Say one thing for Alexandru Constantin: you can't accuse him of being a man who complains without taking action.
Case in point: when he felt there weren't enough conservative voices in the critical sphere--an opinion he is far from alone in sharing, by the way—he decided to organize the Short Story Book Club. His stated goal is two-fold: create a body of conservative, countercultural criticism, and draw more attention to indie writers overlooked by mainstream media outlets.
I believe both of these ideals are 100% worthwhile, so I'm throwing my hat into the ring to help out.
The fact that the first story Constantin selected for this project is Schuyler Hernstrom's awesome novella, "Mortu and Kyrus in the White City?"
Man, that's just gravy.
I first reviewed Hernstrom's story two years ago, when he released it as a standalone e-book on Amazon. You can find that spoiler-filled review here, and it still sums up my overall feelings on this story: It's a balls-to-the-wall awesome piece of science fantasy, the likes of which no one outside the #PulpRev community is writing anymore. It's also a brutally sincere and final rebuttal of Ursula K. Le Guin's Hugo-award winning parable, "The Ones Who Walk Away From Omelas."
I'm not going to rehash my old review here. Rather, I'm going to expand on it with a couple of details I noticed during last night's reread of both Le Guin's "Omelas," and of Hernstrom's vastly superior "Mortu and Kyrus." It's also probably going to be just as spoiler-filled as my first review, so be forewarned.
That said, a brief aside before continuing with the analysis:
In terms of pure entertainment, I can't recommend Hernstrom's story enough. And if all you're craving is a dose of pure, adrenaline-filled awesomeness with alien ruins, axe-wielding barbarians, motorcycles, and talking monkeys, then stop reading this review NOW. Buy Hernstrom's new collection, The Eye of Sounnu from DMR Books, which is where you can read this slice of pure heavy-metal havoc.
I promise, you won't be disappointed.
Reader, time has not been kind to my opinion of Le Guin's piece. I've never been much of a fan, mostly because the moral premise it presents is shoddy at best, but certain passages that I overlooked on previous readings jumped out at me last night.
In a nutshell, Le Guin's parable envisions a "perfect society," a perfectly happy city called Omelas, where that happiness is somehow maintained solely via the horrible abuse and neglect of a single child locked in a basement. The parable then talks about the "ones who walk away" upon learning of this suffering. They leave the city, never to return, and this is presented as "remarkable."
In previous readings, I guess I focused mostly on the "stinger" of the horribly abused kid sitting in his or her own filth, because I didn't really remember much of Le Guin's description of her vision of what Omelas' "perfect" society must look like—she repeatedly reminds the reader that they can picture Omelas however they like, as the details don't matter, just as long as the reader believes what he or she pictures.
Anyway, this short excerpt is rather telling, but the emphasis at the end is mine:
But even granted trains, I fear that Omelas so far strikes some of you as goody-goody. Smiles, bells, parades, and horses, bleh. If so, please add an orgy. If an orgy would help, don’t hesitate. Let us not, however, have temples from which issue beautiful nude priests and priestesses already half in ecstasy and ready to copulate with any man or woman, lover or stranger, who desires union with the deep godhead of the blood, although that was my first idea. But really it would be better not to have any temples in Omelas—at least, not manned temples. Religion yes, clergy no. Surely the beautiful nudes can just wander about, offering themselves like divine souffles to the hunger of the needy and the rapture of the flesh. Let them join the processions. Let tambourines be struck above the copulations, and the glory of desire be proclaimed upon the gongs, and (a not unimportant point) let the offspring of these delightful rituals be beloved and looked after by all. One thing I know there is none of in Omelas is guilt. But what else should there be? I thought at first there were not drugs, but that is puritanical. For those who like it, the faint insistent sweetness of drooz may perfume the ways of the city, drooz which first brings a great lightness and brilliance to the mind and limbs, and then after some hours a dreamy languor, and wonderful visions at last of the very arcana and inmost secrets of the Universe, as well as exciting the pleasure of sex beyond belief; and it is not habit-forming. For more modest tastes I think there ought to be beer. What else, what else belongs in the joyous city? The sense of victory, surely, the celebration of courage. But as we did without clergy, let us do without soldiers. The joy built upon successful slaughter is not the right kind of joy; it will not do; it is fearful and it is trivial.
Apparently, utopia is a place of guilt-free orgies in the streets, cheap drugs, and no soldiers. Not to mention no organized religion or temples. In other words, the perfect society—or at least the outward veneer of one—is a hippie Utopia.
Color me shocked.
At any rate, what's especially fascinating to me is that last part in Le Guin's excerpt, the part about no soldiers.
To casually dismiss "the sense of victory and the celebration of courage" felt by soldiers as "the joy built upon successful slaughter" is—at best—a remarkably narrow-minded view of what fighting men actually do, and why they do it. Soldiers fight for many reasons, not least of which is to preserve life from hideous vultures like the ones in Omelas.
Incidentally, the word she's looking for to describe that odd, swelling-in-the-chest feeling about victory and courage? It's "honor."
And no, I won't presume the unnamed narrator of Le Guin's piece is acting as a mouthpiece for her personal beliefs. However, I will say that it's no wonder her narrator—who only sees a soldier's honor as a celebration of killing for killing's sake—can't imagine of any response to evil other than meek compliance or running away.
A coward's worldview can only conceive of coward's solutions, after all, and Le Guin wrote a damnably convincing one.
Compare this to Schuyler Hernstrom's characters, when they encounter a more fleshed out version of Omelas in his White City.
When they learn this near-perfect utopia is maintained through stealing the life-force of orphaned children, Christian monk Kyrus wants to go get reinforcements from the nearby city of Zantyum. He wants to raise an expedition to bring the evil denizens of the White City to justice. Barbarian Mortu, however, refuses to wait that long. His response is destined to become one of the classic lines in Sword & Sorcery fiction:
"You may talk of cities and justice all you wish. Tonight, the pagan wins. My anger will be sated and these wicked people brought to ruin."
He then stalks out into the night to deliver bloody justice on the end of a blade.
Fortunately for lovers of action and adventure, Hernstrom's White City isn't quite as peaceful or devoid of soldiers as Le Guin's vision of Omelas. There's enough violence on display at the climax to be satisfying without being the least bit gratuitous, especially Mortu's final duel with rival Tomas.
Their exchange during the climactic fight is another one that escaped me last reading, among all the other great lines Hernstrom delivers in this tale. Again, the emphasis is mine:
...Mortu smiled down at him and spoke. "The souls of the children cry out for vengeance."
That exchange might as well be a thesis statement for this tale, and for why I love these two characters so much. In Mortu and Kyrus, Hernstrom gave us a pair of heroes who couldn't just walk away from Omelas. He gave us heroes who not only had to do something, but who had both the courage and strength to tear the whole rotten thing down to its foundation.
Of course, that's a solution requiring a less cowardly worldview than the one presented in Le Guin's story. For one thing, it requires such "fearful" and "trivial" things as honor, a subject about which her narrator apparently knows nothing.
Fortunately, the same can't be said for Mortu and Kyrus. Nor could it be said, one would suppose, for Schuyler Hernstrom.
This Tweet from writer Alexandru Constantin crossed my feed a little over a month ago, and like all good truth bombs, it's been stewing in the back of my mind ever since:
I'll have a great deal more to say on this subject in the coming weeks, because it touches on more than I can really drop into one single blog post without rambling.
Suffice to say, plenty of folks in my Twitter timeline have been talking about Westerns this past month or so.
I suspect there's a good reason for that.
With much of the country living under lockdown orders, restricted to "essential" travel only, and having to abide a government-mandated list of new social protocols when out in public, it's not hard to see the appeal of stories about rugged loners living by their own rules. Nor is it difficult to see the appeal of books and movies that dwell on the majestic beauty of wide open spaces.
Above all, Westerns are stories about personal freedom. After so many weeks being told where we can and can't go, how close we can and can't get to people, and what businesses we are and aren't allowed to patronize anymore, who can blame viewers for looking to John Wayne, Clint Eastwood, and Yul Brenner for a little cathartic release? Sure, the sound of a booming sixgun and the sight of a dying cattle baron or two might not get us out of lockdown any quicker.
But damn, will it feel good.
That said, here are a few suggestions as to where to start looking at the quintessential American Fantasy.
I first read this novel by Jack Schaefer back in middle school, and have probably watched the classic 1953 film version over a dozen times. It's one of my father's all time favorite movies, and every time we watch it together, he repeats Shane's taunt to the villainous Wilson (Jack Palance) out loud during the climax: "I've heard that you're a low-down Yankee liar!"
The story of a wandering gunfighter who temporarily finds peace after hiring on for a season with the Starrett family, Shane is pretty close to being the most archetypal of all Westerns. Both the film and the novel are awfully close to perfect in terms of execution. Themes of manhood, life on the frontier, family, and coming-of-age all come together in this tale. Book or movie? Take your pick. I heavily recommend both.
If you only ever see—or read—one Western, make it this one. You'll be richer for the experience.
The Man who Shot Liberty Valance
I watched this movie a few weeks back at Alexandru Constantin's recommendation, and it immediately become one of my top Western films. Directed by genre titan John Ford and starring John Wayne, Jimmy Stewart, and Lee Marvin, The Man who Shot Liberty Valance is about a young tenderfoot lawyer named Ransom Stoddard (Stewart), and his arrival in the town of Shinbone. After being brutally victimized by the titular Valance (Marvin), Stoddard attempts to get the locals to organize a legal response through the marshal. But local tough hand Tom Doniphon (Wayne) scoffs. He knows the only law out west comes from the barrel of a gun. And as far as he's concerned, it's in Stoddard's best interest to learn how to use one before Valance comes back.
The rest of the film is a well-told drama about clashing world views: Stoddard and his steadfast belief in law and order, and Doniphan and his conviction that bullies like Valance only understand one thing.
While most Westerns play with themes of civilization versus lawlessness to some degree, The Man who Shot Liberty Valance arguably handled the idea better than any of them. In fact, it just might be the genre's final word on the subject.
After Shane, I consider this film an absolute must-see.
Elmore Leonard is mostly known for his crime fiction, but he got his start writing pulp Western novels. Hombre is routinely mentioned among fans as one of his best. Published in 1961, it's the story of John Russell, raised among the Apache, but traveling among the white men. When the stagecoach passengers he's riding with realize that Russell's odd ways and mannerisms come from his "savage" Apache upbringing, they refuse to ride with him. They demand he ride up in the boot, next to the driver.
Their fortunes turn quickly, however, when the stage is overtaken by outlaws. Stranded in the desert with no horses, one canteen, and only two guns, the passengers—none of whom regarded him as good enough to share a space with white folks before—are forced to follow him if they want to survive.
More than just a tale of desert survival, Hombre is a story about pride, honor, and doing the right thing, as well as being a tightly-paced chase story. John Russell denies the bandits their money early on, which gives them cause to pursue the stagecoach survivors to the bitter end.
Honestly, Leonard's slim little book is probably one of the best jumping-on points if you want to sample the genre's written works. Faster-moving than Shane and containing none of that book's family drama or coming of age themes, fans of thrillers and mysteries will find a relatively easy transition here.
The 1976 film version starring John Wayne was the last movie the Duke released before passing away. It also reunited Wayne with his costar from The Man who Shot Liberty Valance, Jimmy Stewart. Based on the novel by Glendon Swarthout, The Shootist tells the story of an aging gunfighter dying of terminal prostate cancer.
This simple set-up, however, allows for an incredibly rich and powerful tale.
Set in January of 1901, just after Queen Victoria has died, The Shootist is a story about a modernizing West that no longer has a place for men like gunfighter J. B. Books (Wayne). Automobiles, electricity, and streetcars have come to Carson City, Nevada, alongside the carriages and horses.
And it's to Carson City that Books has come to die. With his diagnosis finalized by his old friend Dr. Hostetler (Stewart), and his days numbered, Books takes up at a local rooming house run by the widowed Mrs Rogers (Lauren Bacall). There, he sets about getting his final affairs in order. He also decides he doesn't want to go out in a stranger's bed, wracked with pain.
If the right people knew he was in town—and on his last legs—maybe the great shootist would have the opportunity to go out on his own terms: standing on his feet, with his gun in his hand, facing down the bad men one last time.
The Shootist is also the story of Books' relationship with the people of Carson City, especially Mrs Rogers and her son Gillom (Ron Howard). More than anything, it's the story of the siren song violence has over the young and the untested. The book goes into this theme in far more detail than the film does, and with much more satisfying results.
I'll have more to say on the subject in a future post, when I compare The Shootist to Eastwood's Unforgiven. For now, let's just say that if you want a less revisionist take on the same themes, The Shootist is the story you're looking for.
The film and the book also contain some sharp observations on the nature of violence and gunfighting, including one of my favorite lines ever given to a Western character when discussing his trade: "It isn't being fast. It is whether or not you're willing. The difference is, when it comes down to it, most men are not willing. I found that out early. They will blink an eye or take a breath before they pull the trigger. I won't."
My personal favorites of all Westerns are the Fargo books written by Ben Haas under the pseudonym John Benteen. The reason being that they're just so damned fun. Haas conceived soldier-of-fortune Neal Fargo after watching Lee Marvin's performance in The Professionals, and reading Fargo's physical description makes it obvious: Campaign cover concealing prematurely white hair, cropped short. Weathered face. Long Jaw. Craggy nose. Solid chin.
Fargo is as much a man's man character as you can get in fiction. He's only interested in fighting, women, and money, and when he has too much of one, he gets restless for the others. Best described as "Conan with a shotgun," the books take place across a 10-15 year spread in the early 20th century, following Fargo as he takes contracts in places as near as Texas, and as far away as the Philippines.
There were 22 Fargo books, of which Haas wrote 17. The one I read most recently was Phantom Gunman, in which Fargo is contracted by a mysterious oil baron to find—and kill—Billy the Kid. Of course, everyone knows Billy the Kid has been dead for over 30 years. Fargo thinks it's a put-on. But the $15,000 payday isn't a put-on. Neither is the deadly-serious gunman who just happens to show up in Lincoln county on the same trail as Fargo. Could there be some truth to the rumor after all?
Like any good pulp series, you can read the Fargo books in any order. While I haven't read the entire series, I've read several, and I haven't encountered a bad one yet. It is worth noting that Haas didn't write Sierra Silver, Gringo Guns, or Dynamite Fever. Many fans who have read the entire run say the writing quality on these three volumes is noticeably different.
So, why Westerns? Or more accurately, why Westerns now?
Like Alexandru says, they are the quintessential American fantasy. There's always been something powerful about the tough loner with a personal code, about a man who ranges the wide open spaces when and where he pleases. That's always been a part of the American fantasy, and I think that's a part of the fantasy we need more than ever right now.
But more than anything else, Westerns are fun. With all that talk of deep themes and stuff up there, what sort of gets lost is how much fun you can have—and how much comfort you can get—from a simple story with real good guys and real bad guys drawn in larger than life terms. A good, old fashioned shoot-em-up, coupled with a little romance and melodrama. Where the bad guys wear the black hats, and the good guys where the white hats.
Maybe that's part of it, too.
The Western gives us heroes, and it gives them to us unapologetically. The genre doesn't have to hide them in layers of irony, self awareness, or self deprecation.
Some might say that's unsophisticated or one-dimensional writing.
I say horse shit. While the daily news cycle is a never ending trash fire, you can keep your chronically depressed, fatally flawed "heroes." I sure as hell don't want to read about someone working through their personal issues right now.
Give me a larger-than life Tom Doniphon, a Shane, or a Neal Fargo. Give me a rat-bastard of a villain, a tense standoff, and a cacophony of roaring guns. Give me something to escape to, damn it. Give me some action, some adventure, and some heroes.
If that's too tall an order for other genres, then pardner, maybe it's time to saddle up and head back to the Mythic West.
Sorry for the lack of updates lately, folks. Fact is, with so much of the country having to deal with lockdowns, layoffs, and curfews as a result of COVID-19, I haven't been sure what to write about.
I did have a whole slate of 'Pocky-clypse Now reviews planned, but I get the feeling they'll go over like a lead balloon right about now. Something about a deadly disease dominating the news cycle 24/7 just makes reading about the end of the world a little less recreational for some people.
That said, if you are looking for a great post-apocalyptic read, I want to draw your attention to the work of Jon Mollison. I read his A Moon Full of Stars recently, with the intent of dedicating a full-length 'Pocky-clypse Now review to it soon. I do still plan on doing that. But I'm probably going to wait until after our daily news cycle looks a little less like the opening credits to the 2004 Dawn of the Dead remake.
Anyway, Mollison's book is a fantastic, fast-paced story full of adventure, action, and capital-R Romance in the classic Burroughsian sense. It's well worth your time, especially if you want a post-apocalyptic tale that doesn't wallow in nihilism and misery. You can buy it here.
The other thing I haven't wanted to do is shill or give updates about my upcoming Fantasy Vietnam project. Money is tight for lots of folks right now, and it's not really much of a priority for me to put out a game that no one is going to have the disposable cash to buy for the foreseeable future. I'm still going to work on it. But at a slower pace.
So, what does that leave?
Well, Adam Lane Smith had some thoughts on that a couple of weeks ago, when discussing the possibility of his day job shutting down:
He's completely right about that. What will continue throughout this—and likely for a long while afterward—is a desire for cheap, good entertainment. Pure, fun escapism is what people want right now.
To that end, I've started work on something I hinted at about three weeks ago on twitter, in a joke exchange back and forth with Smith.
That's right. The bad guys would have gotten away with it, if not for those meddling kids. Only this time, two of those meddling kids are recently returned Vietnam Vets, one is the take-no-shit daughter of a Boston cop, and the other knows how to mix a bomb in the bathtub. They'd better hope the police get there first...
The other thing I'm doing with this project is test-driving Smith's outlining and writing process, as described in his writing book, Write like a Beast.
Longtime readers will remember the glowing praise I gave Smith's book a few months back, as well as the eagerness I expressed to try out some of his methods to see how they affect my own productivity.
My impressions so far? Smith's method is working for me.
I feel like I have a stronger outline than I've ever had in the past. I also feel like the characters are more fleshed out, with clearer goals and motivations. My total time, from planning the characters, to plotting the story, to choreographing the two most difficult scenes ahead of time with individual beat sheets, was about two days of solid writing.
While I'm not up to Smith's impressive speeds yet, this is already a vast improvement. Over my usual two weeks or more. I can already say this book was worth every penny. At least in my case.
Anyway, I'm planning to start drafting this week. Meddling kids, (sort of) talking dogs, and (almost) ghosts await. As do some vicious beat downs, explosions, and hellacious firefights.
Erik Jensen launched his Lumberlands 'zine Kickstarter just shy of two weeks ago. In case you've never heard of it, here's the elevator pitch in Jensen's own words.
"A micro-setting featuring lumberjacks vs sasquatches, for classic and light tabletop RPGs."
And if for some reason you needed any more selling than "big, bearded lumberjacks swinging their axes at bloodthirsty skunk-apes," there's also a hidden city of intelligent squirrels.
The Lumberlands is a part of Jensen's larger Wampus Country setting, which he blogs about here. Jensen describes it as D&D seen through the lens of North American folklore, a blending of of Tall Tales, fairy tales, and old tales of the wilderness from the 1700s to the early 1900s.
When he calls it a different flavor of adventure, I'm inclined to agree. There's nothing else like Jensen's Wampus Country out there, folks. This is exactly the kind of creativity that the indie OSR excels at.
The project is fully funded as of this writing, but there's still plenty of time to make a pledge and secure a copy. $5 or more gets you the PDF. $10 or more gets you the physical copy and the PDF together.
You can click on the image above to go to the Kickstarter page. I've already got mine.
Now excuse me while I go and blast Jackyl while impatiently waiting for the delivery date.
One of my old martial arts instructors—a man specializing in knife fighting—used to have what he called the "5-Minute Knife Fighting Lesson."
It's a useful thought experiment, but one that needs a little explaining.
Basically, the instructor took an imaginary student. The imaginary student had no prior knowledge of martial arts, no fighting experience, and a minimal amount of athletic ability. In this scenario, the student approaches the instructor in a panic, saying he has to be in a knife fight in 5 minutes. He can't avoid it.
What does the instructor teach him? What tool does he give the student in 5 minutes that gives him the best chance to succeed?
He settled on a simple defensive move, one that forced the enemy to come to the student. He showed the student how to stand, how to hold the knife, and how to retreat. "Just cut anything that comes in reach, and keep cutting."
That instructor's thought experiment is something I've circled back to more than once over the years. It's an incredibly useful way to identify crucial parts of a complex system, and put them at the forefront in a practical way.
Not to say that the entire system needs to be thrown out. You can—and often should—still practice the larger and more complex system. Especially when it comes to something as deadly serious as martial arts. But it does give you a good idea of which principles are most important, and which things you should be focusing on as you hone and perfect the larger system.
Anyway, I'm rambling a bit, and I still want to tie this point to the subject of today's post:
A discussion thread popped up in my Twitter feed yesterday. In it, the self-styled "Evil High Priestess" of the OSR cavegirl talked about how Alignment-as-written is is poorly fleshed out, usually leads to bad experiences, and most DMs cut it entirely.
You can read her entire thread by following this link. You can also just read the following screen caps of my buddy Cirsova's posts. They copy cavegirl's posts word-for-word, but they add photos of oiled-up bodybuilders and vintage Charles Atlas ads to the bottom of each one:
Admittedly, the Cirsova posts are a bit of a piss-take. Mostly because our mutual buddy Meffrius—who was unfairly dog-piled not too long ago over his "#EliteLevel powergaming" schitck—said the same thing about Alignments as cosmic factions months ago.
Incidentally, you should follow Meffridus on Twitter. You should also buy Cirsova.
But I digress.
Cavegirl is right, of course. Alignment should be a form of cosmic faction play. In fact, with Gary Gygax's inclusion of Poul Anderson's Three Hearts and Three Lions and Michael Moorcock's Eternal Champion books on Appendix N, it's difficult to see how it was ever intended otherwise.
Anderson, in particular, gives a fantastic "5-Minute Knife Fight" version of Alignment-as-cosmic faction play. The following excerpt comes from Chapter 3 of Three Hearts Three Lions.
But the fact is, not many of the responses below cavegirl's post indicate people are familiar with the reading material. As John McGlynn, co-host of Geek Gab points out, the concept of Alignment-as-personality-test is at least as old as Moldovay, making the Appendix N interpretation the exception rather than the rule.
Which honestly has me thinking. Not too many people have read Appendix N as deeply as Jeffro Johnson or Joseph Goodman. I'm a dabbler compared to those two, and there are plenty in the OSR scene who have read much deeper than me.
But I'd assumed more—if not most—people in the OSR were at least passingly familiar with the more famous works on Appendix N. At least the ones responsible for the quirkiest bits of D&D's ruleset.
For a long while, I'd been thinking about what I'd put on an "Abridged Appendix N," the three or four books I'd hand someone who wanted to give their D&D game an entirely different feel than the standard "D&D brand" setting and flavor. I'm still mulling that one over, because I think it will skew heavily to science fantasy.
But I think after reading cavegirl's post, I have what I'd call my "5-Minute Knife Fight" version of Appendix N: pre-supposing a brand new player—one who has no prior knowledge or experience of D&D, fantasy, or roleplaying games—what three books would I give him to teach him about D&D's underlying concepts to help him understand and run a game quickly?
Again, this is by no means exhaustive. I'd still urge people who are interested in D&D to read the other authors on Appendix N, or the other works by these authors. Lovecraft and Howard spring readily to mind, as to Burroughs and Brackett. Plus there's the rest of Leiber's Fafhrd and Gray Mouser series, the rest of Vance's work, and the rest of Anderson's.
Any or all of them would be worth reading on their own merits, and any of them would undoubtedly enrich and inspire your game. So would countless other fantasy writers.
But in terms of my old instructor's "5 Minute Knife Fight" concept, those three titles are probably the three most crucial books on Appendix N. Those books are the "standing, holding the knife, and retreating," of the world implied by D&D's basic ruleset.
Read those three books, and you have a basic grasp on Vancian Magic, Alignment, Thieves' Guilds, how humans and Demi-humans do (or don't) get along, magic items and artifacts, certain monsters, how to run a series of connected adventures (via Anderson and Leiber's examples), the politics of a big city, wilderness and sea travel, and some example ruins/NPCs you can liberally steal from.
As an added bonus, most modern fantasy fans haven't read them, so they'll think you're being original.
It's also important to note that each of these books clocks in at around a hundred fifty pages or so. All together, they equal approximately one Harry Potter book. I'm a naturally slow reader. But I'd guess most people can probably read all three in about a week and a half of their spare time.
Add to that the time needed to figure out the chosen ruleset—not long, if you picked a 0e or B/X retro clone—and you're probably looking at about two weeks from complete novice to Dungeon Master.
So, there you have it. D&D's very own "5-Minute Knife Fighting Lesson."
Take it, build a foundation, and keep the crucial parts in mind as you hone and perfect your game.
I'm an award-winning science fiction and fantasy writer based out of North Carolina. This is where I scream into the digital void. I like cookies.