Happy (Belated) Birthday, Monsters at Dusk!

One week ago, Monsters at Dusk turned one year old.

That was also Labor Day, so the party had to wait. So today, you’re invited to MAD’s belated birthday. The cake is coming, I swear.

In the meantime, as I did with my previous book, Gerald Barkley Rocks, I’d like to try a little retrospective on Monsters at Dusk. Let’s examine what worked well, what didn’t work so well, and a few things I’ve learned in the year since writing it. I broke it down by story. Here goes!

Several Messages from Abby to God (Regarding Her Cat)

“Several Messages” is the only epistolary style in the collection (meaning it’s written as a series of letters). It’s a format I hope to revisit, mainly because of how much fun this story was. I think it’s one of the collection’s best.

I’m proud of the distinct voices I established here. Abby’s misspellings, Satan’s colloquialisms, and God’s self-censorship felt true to the characters. What’s more, it’s entertaining to follow information as it’s relayed between parties. Laclos’s Dangerous Liasons does the same, so I’m glad I could emulate one of my inspirations.

Fun fact: Until about a week prior to publication, I had this story second and the next story first. I’m glad I switched them. Collections often begin and end with two of the strongest entries, and I believe “Several Messages” outclasses my next work.

(Truth be told, I feared readers might not realize Abby’s spelling errors were intentional. Good thing I was wrong.)

Unbelievable

I was quite fond of this story when it was first published by Chantwood Magazine in 2017. Not so much now.

There are bits I still enjoy. The plot moves quickly, it’s structurally sound, and it’s mostly funny. Plus, I believe I effectively lampooned my subject matter (no spoilers). I dig the opening conversation because during my re-read it reminded me a bit of Tarantino.

But “Unbelievable” has some issues. Here’s one of my notes to myself during the re-read: “Two and a half pages into the story and there’s really no one to like.” It’s true; The guy and the girl are rude to each other, Toby’s a bit of a loser, and the remaining characters don’t appear long enough to make much impact. Plus, the story relies heavily on college-style humor, which might not appeal to all readers.

All in all, I think this story would’ve worked better had Toby been a more likeable protagonist. I put him in danger, yes, but he’s such a schmo that it’s hard to feel invested in his fate. That said, I gotta admit; the ending is still pretty cool.

We Remember

It’s an exquisite feeling to create a detail that’s perfect for your character. I think I did that with Max, our point-of-view character, twice.

First: His penchant for picture taking. It’s so tragic because he sees all these beautiful memories, yet can’t remember what any of them mean. That moved me, especially during my re-read. Second: His workmanlike mentality. His insistence on doing everything himself gives him a solid character arc. I’m happy with the way it concludes.

All that said, “We Remember” is far more sombre than my usual fare. I don’t think it became melodramatic, but it came dangerously close. It reads like someone who wants to be invited into literary circles, what with all its self-seriousness and lavish description. A fine story, though I’m glad it’s not my typical style.

Large Coffee, Black

My wife pokes fun at me for liking this story as much as I do. But honestly, I think it’s one of the best things I’ve ever written.

I dig the brevity here. “Large Coffee, Black” has a sick title, plus it’s quirky, humorous, and unique in just five print pages. Some of my favorite lines:

“Some people flavor their coffee with sugar, milk, creamer, and the like. Osbourne truly hates those people.”

“…Whenever his mind descends into dream, the images melt to black, then trickle down into a steaming mug of freshly brewed coffee.”

“It starts with a C and has two Fs and two Es.”

I’ll admit, this story isn’t as profound as “We Remember,” nor as heartwarming as “Several Messages.” Honestly, it was a bit of a thematic stretch to include in the collection to begin with. But after my re-read, I love it as much as I ever did.

A Good Fit in Penbluff City

I remember liking this one more when I wrote it.

Sure, the interview structure works, and I think Pren’s final decision is concealed fairly well. But I was going for the feel of the film Moneyball. Unfortunately, I don’t think I got there.

First off, there’s tons of exposition. No sooner are we introduced to a concept than I spend a paragraph explaining how that concept works. Perhaps I should’ve pared down the world a bit, or maybe truncated the explanations. Whatever the solution, I can see why epic fantasy appears more often as long-form fiction.

Also, I could’ve done a better job raising the tension. I tried doing that by mentioning a key player signing by a rival franchise, but that’s not enough. If Pren’s hiring process felt not just important, but essential, the entire story might’ve worked better. As it stands, I think it’s one of the weakest entries in the book.

Alice

Here’s a little behind-the-scenes trivia: “Alice” was once accepted for publication by online magazine Lakeside Circus. Sadly, they closed shop before they could publish it. To paraphrase the Dude, it’s a bummer, man.

I was on the fence about including it here. The narrative voice is unique, but the plot itself feels too simplistic. Our narrator changes from beginning to end, yes. But the steps to arrive there feel clipped.

Nonetheless, I added the story because of its almost-publication and because my wife enjoyed it. Hopefully, new readers will enjoy it, too.

Thespian: A Tale of Tragedy and Redemption in Three Acts

It’s fun to write a foppish character every now and then. I had a blast doing it in “Thespian.”

The central concept was inspired by a conversation I had with my dad, who theorized all movies would be made via CGI in the near future. After fumbling with the idea for several drafts, I found the right voice for Joel Henry Desmond. After that, the rest fell into place.

Yes, I once again stretched the monster theme with this story. If you think of technology as a metaphorical monster that devoured Joel’s acting career, it sort of fits. Anyhoo, I think this is one of the collection’s strongest tales. And it also happens to be my very first professional publication (10 whole bucks, baby).

Virus/Affliction/Condition/Curse

Notice how I lifted the naming convention off Tinker Tailor Soldier Spy? Thanks, John le Carré!

Though this one rarely offers my customary humorous tone, I still like it. Ted Chiang’s “Liking What You See: A Documentary” inspired the style (a series of interconnected vignettes regarding a controversial speculative topic).

“Virus” features some of my best character work. A few of my favorite examples:

• Mandy Stackhouse, particularly her energy drinks, Cheez-Its, and sleeping bag.
• Margaret Vine and her tendency to “[speak] in chunky paragraphs.”
• Geovanni Fressi, his six-day work schedule, and of course, his basketball shot clock.

But “Virus” isn’t without its flaws. I imagine some readers might find the style a bit aimless, especially at its conclusion. The ending is meant to turn the decision back on the reader, though I fear some might view it as a cop-out. Also, I regret my description of the way the police handle the situation.

Wings

I have mixed feelings about this one. “Wings” has some well-written passages and a creepy atmosphere, but ultimately, horror isn’t my thing.

I like reading horror. I’ve just come to realize it’s not my forte, likely due to personal embarrassment. My family reads my stuff, so writing stories themed around deranged doctors and gruesome bodily torture makes for awkward conversation. I’ll stick to humor, thanks.

The Megrim

Now here’s some humor. I hope this doesn’t sound self-aggrandizing, but I think “The Megrim” is the best story I’ve ever written.

It starts with the characters. Wendyll and Lockwood make for a perfect pair thanks to their constant opposition. Wendyll is thoughtful, spiritual, timid, and well-read; Lockwood is impulsive, atheistic, brave, and illiterate. These differences generate constant tension and humor. Like here (the passage begins with Lockwood):

“If you’re so sure you have the answer, why call on your High Temple in the first place?”

“Because I’m no hunter.” I nodded to the axes strapped across [Lockwood’s] shoulders. “And I don’t have a pair of those.”

That made the mercenary grin. “You’re missing a pair alright.”

I’m thrilled with the way the mystery concluded, too. I don’t read or write much mystery, though I enjoy stories that feature mysterious elements. I believe I concealed the final reveal, plus made it satisfying.

But hey, this shouldn’t be an exercise in back-patting. “The Megrim” has its issues. Part one, for example, isn’t particularly funny (likely because Lockwood hasn’t yet arrived), so I worry it doesn’t establish the story’s tone. Also, I probably should’ve seeded Asrith’s motherliness better, since it’s absent in her first appearance.

Nonetheless, I believe “The Megrim” is the best story in Monsters at Dusk. Take that, “Several Messages”!

Parting Thoughts

My goal in publishing is to make each book better than its predecessor. I believe I accomplished that goal with Monsters at Dusk.

Anyway, thanks for attending the birthday! Please use the code “MADiscount” on my store to get Monsters at Dusk for $0.99. (It expires a week from today, so please hustle.) Now how’s that for a party favor?

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife, their cats, and their dog. He has written two books and numerous short stories, both published and yet-to-be published. He enjoys unusual narrative structures, multiple POVs, and stories that make readers laugh.