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8.01.2017

George A. Romero: 1940-2017

I haven't been able to spend much time online lately, just checking in here & there, and have only this week learned of GAR's passing. George Romero gave us a modern monster archetype that stands tall alongside age-old classics like the vampire and werewolf. His walking dead and the world they rule speak that deeply to us on any number of themes. His ghoul will perhaps be the last member added to the all-time horror pantheon, and its creator is equally deserving of our veneration.


We'll always stay scared. Thanks George.

6.03.2017

#NanoInterview: Gregory Hall



DD: Thanks for plugging in, Greg! You're known for writing both comedy and horror. What have you been working on recently?

GH: I love plugging in. I always make a room smell better. Today’s scent is ‘Mountain Drizzle’.

As far as what’s been keeping me busy lately, oh boy howdy, quite a bit. My personal policy is to not talk about projects in detail until they’re launched (because over a few decades I’ve learned plans sometimes change) but I will say the new novel is almost done. It’s a musical, which is really hard to do in book form. I’m eager about a nationwide gig dealing with my comedy past that looks like it might happen this summer. We’re just negotiating on whether I have to wear pants or not. And I’m working on the DEVIL MONKEY script. But I’m always working on the DEVIL MONKEY script. Because I can’t let it go. It’s so beautiful.  

DD: Tell us your thoughts on humor's place in horror.

GH: I definitely believe the two go hand in hand. A burst of laughter isn’t too different from a scream. All my favorite movies and writers combine both. It doesn’t have to be campy humor, although that’s fun. It can be clever dialogue between characters. I know writers who go out of their way to remove humor from a horror story, but I think it’s lying to your audience. People are naturally funny. Life is funny. Take humor away and it’s not a realistic character or story.

DD: We collaborated on an audio serial, DRACULA'S WINKEE, which you adapted from your story of the same name. What's the history behind it all?

GH: It’s all cold, shriveled winkees and carnivorous vulvasaurs, baby! That damn project has been alive almost as long as Drac! It started as a serial on an old horror website I ran back in the day. Then it turned into a bunch of short stories and a TV series (one of those plans that changed) and wound up as the audio serial. It’s one of the most giddy, stupid things I’ve ever written and it just keeps growing. I’ve been asked to write it as a book for years now but haven’t gotten around to it. To be honest, all the success is due to the amazing talent I had play Dracula—some Ryan Gosling twin named The Dunwoody.

DD: Do dreams ever influence your work?

GH: Oh yeah. I dream something weird and I try to grab it as soon as I wake up. Might only be a visual or piece of dialogue, but definitely. Actually, I do this half-awake deal when I’m stuck writing a story. I’ll concentrate on the road block and run it over and over when I fall asleep. Doesn’t always work but sometimes when I start waking up, the story will unfold for me while I’m still in a fog. I also mix a lot of Ovaltine and Zima so that might be the key.

DD: On the zombie front - is there anything you'd like to see more (or less) of in the genre?

GH: That’s tough. Every other horror movie or TV show is zombies. I think you either have to go one of two ways. Be Joe McKinney and write so damn fantastic that a ‘regular’ zombie storyline is riveting. If Joe wrote a grocery list, I’d buy it. Or you can do what you did, Dave, with EMPIRE. Dig to find any new idea left and go for it. Your novel is still one of my favorites, not just as far as zombies but in horror overall. Genius twists and so original in an otherwise tired genre. Would be nice if we saw more zombies on trampolines.

Thanks for inviting me to your nunu-hiney interview thingy, man. Let’s do more together soon!

5.25.2017

#NanoInterview: Dr. Pus, "Library of the Living Dead"

After a long hiatus, the beloved Library of the Living Dead podcast has returned!


DD: Thanks for plugging in, Doc! What can listeners expect from the newly-reanimated Library of the Living Dead podcast?

DP: Thank you Dave, it's my pleasure. One of the major changes with the Library of the Living Dead Podcast is that it will be "All Zombie, All the Time". No more Horror, no more Sci-Fi ....... only Zombie. We also plan to add a zombie game review each episode. Those will be done by Zombie Farmer. Brad Zipprich will have a multi-episode story too. Eric Lowther will also have his hands (and most excellent voice) in the Podcast. Other than that it will be like the old podcast with all of the regular stuff like the Manic Minute, Zombie Songs, Letters from the Dead, long and short stories and hopefully a zombie book we can present in chapters.

DD: What's your studio setup like? How much time goes into producing a single episode?

DP: I built my studio years ago when I was in a heavy metal band called Renfield. It's sound deadened and sound proof. Makes my wife very happy when I'm recording.

The podcast takes about one week to produce. Some times longer when I go crazy on the "full production" stuff.

DD: Do you have any other media projects in the works?

DP: Right now Eric Lowther is working on the sequel to his most excellent book "Area 187: Almost Hell". I will then get back into publishing. Slowly though. I'm not going to let the publishing side take complete control of my life like I did seven years ago. There will also be a third volume of "Zombology" in the future. I love those books.

DD: Describe your long-time love for the zombie. How did it all begin?

DP: My long time love for Zombies started like so many other older people. It was a little black and white movie called "Night of the Living Dead". I watched it first in 1969 on Channel 11's "Chiller Theater" with its host, the most excellent Chilly Billy Cardille. I was hooked from the cemetery scene. Mind you I was only in the sixth grade and it scared the hell out of me. I didn't sleep at all that night. The next day I taped cardboard over my bedroom windows to keep the zombies in my neighborhood out. Took a good whippin' for that one. At least I didn't nail up boards.

DD: What would you like to see more (or less) of in the zombie genre?

DP: I'm soooooo into zombies that I want to see anything and everything in the zombie genre. Fast, slow, groanin', moanin' rotting zombies. Ii live for it Dave. I really do. I'll watch or read anything that has to do with any kind of zombie. I'm just a huge fan of the undead.

And thanks Dave for allowing me to answer your questions. They brought back a lot of fond memories for me.

5.19.2017

#NanoInterview: Craig DiLouie



DD: Thanks for plugging in, Craig! First off, tell us about the upcoming novel ONE OF US.

CD: Thanks for having me at your blog, David! ONE OF US is in final contract negotiations with Orbit, the fantasy imprint of Hachette Book Group. We’re already deep into production. They’re a fantastic company to work with. The book will be published in hardcover and then trade paperback, starting likely next year. I couldn’t be more excited.

ONE OF US is a novel about a disease that produces a generation of monsters that must find their place in society. As the plague generation grows up poor and oppressed at rundown orphanages in the rural South, its children begin to develop extraordinary abilities that allow them to rebel and claim their birthright. It delves into themes of prejudice, generational conflict, and what makes a monster a monster. Written in the Southern Gothic style, it features elements such as complex characters, rural decay, and the grotesque.

DD: We're coming up on the release of the fourth entry in your popular CRASH DIVE World War II series. Can you share the challenges and benefits of self-publishing the series?

CD: CRASH DIVE might be described as Horatio Hornblower on submarines in the Pacific during WW2. Each episode covers a patrol in this young and courageous naval officer’s war. The stories are short, simple, technically accurate, pulpy and action-packed. I’ve read over a dozen books about WW2-era submarines and how they work along with firsthand accounts of war patrols. CRASH DIVE is based on all of it, providing a story that is gritty, realistic, authentic and violent, all centered around a hero who isn’t perfect but is a quick learner and tries his best. My goal is to put the reader aboard a submarine and have them feel exactly what it was like during the war. The series has sold extremely well, and I love writing it as much as its fans love reading it.

The benefit of self-publishing is you completely control everything about your book’s production and pricing. The challenge is it’s really hard to get a standalone novel recognized. You can drop the price and pour money into its marketing, but the risk is much higher. That and here you are, having written 100,000 words, now selling it for $3. In my view, self-publishing is ideally suited to short books—around 40,000 to 45,000 words—produced quickly in a series. Pulpy stories centered around a likeable main character. That’s the CRASH DIVE series in a nutshell. I found my ideal self-pub eBook model in the past—the dime novels of the 1860s, which became the pulp magazines of the early 20th century. That model is working very well for me. I wouldn’t do self-publishing any other way at this point.

DD: Do you listen to music as you write? If so, what was the "soundtrack" for ONE OF US?

CD: My process is completely internal. I might catch a piece of music and listen to it when I’m writing, as it helps me daydream the novel and get in the mood. I need absolute quiet while I’m actually writing, though. I’d love to be that guy who listens to great music while writing, but I ain’t him.

DD: Do dreams or nightmares ever influence your writing?

CD: One night I had a strange dream about a town of trailers and shanties built in a circle around a single mansion, which became my short story, “The End of the Road.” Another dream fueled a pair of creatures in my zombie novel, THE KILLING FLOOR. Otherwise, I can’t think of any cases where dreaming influenced my writing. My most useful dreaming is daydreaming. When I’m deep into a book, I’m constantly daydreaming the book when I’m driving, in the shower, and so on. Sometimes, these daily mundane rituals become my most productive parts of the day.

DD: On the zombie front, is there anything you'd like to see more (or less) of in the genre?

CD: The zombie genre keeps mutating as authors innovate. I think this is a good idea with a very important caveat. First, I’m not a purist. Fast, slow, mutated, I don’t care what kind of zombies you have. However, once the rules for the zombies become established, they become progressively less exciting, and the author is forced to do one of two things. Either up the numbers of the horde or introduce a human element, such as a rival scavenger gang. If you look at THE WALKING DEAD as an example, the story never stayed focused on the zombies. In the first season, you had survivors against zombies, in the second, an internal power struggle, and in the third, the group against another group, and so on.

When I wrote THE INFECTION and THE KILLING FLOOR, I wanted the monster element to remain the primary antagonist, so I introduced mutated creatures spawned by the same organism that produced the zombies. This ticked off some purists, but I was happy in that the creatures introduced an unpredictable, almost hopeless element to the story, which kept it scary. Another thing some authors ran with for a while was to make one or more zombies intelligent and tell the story from their point of view. In THE RETREAT, the series I’m doing with Stephen Knight and Joe McKinney, we made the infected homicidally insane but otherwise able to function, which kept them unpredictable.

But none of these really matters compared to just telling a good story, which is my caveat. Zombies don’t tell the story for you. Your characters do. If the reader doesn’t care about your characters, they won’t care about your zombies. Authors should always focus on inviting us to care about their characters so we care what happens to them. They should tell a compelling story so that it reads like a story about people with zombies, not about zombies with people.

The good news is that if you like zombies, there is an incredible array of choices for you right now. The genre is packed with authors, titles and series. You’re almost guaranteed to find something you love.
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