Tommy Hancock interviewed me for his online magazine BIBLIORATI and I think it's a pretty good one that you can read and enjoy HERE.
Tuesday, March 7, 2017
Sunday, October 16, 2016
Derrick Ferguson: Who Is Barbara Doran?
Barbara Doran: I'm a New Pulp writer, currently published by Airship 27. My work includes "Claws of the Golden Dragon" two years ago, a Sinbad short - "Sinbad and the Island of the Puppet Master", "Wings of the Golden Dragon" (due out soon, we hope) and a Sherlock Holmes/Van Dusen crossover that I hope will be appearing someday in Ron's Sherlock Holmes anthology. (Not soon, however; he's got quite a queue there.)
DF: Where do you live and what do you do to keep the bill collectors away?
BD: I'm currently living somewhere in the general vicinity of the birthplace of powered flight. (That's Dayton, Ohio, where the Wright Brothers designed and built their aircraft.) As for keeping the bill collectors away, I'm a very lucky writer in that my Long Suffering Husband handles that side of things. I just keep my own personal Tiger and Dragon from immolating themselves. Mostly. Err...back in a moment. Time to put out another fire.
DF: Tell us a little something about your background, if you please.
BD: I was an army brat who moved around a lot as a kid. Chicago, Carbondale, Oklahoma, Colorado, Missouri and finally Ohio. My father is a Western Beast bred and born and my mom was a native born Chinese, born in Nanjing just around the time of the invasion. She came to America for college and met my dad at his mother's cafeteria in Carbondale, IL. (Amusingly, genetic tests show that I have more than 50% Asian ancestry, thanks to my Dad having Northern European ancestors. He always has claimed to have a Chinese stomach.)
I studied as a software engineer at the University of Dayton, but my first love was always writing and I spent most of my spare time with fanfic. It took a while but I finally realized I really preferred writing and that's where I put most of my focus. Truly dedicated readers might be able to find some of my old work still out there. They may even recognize a character or so.
DF: How long have you been writing?
BD: Pretty much from the day I learned to read. Bits and pieces, mostly unfinished, but my brain was constantly creating fanfiction universes based on my comics and TV shows.
DF: What's your philosophy of writing?
BD: The words go on the screen. Keep typing until they're done. Then edit. And edit. And edit. Respect your characters' personalities. Respect your readers' intelligence. Make sure the plot doesn't wander around and get lost in the scenery. Keep things moving, even when there are plot points that need to be talked about.
Don't stop. Just. Don't. Stop.
DF: You a plotter or a pantser?
BD: I'd say I'm mostly a pantser, but I use research as my guide. I like to think of writing as creating a clay sculpture. I know the general shape I want, but sometimes I have to add some material here, remove some there. And every so often, take the whole blessed head off and redo it.
DF: Do you enjoy writing?
BD: I love writing. I realized, years back, that it really was the thing I should have been doing with myself. Even when I'm not at my computer and putting words down, they're working their way around inside my head. So one could say that I'm creating stories all the time.
Too, I've discovered that I simply don't know what to do all day if I'm not writing. So, when I'm not persuading my children to do the dishes and/or their homework, I'm tap, tap, tapping away.
DF: What writers have influenced you?
BD: P.C. Hodgell, Diana Wynne Jones, GNU Terry Pratchett, Dick Francis, Walter Gibson, Arthur Conan Doyle, just to name a few. I've also become quite fond of N.K. Jemisin's Broken Earth series. It's amazing and devastating and I'm really looking forward to seeing where she takes it.
DF: Do you write for yourself or for the reader?
BD: Really, both. I try to make sure the work can appeal to more than just a narrow audience, of course. However, if I don't enjoy what I'm writing, I'm not going to be able to do a good job with it. So I write for readers who like the sort of things I like to write and hope that's a wide enough appeal to draw in readers.
DF: Are you interested in critics or criticism?
BD: I don't go out of my way looking for them. I do get beta readers, but that's to make sure what I wrote works and doesn't leave questions. I'd be glad to get more reviews, though, to get an idea where I might improve.
DF: What audience are you trying to reach with your work? is there an audience for Barbara Doran?
BD: As far as my original pulp work goes, I think the audience would be fans of shows like the Green Hornet. Sinbad and Sherlock Holmes both have a fandom and I'm overjoyed to write for them.
I hope there's an audience for the sort of work I do. I'm not a hard-boiled detective type writer, but I think there's room in New Pulp for the type of over the top, weird science/magic crossover stories I like to write.
DF: Do you crave recognition?
BD: I'd like my work to be known. I'm a fairly shy and retiring person, so I don't mind letting it do the talking for me.
DF: Do you think that New Pulp will ever have respectability?
BD: I think it already does, really. There might never be a big New Pulp publishing house along the lines of DAW or Baen or Tor, but I think it's getting more and more wide spread.
DF: What's the best advice that you can give someone who wants to write New Pulp?
BD: Don't talk about it. Do it. Also, research is always your friend. Even if you never put a word of what you've found directly in the work, it'll act as a foundation for the piece and help your world feel more lived in.
DF: How important is it to follow your instincts while writing?
BD: As a pantser, pretty important. I've learned that when I find myself blocked and uncertain about what I'm doing, it's usually because I'm headed in an unworkable direction. So I trust my subconscious to be looking ahead of me and saying, "Eh, Barbara, what the heck are you doing?"
DF: What is the one book or story you’ve written that you would recommend to somebody to read who doesn’t know anything about you?
BD: Right now I only have the one original New Pulp out, so I'd have to recommend "Claws of the Golden Dragon". However, when it does come out, "Wings" is a much tighter, better written piece. It's set in Shanghai a little before things got bad and features mobsters, spies, monsters, magic and Gods. Oh, yes and a bit of romance, just for spice.
DF: What are you working on now?
BD: A rather large, probably not for Pulp, novel about a colony of humans stuck on a water world and dependent on Artificial Intelligences for survival. They live on floating islands (AI'lands) and are on the run from an insane and homicidal AI named Varos, with only their own AIs to help stop him. It's sort of a space opera, as the SF is quite loose.
Derrick Ferguson: Anything else we should know about you?
Barbara Doran: Along with my love of Green Hornet, I'm a big anime and Shaw Brothers' fan. My work is peppered with references and I will gladly award a great big know-it-all-prize to anyone who recognizes where one of my characters got their name, personality and/or appearance.
Thursday, April 28, 2016
I get asked a lot of questions due to my affiliation with New Pulp and I’d have to say that the #2 question I get asked about it is: “Where do I get started? What should I read first just to get into it? What writers should I be reading?”
I can understand the confusion. There is a lot of New Pulp out there. Some of it excellent. Some it outstanding. Some of it is good, some of it okay and a depressing amount of it just no good at all. Even those of us who write/read/review New Pulp feel the crush of recommending books and writers to those of you unfamiliar with this genre but desperately want to know more. That’s why back in June of 2014 I put together a list of “25 New Pulp Books To Get You Started.” The purpose and intention of the list was simply to give New Pulp virgins a place to start getting their brains wet and see if they liked these waters.
Since then, there’s been a lot more books written and I saw the need to add more books to the list and so I did. With assistance from my Advisory Board consisting of Lucas Garrett, Barry Reese and Andrew Salmon I added ten more books to the list and so now you’re getting reading to read 35 NEW PULP BOOKS TO GET YOU STARTED. My intention is to add to the list yearly until I get up to 100 and then call it quits. After all, if you can’t find something worth reading in a pack of 100 books then maybe you just don’t like to read.
Again I feel compelled to remind one and all that this list is not intended to slight anybody as many of you have egos as fragile as spider webs (you know who you are) and are more than capable of taking it as a personal insult that your book isn’t on the list. Such is not my purpose or pursuit. This list is intended only to be a helpful starting point for those who have no idea of where to start reading New Pulp. Okay? We clear on that? Good.
One last bit of business and then we’ll get to the list itself: My only criteria here was to have diversity in genres and writing styles. You’ll find a wide range of New Pulp represented here in various genres. And yes, I have read all of the books on this list as I would not recommend any of them to you unless I had done so.
Okay? Okay. So let’s get on with it. If you’ve never read any New Pulp and are anxious to find out for yourself what it’s all about then here are 35 NEW PULP BOOKS TO GET YOU STARTED:
SGT. JANUS, SPIRIT BREAKER by Jim Beard
FIGHT CARD: FELONY FISTS by Paul Bishop (writing as Jack Tunney)
LIE CATCHERS by Paul Bishop
THE REVENGE OF THE MASKED GHOST by Kevin Paul Shaw Broden
DILLON AND THE VOICE OF ODIN by Derrick Ferguson
GREEN LAMA UNBOUND by Adam L. Garcia
THE GREEN LAMA: CRIMSON CIRCLE by Adam L. Garcia
CREEPING DAWN: THE RISE OF THE BLACK CENTIPEDE by Chuck Miller
THE MYTH HUNTER: THE LOST CONTINENT by Percival Constantine
BROTHER BONES by Ron Fortier
TAURUS MOON by Keith Gaston
YESTERYEAR by Tommy Hancock
TALES OF THE VAGABOND BARDS by Nancy Hansen
DIRE PLANET by Joel Jenkins
SIX DAYS OF THE DRAGON by Roman Leary
PROHIBITION by Terrence McCauley
EVIL WAYS by Bobby Nash
FIGHT CARD: THE CUTMAN by Mel Odom (writing as Jack Tunney)
ONCE UPON A TIME IN AFRIKA by Balogun Ojetade
THE STEIN AND CANDLE DETECTIVE AGENCY VOL I. by Michael Panush
HAWK: HAND OF THE MACHINE by Van Allen Plexico
SENTINELS I: WHEN STRIKES THE WARLORD by Van Allen Plexico
THE OLD MAN Series by William Preston
THE PEREGRINE OMNIBUS VOL. I by Barry Reese
PULP HEROES: MORE THAN MORTAL by Wayne Reinagle
THE VRIL AGENDA by Joshua Reynolds and Derrick Ferguson
THE LIGHT OF MEN by Andrew Salmon
DAMBALLAH by Charles Saunders
HEIR OF ATLANTIS by Arthur Sippo
THE AUSLANDER FILES by Michael Patrick Sullivan
BASS REEVES, FRONTIER MARSHAL, VOL I. by Various Authors
BLACK PULP by Various Authors
HOW THE WEST WAS WEIRD by Various Authors
LEGENDS OF NEW PULP FICTION by Various Authors
THE RUBY FILES by Various Authors
Tuesday, December 22, 2015
AIRSHIP 27 PRODUCTIONS
LEGENDS OF NEW PULP FICTION
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 Amazon.com 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.
AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!
Available now from Amazon and on Kindle.
Thursday, January 8, 2015
It’s been a while since the original Kickin’ The Willy Bobo Interview with Tommy Hancock. In that time, the flamboyant and outspoken Mr. Hancock has been hard at work doing what he does best: being the spokesman of Pro Se and the public face of New Pulp. So I thought it about time we caught up with him on the anniversary of that first interview and here he is 12 MONTHS LATER…
Derrick Ferguson: Have there been any major changes in your life personally and professionally since we last talked?
Tommy Hancock: Nothing major, other than dealing with a few health issues that seemed to get in the way of creativity and spreading the word of Pro Se some. But overall things have remained much the same. Still have a great wife, three kids I totally do not deserve, and enjoying every day - and this has been happening daily for a while- hearing from a writer, artist, or fan about their interest in Pro Se and the work that everyone involved is doing.
DF: How do you feel Pro Se has grown in the past 12 months?
TH: Pro Se won’t stop growing. Not only are we adding titles and creators right and left, but our numbers on all levels are on an upswing. More importantly, though, I think Pro Se’s greatest growth has been in its appeal to more readers and different audiences. We spent 2014 laying a lot of groundwork for expanding our readership and, although much of that won’t see fruition until this year, we’re already finding that what we do appeals to an extremely broad base. Being identified both as a Genre Fiction and a New Pulp Publisher has helped open up several titles that have sat dormant for months, even years to readers, that we always knew were there. And now we are finding them or, in a lot of cases, they are following all the bread crumbs Pro Se’s left in various ways and finding us.
DF: How do you feel that you personally as an editor and publisher have grown in the past year?
TH: As a publisher, I have gained a tremendous amount of focus on just what Pro Se Productions is capable of. When I started out, I was like a wide eyed kid at a candy store, not only wanting to taste every little thing I could, but working up ideas on how to make it all even better. I’m still that kid, but I understand what I have the privilege of managing now isn’t candy, but little bits of magic. Not my magic, I’m not the wizard, I’m just the guy who gets to pull them out of his hat. And that’s not only a blast, but it’s a responsibility. One that I feel like I understand better than I ever have before.
It’s also one that all publishers approach in different ways. Some aren’t big fans of how I do what I do, others have said they think it’s the best way to go. Me, it’s what works for me. Pro Se Productions is a publishing company, but we’re a company with intentions, with various plans that all boil down to one mission- getting the best stories out to as many readers as possible.
As an editor, I think I’ve matured as well. And a lot of that I owe not only to having so much wonderful work that I get to help edit, but to one man. Joe Gentile, the mad genius behind Moonstone Books, has taught me more in five or six sentences over the last few years concerning editing than any course, seminar or book ever could.
DF: Is the direction Pro Se heading in now the same as it was a year ago?
TH: Yes, most definitely. I think we’ve discussed before that I sort of had a five-year plan for Pro Se from 2011 forward. It is moving exactly the direction I wanted it to when we started publishing novels and anthologies in 2011. Could things be better? Well, sure, every book could sell thousands and millions of copies. But we are heading in what I consider the right direction for what we want to do long term. And that, simply put, is to be around for many years to come and to be a defining voice in New Pulp and Genre Fiction.
DF: Where do you see Pro Se in five years?
TH: Well into the next phase of our plan to be around awhile. We are building a catalog now and have done quite well at that. Five years from now, I hope to see us still adding to that catalog, but also to have several properties that readers are just seeing debut now or in the last few years, to have a collection of flagship titles to rival any company out there. We’ve grown at an amazing speed intentionally and that may level off beginning in the next two to three years, but growth won’t stop. We’ve been building the house from the ground up so to speak, hopefully in five years we’ll be expanding, adding on bells and whistles to our many rooms.
DF: What’s the best thing about dealing with writers? The worst?
TH: This can be answered with the same answer. Their excitement about their work. It is thrilling and invigorating to bask in and be a part of the fire that burns in a writer, or any creator for that matter. It is one of the major reasons I do this.
And as for that being the worst thing, let me explain. Sometimes writers, and being one myself I have been guilty of this, believe that what they have is the best possible work ever and nothing can make it better and the world has to have it now. And all of those are wonderful emotions and feelings and attachments to have. But when a work comes to a publisher and the writer cannot let go of those feelings, then it becomes somewhat problematic at times. I’m proud to say that issues arising because of this have been few and far between at Pro Se. And also, I believe every writer should commit to that passion should stand up for their works. But there has to be a willingness to compromise when working with a publisher and although most every writer we have understands that, not all do and find their way to self-publishing or other avenues that are just as valid as what we would provide them.
DF: How do you see the New Pulp Community these days? Is it still a community?
TH: I am told on a regular basis that I’m one of the organizers of the New Pulp Movement, and I suppose I am. Not that I invented New Pulp, as I didn’t, or that I was the first to envision the concept, because again I was not. But I did have a hand in organizing several publishers and creators under a unifying ‘New Pulp Movement’ banner of sorts.
So there’s my answer. No, I don’t think New Pulp is a community and I really haven’t ever seen it that way. A community denotes a group of people all existing together and working in concert to better the group as a whole on a consistent, regular basis. And although New Pulp publishers and creators have done that and continue to do that every day – if one of us succeeds, then all of us float a little bit closer to the top is a concept I believe in – I do not see New Pulp as cohesive conceptual village all having the same goal. There’s a reason why I suggested calling it ‘The New Pulp Movement.’
Movements move, and hopefully forward. And not only that, but Movements grow and change and rise and fall…and the people, the movers, they change also. Sometimes the faces change, other times the place the movers have in the Movement shift for better or worse, but everything in a successful movement continues evolving, expanding, becoming something different. And just about the time you think it’s matured into one thing, it pushes even harder and is on its way to being something else. That’s what New Pulp is to me.
DF: Do you think that New Pulp will ever have respectability?
TH: It sort of depends on what you mean by that. I think New Pulp is very highly respected within a particular niche, that being that cadre of fans that identify themselves as New Pulp fans. Now, there’s at least one other niche that hasn’t always had the highest regard for what we do, but even that has changed in the last few years. If you mean do I think we’ll ever have the respectability of being considered ‘proper’ literature and completely mainstream, God, I hope not.
One of the great things about New Pulp, and in a larger sense specific Genre Fiction, is that there’s a roughness to it, a rawness that allows each writer to come at it individually, to put in appropriate elements shared by others, but also to leave a mark on a story, on a genre, on a reader that is uniquely the creator’s own. I would argue that being mainstream and literary, that that sort of respectability requires creators to give up that edge, that individuality to a large degree. So, no, in that sense, I hope New Pulp is never respectable.
DF: Are you working on any writing projects of your own?
TH: I have several things that are due, some a long time now, for Pro Se and others. Thankfully, I have patient publishers and can only hope the readers are as patient. Running a publishing company, especially one as aggressive as Pro Se has become, takes a lot of time. Writing has taken a back seat and will have to for a bit longer, probably through March. But, yes, there’s several things on the burners…and, of course, new ideas brewing as well.
Derrick Ferguson: What is the one thing above all others we should be eagerly looking for from Pro Se in 2015?
Tommy Hancock: The best damn Genre Fiction and New Pulp on the market between the covers of every single book bearing the Pro Se logo.
Sunday, September 14, 2014
You may recall that back in April of this year I wrote an article in which I gave three examples of New Pulp in today’s popular media. My hope was to show that the Pulp tradition never really went away and is alive and well. It’s just that the tropes of Pulp have been conscripted by Action Adventure, Horror, Science Fiction and many other genres. But there’s New Pulp aplenty all around. You just have to look for it:
CONGO: This is one of the most spectacular examples of New Pulp. And when I say spectacular I’m talking about the sheer audacity of the story which is primarily a jungle adventure with a diverse and eccentric band of explorers looking for The Lost City of Zinj and the diamond mines located there. It’s a strictly 1930’s plot successfully transplanted to the 1990’s and enhanced with modern day technology.
The movie is directed by Frank Marshall, who frequently collaborated with Steven Spielberg and written by John Patrick Shanley. It’s based on the novel by Michael Crichton but take it from me, the movie is way better than the novel. Which is the case with most of Crichton’s novels. Probably because Crichton really wasn’t interested in characterization. Crichton was more interested in the technology and the effects of science going wrong. But CONGO is the stuff of Saturday afternoon cliffhangers than most of his other stuff and that’s what Marshall and Shanley wisely decided to focus on. ‘Cause trust me, this movie moves. There’s enough fights, captures, escapes, close shaves with death and breathtaking action to give Lester Dent on his best day a run for his money.
That’s not to say they throw out the technology entirely. One of Our Heroes is Dr. Peter Elliott (Dylan Walsh) a primatologist who has taught a gorilla named Amy how to speak using sign language. Her sign language is translated into digital speech by means of a special backpack and glove. Peter decides to return her to Africa and is funded in this endeavor by Herkermer Homolka (Tim Curry) a shady character who has led unsuccessful expeditions to Zinj in the past and thinks that Amy may be the key to this one being successful.
Also joining the expedition is Dr. Karen Ross (Laura Linney) a communications expert who needs to get to the Congo to find her fiancé (Bruce Campbell) who was looking for a rare blue diamond that can only be found near volcanos. Guess where the Lost City of Zinj just happens to be in the neighborhood of?
Along with The Great White Hunter Munro Kelly (Ernie Hudson and yes, I do know he’s black. But that’s how he always introduces himself and it leads to one of the movie’s funniest lines later on) and his team, they set off to find the Lost City of Zinj which is guarded by killer gorillas.
There’s no adequate way I can tell you just how much sheer fun CONGO is. Just let me say that if you don’t want to see a movie where Laura Linney is blasting away with a laser at killer gorillas while fleeing from an exploding volcano, then this obviously isn’t the movie for you. But for those of you who want to check it out, it’s available for instant streaming on Netflix.
DIRK PITT: Described by his creator, Clive Cussler as a modern day homage to Doc Savage, I’ve always admired Cussler’s unashamed love of Classic Pulp and his enthusiasm for it. A good case could be made that Cussler was writing New Pulp long before the title was ever coined. He’s certainly the most successful at it and the character of Dirk Pitt is by now as well-known as Doc Savage and James Bond, another fictional grandfather of Pitt’s.
So far there have been 22 Dirk Pitt novels written with more to come, especially since Cussler’s son Dirk has co-written the last six with his father and most likely will eventually take over the series entirely.
When it comes to branding Dirk Pitt as New Pulp one has only to check out a few of the novels to see that he comes by that legitimately. Despite working as marine engineer for the National Underwater and Marine Agency, in every novel Pitt finds himself battling megalomaniacal supervillains with world conquering schemes that would wring gasps of envy from Fu Manchu or Ernst Stavro Blofeld. In the course of his adventures Pitt has recovered Captain Nemo’s ‘Nautilus’, raised the ‘Titanic’, discovers the existence of a secret base on the moon, finds Atlantis, stops a plot by a race of genetic supermen to destroy civilization and create a Nazi empire… need I go on?
Dirk Pitt hasn’t had much success outside of the novels. He’s been in two movies so far. He was played by Richard Jordan in 1980’s RAISE THE TITANIC! which you should avoid as if it were Ebola.
But 2005’s SAHARA with Matthew McConaughey as Pitt and Steve Zahn as his sidekick Al Giordino is way better and even though Cussler was very unhappy with the movie I found it a lot of fun. Only thing I can complain about it is that McConaughey and Penelope Cruz have zero chemistry together on screen.
THE SIMPSONS Episode #150: “RAGING ABE SIMPSON AND HIS GRUMBLING GRANDSON IN ‘THE CURSE OF THE FLYING HELLFISH’”
Written by Jonathan Collier and directed by Jeffrey Lynch this is not only an hilarious SIMPSONS episode but an outstanding pulp action adventure story as well. Don’t believe me? When was the last time you saw an episode of an animated show where the plot hinged on Nazi art treasures and a tontine?
We find out in this episode that Abraham J. Simpson was the commanding officer of “The Flying Hellfish”, a gung-ho infantry squad in WWII whose members included the fathers of Chief Clancy Wiggum, Seymour Skinner and Barney Gumble. The laziest and most cowardly member of the squad is Corporal Montgomery Burns.
During the final days of WWII, The Flying Hellfish take a German castle and discover it’s full of priceless artwork. Through quick talking, Burns convinces the others to enter into a tontine. Upon the death of the others, the treasure, now called The Hellfish Bonanza goes to the last survivor.
Burns and Abe Simpson are the last two survivors and Burns hires Fernando Vidal, the world’s most devious assassin to kill Abe. Naturally pissed off by this, Abe, with the help of his grandson Bartholomew J. Simpson determines to go get the Hellfire Bonanza before Burns gets his hands on it.
From start to finish this is a delightful episode that plays out like a miniature summer action movie. And it’s downright touching how Bart and Abe bond together while on this wild treasure hunt and see Bart gain a new found respect for his grandfather who he had previously only thought to be a nutty old coot.
That’s three more examples of New Pulp for you and I hope you enjoyed them. If any more occur to me, you’ll be the first to know. Peace!
Tuesday, September 9, 2014
Derrick Ferguson: Who is Don Gates?
Don Gates: Don Gates is a 40 year-old guy who has spent way too much time in his own little world and now it’s finally spilling out of his head onto paper. I’m married to the sweetest and gutsiest girl I’ve ever known and we have some crazy pets and a fairly quiet, happy life together. I’m a geek from the old-school who grew up in the 80’s and has a head full of movie quotes and useless trivia. I’m a casual gamer and former casual musician (I once played the bass, although probably not that good).
DF: Where do you live and what do you do to keep the bill collectors away?
DG: In 2012 we relocated from Florida, where I was born and lived all my life, to Canada to be near my Mom after my Dad passed away. I am a dual-citizen of both the US and Canada. My day job is doing network tech-support for a Canadian cell-phone provider: I’m lucky enough to work from home, so I usually spend my workday in my pajamas. It’s not always as nice as it sounds though: cabin fever can be a bitch sometimes, and sitting at home around all of my distractions can make the workday feel like it’s dragging on. The job isn’t the most creatively-rewarding but I usually end my day feeling good that I’ve been able to help somebody fix their problems, so that’s something.
DF: Tell us something about your background
DG: Born in 1974. Dad was a cop who got injured on the job and retired early, Mom was a stay-at-home housewife. I was an only child, so I was probably spoiled. I was (and am) an introvert so I spent lots of time reading or drawing or daydreaming.
DF: How long have you been writing?
DG: I had been creating for years – superheroes and sci-fi tales – but was always limited to my own headspace for that stuff. I’d be pushing carts at Pic N Save or working in the electronics department at Toys R Us or whatever menial job I had at the time but I’d constantly be coming up with stuff in my head. I never thought any of those ideas could be turned into anything worth writing, so I’d never develop them to the point of committing them to paper.
In 2007 I began to come up with my own pulp characters, ones that I felt I actually could expand upon and maybe even start writing and maybe – just maybe – get published. I tossed my ideas around with a few online friends who gave me some invaluable feedback, and I went from there.
DF: What's your philosophy of writing?
DG: I don’t know if I really have one. I try to entertain but to also make the characters human and believable, if not relatable. The best reading experiences to me are always the ones where you can see the main characters as whole people, and so I try to do that a little bit without making them so complex that it bogs the story down. This is pulp, after all, so it’s gotta move fast.
I also don’t have an exact plan of attack when I write: I try to outline everything but I usually end up with a beginning, an end, and a few points between and then flesh it out and connect the dots. I have yet to write a rough draft or a second draft or whatever. I usually write and edit as I go, and let the story evolve while making sure to hit those specific points along the way. I guess I’m a plotter and a pantser… a pants-plotter?
DF: What audience are you trying to reach with your work? Is there an audience for Don Gates?
DG: I want to reach anybody that wants to read an adventure. I’m sure that when it comes to my Challenger Storm stuff, part of me wants to reach the Doc Savage pastiche fans, although I really don’t think of Storm as a pastiche. He’s influenced by Doc Savage a bit, yes, but I’m certainly not trying to write Doc stories with the names of the cast changed or anything. (Not that there’s anything wrong with pastiches, mind you, they just aren’t what I want to do.)
Is there an audience for Don Gates? I hope so. So far I haven’t gotten fan comments from strangers who say “I love your stuff!” or anything, but I can tell there’s a few people out there who do like what I’m doing. I kinda hope there will be an audience one day, actual “Don Gates fans”. That’d be cool.
DF: Why New Pulp?
DG: because it’s so damned fun! Ever since I was introduced to The Shadow when I was twelve years-old or so I’ve had pulp on the brain, because it’s just pure excitement. Adventure in far off lands, devious villains, heroes of action, beautiful dames… there’s such a feeling of glamour and romance to it (not the “lovey dovey” kind of romance but that great “lost golden era” kind). It’s nice that in this day and age there’s a place to escape to where dreams could come true, where there were still places on the map that were blank and unexplored.
And New Pulp as a concept is terrific because it throws in “post-pulp” influences and sensibilities and opens up new grounds for pulp to tread. It keeps it from getting stale but also keeps the familiar and comfortable tropes. Before “New Pulp” became a phrase, I liked to think of it as “pulp remixed."
DF: What writers have influenced you?
DG: I’m pretty sure that anyone that I’ve ever read and enjoyed has influenced me in one way or the other. My first big reading experience was Jules Verne’s 20,000 LEAGUES UNDER THE SEA, I’m pretty sure that stayed with me. William Gibson in his prime (the “Sprawl Trilogy” that began with NEUROMANCER) was very important to me, and I loved his prose: “J.G. Ballard meets Raymond Chandler in cyberspace”. I love Lovecraft and periodically go on Lovecraft reading-binges. And I love the greats from the hero pulps: Walter Gibson for his genius, Lester Dent for his inventiveness, and Norvell Page for his visceral energy.
Probably the biggest influence on my writing has probably been Dave Stevens’ THE ROCKETEER. That comic changed my life and showed me that you can create “new old adventures”. I read a magazine article about the series when I was thirteen and before I was finished reading it I knew that I couldn’t rest until I’d tracked down every Rocketeer appearance I could find. It even influenced me in ways I didn’t realize until after I’d been writing a while: the similarity of the name Clifton Storm to Cliff Secord was entirely subconscious, for example. That’d be a crossover I’d love to write, though. A dream project.
DF: What's your career plan as a writer?
DG: There’s supposed to be a plan?!
Seriously, I don’t know if I have one. I want to write stuff that I’ll enjoy writing and to write as much as I can crank out… which isn’t really that much. I’m a pretty slow writer which is something I need to work on. And should my path somehow take me to “the big leagues” then I’d be cool with that. (REALLY cool, actually)
DF: Do you think it's desirable for us as New Pulp Writers to chase Mainstream audiences or is that just a dream always out of reach?
DG: No, I don’t think it’s out of reach. The other day Annie and I were at Wal-Mart and we came across a display stand filled with those “Hard Case Crime” novels. She hadn’t seen them before and was kinda surprised to see all these books with pulpy covers and big name writers. She said something like “I can see this as a sign; maybe pulp is coming back into mainstream popularity.” This was only a day or so before the news of the Bradley Cooper EXECUTIONER movie and the Shane Black DESTROYER movie news, so maybe she’s right. And that’d be fine with all of us, I’m sure.
DF: Who is Challenger Storm?
DG: Clifton “Challenger” Storm is a guy of incredible potential, a hero who does what he does not only because it’s the right thing to do but because of a burning need for redemption. He was brought up wealthy (because all pulp heroes like him need a big bank account), but while his parents were philanthropic with their wealth he was arrogant, cruel and cold and extremely self-centered and spoiled. At around age nineteen his parents died in a car accident, and while he was returning home to take over their fortunes the passenger plane he was travelling in crashed in the mountains during a freak blizzard. Although the accident left him with three long scars on the left side of his face, he was otherwise unharmed while everyone else aboard the plane was killed. He was left alone to survive in the mountains and he experienced an epiphany, the same kind of soul-searching I imagine a lot of sole survivors go through: “Why was I left alive? Why me?” etc.
The answer comes to him that he’s still around to become the opposite of who he was, to help build the world instead of bleeding it. He throws away his old ways and leaps into a rabid self-improvement regimen to try and become as skilled as he can both mentally and physically. After graduating college at the top of his class and with numerous extracurricular activity achievements, he disappears and travels the world, learning as much martial and esoteric skills as he can manage. When he returns home to the US, he sets up the Miami Aerodrome Research and Development Laboratories (MARDL for short), a collective think-tank of designers, scientists, engineers… All are like-minded individuals who want to make the world a better place through science and technology.
MARDL also has a “troubleshooting” arm, a ragtag group of adventurers and thrill-seekers who join Storm on his missions against the human predators of the world. If someone needs aid and they can’t get it elsewhere, Storm and his troubleshooters will help.
Storm is not as infallible as guys like The Shadow or Doc Savage. When creating him, I always used the mantra “He’s not Doc Savage, but he’s trying to be.” Storm screws up, he gets emotional, he feels guilt or second guesses himself, he has self-doubt. He may know arcane martial arts, can design and build revolutionary aircraft & equipment, and runs a gigantic utopian-minded organization, but he’s also messy and has no idea how many people are on his payroll. His secretary, Marie, is indispensable to him and MARDL because she helps keep everything in check.
DF: Tell us about THE ISLE OF BLOOD.
DG: THE ISLE OF BLOOD is the first Challenger Storm novel and winner of the 2012 Pulp Factory Awards for Best Cover Art and Best Interior Art, both of which were handled by the legendary comic artist and illustrator Michael Wm. Kaluta.
In the novel Storm and his team are asked for help by an aviation tycoon whose daughter, a teacher on the tiny impoverished island-nation of La Isla de Sangre, has been kidnapped by a vicious group of guerilla warlords known as the Villalobos Brothers. They’re holding his daughter ransom, but soon after the team begins the rescue mission they discover there’s more to the story than they thought. Meanwhile, the Villalobos Brothers begin to unleash a mysterious super-weapon called “the Goddess of Death” upon their enemies and start to set their sights on taking over the island itself.
There’s also a framing device in the book in the form of a mysterious secret agent on his way to Florida to meet Storm to offer him the chance to work for his agency, the Eye, in exchange for government sanctioning of MARDL’s vigilante activities. During the “intermission” chapters we see the agent learning about Storm’s past, and through these scenes the reader also experiences Storm’s “origin”.
The print edition of the book is out of print right now, but there are plans for a newly edited and tweaked edition: while I fix some bugs inside the book, Michael Kaluta is doing some cover touch ups that have been bugging him (what exactly they are, I couldn’t say because that cover is terrific).
DF: Tell us about THE CURSE OF POSEIDON.
DG: THE CURSE OF POSEIDON is the second Storm novel. Ships and their crews are mysteriously disappearing without a trace in the Aegean Sea near Greece, the victims of a rumored “curse” of the ancient sea-god Poseidon. Meanwhile, freak tsunamis are striking coastal villages and weird black-armored beings are spotted at the scene afterward. Storm becomes embroiled in these events through one of his troubleshooters, Diana St. Clair (who Storm has an unrequited crush on). Diana’s ex-lover – a former MARDL scientist – is among those missing aboard the disappearing ships. Storm and his team join the hunt and eventually confront a villain who can use water itself as a weapon and can make mindless slaves out of free men.
The cover and interiors are again supplied by Michael Kaluta, who has done some astounding artwork once more. The response to the art – especially the cover – has been extraordinary.
DF: Okay, so let's get to the question that I'm sure you get asked many times and here's your chance to have it in print so that when you're asked in the future you can just refer them to this interview: How did you get Michael Kaluta do to the covers and interior illustrations for your Challenger Storm novels?
DG: By reading aloud from the Necronomicon while standing in an ancient and powerful magic circle of stones, pledging my eternal soul to the Outer Gods in exchange for Kaluta’s participation.
Actually, what happened was this:
I’ve been a huge fanboy of Kaluta’s art since I discovered his work on The Shadow (through the very same issue of COMICS SCENE magazine that introduced me to the Rocketeer and Doc Savage, I may add… it was a landmark moment for me, and I still have the issue). For years my wife heard me go on and on about his artwork, and eventually she did what I didn’t have the balls to do: she sent him an email to tell him how much of a fan I was, etc. Michael is a very personable guy and he and Annie struck up a friendly email acquaintanceship. She eventually mentioned to him that I had written a New Pulp novel and jokingly asked if he wanted to do the artwork for it. To our surprise, he said something to the effect of “let me see what I can do”. Next thing you know, he signed on and soon he and I were trading emails and shooting the breeze about classic warplanes and art nouveau illustrators.
I’m still not sure exactly what made Michael agree to do the artwork. Perhaps it’s because he has an affinity for the subject matter, or maybe it gave him an excuse to draw classic airplanes (an interest that I didn’t know we shared until he started working on THE ISLE OF BLOOD). One thing’s for certain: he has never “phoned the artwork in”. He has approached every illustration and cover with a thorough, professional attitude and has never settled for anything that he feels is sub-par. Mike is a true craftsman. It may sound biased, but some of his work on Challenger Storm is some of my favorite Kaluta art ever.
And it’s also very cool that one of my idols is now someone I can call a friend. I owe it all to my wife, who I’m sure has voodoo powers now because she was able to somehow bring this all to pass.
DF: You've got prestigious names such as Ron Fortier and Michael Kaluta attached to your books. How does that make you feel?
DG: Bluntly, I’m living the dream. I grew up reading Ron’s terrific work in THE GREEN HORNET and looking at Michael’s awesome and intricate artwork, so to have these guys participating in my project is an incredible feeling. I’m honored to be working with them, and I’m standing on the shoulders of giants.
DF: How many Challenger Storm novels do you have planned?
DG: Approximately 14. Now, it sounds like I’ve got an awesome lineup in the works, but some of these are fleshed out into plot germs while others are just a line or two in a notepad file that I want to expand upon further.
After THE CURSE OF POSEIDON comes WHITE HELL, currently “in production”. Anyone who has read the epilogue in CURSE… can probably tell where WHITE HELL will be going. After that I definitely know the next 2 books I want to do but beyond those I’ll need to do more expanding of my plot ideas. I also have some ideas of where the world of Challenger Storm will be headed into the modern era. There’s a heroic legacy brewing slowly here…
Keep in mind too that I’m a super-slow writer and have other projects going at the same time, so whether I ever hit my goals or not depends on how well I can beat my procrastination and laziness.
DF: What's a Day in the Life of Don Gates like?
DG: I get up about an hour before my workday starts and begin drinking my requisite dosage of coffee. I work my shift, the length of which can vary, and when I’m done I usually relax with the Missus and the dogs & cats and watch something on TV. If any writing is gonna get done, I either need to force myself to do it during this time or wait until I have no distractions whatsoever. I usually end my night watching Japanese tokusatsu shows for a while in bed before going to sleep and probably getting less shut-eye than I should be.
DF: Recommend a movie, a book and a TV show.
DG: Oh damn… see, I suck at this kind of thing because I’m really behind and I’m constantly catching up. We started watching BREAKING BAD a night or two after the series finale. Okay, I’ll try to recommend stuff that isn’t the norm and that folks might’ve missed.
For a movie, I’d recommend BEYOND THE BLACK RAINBOW. It’s a very oddly-paced sci fi film from Canada involving an esoteric clinic and institute gone wrong. There are psychics, sinister New Age stuff gone awry, and a weird ALTERED STATES-esque sequence in which something comes back from the “other side” with an acid tripper who took it too far. It looks and feels like it was made in the 80’s, and not the fun-time 80’s either but a weird technophobic underbelly of the era instead. I’d probably throw it in the same loony bin that VIDEODROME came from.
For a recommended book, I’d say to check out THE ARCANUM by Thomas Wheeler. It brings together Harry Houdini, Sir Arthur Conan Doyle, HP Lovecraft, and Marie Laveau in an epic fictional crossover. Folk who enjoyed Paul Malmont’s fictionalized pulp writers’ adventures will probably dig this. It was a lot of fun.
And for a TV show, folks who’ve never seen THE PRISONER should watch it (and stay away from the AMC remake). Hell, folks who’ve already seen it a million times should watch it again. It’s not just entertainment, it’s thought-provoking televisual art.
Derrick Ferguson: What can we look forward to from you in 2015?
DG: Hopefully a lot more than what I’ve been able to crank out so far. I’ve got a short story in Airship 27’s upcoming 2nd volume of TALES OF THE HANGING MONKEY, which was a blast to write and led me to creating a heroine who’ll probably show up again elsewhere. I’ve also just completed a short story for another publisher that’s unlike anything I’ve written yet. Not only is it a modern-day story, it’s also in a genre that doesn’t really have a lot of prose material out there. Beyond that I’ve got another short story slot in one of Airship 27’s future volumes of MYSTERY MEN & WOMEN, a tale featuring a character I’ve wanted to do for a long time and only recently was able to flesh out. And another short story slot in an anthology I can’t talk about yet: very top secret right now.
Apart from all this short story stuff (which is proving to be really fun and liberating), I’d also like to get around to finishing the Challenger Storm web serial I started on my blog a long time ago: that’s been really neglected. I’m still cooking up Storm #3, WHITE HELL while making sure it hits the right notes it needs to hit. There’s also a dream novel I’m working on that focuses on a favorite public domain superhero of mine. And I’d love to go ahead with plans of the “Storm legacy” novel, where we catch up with his grandchildren as they find their own way into adventure.
Yikes, that’s a lot. As long as I can kick myself in the butt hard enough, I can deliver on all of that. Wish me luck: I’ll need it! And thanks for this interview: it’s been fun!