Sunday, December 27, 2015

Everything You Wanted To Know About Derrick Ferguson But Were Afraid To Ask (Well, Not Quite But It's A Catchy Title, No?)

The effervescent New Pulp writer D. Alan Lewis was good enough to interview me for his blog. See, sometimes the tables get turned. It's a pretty good interview if I do say so myself and you can find it here

Tuesday, December 22, 2015


Proudly Presents

Earlier in the year we learned that New Pulp writer/editor/publisher Tommy Hancock was suffering from congestive heart-failure.  A relatively young family man, this was a dangerous condition that threatened not only Tommy but his entire family.  Almost immediately after this news was made public, several members of the New Pulp community began putting their heads together to see if anything could be done to help the Hancocks.

“Jaime Ramos proposed the idea of doing a benefit anthology,” says Airship 27 Productions Managing Editor, Ron Fortier.  “It was such a great idea, I realized it needed to get done and we began planning such a project.” The first thing Fortier did was bring aboard his partner in Airship 27, Art Director Rob Davis. “There was no way this was going to fly without Rob handling the book’s overall artwork and design.”  Fortier then went to Hancock and informed him of their plans. With Hancock’s blessings, he then posted an ad on Facebook explaining the project and seeking submissions from both writers and artists.  “It was always our intention to do this as a traditional pulp tome and thus artwork would be a major element in the final product.”

Much to Fortier’s surprise, and delight, the first creator to volunteer his assistance was Douglas Klauba, one of the finest artists in the field.  Klauba volunteered to paint the anthology’s cover once the book was assembled.  “Honestly,” Fortier confesses, “I was in shock. Doug is an amazing artist and his offering to do the cover was very much an omen that we were about to put together something truly unique.”

Within 48 hours after posting his recruiting ad, Fortier had received 57 commitments by New Pulp writers while 36 artists in the field signed on to do the illustrations.  Amongst these creators were some of the most popular New Pulp writers and artists in the field. In fact, getting so many promised stories in just two days, Fortier begrudgingly realized he and his associates were being handed a giant book and he publicly closed the admission call.  “It was crazy,” he recalls.  “Fifty-seven stories in just two days!  Of course there were naysayers who warned me we’d never get all of them.  They were right, we got 62 instead.”

And so the project began with Fortier reading each entry and then assigning it to an artist to illustrate.  Each tale features one black and white illustration.  Ramos acted as his assistant editor proofing teach story after Fortier with them.  Then, months into the project, Ramos, who suffers from diabetes, found his own health in jeopardy and after having handled half the stories, was forced to sideline himself.  What looked to be a major set-back was averted with writer/editor Todd Jones, a protégé of Fortier’s, volunteered to take on the task of finishing the proofing.

And so, after months of ups and downs. Airship 27 Productions is extremely proudly to present LEGENDS OF NEW PULP FICTION.  A giant treasure chest of some of the finest New Pulp fiction ever produced in an 830 page collection.  Representing the varied genres of pulp tradition, this volume features tales of horror, mystery, horror, suspense, pirates, fantasy, private eyes, crime-busting avengers and westerns to name a few.
“Rob and I kidded during the long months of production that we had everything pulp save for a romance story,” quips Fortier.  “Then in the final days of story submissions, we were sent a romance.  No lie!”

LEGENDS OF NEW PULP FICTION is now available at in both hard copy and on Kindle.  All profits earned by this amazing book are going to Tommy Hancock and his family.  Sure to become a valued collector’s item, LEGENDS OF NEW PULP FICTION is a one of a kind title pulp fans young and old, will cherish in years to come.


Available now from Amazon and on Kindle.


Thursday, October 1, 2015

23 Months Later With CHUCK MILLER

It’s been awhile since the original Kickin’ The Willy Bobo Interview with Chuck so I thought it way past time we caught up with what he’s all about and what he’s doing 23 MONTHS LATER…

Derrick Ferguson: Have there been any major changes in your life personally and professionally since we last talked?

Chuck Miller: Nothing major, though I have been a little busier in both areas. I've been branching out and doing some different things, like Sherlock Holmes, and a character called Zero that I've done some stories about for Moonstone. I had a few health issues recently that slowed me down a little, but I'm getting back on track now.

DF: How do you feel your writing has developed since we last talked?

CM: I think it's gotten a little smoother. I'm starting to develop a better sense of what should be left in and what should be cut out. I'm slightly less neurotic about it. Usually. If I'm having a good day.

DF: The universe of The Black Centipede has certainly expanded and grown larger since CREEPING DAWN: RISE OF THE BLACK CENTIPEDE. Was this by design or has the character’s popularity added fuel to your creative fires?

CM: Most of the characters I've been introducing have been around (in my head and notebooks) as long as The Black Centipede has. I came up with them for a comic book I wanted to do back in the 80s and 90s that never got off the ground. Vionna Valis comes from that, as do Jack Christian and Dana Unknown. Jack, Dana and Vionna are the main characters in "The Optimist," a novel I wrote five or six years ago. Nothing much happened with that either, but I decided to use some of the supporting cast in solo short stories, and thus The Black Centipede developed into whatever he is now. I've been planning to rewrite "The Optimist" to bring it in line with the continuity changes I've made. I need to do that because the events in that story are constantly being referred back to in my new stuff. Jack was originally supposed to be the central character in my little universe, but The Centipede has stolen his spot. Still, he is going to be more of a presence in future stories. He is the narrator and central character in The Return of Little Precious, and that story leads into other things.

Aside from that, I knew that The Centipede would need a supporting cast. I came up with Percival Doiley and Stan Bartowski. I have also made William Randolph Hearst and Amelia Earhart into regulars, though that wasn't my original intention. But the character needs to be grounded a little bit, and the supporting characters do that, and they also give him different personalities to play off of. He has a particular kind of relationship with Percy, another kind with Hearst, yet another with Stanley, and so on. There is a lot of potential for humor in all of these interactions, and humor is an essential component. Really, the inspirations for the way most of my characters interact are old sitcoms and comics like Little Lulu. You have characters with well-defined personality quirks, and they play off of one another in ways that are predictable in a good way.

DF: Didn’t I read some time ago that Hollywood was interested in The Black Centipede? Or is that just an unfounded rumor?

CM: I hope it isn't unfounded, but it's difficult to know who is serious about what. I think The Centipede would make a great TV series, something along the lines of "Boardwalk Empire," a period piece with lots of real people showing up.

DF: Tell us about THE BAY PHANTOM

CM: He started out as the subject of a humorous short story I wrote a while back called "The Return of Doctor Piranha." Set in the present day, in my old hometown of Mobile, Alabama, it was about a down-and-out pulp adventure hero from the 1930s. The magazine I wrote it for ended up never being published, so I just posted it online for free and forgot about it for a while. Later on, I started thinking about doing a new series, something totally separate from the world of The Black Centipede, and I remembered The Bay Phantom. So I took him back to the 30s, came up with some backstory, and introduced a cast of supporting characters.

He's a different kind of character from any of my others, and I use him to tell different kinds of stories. He's actually a rather complex character. He is competent and can be ruthless when he has to, but he is also rather naive, and even innocent in a strange way. He has inner conflicts, but he doesn't let them get in the way of what he's doing, though he goes to great lengths to understand or resolve them. We'll see more of him grappling with his "dark side" in the second book, The Feast of the Cannibal Guild. That is still a work in progress, but I'm hoping to finish it up before the end of October, or at least by Thanksgiving, if not Christmas or Groundhog Day. In it, he will be separated from Mirabelle for a while; she is off on a "secret mission" of her own, which is basically the other half of the story. I like the way they work together, but I wanted to see how they would fare as solo acts. Mirabelle is also a complex character, and we'll get into more about her past and what motivates her.


CM: It started out as a simple little novella in which Vionna Valis and Mary Jane Kelly encounter Professor James Moriarty, who has for many years now been Lord of the Vampires. It seems he was "rescued" by Dracula after he took his plunge off the Reichenbach Falls and turned into a vampire. Vionna and Mary encounter him when he starts bedeviling a young man named Scudder Moran, a descendant of Moriarty's old lieutenant, Colonel Sebastian Moran. With a little help from the ghost of Sherlock Holmes, the girls deal with him. When I decided to make an official novel out of it, I needed a lot more material to fill it out.

Since the main story was complete, I decided to do some background stuff, showing how Moriarty got mixed up with Dracula in the first place. What I came up with was a middle section in which Vionna finds herself transported to London in the year 1888-- a sort of telepathic time-travel dream thing of an uncertain nature, induced by the ghost of Holmes, who has been trapped in Vionna's head. She takes the place of Watson as Holmes is engaged by the still-human Moriarty to track down Jack the Ripper. The Ripper being one of the main villains in The Black Centipede saga, I took the opportunity to fill out a little bit of history there, and it builds on some of the events in Blood of the Centipede.

DF: Do you think you have found an audience or has your audience found you?

CM: A little of both, I guess. But I'm hearing more and more from people I don't know and don't have any connection to, which is good. I do a lot of self-publicizing on social media, and I sometimes sell books one at a time to people I come into contact with. I really need to start getting out to conventions and things.

DF: Where do you see Chuck Miller in five years?

CM: Wealthy beyond the dreams of avarice, more popular than the Beatles, able to bend steel in my bare hands. Either that, or the same place I was five years ago, which is basically right here. But five years older than now.

DF: How do you see the New Pulp community these days? Is it a community?

CM: I think it is. Maybe not as much of one as it seemed to be for a while. Whatever the definition of New Pulp is, it is nebulous enough to accommodate all manner of things, and certain writers and certain kinds of stories which could fit within those boundaries are not identified as such. There are lots of gray areas around the edges, and any number of things could fit in.

That being the case, it isn't as much of a community as, say, Star Wars fans or Batman fans or anything that has a very clear-cut definition. I don't hear the term New Pulp used as often as I used to. But there are still these core people who identify with it, so it is a community, albeit a rather small one. Maybe some sort of big event is needed to draw more people in and generate more interest. I don't know what form it would take, though.

DF: Do you think that New Pulp will ever have respectability?

CM: It might! I mean, it's respectable already, but in terms of gaining a wider audience-- which we'd all like to see-- I think the potential is there. The popularity of the superhero genre is ongoing, and may hold out for a few more years. Since that is closely related to what we're doing, a little door is standing open. The question is, how do we get through it? I don't have an answer for that. I don't know a lot about marketing. It may come down to dumb luck on somebody's part. The right book making its way into the right hands at the right time. I don't know of any way to force that to happen. 

We're not really tapping into even the comic book/sci-fi community the way we ought to be, but I don't know what the solution is. That would certainly be the first step, before trying to break into any kind of mainstream recognition. But there are a lot of talented people working in the New Pulp field, and if their work could find its way into the hands of enough people, I think it would really take off. After all, the most popular book series in recent memory is Harry Potter, and those stories could easily fit under the pulp umbrella.

DF: What are you working on now?

CM: I've got several things coming out over the next few months. As I mentioned earlier, the next installment of The Black Centipede and his pals' adventures, The Return of Little Precious, is coming from Pro Se Press. This one stars Doctor Unknown Junior, and it wraps up the Moriarty trilogy. There's also the return of a villain from one of the early Centipede books. That's already done, and it's in the editing stage now. I'm currently working on the second Bay Phantom novel, Feast of the Cannibal Guild, the next Vionna and Mary, Into the Void, and sort of tentatively sketching out the next Black Centipede. I'm also doing things for Pro Se's Single Shot line, including new Centipede and Vionna short stories, and a new character called the Red Dagger. He is a sort of spinoff from Blood of the Centipede. Lancelot Cromwell, the hedonistic actor who played The Black Centipede in the movie decides to become a masked crime-fighter for real. It does not go smoothly.

Derrick Ferguson: Anything else we should know?

Chuck Miller: Well, a couple of "bucket list" projects have been done and are working their way toward publication. One of them is a Sherlock Holmes novel I've done for Airship 27. Sherlock Holmes: The Picture of Innocence is a reworking of The Sign of the Four and A Scandal in Bohemia. It guest stars Arthur Conan Doyle and Oscar Wilde, and was also inspired by The Picture of Dorian Gray.

The other one is something I've been wanting to do for a very long time. My absolute favorite TV show ever is Kolchak: The Night Stalker. I recently had the opportunity to do two Kolchak novelettes for Moonstone Books, and those are set to be released in February of 2016. Penny Dreadful and The Time Stalker are going to be published in a single volume. I don't want to give too much away, but I'll tell you that one of them features the return of a monster from the small screen, while the other deals with Carl Kolchak's encounter with one of the most notorious real-life psychopaths of all time.

Tuesday, September 22, 2015

Kickin' The Willy Bobo With...Frank Schildiner

Derrick Ferguson: Who Is Frank Schildiner?

Frank Schildiner: Oh jeez, start with a hard one why don't ya? That's something I've been wondering for 49 years and I'm still figuring it out. Well, I was born in Queens, NY, raised in New Jersey and at night I fight crime under the name...oops, slipped into my own reality for a minute there...

DF: What do you tell the IRS you do for a living?

FS:  Senior Probation Officer for the State of New Jersey, Martial Arts instructor for Amorosi's Mixed Martial Arts and writer. They also wonder if I have time to sleep.

DF: Tell us a little something about your background.

FS: That'd take a while, but I think I can sum up. I had amazing parents who managed to deal with a slightly demented child by channeling him (i.e. me) into useful areas. I grew up reading classics, both the fun variety like Burroughs and Doyle, and the serious kind you were forced to read in school. They loved all types of films and I got to see some of the best and worst old films as I grew up. This fostered my imagination and made me the rather crazy person I am today. But it wouldn't have gone anywhere if I hadn't been encouraged to take up martial arts in my mid-thirties. There I learned discipline and so much more, channeling what was inside me into a more productive direction.

DF: How long have you been writing?

FS: All my life, but I wasn't published until I was 40. This was a good thing. I look back at my earlier work and shudder. I was really bad and it took me that long to learn the basics of storytelling. But thanks to some amazing teachers/editors, I'm slowly getting there (I hope).

DF: You a plotter or a pantser?

FS: Pantser, totally and completely. I tried forever to be a plotter and all my stories were horrific, stilted and stiff. Then I read Stephen King's “On Writing” and he explained he wrote his books the way I wanted to do it. I figured if one of the bestselling authors on Earth, one of my heroes, did it that way, I could avoid outlines.. .

DF: What writers have influenced you?

FS: Oh man, so many! Lovecraft, Howard, Ernst, Jack London, Walter Gibson, Bram Stoker, Jack Kirby, Harlan Ellison, Philip Jose Farmer, Will Murray, Win Scott Eckert, JM Lofficier, David Gerrold, Clark Ashton Smith...I could be doing this for a very long time...

DF: Are you interested in critics or professional/amateur criticism of your work?

FS: In a small sense, I think we all are to a degree. I hope everyone likes my work, but I'm not going to worry about it overly. I do prize and listen to my editors and friends who give me honest constructive criticism, that’s how I learned to become a better writer. But a bad review doesn't shake me. A writer needs to be immune to worries like that one.

DF: What audience are you trying to reach with your work? Is there an audience for Frank Schildiner?

FS: Hmm, that's a good one. Well, I think my two audiences are pulp and occult/horror adventure. My main work is, surprising to me, very much in the weirder end of the horror universe. My latest novel seems to cover both areas, but time will tell if I actually have anyone reading me LOL!

DF: Do you consider yourself to be a New Pulp writer? If so, why? And if not, then why not?

FS: Very much a New Pulp writer. That's where I got started, writing French pulp crossovers for Black Coat Press and Secret Agent X for Airship27. I love that period of writing and the fact that it returned to the publishing world in the last ten years or so was a gift from heaven, so to speak.

Also I love the amazing work New Pulp writers produce regularly. There are so many great new characters coming out these days, Pat Wildman, Dillon, the Royal Occultist, Sgt.'s an incredible time to be a writer or a reader.

DF: How important is it to follow your instincts while writing?

FS: 100% importance. At times I find myself writing entirely different directions than I imagined a scene or a chapter would go in a book. It’s a surprising moment, an internal and unconscious decision that makes the writing process all the more enjoyable.


FS: This is the story of the French version of the Frankenstein monster. The creature is a lethal and terrible monster, an evil being who meets up with the American monster maker, Herbert West, in his quest for a mate. To get his mate, West requires a list of items, most living and terrible beings themselves, and the creature, known as Gouroull, wanders around the world to obtain these items. It’s a sweeping story, introducing monsters, many of whom were forgotten by horror/occult fans.

DF: This is a different Frankenstein Monster from the one that most of here in America are familiar with. Can you go into the origins of this Monster and why you chose to use him for your novel?

FS: Oh yes, this is a truly amazing story. Back in the 1950’s a French pulp paperback publisher had on staff a man named Jean-Claude Carriere. He was asked to write a series starring the Frankenstein monster, though he remade the creature. This is not the tormented Byronic monster of Shelley, the allegorical Whale version or the brutish version that followed when Whale stopped making the films. The creature, named Gouroull, is a giant, chalky skinned, yellow-eyed, nigh-invulnerable fiend. He’s nearly bulletproof, unafraid of fire and possessing an alien intelligence.

Carriere wrote Gouroull in a series of novels that ended in 1959. He then went on to become an Academy Award winning screenwriter whose work with Luis Brunel and others has made him one of the legends in the film world. In 2014 he was also given a lifetime achievement award by the Academy, which is quite a heavy legacy to follow.

I learned of Gouroull through my friend and mentor, JM Lofficier and his company, BLACK COAT PRESS. I’m proud he accepted the book and thus THE QUEST OF FRANKENSTEIN was born!

DF: Tell us about TALES OF THE SHADOWMEN and how you got involved with that anthology series.

FS: TALES OF THE SHADOWMEN is a yearly publication by the amazing JM Lofficier and his company BLACK COAT PRESS. In these anthologies, a writer takes a French character and writes them in a story with heroes or villains they normally would not have encountered. It’s a marvelous idea, a mean of introducing the world to the vast French literature unknown to many.

Characters like Doctor Omega, Fantomos, Judex, Lemmy Caution, Harry Dickson, Nyctalope and so many more have become popular thanks to this incredible series of books. Major writers like Michael Moorcock, Brian Stableford and Terrence Dicks contributed and writers like myself and many others got their fiction writing start in these anthologies.

I was brought in because I wrote a short story for JM, an archaeologist named Jean Kariven who was involved in ancient alien adventures. I’ve written Kariven several times and also wrote my first Gouroull tale in the Shadowmen books.

DF: You’ve written quite a few Classic Pulp heroes such as Thunder Jim Wade, The Black Bat, Secret Agent X and The Avenger among others. Which one was your favorite?

FS: Thunder Jim Wade has become my favorite over the years. He was a Doc Savage knockoff that was done by a great writer, Henry Kuttner (best known for the short story, “The Graveyard Rats”). Kuttner, though an excellent tale spinner, didn’t seem interested in the character or action hero pulps. He created a great origin for Wade, being raised in a lost city in Africa, but the stories were bland at best. I’ve taken the character a unique and fun direction and really love the plans I have for the hero in the future.

DF: Any other Classic Pulp characters you’d like to write?

FS: Operator #5. Love the idea of a spy fighting lethal hordes who are trying to take over the United States. I doubt that I ever will write the hero, but we all have dreams.

DF: Tell us about BIG OL’ SCORPION.

FS: BIG OL’ SCORPION harkens back to my upbringing. I was blessed with parents who loved old films, good, bad and otherwise. They showed me the old 50’s sci-fi films when I was young and I fell in love with the ones starring giant monsters rampaging across the USA. “EARTH VS THE SPIDER” “THEM!” and oh so many more were available on weekend TV when I was growing up, so I got to watch them and imagine a world where this happened for real. I always wanted to write short stories or novellas on these creatures, even did a few team up tales when I was little. Happily none of those embarrassing efforts survived, but I came up with the idea of a rockabilly guitarist who encounters a giant scorpion in a town in the Midwest. It was a major pleasure to write and seemed to work for many readers, I’m happy to say.

DF: What are your plans for your writing career? Is there anything you’re working on now that we should know about?

FS: I’m working on a Thunder Jim Wade novella for Pro Se Publishing right now and have a possible series of novellas in the pipeline with another publisher. I’ve also got two possible short story collections in works as well as a pulp novel series. Also coming soon is a short story collection I’m in called THE LEGENDS OF NEW PULP FICTION with Airship27. It’s an anthology book with a total of 62 writers and 38 artists and being used as a fundraiser for Tommy Hancock and his health problems.

Derrick Ferguson: What’s a Typical Day In The Life Of Frank Schildiner like?

Frank Schildiner: Up at 6am, at work by 8. Work until lunchtime, where I do a little writing if I can. Work until 4:30 and then rush off to my dojo, AMOROSI’S MIXED MARTIAL ARTS. I train and teach until 9 or so, then home and write a couple of hours before bed. It’s a non-stop life, I’ve turned into a triple A personality at nearly 50, which is shocking for me to say the least!

Friday, July 24, 2015

Derrick Ferguson Dons Cape And Cowl To Review USED TO BE: THE KID RAPSCALLION STORY

You know that old wheeze about as soon as a person comes into of a lot of money it changes them? I subscribe to a different theory. I think that acquiring a lot of money just makes you more of what you already are. If you were a generous, giving person before you became rich, chances are you’ll do more charity work with that money and help to make somebody’s world a little bit brighter. If you were an asshole before you became rich then the odds are that now that you have an AmEx Centurian card, you’re a raging asshole.

What has all this got to do with Mark Bosuquet’s superhero novel; USED TO BE: THE KID RAPSCALLION STORY? Because most of the characters in his novel follow this principal, I think. Their superpowers just make them more of what they already are. Take our POV character, Jason Kitmore aka Kid Rapscallion. Orphaned at an early age and adopted by the superhero Rapscallion to be his sidekick he’s sexually abused (and not by whom you’re thinking of either) He takes designer drugs to enhance his physical abilities and be a proper superhero. Is it any wonder as an adult, out on his own and no longer just a sidekick he becomes hooked on cocaine and kinky sex? As I got deeper into the novel and more of Jason’s personality was explored and revealed I realized what Mark was doing. In the hands of a lesser writer he would have let Jason off the hook and skewed us into feeling sorry for Jason, leading us to think that Jason never had a chance in life. But I don’t think that such is the case. I think that Jason Kitmore would have been a mightily screwed up individual without the sexual abuse, the drugs or the superpowers. Such is the strength of the voice of that character.

And that is what pulled me through USED TO BE: THE KID RAPSCALLION STORY. The voices of the characters who are all so strong and so individual that I was actually hearing them in my head (that doesn’t happen nearly as much as it should when I’m reading a book these days) with their own inflections and distinctive speech patterns. And since the book takes us inside mark’s superhero community and shows us the people behind the costumes and superpowers it’s important that we know who’s talking as soon as they speak. And there was never a point where I had to go back and re-read a paragraph because I was confused as to who was saying what to whom.

Sure, this being a modern day superhero novel there is an abundance of profanity, sex and drug use. But Mark isn’t using it to shock. And most certainly if you’ve been reading comic books for the past fifteen years then I don’t think there’s anything here that you already haven’t seen. And to be honest, he explores certain aspects of superpower enhanced sex I’ve always wondered about (oh, come on…like you haven’t thought what the sex life of Bouncing Boy and Duo Damsel or Mr. Fantastic and The Invisible Woman must be like) Especially the relationship between Kid Rapscallion and Duplication Girl which is…unique, to put it mildly.

Mark goes ahead and takes the risk of telling his story in the present tense and he jumps back and forth in time. I say risk because if you’re not willing to invest the time and let the story unfold the way it has to in order to get to where it and you has to go, then you’re going to get frustrated. And you shouldn’t. The disconnected chronology is the prose equivalent of how most people tell a story verbally. They jump around. They forget important points and have to go back to fill in those points. They emphasize and polish up their own behavior while misrepresenting the motives and behavior of others. Mark uses the technique quite well to build suspense at key points of the narrative, especially when the 9/11 terrorist attack happens and catches the superhero community totally by surprise and everybody scrambles around trying to cover their own asses.

Should you read USED TO BE: THE KID RAPSCALLION STORY? If you’ve read Mark Bosuquet’s other works then I don’t have to give you the hard sell. You know his talents as a writer and you know that he delivers a solid piece of entertainment every time he steps up. If you’ve never read anything by Mark before I’d actually recommend you try “The Haunting of Kraken Moor” first but that’s because it’s my favorite thing he’s written so far. And I think it’s a good way to ease you into Mark’s style and his approach to storytelling. But hey, if you’re a superhero fan (and aren’t all of us superhero fans by now?) then you certainly won’t be wasting your time or your money with USED TO BE: THE KID RAPSCALLION STORY.

File Size: 426 KB
Print Length: 296 pages
Page Numbers Source ISBN: 151413537X
Publisher: Space Buggy Press (June 16, 2015)
Publication Date: June 16, 2015
Sold by: Amazon Digital Services, Inc.
Language: English

Monday, June 29, 2015

Kickin' The Willy Bobo With...KIPJO K. EWERS

Derrick Ferguson: Who is Kipjo K. Ewers?

Kipjo K. Ewers: I am a first generation born of Jamaican descent from two of the greatest parents a kid like me could ever have. They kept me on the straight and narrow, while not wanting for anything. They pushed the value of a good education, being a good person, and reaching for whatever goals I aspired to as long as it did not hurt others. Formerly from Mount Vernon, I went to Catholic school all my life from grade school to college. As a kid growing up, I was heavily into martial arts, comic books, professional wrestling, Kung Fu movies, anime, writing and storytelling. My brothers and I would use either our G.I Joes or Transformers and play out these complex storylines that sometimes lasted all day and into our next play day. 

Now that I am older I’m still into martial arts though not as heavy (big fan of MMA and the UFC).  I’m a sword collector (I have my own set of Conan Father and Atlantean swords from the Arnold movie among others). I still watch anime from time to time, and I collect comics although I’m more selective with what I collect. I also make kitbash action figures; basically you take a base model twelve inch action figure and customize it. It’s a pretty cool and expensive hobby. I made my own Gen 13 characters, and a Dark Knight movie version of Batgirl. My other hobby is 3D artwork, I use programs like Poser Pro (2012 and 2014), DAZ 3D, and Photoshop Element to create them. I’m also a huge Star Wars fan, and will be dressing like a Jedi for the upcoming movie. So all in all I am a big Jamaican-American geek.

DF: Where do you live and what do you do to keep the bill collectors away?

KKE: I reside with my lovely wife in New Jersey.  I currently work in Risk Management Corporate Banking.

DF: Tell us a little something about your background.

KKE: I went to college for Business Administration while minoring in English. I self-taught myself 3D digital artwork because I wanted to put visuals to some of the ideas in my head. I’ve been doing my own artwork for about eight years.

DF: How long have you been writing?

KKE: I’ve been writing since I was seven years old, sporadically in my teens and young adult years. I never really published anything until now. I wrote a comic book with my younger brother who is currently an artist when I was twelve (we didn’t have a title for that one).  The story was about four of his superhero characters and one of mine which I called Infra Man. He was a Japanese anime version of Iron Man. I believe the plot of the story was that they were trying to stop some type of invasion. 

The second comic book we worked on with our cousin who was the designated ink man was titled “Letterman”. The hero “Letterman” was based off of a rap song from K-Solo. I remember finding the book a couple of years ago buried in our old room in our parent’s house and still being impressed with what we did. The first two novels I tried to write were titled “Armageddon Bioborg” and “The Dragon Princess”. I never finished either, but I still have them, and might complete and publish them one day. I wrote matches for wrestling e-feds, which are like versions of fantasy football. It was a simple hobby, but I realized now how much it kept my writing skills sharp by creating storylines and sometimes writing out full matches. Won me a slew of championships, I even have a couple of actual championship belt trophies that were mailed to me.

DF: What’s your philosophy of writing?

KKE: I like to write like I'm doing a movie, and when you shoot a movie you don't always shoot the first scene. Sometimes you shoot the end, the middle, that's how I like to write until I get a full chapter. I separate the chapters into different word documents so I don't confuse myself.

Afterwards, when I have written all of the chapters in full, I just combine them, adding and taking stuff out, until the story slowly comes together and becomes one. After that I can usually do two or three edits and then I send it to a professional editor.

I believe in writing from my soul and heart and not compromising or apologizing for anything. Writers I believe that don't compromise their work, and write with raw passion are the best and most powerful types of writers, as long as they're getting a message across, and it makes sense to the story.

I also believe in having fun with my writing. It's supposed to be fun. You’re creating worlds, characters, and having adventures. So I just play! Because the more fun I have, the more I believe people will enjoy what I wrote!

DF: What are your influences?

KKE: I’ve read all of the Robotech novels that were written by Jack McKinney, which in my opinion were way better than the anime series. I am also a fan of Shakespeare, “A Midsummer Night's Dream” is one of my favorite stories from him. For comic books it’s Stan “The Man” Lee of course. Geoff John’s magnificent run of the Green Lantern’s “Blackest Night Series” is what actually got me back into comic books. I also loved Greg Pak’s work, especially his run with Marvel’s Hulk.

Finally as both a writer and director I have to say Kevin Smith. I saw “Clerks” at a friend’s house when I was in college, and I have been a fan of his work ever since. I’ve seen all of his movies, and two of his Q&A sessions. Watching “Too Fat for 40” and “Kevin Smith: Burn in Hell”, where actually what finally pushed me over the edge to both write and publish something. Hearing about how his father died, and about how you have to have passion about what you do before you die is what struck a chord with me.

DF: What audience are you trying to reach with your work? Is there an audience for Kipjo K. Ewers?

KKE: My novel is for fans of superheroes, science fiction, and action adventure. People who have already read it have said they enjoyed the thriller aspect to it, and others love the characters personality wise both good and bad. It’s a thinking person’s superhero origin story that turns left when you think it’s turning right.

DF: What is The EVO Universe?  How and when did you create it?

KKE: The EVO Universe is an expanding superhuman universe within my novel series “The First”, which was created after the events of the first book. EVO is the term used for superhuman in the story, which is the next step of evolution of man. 

DF: Tell us about the character of Sophia Dennison.

KKE: The character Sophia Dennison is a normal woman, with normal dreams of having a career, wanting a loving marriage with children, and then one day her normal world is ripped away and destroyed through no fault of her own. Then after four years of being powerless and suffering her world literally comes to an end. Except by a miracle of sorts, as her old world came to an end, she was reborn so to speak with amazing powers and abilities. She uses these new abilities to escape prison, and find out who turned her old world upside down.

DF: Tell us about THE FIRST

KKE: “The First” is a superhero origin story of Sophia Dennison. Wrongly tried and convicted of the murder of her husband, she is executed in Texas via lethal injection. However Sophia does not die, she resurrects with superhuman strength, overpowering several correctional officers until she is brutally gunned down. But to everyone’s shock and dismay, she resurrects again. Completely healed, this time she is bullet proof and much stronger than her first death. She breaks out of prison and is on the run where she learns about her abilities and hunts for the answers as to who framed her for her husband’s murder.


KKE: “The First: EVO Uprising” is the aftermath of “The First” eight years later. Due to Sophia’s indirect actions of saving the West Coast she has changed the world. Through her, many people across the planet have been gifted with superhuman abilities. Some use their abilities for good taking up the mantel of heroes, others for evil becoming villains, while others join and form super human military units within their respective countries building towards another possible Cold War. Unable to fit in with the race she was once a part of, and unwilling to embrace the race she created, she lives a life of semi-isolation using her power and abilities to help people as she sees fit taking no mantle. However a new threat to the planet will force her to not only confront several spectrums of her past, but her possible destiny.

DF: Where does the story of Sophia Dennison go from here?

KKE: Right now I am holding off on writing the third novel to work on a spin-off novel for one of the major characters in the second novel. It will be titled “Eye of Ra”.  I imagine more adventures for Sophia in the near future and the further expansion of the EVO Universe with many more characters.

DF: What’s A Day In The Life of Kipjo K. Ewers like?

KKE: Rise and shine at 7 AM in the morning, breakfast either at home or at work depending on the time. Off to work in a corporate office, hit the gym for forty-five minutes, and then home after 5 PM. When I get home the fun begins. I spend some time with the Mrs., get on the computer to either work on my artwork or write. Right now I’m just taking time from writing to promote the novel as much as possible and get in the faces as many readers as I can. 

Derrick Ferguson: Anything else we should know?

Kipjo K. Ewers: Currently we’re in the works of doing an actual comic book series on “The First” that we hope to release in 2016. We will soon be re-releasing the alternate cover novel with a new cover, and added digital content. It will contain some concept artwork of characters from the novel, and a digital comic preview of Chapter 1 and part of Chapter 2 that readers can re-read.

Wednesday, June 24, 2015

From The "A Nigger Moment" File

If you’ve been reading BLOOD & INK on a regular basis (and if not, then whyain’tcha?) The you’ll have noticed that from time to time I’ll post something here that has been written by one of the most extraordinarily talented artists it’s been my pleasure to work with; Sean E. Ali.

Sean has a habit of writing these amazingly perceptive and on point essays on his Facebook wall that should be read by a wider audience. But Sean is truly a modest man and resists all my suggestions that he should start a blog or something where these thoughts can saved and savored and not lost in the blur of Facebooks posts.  Sean’s a deep thinker who truly has something worth saying about some very important societal topics affecting all of us today.

Fortunately he has a friend like me who has no shame at all in reposting his insightful words on his own blog.

Okay, I’ve run my mouth far too much already. I now turn the floor over to Mr. Ali…

So let me get this straight...

The people upset most that the President used the word "nigger" in an interview...

...are the very people who have been calling him that in one form or another since '08...

...or wasn't Cornell West using it to describe the President's avoidance of the subject he was confronting when he used the word...

...or are people of color who use it as a part of their daily speech when referring to themselves or people they know who think that tossing a bunch of different vowels and consonants on at the end somehow makes the word something other than what it was?

Uh huh...

If that ain't a "nigger moment", I don't know what is...

For the record, I'm going for the Queen's English version of that word which denotes an "ignorant person"...
The word long before it was a racial slur was used to describe a lack of intelligence, an ignorance of things that were obvious.

In short, there is no positive spin for the word.

Sorry, Chris Rock, I know you want to resurrect it after the NAACP did that whole symbolic burial thing, but really it's not the kind of word that meant "Freedom" in Swahili, it's still ignorant even when it's not racial.

For the youngsters and the hip hop community and those folks who think they are down when they use it as a greeting or expression of friendship.
It isn't. It never was no matter how many times you add "az", "uh", "a", "ruh", or whatever else you come up with, you're still calling someone ignorant, you're still insulting someone's intelligence even when race isn't a factor...

But when you do it to one another and then lose your minds because someone who isn't you or yours uses the term...

...then it's racial and stupid, and you're a hypocrite.

If the word is wrong, it's wrong all the way around. You can't pick and choose the moments it's okay to speak a slur or insult, because it's a slur and an insult all the time. You can dress it up if you like, but it is what it is all the time...

At least the President used it as a proper example of the ingrained nature of racism in American culture and the difficulty of erasing nearly six hundred years (if you take in the total time of Africans sending their own to the Europeans who then bound them over into slavery overseas to well, now) of racial inequality in a weekend when it's got that large a head start, is an accurate assessment and summary of what he said.

And FOX Newsertainment wants to act like what he said was somehow the most horrible thing ever uttered by a president...

....despite their long track record of profiling people of certain ethnic groups and hiding behind the new "nigger" trigger word of "thug"...

All of you need to take a breath and listen to yourselves before you start jumping on someone else for using the EXACT SAME WORD YOU USE AND REFUSE TO LET GO OF in a context that offends you...

...probably because what was said is true.
And how Black people can sit around demanding the removal of the Confederate battle flag and not abandon the use of a word which is linked to that flag and that era like a guy with a burning cross and a white hood on his head is one of those things I'm not understanding...

Maybe the Johnny Reb isn't the only thing that needs to be left in the past...

Something to consider, friends.

Monday, June 15, 2015

875 Words (More or Less) About Getting Caught Up In Researching

See, research used to be a whole lot harder back in the day before the Internet. I know there are a whole bunch of you right now clutching your hearts and staggering around like Fred Sanford exclaiming; “No…no Internet? What did people do all day long?” I could tell you but that’s another essay for another time. This one here is about my ruminations and musings on the pitfalls of doing research.

Way back in the 1980s in order to do my research for whatever I was working on at the time what I would do is set aside a day (usually Saturday) to go to my local library and spend the morning just researching. At that time I lived in Ebbets Field.

Which was only a nice little thirty minute walk to the library on Grand Army Plaza. So I got my exercise as well. Once the research was done I treated myself to the rest of the day off.

So now we fast-forward to the Internet Age where I can now simply Google any information about anything at all and do my research in my pajamas in the comfort of my home because now the library comes to me. And that’s a good thing. Maybe too much of a good thing.

Let me explain: the current project I’m working on is set during World War I during what was one of the most important conflicts in the history of warfare: The Battle of Cambrai. Cambrai is a town in France that is distinguished due to the fact that it was first time tanks were used in large numbers in combat successfully. Now, I know as much about The Battle of Cambrai as I do about the dark side of the moon. But that’s where things get interesting.

I go ahead and Google up The Battle of Cambrai and there’s a whole lotta good articles and information on the battle. I breathe a sigh of relief and dig in. The trail of research even leads me to YouTube as there’s a goodish number of documentaries from the History Channel about The Battle of Cambrai. I’m encouraged now, y’see? I hungrily absorb everything I’m learning and putting into the story as now I feel much more confident being armed with dates, names and maps to give my story a solid foundation.

So what’s the problem?

I re-read the first three chapters of the book and it occurred to me that what I had actually done was bury the story under the weight of the dates, names and maps. So intent had I been making sure I had the historical stuff right I sacrificed doing the stuff that I know how to do: dialog, characterization, action. Y’know…the stuff I had been asked to do on this project as that was the reason I had been engaged to work on it in the first place.

And I’ve always been the guy who preached that if facts got in the way of telling a good story then throw the facts away and don’t worry about it. But I didn’t do it this time and after some time I had it figured out as to why I wasn’t doing it. These weren’t my characters and this wasn’t a setting I had chosen. My confidence wasn’t holding me up on this one. And usually my confidence level is ridiculously high. But not this time. This time I felt I needed the facts to prove that I knew what I was doing.

And after a couple of days of burning up brain cells meditating about the situation it got through to me that I did know what I was doing. I was asked to write an action packed pulp adventure full of derring-do, thrills and chills. I hadn’t been asked to write a historical fiction novel ala John Jakes. The historical stuff of World War I and The Battle of Cambrai was just the backdrop for the story.

So what did I do? Why I scrapped the first three chapters and rewrote them, of course. But this time I only used just as much research as I needed to move the story along and that’s all.

So what’s the moral of this story? I guess it’s not to let research get in the way of having fun writing. Unless of course you actually are writing a historical fiction novel and in that case it’s of primary importance that you stick to the facts.  Or maybe the moral is that since research is so easy to do now that it’s way too easy to get caught up in research for research’s sake and convince yourself that you’re doing research when you’re actually entertaining yourself swimming in the sea of research.

But you’ll be glad to know that once I got through trudging through that bog, the novel proved to be a lot easier to work on and it’s going faster than I thought it would. What novel is this you ask?

Well, if I told you that now then I wouldn’t have a subject for us to talk about the next time, would I?

Kickin' The Willy Bobo With...BERTRAM GIBBS

DF: Who is Bertram Gibbs? Bertram Gibbs: Husband, father, film, comic book, television, Broadway collector and enthusiast. Researcher of ...