Kickin' The Willy Bobo With: ANDREA JUDY

Derrick Ferguson: Who is Andrea Judy?

Andrea Judy: Someone recently called me a pulp pixie and I like the sound of that. I’m fresh out of grad school and obsessed with pop culture.

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

AJ: I work for a large university in Atlanta, GA where I manage social media accounts, pay the bills, and generally keep the office running smoothly. My coworkers are pretty much the most awesome people ever, and we nerd out on a regular basis.

DF: How long have you been writing?

AJ: Forever? I’ve been writing since I learned how to put the pencil to paper and form coherent sentences, but I’ve been telling stories since I could talk.


DF: What writers have influenced you?

AJ: Peter S. Beagle and “The Last Unicorn” was one of my favorite things as a child, and I think that has helped keep a sense of fantasy and wonder in me even as an adult. I also loved the  Jim Hensen movies “The Dark Crystal” and “Labyrinth” played on repeat at all times through my childhood.

Other writers that influence me are Neil Gaiman, Kelly Sue Deconnick, and Lisa Mannetti.


DF: What do you think about New Pulp? Is it here to stay?

AJ: I think it’s absolutely here to stay. Fast-paced, fun adventurous stories are something that world needs and that people want. Whether the name of New Pulp will stick with the genre or not, I’m not sure. I’m of the belief that pulp is the style of the writing and story, not the name of the genre or movement as a whole.

DF: What’s the best advice you can give someone who wants to write New Pulp?

AJ: The same advice I’d give any upcoming writer. FINISH WHAT YOU START. You can’t sell a story until it’s done, and you can’t rewrite something until it’s been written. It’s so easy to get caught up in talking about writing, in plotting, researching, planning, etc. Butt in char and fingers on keyboard (or writing by pen and pencil if that’s your thing) are the most important things that a new writer can learn.


DF: How did you develop the character of The Bone Queen?

AJ: I’ve always had a morbid obsession with graveyards and things that go bump in the night, so when I was tasked with creating a story for The Pulptress, I knew that I wanted something dark.

A few years ago, I studied in Paris, and visited the catacombs several times. I stayed fascinated by them, and by Paris, long after my return home, and The Pulptress seemed a perfect fit. I also wanted to put her in a place where guns weren’t the norm, and the world was a little bit different than here in America.

The Bone Queen came about because I needed someone equal to The Pulptress, someone that could be her shadow. I love spooky, supernatural things so I dove right in to giving The Bone Queen the ability to rise the dead by eating their bones and never looked back.


DF: When she made her first appearance in “The Pulptress” did you know you were going to write a novel about her?

AJ: I had no idea there would ever be a stand-alone work about her! In fact I wasn’t even sure there’d be a story in “The Pulptress!”

A little known fact is that my story in “The Pulptress” was written from scratch at the eleventh hour. My computer corrupted and I lost everything I had from the story and had to start over right at the deadline. I was so focused on making sure the story was sharp (and done!) that I never entertained the possibility of doing more with her. Luckily, the new version worked much better than the lost drafts (and was much better for Paulette and Pascal) and as soon as it was turned in and off for edits, I took a nice long nap before I even entertained the possibility of doing anything else.

After “The Pulptress” released, there was a lot of interest in her, and the story was really popular. Eventually I was approached about doing an origin story for her. I jumped at the chance. I adore villains and I think there’s a distinct lack of lady villains so getting the chance to explore where she came from was an incredible opportunity.


DF: Tell us about the novel itself. What is THE BONE QUEEN about?

AJ: The Bone Queen is about where this villain came from and how she gained her powers. It follows Renata, a devotee of the goddess of death, and her band of survivors as they struggle through Black Plague ravaged France. The dead are rising and going to war, and the living are barely scraping by. Renata vows to find the person responsible for this abomination against death and sets onto a path that explores just how much she’s willing to give up to achieve that goal.

DF: Tell us about your future plans for The Bone Queen.

AJ: The Bone Queen will be making another appearance in my second digest novel with Pro Se which will throw The Pulptress and The Bone Queen into battle once again. I’m very excited about this story and can’t wait for everyone to see it!


DF: Anything else you’re working on that we should know about?

AJ: I have a superhero story coming out in “Capes and Clockwork”, a steampunk superhero anthology that will be out soon. It’s about a female detective whose left arm can turn into anything she’s touched, and her hunt for a killer who freezes people from the inside out.


DF: What audience are you trying to reach with your work? Is there an audience out there for Andrea Judy?

AJ: I think my audience is anyone who enjoys a good, fast-paced story with a bit of darkness to it. I rarely write with a specific audience in mind. I write to tell an awesome story!


DF: What’s a typical Day In The Life of Andrea Judy like?

AJ: Hm... typical… Usually I’m up by 5:30. I work out, and then goof around on the Internet, schedule posts on social media, and read my favorite webcomics before going to work.

I’m lucky that I get to read during my commute so I usually am reading some new book. It’s awesome because this way I can go through 2-3 books a week just by reading on the train.

During lunch I try to write or work on something but it doesn’t always pan out that way. When I get home, I sit down and write at least 750 words before I eat. After that I write, edit, read, watch a movie or play video games.


Derrick Ferguson: Anything else we should know about Andrea Judy?

Andrea Judy: A fun fact is that I’m very short. I’m under five feet tall and I think a lot of my friends are convinced I am actually a pixie and not a human at all.

My Favorite New Pulp Heroes

Daggone that Barry Reese. You may recall that awhile back Barry posted over at his blog a list of his 10 Favorite Classic Pulp Heroes. Me being a blatant copycat I quickly followed suit with my own list.

Well, now he's done it again but this time it's a list of his 10 Favorite New Pulp Heroes. And quite naturally I again have followed in his illustrious footsteps and done the same.

Some of you might nitpick about my placing Captain Hazzard on this list as he was created back in 1937. My argument for that is this: there was only one story published and with his four Captain Hazzard novels, I consider Ron Fortier to have sufficiently re-imagined the character enough for him to qualify as a New Pulp hero. If you think I'm wrong, feel free to let me know and we'll jaw about it. Okay? Okay.

And I also have a special shout out of my own to Joel Jenkins who made my list twice. So without further delay here's my list of my Favorite New Pulp Heroes:


10: The Imposter (Created by Richard Lee Byers)
9: The Merkabah Rider (Created by Ed Erdelac)
8: Captain Hazzard (Re-Imagined by Ron Fortier)
7: The Pulptress (Created by Tommy Hancock)
6: Damage, Inc. (Created by Joel Jenkins)
5: The Gantlet Brothers (Created by Joel Jenkins)
4: Elisa Hill (Created by Percival Constantine)
3: The Black Centipede (Created by Chuck Miller)
2: Lazarus Gray (Created by Barry Reese)
1: Mr. Brass (Created by Joshua Reynolds)

More information about Mr. Brass can be found here and if you haven't yet read any of his adventures, I heartily suggest you do so.

My Favorite Pulp Heroes

Over at his blog Barry Reese put together a list of his 10 Favorite Pulp Heroes. Never being one to resist a good game of “monkey see, monkey do” I decided to throw together my own list of favorite heroes. So here we go, counting down from 10-1. And playing by Barry’s rules, I kept it to Classic Pulp Heroes.

Here we go:

10. John Carter

9. Secret Agent X

8. Tarzan

7. Eric John Stark

6. Solomon Kane

5. Conan

4. The Avenger

3.The Spider

2. The Shadow

1. Doc Savage

Anybody who knows me well enough isn’t surprised at Doc Savage being #1. I got hooked on Doc when I was around 14 or 15 which is just about the perfect age for a red-blooded All-American boy to get hooked on Doc Savage.

In times past my first three slots would automatically be taken by Doc Savage, The Shadow and The Avenger, The Holy Trinity of Pulp Heroes. But that was before I discovered The Spider. Good googlymoogly, his adventures are so barking mad and he’s such an hysterically epic character that he’s replaced The Avenger in The Holy Trinity. I had heard about The Spider for years but it’s only been in the past two or three years that I’ve actually read his adventures and they’re terrific.

Bit of explanation about Eric John Stark. Leigh Brackett created him back in the fifties for a series of space opera stories taking place on various worlds in our Solar System. Stark himself is an orphan raised by a tribe of aborigines on Mercury but I didn’t read any of those earlier adventures until much, much later. I read “The Skaith Trilogy” back in the mid-70’s which took Stark out of our Solar System to have adventures on a far distant world. I immediately fell in love with Stark because the way Leigh Brackett described him, it was obvious to me that Stark was a black man and I was thrilled to be reading about a black hero having exotic, thrilling adventures on strange and distant worlds. 

On the cover of the first book of the trilogy, Jim Steranko drew an Eric John Stark that looked to me like Steranko was attempting to stay true to the character’s ethnic background by hiding him in shadow so that if the art director said anything, he could claim it was the shadows that made him look dark:

I don’t think he was able to get away with it because the next two covers were bright enough so that there was no doubt whatsoever to potential readers thinking about picking up the book that the hero was a white guy:

In any case, do yourself a favor and get hold of any Eric John Stark stories you can. Leigh Brackett was a fantastically gifted writer and she knew how to tell a ripping good yarn. She wrote western movie screenplays for John Ford and she worked on the screenplay of what is in my opinion (and many others) the best of the Star Wars movies; "The Empire Strikes Back" There's a reason she was known as The Queen of Space Opera.  if you don't know the work of Leigh Brackett, I suggest you educate yourself.

So what’s Your 10 Favorite Pulp Heroes?

Derrick Ferguson Gets Bit By LEZ VAMPS

See, I had no idea at all there there was even a Lesbian Vampire genre in print or movies. If I had, you can bet your sweet bippy I’d have been all over it in no time at all. Mark Wheatley explains it all in his highly entertaining introduction to LEZ VAMPS but I’ll give you the thumbnail: the short stories in LEZ VAMPS are based upon one of Mr. Wheatley’s paintings. His fans liked it so much a contest was launched to find the best short story based on that painting. And an extraordinary painting it is.  But don’t take my word for it. Bounce on over to his Facebook page and check 'em out for yourself.

Fortunately for us, the decision was made to collect some of the best entries into a digital anthology that is available for free. And it’s made a believer outta me when it come to the Lesbian Vampire genre.

But the first story “The Adoption” by James Smith wasn’t the one that did it for me. It’s the sort of story that as I was reading it I was way too aware of the fact that I was reading a story. It’s supposed to be humorous, I get that. But the overall effect on me was that of a guy in a bar jabbing you in your ribs with his elbow telling you what he thinks is the funniest joke in the world and you’re sitting there praying he’ll finish so you can get back to watching the ball game and drinking your beer.

“Boundary Dispute” by Cynthia and Mike Arsuaga did sell me on the premise, I’m happy to say and it should have been the first story in the book. This piece is drenched in sensual atmosphere and moodiness. Let’s face it, you give me a story that’s about Lesbian Vampires and I expect my fair share of erotic titillation. This story delivered exactly that.

“Lez Vamps” by Johnda Estep is what I call a Hit The Ground Running Story. It starts off fast and doesn’t let up. Most of it is carried along by dialog which is something I greatly admire in any writer as I feel my own work just doesn’t feel like if it has much meat unless I provide description. But some writers can convey exactly what they want to a reader by the skillful use of dialog and that’s what’s going on here. It’s a nice change up from the previous story which is heavy on description that feels like a heavy cloak wrapping around you. This one bounces back and forth and never slows down from start to finish.

Gordon Dymowski’s “Out There In The Night” is a straightforward story of vampire seduction. Mr. Dymowski tells a story that could easily be the beginning of a novel, if he wishes to take it further. But then again, he doesn’t have to. Between this story and “Boundary Dispute” I was beginning to get the whole thing about Vampire Lesbians…it’s not about sex and it’s really not even about the vampirism. It’s all about the seduction. Like the song says, that’s the hook that keeps you coming back and that’s the hook that kept me reading.

“Theatrics” by Bill Nichols did what I think “The Adoption” was trying to do: be a funny Lesbian Vampire story. The difference is that “Theatrics” actually is funny because Mr. Nichols got out of the way of his story and told the story instead of trying to impress me with how much of a funny guy he is.

“The Prey” by Askshat Sinha is really one that made me sit up and go ‘whoa’ because it started out to be one kind of story and subtly shifted into another so smoothly that I got blindsided and that’s exactly what I think the author was going for. This is the kind of story I read anthologies for and why I love them so much. “The Prey” has a gut punch of an ending I found very satisfying and enjoyable.

“The Undead” by Charles Baird also continues in that theme of seduction that I found I responded to in my favorite stories of this anthology. The sex and the actual vampirism is almost a byproduct of the way that the characters come into vampirism. They want to be seduced and they want to feel the overwhelming emotion of being pursued and seduced.  It’s like a drug and this story as well as “The Prey” and “Out There In The Night” communicates that very well.

“Vampires: A Short Essay” by Russ Rogers didn’t turn my crank at all.  Just like “The Adaption” it’s a story that came across to me as the writer trying to show how how hip and cool and funny he is rather than giving me a story worth my time to read.

There are a couple of poems in this anthology as well: “Night” by Johanda Estep and “Savior In The Tent Of Countess Reynardine” by Steffan Gilbert” that I didn’t review because when it comes down to poetry, I am way outta my league. My appreciation of poetry begins and ends with Dr. Seuss and I’m not ashamed to admit it. But if if you’re a fan and appreciate erotic poetry then by all means, check out the two offerings and maybe you’ll get more out of them than I did.

So should you read LEZ VAMPS? Well, first of all it’s a free read so there’s that to take into account. And most of the stories are pretty good so I’d say Yes. As for me, I’m going to hunt up more movies and stories about this Lesbian Vampires genre apparently you guys have been hiding from me.

Kickin' The Willy Bobo With: NICK AHLHELM

Derrick Ferguson: Who is Nicholas Ahlhelm?

Nicholas Ahlhelm: Man, I’ve been asking that question for years now! The short answer is that I’m a writer, editor and blogger living in Eastern Iowa. I’m a lover of all things superhero and a whole lot of wrestling.

DF: How long have you been writing?

NA: Since I was knee high to a grasshopper. I started the site that would evolve into Metahuman Press back in 2003 and published my first book back in 2008.

DF: For the folks at home who don’t know you, clue us in on your background.

NA: I was born and raised in Iowa and have lived there for most of my life outside brief excursions to St. Louis and Springfield, Illinois. I mainly used my allowance to buy comics, first issues of G.I. Joe and Transformers before jumping into basically every superhero comic I could find on the newsstand. That history shaped what I wanted to do as I reached adulthood and decided to start a serious attempt to become a professional writer.

DF: Writing. Editing. Publishing. Which one is the most difficult and which one gives you the most satisfaction?

NA: Editing is by far the most difficult. The publishing process is complicated, but can be learned, and once you have it down, it remains just a variation on the same theme to usher one book as another. Editing on the other hand can take you anywhere. Some stories require a firm hand while some need a lighter touch. And some writers respond better to one than the other. It can be a hard thing to figure out what works best until you’ve started to know your regular writers a bit.

The most satisfying personally will always be writing. Ushering my own stories from a blank sheet of paper (or at least a blank screen) to a final draft remains astonishing to me. I still sometimes find it amazing I can accomplish it at all. 

DF: What’s the best thing you’ve ever written?

NA: I promise I’m not just saying this because I’m here to talk about it, but the answer is Lightweight. Two and a half stories into the first collection I can already say this is the most solid tale I’ve ever told. The character is strong and the story around him has literally had twenty years of gestation before making it to the page.

DF: You are most definitely a superhero fan to the max. What do superheroes represent to you?

NA: Untapped potential. While conceptually superheroes have been around for seventy something years, they still possess so much room for amazing stories. Years ago it was Steven Grant that I first heard describe superheroes as a setting rather than a genre. By that he meant they were just a trapping layered over sci fi, mystery, historical fiction or whatever. And that has shaped how I’ve seen super powered fiction ever since. This is room to tell new stories and stretch the reality of fiction, no matter the form it takes.

DF: Why are we so fascinated with the concept of superheroes?

NA: I think in many ways, superheroes are the action hero of the twenty-first century. When we can see people in real life doing stuff like parkour and our technology in our phone can do half of what we saw in any 80s sci-fi movie, society needed something bigger in their heroes. And I think because of that, the comic book style superhero rose to prominence for the same reason kids loved them for years: they are larger than life, but still grounded in a level of reality.

DF: Superhero prose fiction is hot right now. You’ve been involved in that genre years before its current popularity. Why is superhero prose popping right now?

NA: I’m not sure if it’s hot now, but it does seem to be the growing market trend. I think the reason is two-fold. Obviously, the popularity of superhero films has a lot to do with it. Superheroes have money potential, even if so many of the comics don’t really realize it.

Secondly, I think that a lot of writers have latched on to the fact that a lot of story potential exists in superheroes, either by expanding the concept into new territory or by subverting it into something else.

DF: Tell us about Metahuman Press.

NA: Metahuman Press is my small press outfit. I’ve been running it for several years, dating back to the first printing of Freedom Patton: A Dangerous Place to Live and the early numbered Pulp Empire volumes. In the last few years, we’ve expanded with a few original novels, but our main focus is still super powered and new pulp anthologies.

DF: Tell us about Lightweight.

NA: LIGHTWEIGHT is my attempt to innovate super powered fiction. Comics have ran character’s lives for decades and decades month in and month out. Lightweight is my attempt to tell a prose storyline through approximately 8000 word chapters, each published as an ebook monthly and collected periodically. The goal is to tell individual tales that will build a greater narrative as they continue, until they form a massive project that truly follows the life of a super powered young man.

Lightweight is the tale of Kevin Mathis, a 17 year old high school senior that suffers from dreams of floating. Only he learns those dreams aren’t just dreams. He finds himself in dangerous situations and feels a compulsion to act. With a costume in place, he becomes Lightweight. But even as he embarks on a career in crime-fighting with the help of his friend Millie, he begins to learn his entire world may be at the center of a centuries old war.

DF: Why Kickstarter?

NA: My goal with taking Lightweight to Kickstarter is two-fold. I wanted to make sure my cover artist Brent Sprecher, a veteran of the gaming world, gets paid a professional salary for his cover work.

At the same time, I also needed to prove that the concept had enough power to draw in fans of superheroes. My plan is to dedicate a significant portion of my life to Lightweight in the future. I want to make sure I can find a market for monthly super powered prose before I dive into it feet first.

DF: There’s a plethora of Kickstarter projects so why should the good folks at home throw their support behind Lightweight?

NA:While Kickstarter is always filled with great projects (which I spotlight every Monday in fact on my SuperPoweredFiction.com blog), this is the first time anyone truly attempted a monthly ongoing superhero prose story, at least outside fan fiction sites. My plan is to keep Lightweight going for years to come. I have plots for nearly three years of stories with outlines for nearly five more. But without proof of concept, they may never see light of day.

DF: What’s the future of Metahuman Press and Lightweight?

NA: Metahuman Press has several projects coming in the near future. Supernatural West, I Was A Teenage Metahuman and the second volume of Modern Gods are all in some stage of the production process with several more books to follow through the end of the year and the beginning of the next.

The future of Lightweight is in the hands of the people out there. If you’re a fan of superheroes, support the project on Kickstarter. It could be years before I attempt a project of this scope again should the Kickstarter not succeed.

DF: What’s the future of Nicholas Ahlhelm?

NA: A lot more writing. I have a “Fight Card” novel I’ve been ushering into publishable form in the last few weeks, followed by a half dozen short stories for various Airship 27 and Metahuman Press anthologies. Of course, I’ve already got my annual Nanowrimo project in the development stages for this November, a huge tale that will serve as a back story for Lightweight.

And of course, if Lightweight is successful on Kickstarter, a whole heck of a lot more writing for him. Here’s hoping I get to tell my complete tale of Kevin Mathis and company over the next several years.

Derrick Ferguson: Anything else we should know?

Nick Ahlhelm: I just want to thank all the backers that have supported the project so far and will do so in the days ahead. Nothing makes a writer’s heart happier than knowing someone is reading his work and wants to read more.

Yes, It's Three Months Late (Not That Anybody Knew It Was Due In The First Place)

I actually was supposed to have this thing written months ago, y’know.  I mean, BROOKLYN BEATDOWN has been in print for about three months now.  And Paul Bishop had mentioned to me prior to the book’s due date that he’d like to have a short essay from me on the how and why I wrote this particular FIGHT CARD novel as it’s a first for the series; the first FIGHT CARD to feature an African-American protagonist.

So why didn’t I write the thing when I was supposed to? Didn’t I take it seriously? Well, of course I did. There are other African-American writers Paul could have gone to. Writers who easily leave me in the dust when they stomp on the pedal and get their word engines cranked up to where she’ll run like that black Trans Am from “Smokey and The Bandit.” No, I took it very seriously that Paul came to me and asked me to contribute a book to an excellent series of novels that certainly didn’t need me to help it.

Maybe I’m just lazy? Hardly. I think my output proves that despite all other evidence to the contrary, I’m not a lazy guy.  Not when it comes to writing at least.  So what was the holdup? To be honest; I felt like a fraud much of the time while writing BROOKLYN BEATDOWN.  Really.  I mean, I’ve got no boxing background at all. I’ve been in some fights in my time.  You didn’t grow up in Bed-Stuy during the 1970’s without getting into a fight on occasion. But that hardly qualifies me as a boxing expert. And prior to doing research for this book I hadn't watched a boxing match in quite some time.

I was a big fight fan during the 1970’s and 80’s, though.  Thanks to my father.  And I feel very lucky to have grown up during a time when boxing was so vibrant and alive with such personalities such as Muhammad Ali, Sugar Ray Leonard, Joe Frazier, Tommy Hearns, Marvin Hagler. And this was during the glory days of ABC’s Wide World of Sports which would show a lot of boxing matches on Saturday afternoon. This was before the rise of cable which jumped on sports programming, boxing especially and took it away from the networks.  So I got to see a lot of these classic boxers do their thing during their glory days. But what I always took away from them was not only their phenomenal skill but their larger-than-life personalities.

That was my hook for the character of Levi Kimbro. I wanted him to be a personality with dreams and hopes and ambitions outside of the ring.  The ring wasn’t his life. It was a tool to get where he wanted to go in life. The clincher was that everybody else except for Levi knew that being in the ring was the thing he’s best suited for. So that was my inspiration for Levi. As for the rest, I watched a lot of boxing matches on YouTube and Warner Brothers fight films I borrowed from the library. In my head I saw BROOKLYN BEATDOWN as being a homage to not only those great old Warner Brothers fight films but also blaxploitation films of the 70’s. I doubted my ability to pull it off but I hiked up my pants and took my best shot at it.

But again, that specter of being a fraud nagged at me. What business did I have writing a boxing novel? But then again, I write novels about mercenary adventurers, spies, superheroes and supernatural gunslingers and never lose any sleep over it. So why was I chewing my toenails about this particular book?

In my gut I knew why: for the first time in my career I was being asked by a professional writer/editor to deliver a book about real people in a real world. No falling back on tricks like bringing in fantastic superweapons, diabolical supervillains or mythical martial arts. In the popular vernacular: I had to keep it real.

And I guess that’s why I didn’t get around to writing this when it was supposed to be written: I didn’t feel as if I had kept it real. I felt like I had made it all up. And that’s when it it hit me:  That’s what you do anyway, stupid. You make up stories. The good news is that you make up stories people like to read. And at the end of the day, that’s all that matters.

And so I wrote BROOKLYN BEATDOWN and it was published and apparently a few of you think it’s a good story and that’s all that matters.  Still doesn’t explain why I didn’t write this essay when I was supposed to write it.

Maybe I am lazy.

Keepin' Stuff Straight

Hey, there!  Welcome back and thank you for stopping by once again to see what’s going on in my precious little corner of the world. This time I hope to clarify the purpose of the collection of blogs and Facebook pages I have or am affiliated with as some people have emailed me or contacted me via Skype or IM to ask me exactly how many blogs/FB pages I have and why I have ‘em. So without any more delay...

First there’s my Personal Facebook Page. I used to just dump everything here but I found that after a while even I was getting confused as to what was posted on there and when and why and important stuff like new book releases and movie reviews was getting mixed up with personal stuff and whatnot and it just got to be an unholy mess (is there such a thing a holy mess?)  So gradually I’ve been steering my personal FB page back to what it should be: a personal page. Oh, you’ll see announcements about new books I’ve got coming out and new movie reviews and such as those spheres of interest tend to overlap but I’m going to try and keep my FB personal page personal.  At least that’s the idea.  Moving on…

Usimi Dero.  This Facebook page is named after the birthplace of my most popular character, Dillon.  This is where I’m going to steer most of of my writing business/interests to.  Slowly but surely, but yonder lies The Promised Land and we’ll all get there eventually, I promise. The emphasis here is not only promotion about my work but that of others. So if you’ve got something you’d like to promote, (within reason of course) feel free to sign up. Discussions about anything and everything to do with writing is also encouraged. Digressions into other topics are not only welcome but encouraged.

The Better In The Dark Facebook page is one I administrate/maintain along with Thomas Deja, my On Air Partner, Our Musical Director Kelen Conley and Our Webmaster Kelly Logue. It’s the main method of communication by which Tom and I stay in contact with those with those who listen to and enjoy our podcast, Better In The Dark.  Here’s where I dump all my movie reviews, old and new and where we discuss movies, TV shows, animation, pop culture and a whole buncha other stuff along with our 193 members. If you like movies then this is the place to be.  We’ve got a wonderful and knowledgeable crew of movie fans and I can guarantee you’ll not only be entertained but educated as well.  

And finally the Dillon Facebook page page is alive and well. I actually began that because it was suggested to me by some pretty influential people whose opinion I trust and value me that Dillon should have his own FB. Hey, it doesn’t cost me a thing to maintain and so far it’s been fun interacting with folks who have read the books.

That covers the Facebook pages. Now mind you, I’m not that much of an egomaniac that I expect you to be interested in or join with up with all of ‘em. But if you’re interested in what I do, now you know which ones cover which particular aspect of my career.  Okay? Okay.  We continue onto the blogs…

BLOOD & INK is where you are now. Here is where I cover everything that isn’t Dillon or movie related.  Here’s where I  do the essay thing when I'm in the mood, throw in book reviews now and then, provide you with updates on what I’m working on or what I’ve got coming up.  I also do a series of interviews with writers, artists and various creative types I call “Kickin’ The Willy Bobo With…” mainly I do ‘em as a sneaky way of getting to know more about people I’m interested in.  And there are a lot of folks I know who are doing some serious cool stuff I want to share with you and others.

The DILLON blog has in-depth information on Dillon and his universe.  There are essays written by talented writers such as Percival Constantine and Brent Lambert, reviews of the various books and stories, behind the scenes stuff.  In short, if you’re at all interested in Dillon, this is where you should be. I regularly add to pages such as the Casting Call where I indulge in casting actors as the various characters and pretty soon I’ll be putting up a comprehensive chronology of the order in which the stories and novels should be read.

THE FERGUSON THEATER is where I house all my movies reviews.  I think I’m up to around 400 now.  Or pretty close to that in any rate.  Why movie reviews? Well, people constantly ask me my opinions of movies so I figured if I started writing reviews I could just simply point them to the review. It’s also good for me as a writer, I think. Writing reviews of movies (and books) are an exercise in taking apart a story and finding out what makes it click for me. Taking apart the stories of others helps me take apart my own stories and figure out what works and what doesn’t work.  It’s also just a lot of fun to write about movies.  And if you do drop by to check out my reviews and find them fun and informative there’s a handy dandy Paypal link (“Tip Jar”) by which you can demonstrate your appreciation with filthy lucre.

And PULPWORK PRESS is the imprint under which most of my work has appeared in print. So it's someplace you need to bookmark and stop by there for information on where to purchase not only my books but those written by my extraordinarily talented partners, Joel Jenkins, Joshua Reynolds, the aforementioned Percival Constantine and Russ Anderson,

And I leave you with my second favorite quote from my twenty-first favorite book just because it’s my blog and I can. Until we get together again, read some good books, watch some good movies and get plenty of rest.  Peace!