless they are too busy. I've never turned down an ARC, although I don't always provide a review. If you're open to receiving ARCs, let your author friends know. 

 

Writing book reviews has many advantages, both for you and the author. Writing reviews should always be on your "to-do" list as a writer.

 

What are you reading now? Worthy of a review? If so, go for it!

 

 

A little over a year ago, I moderated a panel discussion, "Why Authors Should Seriously Consider Self-Publishing," at the Kirkwood Public Library (DE). The panelists responded to many questions, from me and the audience, and one of the questions dealt with hybrid publishing. I must confess, I've not had experience with this, and I recently asked writer, publisher, and good friend Austin Camacho to educate me on the process. Austin currently operates Audecyn Books, which caters to writers exploring hybrid publishing. (Austin is also the primary organizer of the annual Creatures, Crimes, and Creativity Conference held in Columbia, MD.)

If you're interested in hybrid publishing, consider Austin's following explanations and advice.

 

How would you define hybrid publishing?

 

Hybrid publishing is a publishing model that includes all the elements of traditional publishing, with the significant difference that authors pay the cost of publishing and do not receive an advance on royalties. You could call it self-publishing with assistance.

 

How does it differ from vanity presses?

 

Vanity presses publish books for anyone willing to pay. They are not selective about what they publish and don't really care whether the book is successful. They take their money and run. In contrast, a hybrid publisher has quality publication standards and will:

 

Have a vested interest in producing a high-quality book.
Be selective about which books they will publish.
Offer quality distribution and marketing services.
Foster professional author/publisher relationships.
Be transparent about publishing costs and fees.

 

 What are the advantages for writers?

 

Once a writer decides to self-publish, he or she faces some challenging choices. One option is to do it all themselves. This involves a steep learning curve, and a great deal of time invested. And amateur work often looks like amateur work. Or the writer can seek out experts who already have the skills and knowledge needed. But finding and vetting book designers, cover designers, editors, proofreaders, etc., can still take a lot of time. An experienced and reputable hybrid publisher can give you a quality product without a huge time investment.

 

 

What is the downside (or things to watch out for)?

One downside to hybrid publishing is that, like traditional publishing, the author must place considerable faith in the publisher. Like any form of self-publishing, it is a gamble with no guarantee of sales. As with many specialists (editors and cover artists), pricing is inconsistent, with no reliable correlation between cost and quality. Like other small presses, hybrid publishers generally don't have the distribution strength of the major publishers. And finally, you must scrutinize the contract to ensure the publisher offers all the things I mentioned in my answer to the second question. There are vanity presses out there selling themselves as hybrid publishers.

 

 

What should writers expect from the process?

 

Writers should expect a clear timeline covering the entire process. They should expect the publisher's best advice at every step of the process, but since this IS self-publishing, the writer has the right to final consent at every stage. That includes the cover, of course, but also the size and price of the book, things like font size, genre description, target audience, etc. The author should be kept up to date as work progresses and receive a galley proof to go over before the book is finally published.

 

 

Tell us about Audecyn Books.

 

The team running Audecyn Books is the same team that ran Intrigue Publishing for 10 years. Intrigue was one of the many small presses that died during the pandemic. We shifted to this model because we wanted to stay in the business and saw some publishers charging what we thought were outrageous amounts to help authors self-publish (as much as 10 times what we now charge).

 

During our publishing career, we collaborated with many professionals and made good friends in the business. I tell authors working with us that we serve the same function as a general contractor. We have the connections to bring in the right designer, cover artist, editor, proofreader, marketer, and so on for a particular book project, and can do it close to what it would cost the author to hire them all themselves. By dealing with ISBNs, distribution, and other details, we free authors to spend their time writing. All the details are on our website, https://www.audecynbooks.com/

 

Thanks, Austin, that's very helpful. I'm looking forward to C3 this year, as always!

 

Want more writing and publishing tips, interviews with fellow authors, book reviews, upcoming author events, and my latest news? Subscribe to my e-letter, Thoughtful Chats with Writers & Readers.

 

 

 

Years ago, at the Creatures, Crimes, and Creativity Conference, I was asked out of the blue to moderate a panel discussion about using music to inspire writing. The original moderator had bailed for some reason, so I was asked to step in. I had 10 minutes to prepare for a 45-minute discussion with three panelists I'd not met before. I had no idea what questions to ask.

 

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I had to wing it, and, despite my unpreparedness, the discussion went well. But when I mentioned that I listen to heavy metal when writing, the audience seemed surprised. This laid-back, quiet guy listens to Megadeth, Metallica, Anthrax, Testament, and Exodus? How is that possible? Of course, most people in the audience had never even heard of these bands. This made me wonder how music actually plays into a writer's craft.

 

The truth is, I don't listen only to heavy metal. I'm an eclectic listener, depending on what I'm writing at the time. Writing horror, metal gets me into the right groove. Suspense, usually blues guitar like Joe Bonamassa and Stevie Ray Vaughan. Nonfiction, often classical music. It's a mixed menu that inspires my writing in diverse ways. 

 

Which leads me to a peripheral topic. I believe heavy metal and classical music are kissing cousins. While some might consider that sacrilegious, maybe even blasphemous, I see clear similarities between the two music genres. 

 

When it comes to classical music, I especially like tone poems like Mussorgsky's Night on Bald Mountain and Pictures at an Exhibition, Stravinsky's The Firebird, and Rimsky Korsakov's Scheherazade. Tone poems are generally based on stories, which appeal to me as a writer. I would argue that Iron Maiden's "Rime of the Ancient Mariner," based on Coleridge's classic poem, is also a tone poem demonstrating the same diverse movements, rhythms, harmonies, and textures as the classical pieces. The same with the band's "Flight of Icarus," "Phantom of the Opera," and "Paschendale." Metallica's "One" is based on Dalton Trumbo's anti-war novel Johnny Got His Gun. Tone poem? I think so.

 

Consider also "2112" by the Canadian progressive metal band Rush. The 20-minute piece, with a science fiction theme based on Ayn Rand's writings, has seven movements, one of which includes a short sequence from Tchaikovsky's "1812 Overture." There's sophistication here, clearly reflecting classical influences. In my opinion, "2112" can also be defined as a tone poem.

 

If you listen to heavy metal, you'll notice distinct symphonic structures in much of the music. Many bands, in fact, have played with symphony orchestras. Metallica performed with the San Francisco Symphony. As far back as 1969, Deep Purple recorded "Concerto for Group and Orchestra" at the Royal Albert Hall with the Royal Philharmonic Orchestra. And let's not forget the Trans-Siberian Orchestra, which includes musicians from the metal band Savatage.

 

Violinists Niccolo Paganini and Antonio Vivaldi inspired speed metal guitarist Yngwie Malmsteen, whose music is defined as part of the neoclassical genre of heavy metal. Malmsteen even composed the "Concerto Suite for Electric Guitar and Orchestra in E-flat Minor," performed with the Czech Philharmonic and the New Japan Philharmonic.

 

When I listen to Stravinsky's The Firebird, Kamelot's Ghost Opera (symphonic metal), and Testament's Brotherhood of the Snake (thrash metal), I hear similar characteristics that I don't hear in most other music genres. There's finesse and complexity that I don't hear, for example, in most country music and pop. I'm sure that's debatable and may depend on musical preferences, but I find classical music and heavy metal appeal to my creative side.

 

 

 

 

What do you think? What do you listen to while writing? Let us know in the comments.

 

 

Want more writing and publishing tips, interviews with fellow authors, book reviews, upcoming author events, and my latest news? Subscribe to my e-letter, Thoughtful Chats with Writers & Readers.

 

I've been giving much thought to creating author platforms (largely because I'm planning a workshop on the topic) and realizing I've been slack in the process. I need to change that. Developing and maintaining an author platform requires consistent effort and time to ensure success, and many writers wonder if the effort is justified. Yes, it is. 

 

A common mistake among writers planning their author platforms is to consider it merely a marketing tactic. Sure, it's part of your marketing strategy, but it should be much more than that. It's not about focusing on your book(s) and yourself. Your author platform's chief purpose is building relationships. Some would say this is marketing, but I believe it demands a more targeted perspective.

 

Networking with fellow writers is a crucial, yet frequently overlooked, aspect of building an effective author platform. This is just as important as building relationships with your readers. But how do you go about this? Consider the following simple options.

Join online communities and contribute to relevant conversations. For example, here in my home state, we have the Delaware Writers Network and the Delaware Authors Forum groups on Facebook. Delaware has a thriving writers' community, but it's only valuable if you participate. No matter where you live, there are online communities you can join. Most author associations offer opportunities to join conversations online. Take advantage of them. It helps get your name out there.


Attend local author events. Seminars, workshops, and reading events provide excellent means of networking with other local writers. I've met many of the writers I've collaborated with at library author programs and presentations. Even virtual events can lead to important connections in the business. Help promote the events in your growing network. Share your thoughts about the events you attend, especially concerning the things you've learned. The more you participate, the greater the opportunities to expand your platform. Perhaps you'll be asked to join a panel discussion about one of your favorite topics. If so, jump on that opportunity.


Attend author conferences. Like local author events, conferences can broaden your platform. For example, I've attended the annual Creatures, Crimes, and Creativity Conference for years and have met many fellow writers. There's nothing better than bumping elbows with best-selling authors and learning from them. As a publisher of anthologies, I've published writers I've met at C3—great for them, great for me. If you're nervous about attending conferences, don't be. The writers who attend these events are always amiable and keen to talk.


Pitch guest articles and interviews to blogs, podcasts, magazines, and journals. The persistent need for additional content, especially with blogs, is common to all of these. They are open to inquiries, so go for it. You might say, "Well, I'm not an expert. Why would they want anything I have to offer?" The truth is, you've had unique experiences that could appeal to an audience. Evaluate the programs to see how you could contribute. For example, I've interviewed other writers, especially those in the suspense and horror genres like myself, for magazines and blogs. Those writers appreciated the exposure in the media, and I profited from collaborating with them. As you become better known for your contributions to these media, you get your name out there and enhance your reputation in the field.


Review authors you've befriended and continue to boost their careers. They'll likely reciprocate and review your books and promote you as well. We always aim for more reviews, and they're tough to garner. If you're not reviewing books, you're missing an opportunity to promote your own work. Likewise, if you're not promoting other writers, you're limiting your reach in the business. Writing and publishing are not insular businesses; you can't succeed in a vacuum. The more you develop mutually beneficial relationships with other writers, the stronger and more effective your author platform will be.

In short, support your fellow writers to expand your network and improve your author platform. Start with the writers you currently know and begin to enhance your network from there. It's a win-win strategy!

 

 

Phil Giunta is a talented, prolific writer, one I've had the pleasure of publishing ("Bottom of the Hour" in A Plague of Shadows) and we've shared space in two anthologies (Beach Nights and Beach Pulps). He is now delving into the realm of self-publishing and has recently published the second edition of his debut novel, Testing the Prisoner. I was curious about the content of the book and the process Phil used to write it, as well as his experience as a first-time self-publisher. He welcomed the following interview. 

 

I just finished your novel, Testing the Prisoner. Can you explain the meaning of the title in light of the book's content?

 

For many people who experience trauma, especially at an early age, it could take years or decades before they come to peace with it. Childhood trauma has the potential to "rewire" your brain, which affects your self-esteem, your outlook on life, your reactions, your ability to cultivate relationships, and more. In that case, you're a prisoner of your trauma, and that is true for Daniel Masenda, the protagonist in this novel. Throughout the story, a demonic character puts Daniel through a test to see if he will either relent to his repressed bitterness and rage or overcome it and make the right choice in the end. Hence, Testing the Prisoner.

Was the novel cathartic for you?

 

I wish I could say so, but it would take another decade after the book was published before I came to peace with my past and felt comfortable discussing my experiences on the receiving end of abuse and its lifelong effects including chronic depression and anxiety, which plague me to this day.

 

Over the past fifteen years, partly as a result of social media, I've been relieved to see the stigma around trauma and mental illness fading such that more people feel as open to speaking about these topics as they do about physical illnesses.

How much research was required as you wrote the book?

 

The psychic-medium character, Miranda Lorensen, was loosely based on a friend and former co-worker who possesses such abilities. I asked her occasional questions about her experiences communicating with the other side and some of those were incorporated into the novel, but embellished for drama.

 

Aside from that, most of the story was a combination of personal experiences and fictional events.

This is the second edition. How much revision was required for the second publication?

 

I trimmed 16,000 words out of the story for the second edition and rewrote a few scattered scenes, bringing the word count back to what it was when I finished the second or third draft before letting critique partners and beta readers loose on it.

 

At the time, in 2007, I was already an experienced short story writer, so I tended to write lean and still do. This was my first novel and it weighed in at approximately 50K words until I allowed myself to be persuaded by critique partners, beta readers, and editors that the novel needed more of this, that, and other things. Some of the advice was valid, but much was not. Having gained experience as both a writer and editor since then, I took the opportunity to revisit Testing the Prisoner in 2023, trim it back down, and create the definitive edition. While the novel earned excellent reviews from day one, I'm pleased to see this new edition is performing even better.

 

Why did you decide to self-publish?

 

The original publisher, Firebringer Press, closed shop in 2021. At that point, I decided to republish the three paranormal mystery novels that I had released through them between 2009 and 2018. This was also the perfect opportunity to review and revise them.

 

After years of working with various small presses, I learned much about the mechanics of publishing a book from interior layout for print and ebook to the various distribution options (i.e., Amazon, Draft2Digital, Ingram Spark, etc.). I knew I would need to outsource cover art and layout, but I had someone in mind immediately, which leads to the next question.

How did you decide on the cover? Who provided the art?

 

The previous edition's cover depicted objects, specifically a cross and a revolver. These are elements that represent facets of Daniel's upbringing. Given the amount of editing that went into the second edition—and the fact it was to be published under a new imprint—I felt it necessary to give the book a facelift. I wanted cover art akin to a movie poster.

 

At a comic con many moons ago, I shared a dealer table with artist Scott Barnett who had just released a self-published comic book called Dead Man's Party with writer Jeff Marsick. Scott's art impressed me and knew I'd someday tap him for a cover. We connected on Facebook and when the time came for the second edition of Testing the Prisoner, Scott was seeking commissions. When I described the story to him over a Zoom call in 2022, he instantly conjured an image of Daniel cringing in mental anguish, which became the core of the cover. He then added the other main characters around that.

 

As of this writing, Scott is finishing the cover to By Your Side, my second paranormal mystery novel from 2012. The new edition is due out in April of this year.

What were your obstacles/considerations when self-publishing?

 

The most prominent obstacle was fear. I never wanted the hassle of being a publisher. I much prefer to write and submit stories to others. Maintaining a writing career while holding down a high-stress, full-time job takes enormous time and energy and often leaves me burned out. Adding all the tasks and expenses necessary to self-publish a book filled me with dread. Nevertheless, I knew there was no other way to keep these novels viable.

 

Over the years, I'd also learned of various small press and indie publishing awards, and I wanted to give my books a shot at some of these. As of this writing, I'm pleased to announce Testing the Prisoner was a finalist in the American Book Fest 2023 Best Book Awards (horror category) and is up for two more awards, the results of which should be announced this spring.

 

What is your prime advice for an author contemplating self-publishing?

 

The best feature of self-publishing is that you have control over everything. The drawback is you are also responsible for everything, including the costs. Do your research to determine the best and most affordable ways to format, publish, distribute, and promote your book, and that includes avoiding scams. Writer Beware (https://writerbeware.blog) is an excellent resource for this.

 

 

Thanks, Phil! For more on Phil and his work, check out his website at https://www.philgiunta.com.

A few years ago, at the Creatures, Crimes, and Creativity conference, I was asked to be on a panel discussion about worldbuilding. I was a last-minute recruit for the discussion. I write crime fiction and horror. What in the world could I say about … well … worldbuilding? I had to wing it and I guess the discussion went well. No heckling occurred. Nothing was thrown at me. But afterward, I gave the topic more thought. Was there a place for worldbuilding when writing crime fiction?

 

When the term "worldbuilding" is mentioned among writers (and readers), most assume it's a concept primarily relating to fantasy and science fiction. But the truth is, worldbuilding is a crucial element of all fiction. How so? And how so particularly when writing suspense and thrillers?

 

First, let's consider Ed McBain's fictional city, Isola, in his 87th Precinct series. The grittiness; the atmosphere; the buildings, alleys, and streets are all typical of a large city, say New York or Philadelphia. But Isola is an imaginary world, much like Oz or Arrakis. Isola is not an actual place, it's not on any map, but I'm sure McBain took great pains to make it seem real to the reader. That's worldbuilding.

 

In my thriller, Harvester of Sorrow, I followed McBain's lead by creating a fictional city, New Warfield. I patterned the small city after Wilmington, Delaware. (I even took a map of Wilmington, stripped out the names of the streets, and renamed them to suit the construct of the novel.) But New Warfield is decidedly not the city in Delaware. The police headquarters are different, as are the business offices, hospitals, and physical elements of New Warfield. The characters and story are at the core of this creation, and, in that sense, the city is unique. Worldbuilding? I think so.

Harvester of Sorrow is the first in a planned series centering on the main character, police detective Ezekiel Marrs. So, the worldbuilding process is also essential for maintaining consistency and continuity from book to book. For example, if the ME Office is on Sycamore Street in the first book, it can't be on Oak Street in the second in the series. Creating a "bible" for the series is simply another form of worldbuilding.

 

Readers of crime fiction come to a book with preconceptions. They can visualize an abandoned factory, a city park, and an alley littered with garbage. The trick to worldbuilding is to give the reader the extras, taking them beyond those preconceptions. It requires specificity and attention to detail. For example, the concluding confrontation in Harvester of Sorrow takes place in a derelict foundry. Here's an excerpt.

 

 

 

The concrete floor had crumbled and fallen in many areas ahead of him. Some craters were two or three inches deep that would be too easy to trip over. If the main floor was crumbling, he wondered about the other floors and walkways above. He was sure much of the structure had rusted and deteriorated over the years. It would probably be easy to plummet from high above, falling through collapsing catwalks and floor grids. So many unseen hazards that Marrs could only imagine.

 

Marrs wished he'd seen the foundry's floor plan before entering it, but there'd been no time. Now he was in the dark with no bearings, on the verge of being lost. And he didn't know where Dekker was now in the building—or, worse, Edouard and Joy.

 

Something glinted to the right, and he turned his light in that direction.

 

Tools.

 

There was a section of just tools, probably a storage area. He approached the bins and shelving of old foundry tools, most of which were unfamiliar. Why hadn't this stuff been salvaged or sold as scrap metal?

 

Marrs noticed that some tool bins and shelves were labeled, but most were not. Many labels were now unreadable. He, of course, recognized the hammers, the shovels, trowels, and other familiar tools. But other strange instruments were utterly alien to him. He had no clue how they'd been used.

One bin, labeled FLOOR RAMMERS, held three long-handled, spear-shaped devices. In another, there were four shovels, but the bin was labeled SHOWELS. Marrs assumed it was a misspelling. Yet another bin contained one large, flat metal bar, apparently STRIKE OFF BARS.

 

There were piles of misshapen metal, probably castoffs from the steelmaking process. Along the wall were piles of ingots and scrap metal. Marrs wished he'd known more about the foundry, more about the industry. It would help him in this situation. But he knew almost nothing and now felt lost.

 

Marrs then could hear the echo of his footsteps, as if he'd just entered a cavern. He was on the main foundry floor, near the massive furnaces. He could make out shapes of large machinery. His flashlight did little to illuminate the huge expanse of the room. He gripped his gun more tightly, fearing that some monstrous, black shape would materialize from the surrounding shadows.

 

For some bizarre reason, Marrs suddenly thought of recluse spiders. There had to be spider nests all around here. And rats. Probably plenty of rats, considering the foundry was on the waterfront.

 

He really didn't like this place.

 

Above his head were enormous crucibles and ladles hanging from massive chains. If any of the chains suddenly snapped and a ladle fell, he'd be crushed. He would splatter like a bug.

 

He had to stop thinking that way.

 

Move on.

 

 

 

Notice the description is through the eyes and comprehension of Marrs—not just what he sees but his thoughts, his fears, and his subtle emotions. Readers typically abhor lengthy exposition. When describing your imagined world, it's far more effective to see that world through a character's point of view. Simultaneously, when world-building, you further the development of the character. It's a win-win when done well!

(This was originally a guest blog on The Book's the Thing website.)

 

 

When I first started writing all those years ago, I was all over the place when it came to genres. The following story was one of my first published. I suppose you could categorize it as a fantasy, but it's unlike anything I've written in recent years. Much of it is based on growing up in Middletown, Delaware, and the times I spent in the woods and on the nearby lakes. Oh, and the many times I skipped school.

 

The story has only been published once, in Glassfire Magazine. I'm not sure of the year the story was published.

 

 

I thought it would be fun to post it here—more of a reminiscence than anything.  I hope you enjoy it!

 

 

 

The Last Hooky

 

By Weldon Burge

 

 

Mr. McCardy, the truant officer, lurked in every shadow, ready to snare any errant student. Yet, Tommy Makepeace had eluded his grasp since the beginning of the school year. Tommy knew his luck was running thin, so he planned one last day of hooky to go swimming at Silver Lake. Indian summer had arrived, and he knew the bitter weather was only a week or so away.

 

He caught up with Joey Cranston in the school hallway the day before. "Joey, let's play hooky tomorrow," Tommy whispered in his ear. "Just one last hooky, down by the lake. Whaddaya say?'

 

Joey shook his head as he always did when the topic of skipping school arose. "My Dad would whip the tar outta me."

 

"Oh, c'mon! This might be our last chance."

 

"Can't. Sorry."

 

"Sissy!"

 

Tommy went solo.

 

* * *

 

Tommy hated his parents. They'd decided, without soliciting his opinion, to pack up and move to another town several hundred miles away. He thought that would land him somewhere near the heart of darkest Africa. It didn't. His worst fears unrealized, he was relieved and perhaps a bit disappointed to find that Middletown, Delaware, was an exact replica of the town he'd just left in Virginia.

 

There was one horrible difference. In Middletown, Tommy was the strange kid, the outsider not yet accepted. Joey Cranston latched on to him like a puppy and that stupid Susan Sullivan kept trying to talk to him in the cafeteria and on the playground—but they didn't really count. He had no friends. That's why Tommy played hooky.

 

The only fun aspect of moving to Middletown was the Everett Theater. His father was the projectionist, so Tommy sat in the projection booth every Friday night to watch the newly released movies and double features. He loved Abbott & Costello Meet Frankenstein, Abbott & Costello Meet the Killer, Mighty Joe Young, Angel and the Bad Man, and other John Wayne westerns, and especially the serials, like "Batman and Robin" and "Flash Gordon." He loved watching movies with his Dad.

 

Maybe he didn't hate his parents after all.

 

* * *

 

As Tommy raced down Hoffecker Street toward the east side of town, Mr. McCardy suddenly turned the corner at the end of the block ahead of him. Tommy dove behind the huge hydrangea in front of old lady Tyler's house. He hunkered down, praying that the truant officer hadn't seen him. Large black boots stopped on the sidewalk not three feet in front of him. The massive boots reminded him of the Frankenstein monster's. He held his breath. From under the bush, he heard McCardy mutter, "Damn kids." Then the man moved on down the block.

 

Once he was sure McCardy was no longer nearby, Tommy ran the rest of the way to the edge of town. From Farmer Green's fields, he could reach the forest that surrounded Silver Lake by working his way through the millions of rows of dry field corn. A twelve-year-old boy could find plenty of places to hide out there.

 

Tommy loved Indian summer. The days were still warm but getting shorter. The leaves made their magnificent metamorphosis, creating fiery orange and red splashes throughout the trees. Who needs musty books and cold desks and cranky teachers screeching chalk on blackboards? The forest taught him more in a day than a legion of teachers could in a year.

 

When Tommy reached the edge of the forest, he hurried to the stream that fed the lake. He took off his shoes, stuffed his socks inside, and tied the laces so that he could hang the shoes around his neck. He then waded into the stream, overturning rocks on the bottom to watch crayfish scoot backward in tiny puffs of mud. Tommy wondered if they were actually alien creatures that, if you weren't careful, would burrow into your flesh. He couldn't imagine anything worse than being infested with crayfish.

 

Tommy then searched for gold along the path, pretending to be Humphrey Bogart in The Treasure of the Sierra Madre. He often found chunks of quartz with what looked like gold speckled throughout. As he gathered rocks along the trail, he noticed a rock protruding from the ground like a miniature tombstone. Tommy tugged the stone free and wiped off the soil. The stone was perfectly flat and oval, polished smooth by time. He rubbed it between thumb and forefinger and knew immediately what to do with it. He smiled and stuffed it into his shirt pocket with the other stones he'd collected.

 

When he reached Mighty Joe Oak, he knew he was near to the lake. Tommy named the tree because it was massive, the biggest in the forest, and maybe older than time itself. And he had seen Mighty Joe Young, his favorite movie of all time, at the Everett Theater with his father.

 

A squirrel spiraled up the trunk and disappeared into the tangle of branches above. Tommy followed it. He had climbed the tree many times before, but this day he went up higher than he'd ever braved. He pretended to be Mighty Joe Young saving the little girl from the burning orphanage, hanging from a branch by one hand miles above the ground.

 

Tommy froze, instantly aware that someone was watching him. A faint rustling noise came from below. McCardy? Because the leaves were so dense, he could only see the forest floor directly below him. Was that a moving shadow? Or just a play of sunlight through the limbs? Probably just another squirrel.

 

Tommy sat perfectly still on the branch for what seemed like hours until the eerie sense of being watched had passed. He shimmied down the tree. It was time to head to the lake—no more dilly-dallying!

 

He wanted one last swim in Silver Lake.

 

He hoped Mr. McCardy wasn't waiting there to cuff him.

 

*  *  *

 

The pond was surprisingly quiet. A subtle breeze rippled its surface. Tommy walked to the edge of the water and looked down at his distorted reflection.

 

Something stirred behind him, near the huge willow that stretched its feathery limbs across the water.

 

Oh no! Tommy thought. Not McCardy. Not now!

 

As he slowly turned, he heard a giggle.

 

Sitting beneath the willow was Susan Sullivan.

 

"I thought you'd be here, Tommy Makepeace," she said. She smiled at him the way she always did. She never smiled like that at anyone else. "Where's Joey Cranston?"

 

"Joey's too chicken to skip school," he said. He tried not to look into her eyes. They were traps to snare his soul. "I didn't think girls played hooky."

 

"Most don't. I do."

 

His eyes met hers. For some reason, he felt that years, long years, bridged that gaze as if he'd known her forever. He had to look away, break the spell, but could not. She instead broke the gaze. He immediately wondered who was bewitching whom.

 

"It's nice here by the lake," she said. "I think I know why you come."

 

"I come 'cause I want to be alone."

 

"That's not true. You hate being alone. This is the only place that makes you happy." She sighed. "I've been waiting here for you for so long."

 

Tommy turned again to the lake. He reached into his shirt pocket and pulled out some stones.

 

"I like to skip stones," he said. "That's why I come out here."

 

"How good are you?"

 

"The best."

 

He tested a stone in his hand, then hurled it. The stone hopped twice, then angled too sharply and plunged into the water. The next stone skipped five times. He wasn't satisfied. Joey had skipped a rock seven times and Joey was just a sissy. Besides, Susan was watching.

 

He pulled out the special stone, the one that reminded him of a tiny tombstone. The key was flexing the wrist and releasing the stone at the exact moment, imparting a flawless rotation.

 

He closed his eyes, concentrated, then let it fly.

 

The stone skipped ten times!

 

He turned to Susan with a victorious grin.

 

"I could never do that," she said, returning his smile.

 

"That's 'cause you're a girl." Just a stupid girl, he thought. But he liked the way she smiled at him.

 

He sat under the willow beside her. They stared at the placid water. He wanted to say something to Susan, anything, but the words would not come. Maybe he didn't have to say anything.

 

He pulled at tufts of grass by his side. A long, thin blade happened into his fingers. He plucked it from the earth, rolled it gingerly between his fingers just to feel its wonderfully green texture, and then inserted it between his two top-front teeth. The blade of grass tasted like autumn. He could almost savor the waning sun, the slight chill in the air. He lay back in the soft grass to watch the clouds drift above the willow branches. The only sound, high in the tree, was that of a cicada, its raspy drone getting louder but oddly comforting.

 

Susan stretched out next to him in the grass. Her hand touched his. He didn't resist.

 

This is the place he always wanted to be, a forever place. He closed his eyes and smiled.

 

Tommy didn't see the long shadow extend across his prostrate form or McCardy's dark, massive hand reaching down for him ...

 

*  *  *

 

The green line on the EKG monitor flattened.

 

Dr. Kahlil switched off the monitor to end the drone of the EKG alarm. He then turned to Joe Cranston, who sat alone next to the hospital bed. "I'm sorry."

 

Cranston took Tom's hand in his own. The hand wasn't cold yet. "He had a heart as big and as strong as a horse."

 

"The cancer had pretty much spread throughout his lymphatic system," Dr. Kahlil said.

 

Tom nodded. "He called me Joey last night. Hadn't called me that since we were kids." He sighed, and shook his head. "Ever since Susan died three years ago, I guess he had nothing left. No kids. Not like they didn't try. They were childhood sweethearts. You'd think they'd invented love, they were so compatible.

 

"Last night, Tom was lucid for just a moment. He looked me straight in the eye and said, 'Joey, let's play hooky. Just one last hooky, down by the lake. Whaddaya say?' Before I could answer, his eyes lost their focus, and I knew he'd left me behind. He always left me behind. I guess I've always been afraid.

 

"Tommy always loved to play hooky."

 

© 2023 Weldon Burge

 

When I was writing my debut thriller, Harvester of Sorrow, I spent a great deal of time developing my protagonist, police detective Ezekiel Marrs. In fact, the character had several names in earlier drafts before I settled on "Ezekiel Marrs," and that name solidified the character in my mind. Other writers undoubtedly know what I mean and how that works. Characters often develop themselves.

Harvester of Sorrow is the first in a planned series (I'm drafting the sequel now), so I had to make sure Zeke was a solid character with enough flexibility to grow and change as the following books are published. In Harvester, Zeke becomes involved in a bizarre series of events in the small city of New Warfield. With his fellow police officers, he must determine how these events relate before they can stop the seemingly endless death and destruction. As the danger and suspense escalate, Zeke and his team find themselves facing two of the most vicious adversaries they've ever encountered.

Fellow writer Phil Giunta, who is thoroughly familiar with suspense and horror fiction, interviewed Zeke for his blog back when the book was released. I've reposted it here. I think it's an excellent introduction to the character!

 

 

Detective Marrs, what led you to a career in law enforcement?

 

Well, I come from a family of first responders. My father was a firefighter, and my mother was an EMT. Several of my uncles were police officers. Being a cop seemed like a natural progression to me. I guess it's in the genes. I've always wanted to be a detective, to be involved with investigations and solving crimes. Nothing against street cops, and I certainly did my stint there. You can't be an effective detective without first spending time in a patrol car and dealing one-on-one with people on the street and in their neighborhoods. But wearing a shield and being an investigator, that's where I belong.

 

 

What are the most challenging aspects of working as a detective in New Warfield, the town where you were born and raised?

 

As far as working in my hometown, I wouldn't have it any other way. My challenge is to be a normal, average citizen, someone with no "police ego" like many people assume cops have. I'm here for the people—my neighbors, the local business owners, all my friends and family. Many I've known for years, some even decades. New Warfield is, and always will be, my home. Sure, I'm a police officer. And my neighbor owns a deli. My brother-in-law sells aluminum siding. The lady across the street grooms pets. In truth, we're no different. I must always keep this in mind, especially when I'm on the job.

 

Want to know what challenges me the most? The cold cases are the worst and the most frustrating. Like the case I just finished. Even though we cracked the case and took the criminals off the streets, we still haven't identified—in fact, haven't found—all the bodies they left behind. You never win a cold case. There will always be residual emotions, usually sorrow and guilt, even after we solve a crime. It never really ends, you know.

 

 

You just closed a dangerous case involving the vodoun religion and ritual murder. Have you ever worked a case in the past involving religion, spirituality, or the occult? If so, can you tell us about it?

 

Occult, no. Religion, not so much. And definitely not vodoun. The Edouard LeBorg case was beyond anything I've had to face in the past. Drugs, kidnapping, murder, voodoo, and two of the vilest criminals I've ever encountered. I've never been in a more dangerous situation.

 

Spirituality, though? That impacts many criminal cases. I often wonder about the spiritual aspects of my job. I know that sounds odd coming from a cop, right? But as a police officer, you often see things that make you question your beliefs. When you see the body of a child, naked and left to the elements, deep in the forest of a state park, you wonder if God exists. How could a supreme being permit such an abomination, such cruelty? But, at other times, you see someone saved from a deadly situation, a situation that should have led to the person's death. I can only explain it as a miracle. Some things are inexplicable, but they hint at a balance in the universe. At least, that's what I believe.

 

 

Are you working on any difficult cases now, high-profile or otherwise, that you are allowed to discuss?

 

I rarely deal with arson cases, but there seems to be a serial arsonist in the city and there are suspicious deaths involved. I haven't been pulled into the investigation yet. Police detectives rarely get involved in arson cases unless criminal intent is suspected, but it appears the recent fires may be more than mere arson. I don't know yet. Right now, I'm focusing on the paperwork after the LeBorg case.

 

 

As a husband and father, how do you balance work and home life? How successful are you at shielding your wife and children from the often harsh and grisly aspects of your work?

 

Separating the job from home life always presents a challenge. You must leave the job at the door. But, of course, Nikki, my wife, worries endlessly and always wants to know everything I do. I never lie to her about my work, but I also try not to go into much detail. I deliberately leave things out when talking with her. She doesn't need to know the horrifying situations I often face.

 

My two girls, they're so young that I don't think they really know what Daddy does. My focus remains on the positives of police work, and there are numerous instances where I help people, far outweighing the negative aspects. They like to hear me tell them stories about where the good guys win. But, like my last case, dealing with the kidnapping and murders of children? I just had to push that out of my mind when I was with my girls. And now I have a baby son, the essence of innocence. I will protect him from the uglier side of my work as well.

 

 

 

Check out my video interview about Ezekiel Marrs.

 

 

 

 

Because I hope to schedule a panel discussion on world-building soon, I've been giving the topic some thought. I intend to invite local writers of fantasy, science fiction, and perhaps horror writers to the discussion. World-building is an essential element in their toolboxes. But does the technique extend beyond those genres?

 

I'm currently reading The American, a suspense/revenge novel with paranormal undertones, written by Jeffrey Thomas. The story takes place almost entirely in Vietnam, with some backstory during the Vietnam War. Thomas, who has visited Vietnam often, knows the region and its culture. But most of his readers do not. Obviously, the novel is more than a travelogue. We're talking about setting here, but how much of his writing involved world-building? Where does "setting" end? And where does "world-building" begin?

 

In my novel, Harvester of Sorrow, much of the story takes place in a city much like Wilmington, Delaware. In fact, I used a map of Wilmington as a blueprint for my fictional city, New Warfield. Wilmington exists. New Warfield does not. In that sense, I used world-building to create a fictional city. Is it just a setting? Well, yes—but it's more than that. It's a different world existing nowhere else but on the page. I built that world.

 

Tolkien used world-building to create The Lord of the Rings, which likely required an enormous amount of research, lore, and imagination. We can say the same about C. S. Lewis and The Chronicle of Narnia books. Herbert's Dune books. Even Stephen King's The Stand and Robert McCammon's Swan Song. So many fantasy and science fiction novels have a foundation in world-building.

 

But what about Ed McBain's 87th Precinct novels, all based in the fictional city of Isola? Sure, Isola sounds a lot like New York City. Or any large city. Nonetheless, Isola does not exist and was solely "built" by McBain. I'd argue all mystery and suspense novels, especially series, rely on world-building to some degree. Perhaps all fiction does.

 

Thinking back to Thomas's The American, his settings are superb and provide vivid depictions of Vietnam. I've never been to Vietnam, yet it's as if I'm there with the characters. He has pulled me into that world—a world he built with his imagination and made real for his readers. And isn't that the goal of all world-building?

 

I believe there is a necessary marriage of setting and world-building. Often, those elements form the foundation for exceptional fiction. When world-building, the writer's goal is to make the story—no matter how outlandish or otherworldly, no matter how molded from reality—believable. The strategy is to foster verisimilitude and pull the reader into the story and keep them there. World-building must also provide continuity. Setting and world-building go hand-in-hand, creating a world in which your characters live—whether on Arrakis or in the Land of Oz, or in Isola or New Warfield.