Category Archives: Writing

The Monster Mashup: Classic Monsters Gone Wrong

Just in time for Halloween, comes four flash fiction stories about classic monsters in compromising positions. Each one is dark, fiendish, and a bit more risqué than my usual fare, but those aren’t the only things they have in common…

Drewcula has been caught red handed
Drewcula has been caught red handed

Dracula Gets a Checkup

Dracula worked the thermometer between his canines. When he took it out it read seventy-degrees. The mirror over the sink hung open, reflecting an indentation where the vampire was sitting. He slammed it shut.

Maybe one of those bright young things from last night was into holistic skincare. He or she could’ve covered a zit in garlic. It could’ve run down his or her neck. Maybe he or she played a little too rough, threw out a tendon and rubbed garlic on to keep the inflammation down. Maybe it was still on his or her breath when he or she swapped tongues. That’s the trouble with masked affairs, you never know what you’re going to get.

Lying on the exam table, Dracula replayed the masquerade in his head. He did an inventory of everyone he’d touched and everyone who’d touched him. He counted bodies on his fingers. The longer he waited the heavier his eyes got. When he woke up the walls were covered in plastic.

A doctor stood over him in a hazmat suit. “Mr. Alucard?”

Dracula sat up.

The doctor flipped through a chart. “It’s not food poisoning.”

Dracula sighed. His bright red eyes traced the borders of the hermetic bubble. “What’s all this then?”

The doctor ran his glove down a long list. “When the blood work came back, you tested positive for a couple of things.”

Dracula examined his hand. “It’s not silver poisoning is it?”

All those buckles and gags from last night, he’d just assumed they were stainless steel.

The doctor consulted his chart. “Argyria? No, but you did test positive for diphtheria, malaria, measles, polio, and typhoid fever, but it was the smallpox that got you on the CDC’s radar.”

Dracula stroked his chin.

“Mr. Alucard, have you visited any virology labs recently?”

Dracula shrugged. “Not that I can recall.”

The doctor’s mask did little to conceal his skeptical squint. “Think on it. There’s two places you could’ve contracted it. Maybe you can remember if the guards spoke English or Russian?”

Dracula twiddled his talons. “I haven’t been to the motherland in a long time.”

The doctor nodded. “Okay, that narrows it down. Do you recall wandering into any subterranean layers sometime this week?”

Dracula clicked his nails together. “The bondage dungeon might have been underground.”

“Might have?”

“I was blindfolded, escorted by a choke chain through a field of glass, nails, and razor wire.” Dracula shook his head. “All and all, it was a pretty tepid affair.”

The doctor nodded matter-of-factly. “Do you think you might have come into contact with any bodily fluids at this gathering?”

Dracula chuckled. “Might have? I was swimming in them.”

The doctor tapped his fingers to the muzzle of his mask. “Now this is important, do you think any blood might have gotten into your mouth?”

Dracula looked to his feet. They dangled over the exam table. “Well, I do partake from time to time.”

The doctor dropped his chart. “How long have you been drinking blood?”

Dracula tilted his head back and forth. “Since, maybe say, the rise of the Ottomans.”

The doctor threw his hands up, walked to the border of the bubble, and turned on his heel. “Mr. Alucard, you might not want to give me a straight answer, but the CDC will want to know all about your bondage and bloodletting gathering. If you can’t tell me where it was, can you at least tell me the name of the group who was running it?”

Dracula was already shaking his head when the answer came to him. He snapped his fingers. “The Aristocrats.”

Franken Drew doesn't like what his bolts are picking up
Franken Drew doesn’t like what his bolts are picking up

Frankenstein’s Monster inquires about his Donors 

Victor watched the monster gaze beyond the balcony. The creature seemed less interested in the village below than the stars above. “Father, where did I come from?”

Victor joined his creation. He swirled a large glass of wine. “I thought that was self-explanatory. You were stitched together from dead bodies.”

The monster squeezed his forearm, feeling for the place where the threading linked it to his bicep. “Yes, but where did these pieces come from?”

Victor gurgled the wine in his mouth, before gulping it down. “Well son, there once was a family of traveling performers…”

***

The parents were escape artists and magicians, while the children specialized in gymnastics and juggling.

They wandered from town to town, chasing traveling circuses. Every time they caught up with one they performed for the management and every time they were left in the dust behind the caravan. Until one day the father came up with an act so stupendous he knew the next traveling show would have to hire them.

Back then, I was not the surgeon I am today. I’d spent my residency giving first aid to carnies: treating animal bites, scorched throats, and unspeakable sexual maladies. I happened to be in the management’s office when the traveling family came.

The father was a born hustler, promising fear, intrigue, and titillation while his wife, son and daughter stood with frozen smiles behind him. Management tapped his pocket watch. That’s when the father reached into his sack and pulled out a pair of axes. We examined the blades while his family brought out axes of their own.

At first they simply passed their axes back and forth, like hot potatoes, but then they started heaving them, working themselves up to a fluid motion. Soon the entire family was juggling.

When the first blade slipped it claimed the young man’s arm. Fluid shot out of the wound in angry bursts. The boy bit his lip without making a sound. His father instructed him to use the pain. The lad powered through until he collapsed. We figured it was part of the act, because the others kept their axes in play without so much as batting an eye at their fallen family member.

It wasn’t long before an ax chopped off the daughter’s leg. Now she must have been a tightrope walker in an earlier incarnation of their show, because she hobbled along on one foot without missing a beat. Her fresh stump sprayed blood into management’s spectacles. He worked the droplets in his fingers, tasting them.

I’d suspected blood tubes and prosthetic limbs, but when the stench of rotten meat hit, I doubted my hypothesis.

When the young woman collapsed her parents kept her remaining blade in play. They now had six between them. The few seconds where they kept those axes flying were truly amazing, but it wasn’t long before the father had lopped off his wife’s head and her ax flew straight into his sternum.

Management sat petrified, realizing he’d witnessed something authentic and not some macabre magician’s trick.

My horror was overtaken by my desire. Here I’d been paying grave robbers for fresh corpses when four of them were delivered to my doorstep. The family might not have been the best performers, but they were generous donors.

I was already wrapping up the bodies when the father reached out and grabbed my ankle. Blood gushed over his lips as he drew his last breath.

I don’t know why, but I had to ask him, “What were you planning on calling this grizzly act?”

He smiled faintly and opened his arms wide. “The Aristocrats.” Then his eyes rolled into the back of his head.

***

The monster peeled back his sleeve to examine his skin He spotted the scars where the axes left their impressions. “Father, I don’t like this story very much.”

Victor nodded into his wine. “You know son, I don’t like you very much.”

The Wolf Drew smells something funky
The Wolf Drew smells something funky

The Hunting of the Wolfman

The Wolfman ran through the forest. His pursuers were hot on his heels, breaking twigs, hooting, and hollering. What they lacked in strategy they made up for in numbers. He’d never backed away from a fight before, but there were so many of them in the clearing.

Spotting silhouettes in the moonlight the Wolfman had taken them for a heard of deer. Charging headlong he watched as they stood on their hindquarters. Spinning around he realized he was surrounded by bipedal beasts much like himself.

Their human frames had paws, claws, and big furry ears, but they weren’t werewolves. They were werelions, weretigers and werebears.

A pair of ears rose from the underbrush, followed by whiskers, and big buck teeth. It looked like a giant rabbit feeding on a fox. It was clear, the food chain didn’t apply here.

The Wolfman felt a breeze on his neck. He turned to find a weregiraffe looming over him. He fled before the creature’s hooves could come crashing down.

The Wolfman sprinted downhill. When he heard the sound of rushing water, he thought he was in the clear. There was secret path across the river. Soon the rapids would be between him and his pursuers.

The Wolfman searched the riverbank for a bridge of rocks beneath the water. That’s when a werezebra tackled him. The zebra held him down as a werepig undid his belt.

All of his pursuers rushed out of the woodwork, but rather than snap at his jugular, they feasted on the sight of him. The werezebra bent the Wolfman over as the werepig pulled down his pants. The crowd gasped.

The Wolfman felt his tail wagging in the breeze, a nervous reaction to the situation.

The creatures bickered.

“How is he doing that?”

“Maybe it’s animatronic.”

“Do you recognize that costume?”

“Are you sure this guy’s a furry?”

“If he is, he’s not a member.”

“He’s got to be, we rented every camp ground from the highway to the river.”

The Wolfman snarled. Slobber oozed from his fangs. The werezebra let go.

The Wolfman spun around and bit the pig’s snout clean off. He thought he’d taste blood marinating the raw pork he’d bitten into, instead he tasted cotton. He spat it out when he spotted a wire frame sticking out.

Scanning the other monsters the Wolfman spotted zippers, sneakers, and open butt flaps. The man in the pig costume shuffled back to the group.

The Wolfman tucked his tail between his legs and cleared his throat. “You think I’m a member? Member of what? What do you sick people call yourselves?”

They all spoke in unison. “The Aristocrats.”

C-Drew-Lu rises
C-Drew-Lu rises

Cthulhu Crashes the Monster Mash

The nightwatchman shivered beneath the blanket. One side of his hair was black, the other had gone white. From where I stood his head looked like a Yin-Yang.

He sang, “I was doing my rounds, late last night. When something moved into my flashlight. A creature from the lagoon began to rise. And suddenly to my surprise…”

Then he stopped.

Detective Greywood shined his light in the watchman’s eyes. The poor bastard didn’t blink.

Detective Greywood snapped his fingers. “This is how he’s been answering all our questions. We ask, he takes a few minutes to compose a verse, then he sings. It doesn’t matter if anyone’s around to hear it.”

The watchman perked up. “He did the mash, he did the monster mash. He did the mash, it was a graveyard smash–”

Detective Greywood tugged me out of earshot. “You don’t want that knocking around in your head all day.”

“Was there a verse about a lagoon in the original song?”

“No, I think he’s trying to tell us the assailant emerged from the pond.”

“And the victims?”

Detective Greywood pointed to three sets of tire tracks. “I’m betting these lead to a hole in the fence.”

We followed the tracks to three mountain bikes. One was handlebars deep in the muck, one was wrapped around a headstone, and one was dangling from a willow tree.

“I don’t know art, but I know what I like.” Detective Greywood pointed to a statue in the distance.

Its robes were brown with blood. There were cracks in its sides. Someone had driven severed arms into the granite. The statue’s wings lay in the grass next to its head. Its face had been replaced, presumably, by the heads of all three of our victims. I say, “presumably,” because they were wearing masks.

Detective Greywood tilted his gaze back. “It’s not every day you see a totem pole made from Dracula, Frankenstein, and the Wolfman.”

I didn’t realize my teeth were chattering until I tried to speak. “It’s got eight arms, like Ganesha.”

Greywood chuckled, “Or an octopus.” He slapped on a pair of latex gloves and pulled something out of one of their hands. “Yoink.”

It was encrusted with blood. I didn’t realize it was a video camera until he opened the viewfinder.

While Greywood watched the video, I investigated the scene behind the statue. There was a makeshift alter made from pizza trays and beach towels, fragments of candles sticking out of wax puddles, and an ancient book. Its leather binding was warped. It almost looked like a face.

“Detective Greywood, I found something.”

Greywood stepped around with his head in the camera. He shut it the moment he spotted the book. “Well well well, old leather face, we meet again.” He pressed his radio. “Call the bomb squad, tell them we need the remote disposal unit.”

“What is that?”

“The remote disposal unit is a robot with tiny metal arms.”

I shook my head. “No, that.”

“That’s the Necronomicon: an account of the old ones and the means to summon them. Open that up and we’ll have tentacles up are asses within the hour.”

“What are you talking about?”

Detective Greywood sighed. “The elder gods created humanity as a punchline to an elaborate joke. Every so often, they like to get into people’s faces and do a little insult comedy.”

I shook my head. “I’m still not following.”

“That book is full of heckles by Abdul Alhazred. Read them and you’ll find yourself in the old one’s spotlight. If the watchman’s song is true those kids summoned one of the ancient water beings.”

Greywood slid the camera into an evidence bag. “These boys were filming themselves reading from it, probably as a framing device for a video full of graveyard BMX tricks.”

A strong gust upended the book. It skipped across the graves and fell open at my feet. The arcane script was so large I could see it from where I was standing.

I still don’t know why I thought I’d understand those words if I read them aloud, but I did. “That is not dead which can eternal lie, and with strange aeons even death may die.”

Detective Greywood drew his weapon. “You stupid son of a bitch!”

The cemetery shook. Headstones shot out of the ground like corks. Steam rose from the pond as it boiled over. Tentacles shot out from the water. They wrapped around tree trunks, pulling something up from the depths. Water splashed across the crime scene. A giant figure blotted out the sun.

“Down here, you squid faced bastard!” Detective Greywood kept shooting until he’d emptied his clip.

The book washed up onto my shoes. I felt the pages flipping at my ankles, compelling me to read further. So I did.

“The outer ones, the old ones, and the sunken ones will come together, a cosmic collective of indescribable power, and you shall know terror by its true moniker: the Aristocrats.”

“It was a graveyard smash”

merch-banner

After getting a lot requests for prints of my art I decided to open a  store on REDBUBBLE where you can find prints and a whole lot more.

The War on Halloween

A concerned demon weighs in on the War on Halloween.
A concerned demon weighs in on the War on Halloween.

Once a year, my demon seeds rise from the soil to corrupt the innocent and harvest the souls of the damned, and once a year they’re persecuted for honoring tradition. They return to the pit telling stories of houses with lights out and signs saying, “No trick or treat this Halloween.”

As a practitioner of the ancient rites, I’m sad to see the PC police sanitize the season, safety-proofing torture chambers, and whitewashing the blood spatter off of everything.

Gone are the pillars of goat skulls, livestock bonfires, and mile long threads of chicken’s feet. They’ve been replaced with scented candles, costumes for cats, and Chia pet zombie heads. Gone are the jars of deformities, the spirit boards, and seance tables dripping with ectoplasm. They’ve been replaced with bobblehead banshees, slime flavored fruit drinks, and friendly ghost cartoons. The Casper-fication of the season leaves no room for demons.

Time was there were cloven hooves leading to every doorstep, robed carolers chanting incantations on every lawn, and wicker men filled with philosophers burning all along the horizon.

Now pagan deities pace abandoned shrines, kicking the dirt, waiting for a sacrificial offering to wander across their altars, only to be stood up by their once loyal followers. Your plane of existence used to be the best party in town. Now you’re casting our idols out of your schools and town halls. Macy’s ignores the season entirely, rolling out the tinsel and mistletoe long before it even starts to snow.

Maybe I’m looking at the bronze age with ruby colored glasses, or maybe people just don’t build effigies like they used to. Call me old fashioned, but those pagans knew how to make an entity feel welcome, filling our cauldrons with the ashes of their loved ones. These days demons are lucky to get Pixy Stix as an offering.

Humans keep removing the curses from the occasion. Not too long ago people proudly displayed captivity scenes on their front yards, where wise men chained up the innocent. They decorated trees with toilet paper, decked their halls with cobwebs, and strung crime scene tape from mailboxes to rooftops.

They turned CPR dummies into disemboweled corpses, gluing cereal to rubber abdomens, painting the flakes red to look like scabbing. They smeared kayro syrup along plastic pipes, laying them out like entrails, leading to trenches filled with dry ice that never stopped smoking.

They hung ornaments of eyeless dolls, severed limbs, and good old fashioned  asphyxiated corpses.

2. Hands Up

My little hellions skipped up driveways hungry for poisoned candy corns and apples filled with razor blades. That all changed when people started giving them dental floss and teeth whitening gum. None of these Saccharin sweets had passed through witch’s hands, been soaked in virgin’s tears, or dipped in the bowls of unbaptized infants.

People need to put the heresy back into Hershey’s, the necromancy back into Nestlé, and blaspheme back into Cadbury. They need to taste the mark of the beast in their Mars Bars, black magic in their Blow Pops, and sorcery in their Sour Patch Kids.

Every year candy bars keep getting smaller. They’ve gone from “King Sized” to “Fun” to “Mini.” Now all that’s left are tiny droplets that give a vague hint of chocolate. My demon brethren keep pumping rock music full of subliminal demands, but it doesn’t seem to be getting top 40 rotation. What we want is either chocolate or blood. It’s not in your interest to keep narrowing our options.

One house gave my little hell spawns baby carrots, claiming it would help improve their vision. These people were oblivious to my children’s glowing eyes with their healthy red bioluminescence. As if vegetables weren’t bad enough, one house dared to give them raisins. Raisins, that’s one grape state away from the holy sacrament. They might as well give them garlic bulbs, dipped in holy water, with silver crucifix centers.

What the hell is wrong with people up here?

They’ve turned their backs on their heritage. They’ve taken the occult out of their culture. Costumes celebrating gruesome grotesqueries have fallen out of fashion. This will sound like a cliché coming from a demon, but I blame the children. Human children have lost their imaginations. They don’t have the attention spans to let their nightmares in.

Kids get their costumes from cartoons, rather than the Boogeyman in their closets (who ought to know something about fashion, considering where he spends all his nights). Kids wear cheap plastic smocks with pictures of who they’re supposed to be on them.

There was a time when they were all ghouls and goblins. I used to have trouble picking out my kids from the ferrel bands of blood crazed humans. These days they’re all princesses and super heroes, trailed by chaperones in big puffy coats. It’s only college kids that go out alone, and their costumes don’t leave room for demons to hide their exoskeletons. It seems like only succubi stand a chance of blending in.

People have forgotten the reason for the season is Satan, and to a lesser extant the elder gods that came before him, but really the old ones don’t even bother anymore. Cthulhu sleeps through it without so much as lifting a tentacle to hit the snooze button, and Dagon only gets up to catch the latest Tree House of Horror episode of The Simpsons.

The real reason for the season
The real reason for the season

Halloween is under siege by progressives. They want to pacify this time of possession. They want to cast out our dark sacraments from the halls of government, claiming a need to separate church and state, but debauchery isn’t a religion, it’s a philosophy.

Their agenda to secularize the holiday knows no shame. They want everyone to start saying, “Happy Harvest Festival.”

It’s Happy Halloween! With a hard H. H for Heathen, H for Heretic, H for Hellfire. Just because you rebranded something doesn’t mean it will protect you from my offspring. That’s them ringing your doorbell right now, with pumpkin pales and flaming bags of poo in their hands. You can try to civilize them, see if that gets them off your lawn, but my advice to you is just give them what they want.

Portraits

A story about what happens when an intimate selfie gets sent to the wrong person.

Channeling my inner Magritte
Channeling my inner Magritte

Tess slid down the wall. The bricks offered little in the way of traction. She crashed into a puddle and didn’t bother moving. She couldn’t bring herself to look at James. Her focus shifted between the fire escape and the dumpster. She hated the way he’d been looking at her all day. He had a twinkle in his eye, like a child expecting a present. She hated the hang dog expression he was wearing now even more.

Wrapping her arms around her legs, ducking between her knees, Tess folded in on herself. “This is what I get for following my heart when it’s shit faced.”

She sobbed into her hoodie. In one day she’d shown James the broad spectrum of her: from an unhinged exhibitionist to a humiliated wreck.

“Who did you send it to?” Tess shouted into her belt buckle.

James’s coat scraped down the bricks. “I didn’t.”

“Bullshit,” Tess scoffed. Her face already stung with tears. The bouncer probably wouldn’t let her back in now that her eyes had gone bong-hit red.

Tess scratched the bridge of her nose to find mascara dripping down her fingers. She streaked it across her cheeks like warpaint. When she peeked out, she wanted James to know he was damned if he did and damned if he didn’t.

“Give me your phone.”

Tapping in his passcode, James gave it up without a fuss, knowing it was contraband.

Tess scrolled through his messages. He hadn’t sent a thing for months. The last message was a time-off request for a funeral. His missed calls alternated between his mother and a 1-800 number, likely a creditor. She checked his photo gallery. The pictures were all closeups of dewdrops, sunsets through treetops, and color swatches of leaves changing. There were no human subjects, not even in the background.

“I deleted them already,” James showed his palms. “I might be gullible, but I’m not that stupid. We all use our phones on the sales floor. We all show off the photo filters. I couldn’t have customers ogling you, even if it would help my numbers.”

James was giving Tess an essay answer. Volunteering too much information, to keep her from asking the right question.

Wiping her cheeks, Tess flicked her tears. They streaked like ink across the pavement. “Did you sync it with your computer?”

James rolled his eyes looking for the long way around the answer. He gave a half nod, a child caught steeling from his mother’s wallet.

“Fucking hell.” Tess kicked the asphalt.

“Of course I did. I thought I was supposed to.” James’s tone rose to meet her anger.

“They weren’t for you, James.” She told the bug zapper buzzing overhead. “They were for Jason. You just happened to be one name higher in the alphabet.”

James sighed. “Well with all your cold shoulder maneuvering in the break room, I didn’t realize the two of you were still on sexting terms.”

Tess gave that a sad chuckle. “We’re not. I just saw him hitting on this jailbait jezebel, with tights for leggings, twirling her pigtails, sucking her thumb. When he setup her phone, he added his number. I know it. I wanted to remind him of the fire still burning just around the corner from his apartment.”

James couldn’t help but smile. Not the smile that came from hearing a joke, but the involuntary smile that came from being overwhelmed. “I should’ve forwarded them to him.”

Tess scowled. “You should’ve known.”

2. Have an Apple

James ran his face down his palm, “How? I thought you and I were kicking at the tires of something. I figured you were sick of Jason looming over us, so you fast forwarded to selfie sexts.”

Backhanding the bricks, Tess bit her lip. “Don’t call them that.”

James put his hands up. “Fine, these tasteful nudes-”

“I wasn’t nude!” Tess cut in.

James shook his head. “You’re counting the devil horns? When you play strip poker do you count your hairpins too?”

“No, there was a red corset in the first few shots.” Tess spun her hands through the air. “There was a succession.”

“Semantics.”

Tess realized how premeditated her actions sounded. “Fine, call them selfie sexts.” She wiped her nose down her sleeve. “I’m going to need access to your computer. I’ll need your backups, thumb drives, everything. Not tomorrow, but tonight.”

James went red. “That’s overreaching.”

Grabbing him by the collar, Tess spoke slowly and deliberately, over annunciating each syllable. “That doesn’t matter. You’ve seen me at my most personal. I think I am entitled to see you at yours.”

James muttered, “I thought you were just being forward. I figured that’s why you’d asked for my number.”

Tess let go. “I asked for your number because you said you could help with my Halloween costume. Remember, I wanted to build the exosuit Ripley wore in Aliens and you said you had a bunch of cardboard.”

James’s hands circled each other. “I know that’s what we said, but I figured…”

“Figured what?”

James shrugged. “Listen, all I’m saying is there was coffee and daylight in the fantasy I was having.”

Scurrying to her feet, Tess backed James into the wall. “You figured what?”

He put his hands up. “That you already had a Halloween costume, which you clearly did. I have proof.”

She nodded. “Right. Let’s do something about that.”

Each your heart out, René Magritte
Each your heart out, René Magritte

James’s apartment was a little too clean. There were fresh vacuum lines on the carpet, every surface was dusted, and the dishes were still wet in the rack.

“Hold back.” He stopped Tess at the door.

“There’s some things I’d rather you not see.” Rushing in James, scooped balls of yarn off the couch. Spinning toward the coffee table, he grabbed a pair of crochet needles and a scarf with orange and maroon stripes. Balling it all up, James tossed everything into a basket.

Tess stood on her tiptoes to see. “Were those the Gryffindor colors?”

She followed her host’s eyes to a pair of round spectacles and a whittled wand on the far end of the coffee table. She ducked under his arm.

“Are you going as Harry Potter for Halloween?”

James got out in front of her. “I’m not not going as Harry Potter.”

Tess gave that a long nod. She thought he could pull it off, but didn’t want to say anything reassuring. There was something about watching him squirm that was just too much fun.

Doing a lap around the living room, she wandered into the kitchen. “Where’s the cardboard?”

James turtled up. “I haven’t picked it up yet.”

Tess squint. “But you do have it?”

He tilt his head back and forth. “I asked around.”

“But you knew where to get it when you gave me your number, right?”

James gave that a quick nod.

Tess raised her head. “But you had to ask around? I’m still unclear about your timeline.”

His eyes darted back and forth. “I knew where, eventually, on that day, yes. Do you still want to make it?”

Tess rubbed her eyes. “What do you think? Of course. I want to go to a bunch of different Halloween parties, just so I can kick down the door and shout ‘Get away from her you bitch!’”

With that Tess kicked the bedroom door in.

She rubbed her hands together. “Alright boy, fetch all your tech. I want your jump, flash, and thumb drives right here.” She snapped at the bed.

“You do realize those are all the same thing, right?”

“Oh, and if you have any USB sticks, them too.”

Setting his laptop on the bed, James gathered a pair of thumb drives from the nightstand, an external backup from the closet, and the phone from his pocket. “That’s everything.”

Tess ran her fingers down the sheets. “Do you always make your bed?”

“Why wouldn’t I make my bed?” James stood in the doorway.

Tess smirked. “Well, I just sent you those photos. Maybe they inspired you to make your bed.”

“I’m struggling to see a correlation.”

She crossed her arms, taking a step toward him. “Really?”

He shrugged. “What? Sometimes I watch movies in my bedroom.”

Looking from the flat screen in the living room to the tiny tube TV on the dresser, Tess raised an eyebrow, taking another step forward. “Really?”

James looked guilty as sin. “Yes, I occasionally make my bed.”

“Occasionally.” Tess winked. “Well, it’ll make a fine office for my purposes.” Shutting the door, Tess pushed the lock in. Opening the laptop, she plugged James’s phone into the first port and his backup into the second, then she plugged his thumb drives into the back of that.

4. Now you see me

“You’re shutting me out?” James spoke to the door.

Tess’s response was the startup gong of the laptop.

James’s shadow paced the carpet. “You won’t even know where to find them.”

The desktop loaded a picture of a Jack-O-Lantern made to look like it was puking seeds onto the sidewalk, followed by the drives. The first thumb drive was filled with resumés and cover letters for various employers, the second was all college essays.

Every folder on the backup drive was dated. “You know, you haven’t backed up your computer in three months.”

The doorknob rattled. “Right, I should really get on that.”

Opening the photo application, Tess caught herself gasping.

There was flesh onscreen, just not her own. In every thumbnail, James was standing shirtless, looking awfully serious. He wasn’t bulky or broad shouldered, but damn was he toned.

The camera had taken pictures in bursts, in some James was posing, squinting with his cheeks sucked in, in others he struggled to keep his cowlick down. Tess wondered how his abs could be sopping wet, while his hair still defied gravity. She spotted the free weights peaking out of the closet. So that’s why he didn’t respond right away. He had to pump himself up first.

Tess could’ve scrolled through the gallery, found what she was looking for and been done with this whole incident, instead she explored James’s self portraits one at a time. She couldn’t help but notice how the hairs on his shoulders disappeared the further she went, or that his bed went from a heap of laundry to a nice flat comforter, or that the direction of the light source changed. She looked up to find, the desk lamp still aimed at the foot of the bed.

Tess watched a slideshow of James spinning around searching for an angle. She watched him flex and go slack. He was cut for a skinny dude with boyish features.

The last few shots were of James in his underwear: boxers at first, then boxer briefs. He hadn’t been brave enough to go the full monty, still these pics were something to see. When it came time to present his manhood to the camera, he broke character, blushing, laughing, and messing up his hair.

These were the photos she sent to herself in an email.

When James rattled the doorknob again, Tess returned to the task at hand. Scrolling through the gallery, she found the shots of herself unlacing the corset that cut off her circulation, unwrapping the red satin number that might have fit when she was younger, and wearing nothing but horns and a smile.

Tess couldn’t help but notice how poorly that smile complimented her eyes. That was her smile for Jason, as authentic as Saccharine. It didn’t say “come-hither” it said, “come-hither, please.” She highlighted the photos and hit DELETE.

When James gave up on the door knob, Tess sat in silence.

Running the cursor over the applications on the bottom of the screen, she paused on one. Taking a deep breath, she double-clicked. When the photo booth opened, she saw herself through the webcam, a hot mess with face paint like a quarterback. Licking her fingers, she wiped the mascara from her cheeks. Running her hands through her hair, she flattened her bangs. Unzipping her hoodie, she evened up her collar.

It felt wrong to take James’s self portraits and leave nothing in return, so Tess sat up and smiled for the camera. This time it was genuine.

My Poem for National Poetry Day

Minneapolis

Most people live within 30 miles of their birthplace. I’ve been living in the same neighborhood for 15 years. I wrote this poem when I was 24. I’d been living on my own, in Minneapolis, for 6 years. I wasn’t making it in the city. No matter where I went, I felt like I was on the outside looking in. My outlook was bleak. Of all the unpublished pieces in my archives, I’m sharing this one for National Poetry Day because of its harsh brutal honesty.

In the Mouth of Minneapolis

Your check bounces at the impound lot
The city repossesses your job
Your schooling
Your girlfriend
You’re a convicted pedestrian
Serving out your community service
Not by the hour
But by the blister

Automatic teller machines scold you
Like a mother wielding a report card
The city shrinks down
With each negative digit
To its lakeside parks
And wooded bike paths
Now food and shelter have an expiration date
Your bar tabs condemn buildings
Beer pitchers turn from brown to yellow
From yellow to “Thanks guys, I’ll get the next one”

Traffic lights flash red as you cross the street
Lamp posts dim as you walk beneath them
Minneapolis does not want you to know where you are going
Minneapolis does not want you to leave

Your list of cabbies and escorts
Dwindles in your cell phone
Menu, options, erase
Menu, options, erase
The city shrinks down
To its chained table sets
To its three legged love seats
With the springs at your back

Now all you order is water

The man behind the desk
Looks at your wheatgrass hair cut
Your brown moss stubble
Your wild berry pupils
Last months employment history
Tattooed to your face
Minneapolis garnishes your wages
Before you could even offer up a clammy hand shake

Minneapolis wants you to work for her exclusively

Girls walk by with their pastel cardigans
Stitched to their shirts
With their eyes so big and blue
You know they’ve seen Europe
You’re invisible in your frayed shoe laces
Your tan line for a wrist watch
Minneapolis has laid a claim to you
Minneapolis wants to go steady

When you walk under bridges
When you pass through bus stations
You feel like you’re viewing homes
Un-taxable real-estate
Your hands in your pockets
Eyeing the benches
Kicking the dirt
Checking for outlets

You thought you were just passing through
On your way to someplace bigger
Thought you could get by on your looks
On your youth
Thought you could sweet talk
A record contract, a publishing deal
A bachelors degree, and a wedding ring
Out of this city

But Minneapolis will digest you
In her seedy underbelly

Make Fear Work for You

Fear always has a confidant handshake
Fear always has a confidant handshake

Everyone is superstitious about something. In the information age, there’s still plenty of unknowns to be afraid of. Not every bump in the night can be blamed on an appliance. For writers dabbling in horror, this is a good thing. Today we’re going to mine our superstitions for inspiration.

We’ll be ignoring the classics in favor of ones that are more cerebral. I live with a black cat, when I worked in building maintenance I walked under ladders daily, and I can’t have a conversation about Clive Barker without saying, “Candy Man” at least five times.

Minnesota sidewalks fracture every winter, the only places to step are on cracks, and there’s nothing wrong with my mother’s back. So shout, “Bloody Marry” into a broken mirror, open six umbrellas indoors, wear black on Friday the 13th, breathe heavy on your way through the cemetery, and don’t worry if no one blesses your sneeze.

I want to talk about your secret superstitions, your fascinating phobias. The ones you’re too ashamed to share, but still give you a good scare. The ones you formulated without the playground think tank, the campfire seminar, and the treehouse entrepreneurs.

Those childhood fears that survived your intellect, the ones that you can never seem to purge from your obsessive compulsive rituals, those are the ones I want to tap into. Think of it as a writing exercise to draw out original ideas, to keep your scares from feeling tired and dated.

If an aspect of the unknown becomes known, it isn’t scary anymore. Horror trends have desensitized audiences. Exorcism movies have demystified demon pathology. There have been so many Ouija boards on film that another one isn’t going to frighten anyone, unless it uses hashtags and emoticons.

If you want to communicate with modern ghosts, you'll need hashtags and emoticons
If you want to communicate with modern ghosts, you’ll need hashtags and emoticons

Psychological terror hides in the dark, just outside the radar of your senses. You can feel it, but you never get a good look at it. That’s where your sophisticated superstitions reign, where your half asleep lunacy becomes reality. That’s where we’re going to find our story.

Say "Hello" to my little friend
Say “Hello” to my little friend

The Fear Test

The best way to know if your superstitious belief has teeth is if you fear it more than something you should be afraid of. Irrational fears have a way of eclipsing legitimate ones.

I used to live in an apartment above a parking garage. The unit rattled every time the door opened. One day someone discovered a body in the dumpster. A mentally handicap neighbor didn’t know what to do when his mother died, so he dragged her down there. Out of some morbid curiosity, I went into the garage to find the dumpster aligned with my bedroom.

That night I woke up to a tapping on the window. A silhouette was peaking through the blinds. Slipping out of bed, I crawled into the hall. Armed with a Maglite, I charged outside to find a pair of homeless men passing a glass pipe on the window sill. I wasn’t frightened by the crank craters lining their cheeks. I was just happy these men weren’t the ghost of the woman from the dumpster. That irrational relief gave me the courage to trick them into thinking I was a cop.

True story. Here’s another one.

I used to go for walks at night when I had trouble sleeping. My insomnia got so bad I started seeing things. My subconscious planted shadow people behind every tree trunk.  I saw them peaking out, ducking behind trash cans, and kneeling in the tall grass. The second I caught one stepping into my path it disintegrated on impact.

We’re programmed to recognize faces from birth. It’s no wonder we see them in wallpaper, tree bark, and the surface of Mars. Deep down, I knew these hallucinations were glitches in my brain’s ability to spot patterns, but they just kept coming.

What made the shadow people all the more disturbing is they were never just chilling out doing their own thing. Walking around the lake, I never spotted them fishing, reading on the docks, or making out on the benches. The shadow people were always on the hunt. They rose from the water, dropped from branches, and lunged at me from the bushes.

I had this childlike notion that the shadow people were real, that my sleep deprivation dulled the feedback from my other senses, allowing me to see them. That’s why when I heard footsteps rushing up behind me, I was relieved to find a bulky man clutching something in his jacket.

When I calmly said, “Is there something I can help you with?” he was taken aback.

He took his hand out of his pocket and laughed. Through a bizarre turn of events, we chatted on the way back to my apartment. It took several blocks for me to realize he’d planned on robbing me, but changed his mind when he saw that there was no fear in my eyes. Over the course of several cigarettes, he all but admitted as much. Still, I was comforted when I turned around and saw a man and not a shadow assuming the shape of one.

Rational fears are topics worthy of your writing, but psychological terror shouldn’t be so easily defined. Show us your shadow people. Share the ghosts in your basement. Give us something we’re not used to seeing.

See my credentials
See my credentials

Rather than purging your fear with some loud distraction, I dare you to embrace the silence. I dare you to ask yourself the following question:

Wouldn’t It be Terrible If?…

I’ve written articles on one of the easiest ways for writers to find inspiration by asking “What if” questions.

What if a house cat got exposed to gamma radiation and hulked out at the sight of a laser pointer?

What if a house cat foiled a group of terrorists by knocking houseplants onto them?

What if a house cat thwarted a serial killer by triggering all his traps before they hurt anyone?

Horror stories start with a modified version of the same question: “Wouldn’t it be terrible if this happened?”

Wouldn’t it be terrible if the only reason the monster in my closet hasn’t struck yet is because I wasn’t ripe?

Wouldn’t it be terrible if there was an anti-Halloween where demons come to earth posing as people?

Wouldn’t it be terrible if everyone on earth stared at me when I wasn’t looking, but somehow I found out it was happening?

Chrome Face
Chrome Face

Next time you’re searching for inspiration, I dare you to stare into the dark until you find something. Next time you recognize an irrational fear, make a note of it. If it keeps rising on its own, you’ll know it has staying power. Indulge it, let it drive you crazy, then direct its evolution.

Why dismiss your fear, when you can put it to work? Developing it into a story might just be the best way to overcome it. These waking nightmares might just be your subconscious’s way of plotting. After all it’s not madness if you use it.

Too Many Options

The last suit in the closet
The last one that fits
With bleach splatter pattens
And holes in the armpits
Every string frayed
Every edge ripped
Every loom line showing
Just where it was stitched

I’ve got too many books
So I don’t don’t read anything
I’ve got too many movies
So I don’t watch a single one
I’ve got too much information
But no knowledge to flaunt
I’ve got too many options
But not the one I want

The last tie on the rack
The last one to lose its shine
With remnants of a pattern
And deep Windsor lines
Every fiber faded
Every weave undone
Every red power lie
Exposed and gone

I’m in the heart of the city
So I don’t go anywhere
I’m surrounded by bars
So I stay home with my liquor
There’s a crowd outside
So I don’t talk to anyone
I’ve got too many options
But not the one I want

The Difference Between a Ripoff and an Homage

“Who the hell is this?”

Everything has been done before. Accept it. Everything has been said before too, you can check Google for the transcript. Odds are your fresh blockbuster pitch is already on Netflix, and The Twilight Zone beat you to your fresh story by more than half a century.

A writer can only make so many variances to the same old tale. There are thirty-six dramatic situations, fitting into seven basic plots, told in three acts, following the same hero with a thousand faces. Do the math, show your work, or go ahead and copy off your neighbor because it really doesn’t matter.

My early efforts tried to break the formula by adding variables to the equation. I’d mix genres, combine my favorite characters, and play with dated one-liners. I thought it all added up to something unique, until my friends easily pegged the sources of my inspiration. My creativity was less than the sum of my influences. All of my additions amounted to a zero sum.

So I got abstract, bogging my screenplays down with themes I’d taken from dreams. My professor called them Lynchian, another apt comparison, pointing out that David Lynch was already on the road I was going down.

When I started writing horror, I trekked into obscene depths, searching for a story so grotesque no writer would dare tell it. I’ve mined the pit of human depravity only to find others had been there before me. The moment I thought I’d come up with an original concept, I’d find it’d happened in the real world and there was already a made for TV movie.

Like Chuck Palahniuk says, “You can’t invent a new sin.”

Turns out I’d read so many books and watched so many movies that I could never be sure if an idea was truly my own. Of course I could have gone out into the world in search of inspiration, but I grew up in Minnesota, it’s cold and it’s not good to leave your video games on ‘pause’ for too long.

I was down to a few options: plagiarize an obscure story and pass it off as my own, like a bad musician sampling without giving attribution, or show up to the party in the same dress as Stephen King and just tell everyone how I’m wearing it different (yup, that’s the analogy I’m going with, now it’s up to you to try to visualize it).

I decided if anyone pointed out that Mr. King was donning the same sparkling skirt I was vamping around in, then I would just say, “I know, my outfit is an homage to his.”

"It's not me you fool. That's the evil one!"
“It’s not me you fool. That’s the evil one!”

The Difference Between Fan Fiction and a Proper Homage

The biggest difference between fan fiction and homages is that fan fiction brings established characters into new situations, while homages bring original heroes into familiar ones. With an homage, it’s not uncommon for the setup to be the same as a classic, while the payoff might be completely different.

If you’re writing modern day characters the audience will assume they’re familiar with pop culture. You can’t introduce a vampire and pretend your characters have never heard of Bram Stoker. Dracula is the most filmed literary figure of all time. If your characters see someone sucking blood from a neck they better not say, “What the hell was that thing?”

If they do, we’ll be wondering if they live in an alternative reality where Nosferatu never happened. That kind of convenient naivety breaks the suspension of disbelief. It’s better to have one of them hang a lantern on your influence, draw attention to the similarities to let your audience know that your interpretation is going to be different.

Right now I’m working on an homage to Robert W. Chambers’s classic supernatural horror story The King in Yellow. In Chambers’ 1895 book, copies of a mysterious play have caused such widespread madness that the government has installed Suicide Chambers on every street corner. The banned text The King in Yellow resonates so powerfully with anyone who dares read it that they go mad from the revelation.

My story is about a modern private detective, investigating the death of a script reader who read an adaptation of Chambers’s fabled play right before setting himself aflame. The detective has to trace the cursed screenplay’s origins before it can claim another victim.

Now I know, Chambers isn’t that obscure of an influence to borrow from.

The King in Yellow inspired H.P. Lovecraft’s tome of forbidden knowledge The Necronomicon. Lovecraft also put a copy of the play itself in the Arkham Library appearing in many of his stories. He found Chamber’s story so inspiring that he included the titular character in his pantheon of cosmic beings under the name Hastur.

Director Sam Raimi borrowed the Necronomicon for his Evil Dead series, while John Carpenter used the concept of the deadly book in his film In the Mouth of Madness, ensuring that the universe shared by Chambers and Lovecraft expanded into other mediums.

The King in Yellow made the jump to TV when True Detective’s show runner, Nic Pizzolatto, incorporated names, symbols, and themes from Chambers’s book into the show.

Chambers himself borrowed the names Carcousa, Hali, and Hastur from Ambrose Bierce’s short stories An Inhabitant of Carcosa and Haïta the Shepherd. In his story, Chambers offered a mere glimpse of The King in Yellow play, but the setup bears a striking resemblance to Edgar Allen Poe’s The Masque of the Red Death.

If a piece had a profound impact on your work, why not slip in a mention of it? Stephen King’s short story N, has a character slyly compare his situation to the plot of Arthur Machen’s The Great God Pan (which inspired me to quote it at the beginning of my own novella).

The take away point here isn’t stealing is fine because everybody does it, it’s that influences are for everyone.

My evil clones never do any chores. They just taking over the couch and claim all the video game controllers
My evil clones never do any chores. They just taking over the couch and claim all the video game controllers

If Everything has been Written Before, Why Bother Writing Anything?

If after reading all this you find yourself having an existential crisis, then good. My work here is done. Until next week. I mean, wait.

So what if everything has been done before? It hasn’t been done by you yet. Those stories haven’t been told with your voice, using your life experiences. Your take is going to have some variances. An awareness of what came before will allow you to play with your audience’s expectations, a slight deviation will feel like a full on twist.

So what if your idea shares a setup with something else? Movies are pitched like that all the time. Under Siege is just Die Hard on a boat, Passenger 57 is just Die Hard on a plane, and Home Alone is just Die Hard with a kid. Isn’t it time you stopped worrying about being so fiercely original and wrote a Die Hard of your own?

Why I Write

Today I’m participating in a blog hop called “Why I Write.” Thanks to Síofra Alexander for tagging me in her brilliant intensely personal entry. She’ll be a tough act to follow.

The demon's eyes are upon you now.
The demon’s eyes are upon you now.

I started writing lyrics when I was twelve years old. My early efforts were journal entries confined to rhyme schemes. They overused hole/soul, skin/within, and love/above way too often. While I spent my teens singing my feelings, something strange started happening. I found myself asking a question that had less to do with what made me tick and more to do with my imagination: what if?

What if aliens invaded by posing as demons?

What if a cyber mob drove a girl to suicide only to find her ghost haunting them online?

What if a man discovered his depression was actually a person in a parallel dimension where happiness is frowned upon?

What if an exorcist challenged a possession victim to a drinking contest and the final shot was spiked with holy water?

The answers to these questions didn’t fit into a verse chorus verse structure so I let them float back up into the ether. I passed on my ideas, only to see them watered down in other mediums. I’d be playing a video game and realize it was using one of my ideas badly. If only I’d put it down on paper and gotten it out there.

Every one of us has a marquee full of blockbusters in our brains, but so few will ever get to share them. For many, the only time they share their ideas is to fill a lull in conversation, their story might be a fan theory for a franchise that’s already in production, or it might be something that shouldn’t be forgotten.

What if?

I started writing because I wanted to answer that question.

Sometimes I posed it in a way that applied to my life, “What if I’d told her how I felt when it mattered?” Sometimes I let it venture outside the realm of reason, “What if I traveled back in time to tell her how I felt only to accidentally kill my past self?”

Either way, the question was worth asking, because…

Writing Gives You Super Powers

Look into the eyes of pure evil.
Look into the eyes of pure evil.

Stephen King says that writing is telepathy. Neil Gaiman calls reading a form of empathy. The process is a shared experience that turns the imagination into something tangible, something real.

Writing is time travel. It allows us to bring clarity to memories, to refine our past into stories, or to alter it to play out the way we wanted it to be.

Writing is playing God, sometimes cruel, sometimes kind, but always in mysterious ways. We build worlds. We break characters down. We do the impossible: we create a situation that forces a person to change.

Writing is immortality. It’s more reliable than cryostasis, less committal than vampirism, and cheaper than uploading your consciousness to a server. It’s a way of telling future generations, “I was a thing. I happened. I may be gone but my thoughts live on.”

How I Launder My Emotions into Writing

When I write fiction, I compartmentalize my emotions to keep them from changing my story’s events, but sometimes I just let them in.

Sometimes writing is the only way I can take control of my feelings. Paper seems as good a place as any to vent, to put my nightmares to work, to have a breakdown without making a sound. The page is a place for fear to pose its arguments so I can refute them.

I’m too frightened of public speaking to be a comedian. Fiction is how I smuggle my humiliation to an audience. It lets me laugh with them.

With all the social graces governing my behavior, sometimes writing is the only way my thoughts get out there. With all those tell-off speeches bubbling up inside me, sometimes I need a place to say the things I’d never speak. With my ego wounded, I need a place to chronicle all the power fantasies I use to inflate it.

I write because I don’t want those ideas to stop at my brain. I’ve got the foresight to write them down and the audacity to think other people should read them. Call it an inflated self image, call it delusions of grandeur, call it sociopathic narcissism. Whatever.

I know I’m not special. Anyone can ask, “What if this crazy terrible weird thing happened?” I just put my answers into words.

Daydreams are only a waste of time if you never jot them down.

Literary Kitty learns grammar
Literary Kitty learns grammar

Hope you enjoyed reading my long winded explanation for why I’m in this writing game. I nominate the following folks to answer the same question:

Mark Conard

Mark has written two noir novels: Killer’s Coda and Dark as Night. He’s coedited several collections on how pop culture intersects with philosophy, including The Simpsons and Philosophy, The Philosophy of Film Noir and The Philosophy of the Coen Brothers.

On Twitter @MarkTConard, Mark takes the inspirational quotes authors use as filler tweets and adds things that change their tone, like “and shit” or “bitches” which he uses to punctuate Shakespeare’s dialogue under the hashtag #ShakespeareBitches.

Jessica West

Jessica has one novelette and two short stories for sale on Amazon, and her blog houses a massive library of Flash Fiction, this is because Jessica participates in every writing challenge known to twitterdom. I have lofty daily word count goals and Jessica regularly kicks the crap out of them.

Follow her @West1Jess to find out what she’s working on.

Honorable Mention: I’m a big fan of @fredamoya‘s answer to this question.

Plagiarizing Reality: The Pros and Cons of Mining Life Experience for Fiction

Method writers write what they know while classical writers draw entirely from their imaginations. I’m not here to tell you which style is best, I’m here to tell you how to walk the line between the two without staggering.

Take too much inspiration from the real world and your notebook turns into a black hole
Take too much inspiration from the real world and your notebook turns into a black hole

Writers struggle to keep our memoirs out of our fiction, to keep our rage journals out of character narrations, to put some distance between our diaries and the worlds we’re building.

Our personal lives have a way of demanding roles in our stories. We’re lured into taking ideas from them with the promise of added realism. A smattering of truth can add authenticity to fantasy, but there’s a risk in mixing fiction and nonfiction. If a story is rooted too deeply in reality it resists changes it may ultimately need. The trick is to warp life events to serve your story, not to bend it to report those events more accurately.

I use a waiting period when it comes to drawing from trauma. Fresh wounds bleed into my imagination. When I have a falling out I have to fight the urge to pick up my pen. When I get dumped I have to resist the compulsion to bring the break up into my story. When I get downsized I have to resist setting the same pink slip on my hero’s desk.

When something bad happens, I usually have another story going. I don’t want to shoehorn my journal into events I already have in motion. I might feel a need to share a personal revelation, but if I put it into the wrong forum it will seem jarring.

That’s why I wait until my statute of limitations has passed. My immediate reactions are inarticulate. They come out too soon for me to settle on an allegory. My metaphors refuse to mix, like a sloppy cocktail, they leave a bad aftertaste in the readers’ mouths. If I feel something too intensely I overuse hyperbole. My poetic exaggerations color my prose in the deepest shade of purple. I get so abstract that when it comes time to edit, I fail to see what I meant.

Why Emotions Suck at Plotting Stories

If I invite emotional reactions into what I’m working on, they make themselves at home. They move things around. They demand that I convert my third person story into a first person one. My emotions don’t have time to show evidence to the audience, they want to talk directly to them. They insert monologues into scenes that would benefit from quiet tension. They’re too negative to let my characters go through positive changes.

When there’s a death in the family, sometimes it’s better to hold onto that grief before putting it on paper. Writers naturally develop fresh phrases to describe their emotions. It takes time for the right language to come. Wade into your stream of consciousness too soon and it will flood out onto page.

It’s only when I’m numb to tragedy that I can examine it with clarity. Time allows me to see which details add credibility to my story and which ones weigh it down. I want the audience to relate to my characters, but I don’t want to share too much information. Not because I run the risk of exposing myself, but because I run the risk of slowing my pacing.

My notebook swallowed the sun, enshrouding the world in eternal darkness
My notebook swallowed the sun, enshrouding the world in eternal darkness

The Dangers of Casting Characters with Real Life Players

Real world personalities can add spice to your story, but don’t just cast your evil ex because you’re jilted. Do it because the story needed a character who was at once disloyal and prided themselves on their honesty. The “You’re so vain, I bet you think this book is about you defense” won’t hold up with your family and friends.

When drawing character traits from real life focus on behaviors more than physical features. Borrow tells, looks, strange habits and peculiar mannerisms.

Get the expression on your subject’s face right. Don’t bother giving us a composite. If you draw from subtleties, your coworkers might not recognize themselves. They’ll continue to give passive aggressive criticism of your performance, without realizing their smile is in stark contrast with their eyes.

If your boss sees themselves on the page, what are you going to say? If a friend sees themselves in your character lineup, do you want to deal with the fallout? Will you look forward to Christmas dinner after demonizing your mother?

If all your characters need to come from a real place, mix and match the parts. Make a Frankenstein monster, an unrecognizable amalgamation. If the character is complex enough, you won’t get sued for likeness rights.

Why You Shouldn’t Tell Anyone a Character is Based on Them

When you tell friends they have a part in your story, you’re less likely to take creative liberties. When they know a character is based on them you’re less inclined to make them do something embarrassing. Humiliation humanizes characters, but now you feel compelled to give them a cool composure. Their stand-in becomes a flawless forgery that’s no fun to read.

For characters to be relatable they need to be vulnerable. Dignity is a luxury. Before anyone can rise above a challenge, we need to see them at their lowest. Stories shouldn’t respect their character’s privacy. We need to talk about their unmentionables, sort through their dirty laundry, and autopsy the skeletons in their closets.

If you use a real person’s name throughout your first draft, only to ‘Find and Replace’ it later, you’re playing with fire. Even if you’ve burned all your bridges, your story is better off without them. If you base a character too closely on a real person, they might refuse to take your commands. The plot needs them to go one way, but you know their real life counterpart wouldn’t.

Being real and feeling real are not the same. Use some artistic license.

Another life swallowed up by my fiction.
Another life swallowed up by my fiction.

Keep Your Imagination from Leaking

Just as writers don’t want their memoirs to invade their fiction, we want to keep our imagination from leaking into the rest of our brains.

Having experienced so many narratives, from Saturday morning cartoons to novels, our memories have adapted their story-telling mechanics. Remembering things in three act structures, we assign life events an artificial beginning, middle, and end, when in reality that’s not how they happened. Blending our recollections with our imaginations, can have consequences.

The brain uses the same process to evoke a memory as it does to visualize an idea. The mind’s eye plays its documentaries and found footage movies on the same screen. It’s only natural that we mistake one for the other, but just because we see signs of fate, doesn’t mean our lives follow story logic.

If we corrupt our memories to fit into narrative beats, we’ll see ourselves as heroes and ignore the things we need to change. If we spend our memories in our stories, we’ll run out of material quickly. We need to perfect our skills for fabrication, while keeping them isolated to our imagination.

Writer’s block isn’t always the result of a lack of inspiration. Sometimes it comes from a conflict in the mind. A little self examination can save a whole lot of time. Wordsmiths need to be aware of their own thinking, before finding the right balance between classical and method writing.

The Curse of 32: On Keeping Artistic Ambitions Alive

The Death's Head Constellation
The Death’s Head Constellation

I swear every word of the following story is true, not in that fake “based on actual events” way, but in that it happened as it’s written.

It was the summer between my sophomore and junior year. I’d been up making music until birds were chirping over my headphones. My parents left for work while I was sleeping. I woke up in the mid afternoon.

A ray of light reached into my bedroom, further than the windows in the house had ever permitted it. It stretched in real time, bending around the threshold, a sunshine snake, slithering through the shadows. It stretched across the carpet, settling on the tip of my mattress. My socks hung over the edge, blooming with harsh blinding light.

I knew I was awake, but my body hadn’t caught on, it refused to acknowledge my commands. Underneath the covers, the only thing I could move was my eyes. The light traveled up the bed, refracting as it went. There were terrible faces in that angry rainbow, furrowed brows, beady eyes, flaring nostrils, and hungry mouths. The prism projected teeth all over me.

I tried to scream but my lips refused to part. I felt like an ant stuck in honey beneath a powerful magnifying glass, a vampire who’d mistaken overcast for nightfall only to realize it was midday. Never in all of my life had I been so afraid of the daylight.

Straining my brain, I tried to fire my nerves up manually. I could feel my inner ears, if I worked the muscle I could make a clicking sound. Recoiling from the technicolor teeth moving up my stomach, I took control of my neck back. Turning my head from side to side, I tugged on my spinal cord, praying my motor functions would start back up again.

The next thing I remember, I was on all fours, crawling up from the carpet. I’d broken sleep’s hold on me. The light had receded, but everything about my bedroom still felt wrong. The dimensions were correct, but I knew it was counterfeit, a dream set trying to pass itself as the waking world.

Tugging the blinds up, I expected to see a matte painting where my neighbor’s house had been. Stepping into the hall, I expected to cross over from my habitat into an alien spacecraft. Entering the kitchen, I expected a legion of demons to pop out and yell, “Surprise!”

None of that happened.

I was on my feet, I’d regained my balance but dream logic still made a sick kind of sense. This was before I knew anything about night terrors, sleep paralysis, or hypnopompic hallucinations. As far as I knew, reality had warped to deliver a message. The Sandman came bearing a premonition.

Teenage Prophecy

My dream left the residue of an idea that had never occurred to me before: I wasn’t where I was supposed to be.

Looking around the kitchen, I felt like I was visiting a memory. I didn’t understand why I was living at my parents’ house, why I was still in Minnesota, why I wasn’t touring with my band. It felt like I’d Quantum Leaped into my younger self and I was going to have to go back to high school again.

That notion that there would always be time to pursue my passions was gone. I had precious few years to leave my mark on music before I’d be out of sync with my generation. I was self taught, late to the scene, and not exactly magazine cover material, with my bulb nose and pox marked skin. Music was my life but it felt like my tune was already fading, like the universe had a reason for claiming so many rockstars at 27.

I wondered why I was single, why I couldn’t see wedding bells from where I was standing, why I hadn’t changed my life to accommodate a baby. What kind of father would I make with my duct tape bracelets, torn sleeved shirts, and safety pins running down my jeans?

Thinking into my cereal, I waited for the sensation to pass. It didn’t. I was having a midlife crisis. I didn’t have an urge to buy a motorcycle, have an office affair, or study World War 2, but I was doing an inventory of everything I’d done and everything I had left to do. There was a lingering feeling that I was already expiring. This thought became impossible to banish. The more I tried to dismiss it, the more certain I became of it. I was staring down the other side of the hill, realizing the cost of being an old soul.

I was 16. I did the math. I had to leave my mark soon, because at 32 I was marked for death. After that morning, I saw the number everywhere. All those people jumping at the number 23, they had it backwards.

I laughed off Nostradamus’s date with the Apocalypse, wrote a satirical song about Y2K,  and slept in on the last day of the Mayan Calendar. I was comfortable in the knowledge that the world couldn’t end before I did.

That music career never happened, I’d spent most of the time pursuing writing. My lyrics took on too many verses and I just kept going with them, following the words away from the notes. I started calling my songs poems, until they took on chapter headings. Still, the change in medium never made me feel like I’d bought myself any more time. Plenty of authors emerge later in life, but I knew that when the clock struck 32 I’d have to put my pencil down and turn whatever I had in.

Shaking the Curse

I never knew how my life was going to end. I imagined a scenario from one of the Final Destination movies. I’d trip on a marble, accidentally setting off a Rube Goldberg machine of death. Somehow, a weathervane would roll down a roof, knock a rusty gutter loose, and hit me into a fence at the precise moment lightning struck it.

My depression tried to convince me the prophecy was going to be self-fulfilling. It said, “You can’t run from me forever. At 32, I’m going to catch up with you.”

I’m not going to lie, my depression gave it the good college try, but that option was never on the table, not with two Game of Thrones books pending, not with an Aphex Twin album just over the horizon, and not before I could leave my own meaningful impression.

As far as reasons for living go, I could do worse than having a slew of works in progress.

I’ve never understood the phrase, “Live everyday like it might be your last,” because if we all did who’d waste precious seconds doing laundry, mowing the lawn, or writing checks for the utilities? Some of us would be so polarized with fear that we wouldn’t decide on anything, we’d shiver beneath the covers waiting. We’d write bucket lists so long we wouldn’t have time to scratch off a single thing. We’d go through our contacts, saying our goodbyes all day long.

If a writer lived every day like it was their last, they’d post a blog entry and shun every long term project with any intellectual investment. I know that platitude was never meant to be taken literally, but I started to when my superstition caught up with me. I became hyper critical, a perfectionist with limited output, wondering if I died tomorrow, would the piece I was writing be the note I wanted to go out on.

What did that kind of pressure teach me? There are better ways to say “Carpe Diem,” without imagining my own imminent doom.

At 32, I’ve tried to be as prolific as possible, hyper-blogging, working on the novel, writing more short stories than ever before. Still, death has been a constant theme, lurking between the lines, waiting for it’s time to shine.

I consider myself a skeptic. This is my one last lingering thread of superstition. I can’t wait to cut it. My birthday is on Monday. I’ll be 33 and my deadly premonition will have reached its expiration. This weekend, I’ve been looking both ways three or four times before crossing the street, checking the sky for falling pianos, anvils, and loose jet engines.

If you’re reading this, it means I made it. That the self-fulfilling prophecy didn’t get me. I’ve outlived the curse and I have no idea what happens next.

I know this all sounds silly, like the ravings of Ebenezer Scrooge on Christmas morning, but this means there’s still time. Time to perfect my craft, to get my name out there, and to make something of it. Time for love, terrible remakes of great movies, and a chance to tinker with virtual reality.

That 16 year old prophecy didn’t come true. If there are such things as psychics, I don’t have their gifts. That, or I was actually having a mid-midlife crisis and 64 is the number I should be watching out for. Better yet, maybe I was having an eighth of life crisis, and I’ll live to be 128, at which time I’ll be cryogenically frozen to be thawed out when death isn’t even a thing. Yup, that’s the option I’m going with.