Category: Writing (Page 4 of 12)

A Sneak Peek at “Eggs for the Ageless”

Egg wrote.

Or rather, she scribbled words on papyrus, frowned, then crossed them out.

The Almighty Penguin waddled into the distance, Egg scribbled, nearly tearing the page with the ink-wet tip of her quill. And like a pastry at dessert, it vanished gradually, until it was finally gone.

She eased back, swept her bushy black hair from her eyes, admired the words for a moment, then shook her head and slashed them.

Like a pastry at dessert? That was a weird simile. Maybe she was just hungry. And waddling off into the sunset? Too cliche. (Not so much the waddling part, but still.) This was the summation of a year’s work, the final line of her first book. It needed to be memorable, moving, and above all, not crappy. So Egg tried a new closing line instead.

“We’ll meet again, child,” said the Almighty Penguin. “Someday soon.”

No. No no no. She slashed that, too. Made it seem like she was setting up a sequel, and she hated when authors did that. So presumptuous. At least let readers ask for another before you go forcing it on them.

“Subtle,” she whispered to the parchment. “We need to be more subtle. And maybe even a little profound, if we can swing it.”

“Excuse me?” someone asked.

Egg bolted upright and threw on her most genial smile. The someone who’d spoken was a man seated in the sand beside her, a round and jowly type who smelled slightly of ale. They’d met a few hours prior, but Egg had already forgotten his name. Boffer, maybe. Or Boofer?

“Who are you talking to, girl?” the man asked.

“Well, Mr., um…Boogler…” Egg began, then thought better of answering truthfully and finished with, “…I was just warming up my voice. For the call-and-answer bit.”

“It’s Bowler,” the man snapped. “Mayor Bowler. And what are you writing about, anyway?”

You’re awfully nosy, Mayor Bowler, Egg thought, though she didn’t say it. Instead, she tried her smile again. “Just, umm, taking notes.” She waved toward the makeshift dais before them, where the Holy Devoted was busy reading some story of self-righteous dopes from a chunky book called The Everything. It was the only book Egg could ever remember disliking.

Bowler glowered at the stack of papyrus mounted atop Egg’s lap. “That’s a lot of notes.”

It’s been a long service, she thought. Two hours, according to a nearby hourglass, and the Holy Devoted had only just gotten to the introduction of the Ageless bit. Bowler gave her a parting snort before returning his attention to the oration.

Around them dozed a lazy little town, just a pleasant smattering of sun-baked houses. It took Egg a moment to recall the name of said town, but a glance to the west reminded her.

Plainwall. So named, presumably, because of the looming western wall that provided shade from the omnipresent (I’m being literal here) sun. Not the most creative name for a town, but it was just down the road from a city called Buystuff, so what could you expect?

On the dais before them (actually a creaky wooden box, but “dais” sounded fancier), Holy Devoted Sarene graced the boiling morning air with her voice, enunciating every syllable with precision and clarity. Her reading was flawless as ever. If only her material was less boring.

“And so Lira, Goddess of Order, and Florinioniorius, God of Creation, had 10 children,” Sarene intoned. “And those 10 children, along with their mother and father, would be the foremost of the Ageless, the Greater Gods and Goddesses. They would be the Dozen.”

“The Dozen,” the gathering repeated.

“And many more Ageless would be born of Lira and Florinioniorius, and though they would be divine as well, they would be known as the Lesser Gods and Goddesses.”

“The Lesser,” the gathering repeated.

“And so all the Ageless, both the Dozen and the Lesser, do guide the lives of mortals. They do make our world whole.”

“They make our world whole,” the gathering repeated.

“With the exception of Hylus, God of the Sun,” Sarene clarified, “who hasn’t allowed our holy sun to set in decades, and shall not allow it until we humans prove our worth.”

“Until we prove our worth,” the gathering repeated.

Egg, by the way, wasn’t listening to any of this. It was too nice a day. The sun was fat and bloated as ever, but it was hidden for now, and a handful of puffy white clouds floated above. The sand beneath her bottom was blistering, as usual, but at least she had a blanket to sit on. And a songbird had appeared, settling on the eave of a nearby house. It trilled, then departed. Egg tried and failed to suppress her jealousy.

Anyway, back to writing. She started by twirling her quill around and around, like a real, honest-to-goodness writer must do. Unfortunately, when she looked down, she realized she’d splattered ink across the topmost page.

Oh dear, she thought.

She fumbled the quill and dropped it, which stained the papyrus further, plus got ink on her robes.

Oh shit, she thought.

She scooted to retrieve the quill, which displaced the stack of parchment upon her lap. It slipped off and scattered everywhere, fluttering away like so many leaves, and in her haste to catch them, she kicked the ink pot seated beside her. It tumbled across the sand, leaving a black smear in its wake. Droplets of ink spattered everyone seated too close—including Bowler. The town’s Mayor.

“Oh fuck.”

She thought she’d thought that. But when she felt eyes on her—several dozen pairs of them—she realized she hadn’t. Those words had slipped out.

The entire village of Plainwall, all here for the oration. All staring at her.

She rose. She tried summoning her genial smile but managed only a guilty grimace. The stares had turned to glares, from Mr. Bowler and the other ink-stained townsfolk, the clean ones too, and…

Egg gulped. And Holy Devoted Sarene.

There was no Goddess of Disapproval, but if there was, she probably would’ve taken the form of the Holy Devoted. Sarene was stern and severe with a heron’s build and differently colored eyes: one brown, one blue. Her scalp was completely shaven, revealing a smooth head with a halo of runic tattoos—12 of them, each representing one of the Dozen Gods and Goddesses.

“Child,” Sarene said. “What do you think you’re doing?”

Egg tried to speak, but the sound came out a sputter.

“She’s taking notes,” Mayor Bowler offered. “Allegedly.”

The Devoted did not react. She didn’t even blink. “You’ve made an unholy mess, Zeggara. Have you anything to say for yourself?”

“Yes. I have something to say for myself. I say I’d rather be writing than sitting here, because writing makes me happier than sitting around every week for hours on end, listening to stories I don’t believe in and participating in rituals I don’t care for. I say that maybe I believe in something else, or would at least like the opportunity to do so. Also, I say you’re overstating the state of this mess—I’ve done worse. That’s what I say.”

…Well, that’s what Egg would’ve said, if she’d had the courage. But she didn’t. Instead, she squeaked three words:

“I don’t know.”

Holy Devoted Sarene was intimidating enough. It didn’t help that she also happened to be Egg’s mother.

#

By the time the gathering dispersed, morning had turned to afternoon (not that you’d know it by looking at the sun; it hadn’t moved an inch, nor would it).

Nonetheless, the people of Plainwall returned to their houses, and Egg and her mother retired to their current home: Plainwall’s inn.

Up in their room, Sarene seated herself behind a desk. Egg sat across from her, beside a breezeless window. The ink-stained manuscript laid between them.

“So.” Egg’s mother flipped through the pages, examining them like scraps of food on the verge of spoiling. “Explain this.”

“It’s a book,” said Egg. Her eyes flicked to the candle flame dancing beside her manuscript. (Candles—and flames in general—became obsolete once the sun stopped setting, but you could still find them if you tried.)

“I see that. What sort of book?”

A good one, Egg thought. But she said, “I don’t know.”

Her mother pursed her lips and ran a finger along Egg’s tangled handwriting. “What would your father think of this?”

He’d love it. He’d at least give it a chance. “I…I don’t know.”

“Please stop telling me what you don’t know, Zeggara.” She fixed her differently colored eyes upon her daughter. “An anthropomorphic penguin?”

“It’s fiction,” Egg blurted. “Meant to provoke thought and reflection. You don’t have to take it literally.”

“Then explain it to me.”

Egg looked away. “You won’t like it.”

The edge of the Holy Devoted’s lip ticked up ruefully. “I don’t expect to.”

“It’s a story about a penguin who arrives in a town and teaches people how to be more penguin-like. They toboggan, feast on fish, and swim together in rafts. Did you know a pack of swimming penguins was called a ‘raft,’ mother?”

“I did not.”

“Well, it was. The point I’m trying to make is…” People have the right to live their lives however they want to. And maybe a penguin is just as good a deity as your Ageless. But Egg swallowed and instead finished, “I like penguins.”

“I can see that.” Her mother flipped to the front page and read, “Grand Teachings of the Almighty Penguin. Is that what I’m supposed to call this?”

“It’s a working title.”

Her mother sighed. “How long have you been writing it?”

“A year.”

The Holy Devoted shook her bald head. “And all that time you could’ve been reading your Everything. You could’ve been studying for your Devotion.”

The Everything was the holy book of the Ageless, and the Devotion was a ritual in which mortals pledged their lives to said Ageless to become (you guessed it) Holy Devoted. Devotion involved getting tattoos representing the Dozen, plus some sort of quiz and a public declaration. Truth be told, Egg was fuzzy on the details.

But Devotion wasn’t Egg’s passion in life. Writing was. It was the one skill she considered herself halfway decent at (aside from her abilities to forget names and spill things). She’d been writing constantly, ever since she was young. Granted, Grand Teachings of the Almighty Penguin was the first story she’d ever even come close to finishing, and some of her previous projects had been unimpressive at best. But she had written them. And writing remained her passion, despite her mother’s tireless attempts to replace it with religion.

“I just want to write, mother.”

Sarene offered no answer. Instead, she gathered the papers, flipped through them with her thumb. She sighed heavily. “There is only one book you should be studying, Zeggara. You know what I must do with this one.” Her gaze slid to the candle flame.

“Please.” Egg didn’t want to cry in front of her mother, but she feared she might, if it came to this. “You can’t.”

“I must. There is no Goddess of Penguins, Zeggara. We’ve traveled to this town to bring the teachings of the Ageless to its people. Not some fanciful tale of flying creatures.”

“Swimming.”

“I’m sorry?”

“Penguins didn’t fly—they swam. They were aquatic flightless birds.”

Egg’s mother rubbed at the tattoos on her bare scalp. “As you say, child. I know little of extinct species.”

“And it’s satire,” Egg added, her sudden courage taking her by surprise. “The point isn’t to present an alternative religion. It’s to poke fun at religion itself.”

Her mother’s mismatched eyes suddenly looked pained. “That cannot be, my daughter. Our faith is everything to us. It should be everything to you. Why do you think the sun never sets, hmm? Why do you think it dries our grounds and burns our backs? It’s because we aren’t devoted enough. We don’t believe enough. So if you truly want to become a Devoted, Zeggara, you must set aside this writing and focus on what truly matters.”

That’s what you want, mother, Egg thought. Not what I want.

It was unsurprising, anyway. Ever since she’d given herself to the Ageless, Egg’s mother had warned all about what wasn’t allowed. Egg wasn’t even sure she could have dessert without permission from the Ageless—not that it ever stopped her.

“Mother…” You’re missing the point. You’re preventing people from thinking for themselves. What if my book gave them a new perspective on their belief? What if it made them laugh, instead of feeling guilty or fearful?

She wanted to say that to her mother, and more. But she couldn’t. “Please. It’s just a book.”

“Books have power. This book you’ve written, Zeggara. It’s blasphemous.”

“Have you even read it?”

“I’ve read enough. For your sake, I must do this.” Her mother leaned toward the candle.

“Wait!” Egg cried. She wasn’t exactly sure what they were waiting for, but the answer came to her suddenly. “Let me do it, mother. I…I’ll do it.”

Sarene hesitated, holding the pages mere inches above the flickering candle. “You shall?”

“I must. It needs to be destroyed, burned, obliterated, all that. Just what blasphemy deserves, am I right?” She forced a chuckle, wishing she was better at lying. “I’m the one who created it. I should be the one to destroy it.”

The Holy Devoted gave her daughter a wary look. “If you say you’ll do this, you must not balk. I’m trusting you, child.”

Egg offered her most trustworthy smile. “You can count on me, mother. I just need a day to say goodbye. After that, I’ll destroy it. I swear it by…by the Ageless themselves.”

It hurt to make a promise she wasn’t sure she could keep. But her mother’s sudden smile hurt worse. It was one of the few times Egg could ever remember her mother looking proud of her.

“Believe in something, Zeggara. It will save you, in this life and the next.” She passed the manuscript across the desk, then patted her daughter on the hand. “You’re doing the right thing.”

Egg hugged her manuscript. “Thank you,” she said. But what she really meant was, Thank you for helping me finish my book.

#

Sunlight found her on the creaking front steps of the inn. The village was quiet, the stagnant air still, and Egg’s left hand itched to write. She drew her quill from her pocket, wetted it, then flipped to the back of her book and scribbled one final, fading line. It went like this:

“Believe in something,” said the Almighty Penguin, “so long as it makes you happy.”

“You’re finally finished,” Egg whispered to her book, planting a wet kiss upon the page. Her lips were probably black now, but whatever. “And now…I have to kill you.”

She’d promised it, sworn it, vowed it, both to the Ageless and her mother. Could she really break that promise?

Her eyes drifted to the horizon, to the gleaming spires in the distance. There loomed the city of Buystuff, the villagers had said. They called it the commerce capital of the world, the place where one could find any people or products there were to find. Hunters and diggers, jewelers and smiths, wanderers and soldiers, monarchs and peasants, writers and…

…And publishers…

“What do I do now?” Egg asked her manuscript. But she already knew the answer.


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. For a free sample of Kyle’s work, subscribe to his newsletter.

© Kyle A. Massa, 2020. All rights reserved. No part of this excerpt may be duplicated or distributed in any form or by any means without expressed written consent from the author.

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 RocksI’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.

Writing About Touchy Subjects

Touchy subjects are interesting by nature. That’s why they’re fun to write about.

Take pineapple on pizza. People have exactly two opinions about pineapple on pizza:

  1. Pizzas should be topped with nothing else
  2. It makes a mockery of a perfectly good pie

I’ve somehow ended up in the middle on that one, which sort of undermines my point. Hmm…

For a better example, take religion. I’m writing about that for my current project, a novel entitled Eggs for the Ageless. It’s a story about a girl who accidentally creates a religion. The existing Gods and Goddesses of her world (the titular Ageless), are not happy.

My book’s religions are fictional, but they’re inspired by real ones, most notably Ancient Greek myths. Therefore, I’ve got a Goddess of Love and a God of War. But I tried adding a little humor, too, with a Goddess of Coffee and a God of Waste Management. Ya know, the essentials.

Controversy is interesting, but it’s also, well, controversial. That’s why I’ve given myself three rules when writing about religion, and touchy subjects in general. They are…

Rule #1: Play Both Sides

I once heard some excellent advice on writing controversial topics: You must argue both (or all) sides. Otherwise you lose conflict and fall into didacticism.

In other words, if all the bad guys in my book were religious and all the good guys non-religious (or vice versa), it would feel too preachy. I’m taking extra care to explore the merits of both sides. And honestly, if there really is a religion with a God of Coffee, I’ll convert today.

Furthermore, subjects often become touchy because there’s no objectively correct answer. Take politics, for example. Humankind has devised countless ways to organize society, and though some prefer certain structures over others, there’s no perfect way to run things. So, if you write about that touchy subject, play every side that makes sense.

Don’t just argue the benefits of, say, monarchies, in the style of Hamilton’s King George. Touch on all the touchy sides. (Although, I have to admit, King George kinda pulls it off.)

Rule #2: Provide a Range of Intensity

Every touchy subject has its fanatics and its casuals. In religious terms, consider the self-flagellating albino dude from The Da Vinci Code versus people who believe in God but don’t really pray or attend church. Though they’re technically on the same side, their belief carries a different intensity. So examine them both.

If you don’t, you’ll fall into the same trap of Rule #1. Imagine, for example, if every religious character in Eggs for the Ageless murdered people in the name of the Coffee Goddess. Not only would that be unfair to coffee drinkers—it would also be unfair to peaceful religious folks, of which the world has many.

I’ve got some fanatics in my book, sure. There’s Sarene, our main character’s mom, who’s so devoted that she tattoos her bare scalp with images of the Ageless (you don’t see that every day). But I’ve also added some laid-back religious types, such as the multi-talented Trast, who’s an early reader favorite so far.

People have strong opinions on touchy subjects, yes. But some are stronger than others. So it is in life, so it should be in writing.

Rule #3: Find the Humor

People have a tendency to dismiss funny stories as less meaningful than serious ones. I disagree. Humor is funny precisely because it gets to the heart of its target. Take this Oscar Wilde quote as an example:

“I think God, in creating man, somewhat overestimated his ability.”

For the religiously inclined, that’s a statement about how humans don’t always live up to God’s expectations. For the non-religious, it’s highlighting the comedic irony of a supposedly omnipotent God. Either way, it’s pretty funny—and certainly meaningful.

There’s humor hidden within most touchy subjects. We’ve covered religion, politics, and pizza—but hey, people can make jokes out of just about anything. Kurt Vonnegut, for example, could find humor in seemingly unfunny subjects. Like this…

“I have this disease late at night sometimes, involving alcohol and the telephone.”

Or this…

“Laughter and tears are both responses to frustration and exhaustion. I myself prefer to laugh, since there is less cleaning do to do afterward.”

Or this…

“Dear future generations: Please accept our apologies. We were rolling drunk on petroleum.”

If Vonnegut can find humor in greenhouse gas emissions, there’s humor to be found in pretty much any controversy. Especially pineapple on pizza.

Looking forward to writing more about touchy subjects in Eggs for the Ageless. More details to come.


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.

Ecommerce, Tax Nexus, and a Short Story for You

Ever wanted to learn about sales tax nexus?

Me neither. Unfortunately, I did anyway.

Sales Tax Nexus Explained (A.k.a. a Natural Sleep Inducer)

Sales tax nexus is a series of criteria one must meet before enforcing sales tax on products. You automatically establish nexus in the state where you live, but you can also expand into other states by making lots of sales, leasing an office, etc. (If you’re interested in this sort of thing, I learned tons from the TaxJar Blog.)

Still Awake?

Okay, phew.

Anyway, why am I telling you this? Because I learned all about it for my ecommerce store.

You might’ve noticed that my Books page and its sub-pages have changed. Most notably, you’ll see a little purple button labeled “Add to cart” and a menu item labeled “Checkout.” Try clicking those buttons. You’ll find you can purchase ebooks directly from this website!

Why Build an Ecommerce Platform?

Or more pertinently, why hazard the murky waters of sales tax? A few reasons.

1. Easier Buying

Time was, when you clicked a button on this site, you were redirected to buy on another site. No longer. Instead, just add your book to your cart, enter your credit card info (it’s secure with Woocommerce Payments, Stripe, or PayPal), then buy.

(For the record, I still have links to my books on Amazon, Barnes & Noble, and Smashwords.)

2. Better Cuts

Amazon is the most generous retailer for author royalties, but even they claim a 30% cut of ebook purchases. The payment portals on my site take between 2.9 and 5%. Therefore, I make more on each sale, while fine readers like you need not spend extra.

3. New Short Stories!

Most exciting of all, this platform is perfect for distributing short stories like this one:

Cover designed by the author

I meant to share this with you last week, but I hibernated for seven days after reading too much tax documentation. Here’s what it’s about:

How many thieves does it take to rob a dragon? Five—and that’s not a punchline.

In Big Riches, Fine Wine, and a Pinch of Dragonsbane, an old man, a young girl, a coward, and a pair of twins attempt the heist of a lifetime. Their target: a hoard of treasure. Its guardian: a dragon with a death wish. Will the thieves succeed, or will they meet a fiery (and crunchy) end?

A hybrid of farce and high fantasy, this short story proves that even the best fellowships aren’t immune to a few blunders. Hope you brought your dragonsbane.

If that sounds fun to you, you can read Big Riches, Fine Wine, and a Pinch of Dragonsbane for $0.99. Hope you dig it!

Epilogue to the Sales Tax Thing

I contacted several financial experts, both individuals and entities, plus the dreaded New York State Department of Taxation and Finance (it actually wasn’t that bad). Finally, I got my answer. Drumroll, please…

Ebooks aren’t taxable in New York state. And since I’m not selling nearly enough in other states to warrant taxation, all that research could’ve been better spent doing something else. Like playing Magic, for instance.

Nonetheless, I’m glad I get to share my ecommerce store with you. Try it out and see what you think.


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 people laugh.

Announcing the Sequel to “Gerald Barkley Rocks”

The Two Towers.

The Godfather: Part II.

The Dark Knight.

Crocodile Dundee in Los Angeles.

These are some of the greatest sequels of all time. What makes them so great? They take risks. They build on their original premises in inventive and radical ways. They evolve established characters into new, more mature people. What they rarely do, however, is switch genre.

But I’m not even talking about story genre. Today, I’m talking about musical genre.

The first book I ever published is called Gerald Barkley RocksAs the title implies, it’s a novel about rock music. Sex, drugs, guitars, cats—you get the idea. I collected all my observations about rock & roll, both the good and the bad, and synthesized them into this book.

So when I sat down to write the sequel, I didn’t have much material to draw from. I’d said all I wanted to say about rock music. Then, I made a breakthrough. I needed a new genre. So I came up with…

Gerald Barkley Raps Cover

Cover originally designed by Nathan Rumsey, redesigned here by the author

Though written and set in 2018, Gerald Barkley Rocks is very much about the past. Gerald Barkley Raps is about the present (aside from all the coronavirus stuff). For those interested, here’s a brief synopsis:

After attending a rousing Kanye West concert in Orlando, Florida, retired L.A. homicide detective Gerald Barkley has an epiphany: He should become a rapper. Sure, he might be 70 years old, musically talentless, and roughly as charismatic as a bag of flour. None of that will stop Barkley from battling the haters on his journey to the top.

Thus begins an epic quest of self-discovery, autotuned choruses, and fresh beats. Old favorites from the previous book return, including bestselling author Carmen Fowler (now Barkley’s publicist), Detective Steven Nicks (now Barkley’s wardrobe stylist), and Barkley’s daughter Janine (a skeptic to her father’s transformation and therefore the sole voice of reason). A certain black cat even returns to help Barkley devise rhymes to tough words like “waterlogged.”

One part fantasy adventure, one part surrealistic romp, and one part cautionary tale, Gerald Barkley Raps might just change your perceptions of what’s possible—or even advisable. Rock might be dead, but rap is living it up.

Gerald Barkley Raps goes on sale soon in hardcover and audiobook. The latter version contains original recordings and performances of all songs, all made by the author. Hope you don’t mind songs produced on Windows Media Player!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about cats.

My Pitch for an “X-Files” Episode

Author’s Note: A video version of this post is also available here.


There was a time when random people could write X-Files episodes. There was also a time when The X-Files was still on the air. Neither of those times are now.

Okay, I’m kidding with the first claim. You at least had to write a spec script good enough to grab the attention of the people making the show. You then had to pitch it to them, endure some rewrites, and then maybe, just maybe, your script would appear on Fox on Friday evenings.

Anywho, I won’t write a spec script, even though The X-Files is my favorite show of all time. I abandoned screenwriting once I completed my college studies in it six years ago (plus, I’ve since lost the requisite software). Instead, I’ll pitch my X-Files story to you, kind reader, just for funzies.

I claim no ownership over Mulder, Scully, or the show itself. They’re the intellectual property of Chris Carter (the show’s creator), the Fox network, and whomever else. Consider this some harmless fan fiction.

An Overview of The X-Files

For those who’ve seen the show, feel free to skip ahead. For those who haven’t, The X-Files is a TV show that premiered on Fox on September 10, 1993. It’s a show about two FBI agents: Fox Mulder (played by real-life sex addict David Duchovny) and Dana Scully (played by secret British person Gillian Anderson). Each week, Mulder and Scully investigate cases with strong elements of the paranormal, ranging from alien abductions to flukeworm-human hybrids to murderous swarms of cats (I’m not making that last one up). Mulder believes in the paranormal ever since witnessing his sister’s abduction by aliens. Scully is a scientist, and she therefore applies logic and reason to their investigations. This conflict forms the foundation of most episodes.

Also, Mulder loves sunflower seeds. That’ll come up in this episode.

And Now, My Pitch

The name of my episode is “Bag of Peanuts.” The story goes like this…

Cold Open

Five guys (late 20s, early 30s) teeter down a deserted stretch of beach at night. A few carry beer bottles, one has a cooler, and one tosses a football to another. The subtitle tells us we’re in Secluded Glen, Massachusetts (though their accents should tell us that, too).

“I can’t believe he did this to us, Mahk,” says one guy. He’s wearing a number 12 New England Patriots jersey. “Twenty years in Fahxborough and now he’s leavin’ us for Flahrida. It’s a freakin’ disastah.”

Mark receives the pass, tosses it back to the guy in the jersey. “I know, bro, I know. It’s sad. There’s no more loyalty in sports, you know? Players just hop around from city to city. It’s like they’re—I dunno. Like they’re tourists.” Mark sniffs. “You guys smell that?”

“Yeah. You faht or somethin’?”

They share a chuckle. Mark goes deep for a pass, then trips over something on the shore. Something gooey.

“Think I found what smells,” he says.

There’s a huge mass of…something…washed up on the beach. Hard to guess, but it appears to be globs of random organic, aquatic mass that’s been squished together. Bits of an octopus here, part of a jellyfish there. One of our guys eloquently describes it as, “A whole hunka crap.”

Mark and the others lean closer to it. Too close.

Suddenly, a tentacle reaches out of the mass and snags Mark around the neck. There’s a momentary struggle, then the entire mass rolls back into the ocean and vanishes, like it was never there.

That leaves four guys on shore. “Mahk!” shouts the guy in the Pats jersey. “Mahk? Where are ya, Mahk!?”

Cut to…

Credits

(Even if you haven’t seen the show, you probably know the intro music.) Now for the episode.

Act One, Scene One

Special Agent Fox Mulder sits on a crowded beach wearing sunglasses, a waterproof pouch, and, for some reason, a red speedo. Unlike the other beachgoers, he’s not reading a book or going for a swim. He’s simply peering out at the horizon. Every once in a while, he pops a cashew into his mouth, then grimaces. A siren whines on the main road behind the beach.

Mulder’s phone rings. He wipes sand from the screen, then answers. “I’m already sunburned, Scully.”

“Well hello to you, too.” Special Agent Dana Scully is on the other end, calling from the FBI office. “Sounds like you’re having a fun vacation.”

Mulder sighs. “Hello Scully. About as much fun as one can have at a public beach.” A dog bounds out of the water with a frisbee in its mouth, then shakes itself dry—right next to Mulder. “I can barely contain my excitement.”

“Maybe you just need a few days to unwind.” Scully tries. “To get your mind off work.”

“My mind’s always on work.” A volleyball lands mere inches from Mulder’s beach chair, making him jump. “For instance, if I stood up and sang David Bowie’s ‘Space Oddity’ loud enough, do you think aliens might come and take me away from all this?”

“Only one way to find out.”

Mulder grumbles. “They don’t even have sunflower seeds.”

“Who doesn’t? The aliens?”

“Secluded Glen. This town. The convenience store clerk said the tourists must’ve bought them all. So instead I got…” He gives the package an icy glare. “Cashews.”

“It could be worse, Mulder. You could be down here doing expense reports with me.”

Another siren whines on the road. “You know, Scully, my family used to come to this town every summer when I was a kid. Only took a couple hours to drive here from Martha’s Vineyard. Back then the beaches were empty and the roads were clear. The sunflower seeds were plentiful. My sister and I would bury each other in the sand. One time we even nursed a horseshoe crab back to health.”

“You what?”

“But now Secluded Glen’s been taken over by…” He glowers at the people around him.

“Tourists?” Scully finishes.

“Exactly.”

“Mulder.”

“Yeah?”

You’re a tourist.”

“I am not a tourist. I’m a…” More sirens wail. Mulder turns, watches a cop car zip down the road. He sees siren lights flashing down the beach. “Can I call you back, Scully? I think I might’ve found a way to unwind.”

“Sure. Go get yourself some sunscreen.”

They hang up. Still gazing at the lights, Mulder reaches for his bag. He feels around on the sand, finds nothing. He looks down. No bag.

Mulder peers up at the sky and sings softly. “Ground control to Major Tom…”

Scene Two

Mulder trudges up the beach wearing his sunglasses, the waterproof pouch, some water shoes, and of course, the speedo. He’s also clutching his cashews.

An older woman wearing aviator shades and a sheriff’s badge frowns at him. “The nude beach is a couple towns over,” she says.

Mulder reaches into the waterproof pouch and shows her his ID. “Special Agent Fox Mulder. FBI.”

“Jean Sitwell, County Sheriff. Is it Dress Down Day at the Bureau today, Agent Mulder?”

“I’m on vacation,” Mulder counters. “And someone took my beach bag. Anyway, I thought I might lend a hand over here. Seems like you’re busy.”

Sitwell flips open a notepad. “Missing persons case. Mark Starr, age 30, Caucasian, brown eyes, brown hair, last seen with four friends on this beach. They were celebrating a bachelor party, and Mark was the best man. They get drunk, walk down to the beach, something pulls Mark in, his friends call us.”

“Wait.” We can see the excitement on Mulder’s face. “Something pulled him in?”

“Let me remind you, Agent Mulder, that this was a bachelor party. All four witnesses were—and probably still are—very drunk.”

“What exactly did they see?”

Sitwell sighs, then reads off her notepad. “They think they saw a large mass of dead fish…or octopuses, or jellyfish, or maybe all three. They said it smelled terrible and looked like a dead carcass.”

“A globster,” says Mulder.

“A what?”

“A globster. It’s the commonly accepted term for an abnormal phenomenon describing mysterious, unidentifiable carcasses that wash ashore from the ocean. The St. Augustine Monster, the Stronsay Beast, the Montauk Monster, the Chilean Blob. Scientists often dismiss them as misidentified corpses of basking sharks or manatees or other known marine life.”

“And your point is?”

“My point is, this is the first globster in history that’s attacked someone. You’d better close the beach, sheriff.”

Sitwell snorts a humorless laugh. “And what? Put out an APB for a lobster?”

“Globster.”

“All due respect Agent Mulder, but you’re sounding like a crazy person right now. Those boys were drunker than skunks last night. It’s a sad thing, but Mark probably fell in and the other four couldn’t save him. Now you wanna inspect the scene, that’s just fine. You wanna talk to them, go right ahead. The groom’s name is Norm Sherman—I’ll even give you his number. But close the beach and go hunting for a clump of seaweed? No sir. We’re not doing that.”

Mulder sighs. He peers down at the package in his hand. He offers it to Sheriff Sitwell. “Cashew?”

Scene Three

Scully clicks away at her computer, looking dreadfully bored. Her phone rings and she answers it. “That was fast.”

“I’ve got a piece of globster for you.” We switch back to Mulder and see him peering into his waterproof pouch. There’s a gooey, jelly-like substance inside, with bits of dead stuff floating in it.

“You got me a lobster?”

“Globster. Possibly a homicidal globster. I could use your help if you’re up for it.”

“Does this mean your vacation’s over?”

“Actually, this is turning into the best vacation I’ve ever had.”

Scully smiles. “I’ll be on the next flight to Boston.” She hangs up.

Scene Four

Mulder gets into his car and drives away. The cops have already gone. And yet we remain on the beach. The camera inspects the beachgoers: people playing volleyball, little kids building sandcastles, people tanning. We drift out to the water.

A woman floats on her back, whistling, having a grand old time. Then she jerks upright. “What was…?”

She looks down and sees a massive shape float beneath her. She screams and swims madly toward land.

This inspires other nearby swimmers to do the same. One of them, a young kid, sees the shape and draws his own conclusion.

“Shahk! Shahk!”

Now there’s complete chaos on the beach. People running and shrieking everywhere. Meanwhile, nobody seems to notice a big conglomerate mass of decomposing tissue wash up on the shore. No one except a dude wearing swim trunks, a “Secluded Glen, est. 1901” shirt , and a visor.

“It’s dead!” he shouts. “Yo, people! Calm down, alright? Whatever it is, it’s dead!” He notices something on the side of the mass and gasps.

It looks like a stretched out human face, oozing and juicy but still identifiable. Viewers will recognize it as Mark’s face. (Gross!)

The dude recoils, but too late. Tentacles reach out from within the glob and pull him in. Then the entire mass rolls back into the waves.

The dude’s visor sinks into the sand.

(Here’s where the commercials come in. Ads for Charmin or something.)

Act Two, Scene One

Mulder (now wearing a pastel Hawaiian shirt, khakis, and flip flops) meets Norm Sherman a hotel bar.

“You don’t look like an FBI agent,” Norm remarks.

“If I’d known I’d be working a case on my vacation, I would’ve brought a tie.”

“Oh. So you’re a tourist.”

“I’m not, I…” Mulder sighs. He turns his attention to the bartender. “Miss, do you have any sunflower seeds?”

“Nope. Almonds, though. Want those?”

Mulder eats a couple throughout the scene. He looks pained while doing it.

Norm recounts the encounter to Mulder, noting that the creature didn’t seem to care about any of the five guys except Mark.

“What do you think it wanted with him?” Mulder asks. “What made him different from everyone else?”

Norm throws out a few possibilities: Mark was the only one in grad school, the only one who spoke another language, the only one who’d been to Canada. Finally, with a great deal of uncertainty, he concludes, “Mahk was the only one who didn’t grow up in the Glen, I guess. The rest are from around heah.”

Mulder thanks Norm for his time, pays his tab, and departs. He does not take any almonds.

Scene Two

On his way back to his car, Mulder checks his phone, sees a missed call from a Massachusetts area code. He calls back, gets Sheriff Sitwell.

“Agent Mulder, I’ve been trying to reach you. You’d best get your ass back to the beach. There’s been another one.”

Scene Three

Meanwhile, Scully’s plane touches down in Boston. She gets a rental car, drives. Eventually, she passes a sign for Secluded Glen.

She arrives at the local lab, flashes her ID, enters. Now to inspect the substance Mulder collected at the scene.

Scully sets the specimen on a slab and starts a recording. Then she turns to grab some instruments. “Current time is 1:05 pm, eastern standard. Beginning initial examination of apparently dead tissue, what Agent Mulder has dubbed a…”

She turns back to the exam table. It’s empty.

“…Globster.”

Scully inspects the room. The specimen is inching across the floor, sort of like a worm. She goes to pick it up and it bites her finger. She then traps it beneath a container.

“Still better than expense reports,” she says to the glob.

Scene Four

Mulder arrives back at the now-vacant beach. Sheriff Sitwell awaits with some forensic investigators.

“Looks like a shark attack,” Sitwell announces. “Some kid screamed about it, some woman saw it come near the shore. Big one, must be, but ’tis the season.”

Mulder points out that a shark couldn’t have gotten this far ashore, especially during low tide, unless it beached itself.

Sitwell doesn’t look pleased. She hands Mulder the visor. “Still collecting evidence, but we’re pretty sure it belonged to the vic.”

Mulder stares at the hat. It reads “Secluded Glen” across the top. “Only one type of person would wear this thing. This man was a tourist.”

Sitwell gives him a look. “Probably. Most people in town right now are. They come in from wherever, take over the beach, then leave when it gets cold.”

“Hmm…” Mulder gets a call. He picks up and…

Mulder, it’s me. You know that dead tissue sample you collected? It wasn’t quite dead after all.” She describes how it inched away, then bit her.

“Sounds like homicidal Flubber,” Mulder remarks.

Ignoring that quip, Scully continues. “They don’t have the most sophisticated equipment here, but I got enough to run some DNA tests. This sample contains traces of squid, turtle, crab, jellyfish, several types of fish, and…you’re gonna love this part.”

“If you say ‘alien’ I might faint.”

Human, Mulder. This thing has human DNA.”

Here Mulder pauses. “Well, if it ate Mark Starr then that must be his DNA.”

“One step ahead of you. I cross checked the DNA with Starr’s and got a negative. Then I checked it with the FBI database, and this time I got a hit. One Ronald Preston Botley. He’s some sort of crack genius biologist who’s done contract work with the government on and off for the last decade. He owns a private biological startup called BioArt, headquartered right here in Secluded Glen.”

Mulder nods. “How soon can you meet me at BioArt HQ?”

Act Three, Scene One

Mulder and Scully arrive at Ronald P. Botley’s company headquarters. When Scully sees what Mulder’s wearing, she can’t suppress a laugh.

“What? Pastels are in right now.”

As they walk, Mulder asks, “Do you have any sunflower seeds? I’ve been craving them all week and I still can’t find any.”

Scully checks her pockets, finds a package of peanuts. “It’s all I’ve got.”

Mulder eats some, still not looking too happy.

BioArt’s offices are somewhere between startup and hippie commune. Long-haired twenty-somethings (mostly men, mostly white) ride by on skateboards. Several kinds of beer are on tap (Mulder jokes about having one, and Scully agrees she might need one after this case). Classical music plays over hidden speakers. There’s a library, a garden, and a chef waiting to take salad orders. Also, no cubicles—totally open floor plan.

They’re greeted by Botley himself, founder and CEO of BioArt. Picture Mark Zuckerberg cosplaying as a young Jerry Garcia.

Botley shows them around the space, even points out a few biological breakthroughs they’ve made, such as a species of fish bioengineered to breath out of water.

Mulder hits Botley with some questions:

  • “How secure are the subjects in this facility?”
  • “Where were you born?”
  • “Want a peanut?”

To which Botley answers:

  • “Very. We’ve got state-of-the-art miniature environments, each with its own security team. Nothing can escape.”
  • “Right here in Secluded Glen. Why do you ask?”
  • “No thank you, Agent Mulder. I’m extremely allergic to peanuts.”

Mulder shrugs. “Being a local, you must not like the tourists, huh?”

“Oh certainly. Tourists, no matter where they’re from, they’re all the same. They swarm the beaches, they take over the shops, they fill up the ferries. Do you realize how much longer my morning commute takes in the summer because of them? If they could all just leave and never come back, well…I’d be a happy camper.”

“How frustrating,” Scully says flatly. “Last question. Can you explain how your DNA appeared at the scene of a murder last night?”

Botley appears baffled, asks for the exact date and time. Botley immediately asserts that he was in the building working late. He cites a few employees who can verify it, plus some custodial workers. He even suggests checking the security footage of the building for additional verification.

“Thanks for your time,” says Scully.

Scene Two

As Mulder and Scully exit BioArt, Mulder proposes his patented whacko theory.

“Just bear with me for a second here, Scully. What if this facility is the globster’s birthplace? And what if Ronald Botley is its father? They said themselves they tinker with genetics on all sorts of marine life. What if they created a conglomerate species?”

Scully, as always, acts as the voice of reason. “We still can’t be sure this is anything but a shark, Mulder. The witnesses at the first attack were all traumatized and scared and inebriated—not necessarily in that order—and at least one witness at the second attack reported seeing a shark.”

“Then how do you explain the glob that attacked you? How do you explain Flubber?”

Scully doesn’t have an answer for that one, so Mulder continues.

“I think Ronald Botley imbued this creature with his DNA, maybe as some sort of experiment. And not only did it get that—the creature also inherited his disdain for tourists.”

“Mulder. Are you seriously proposing that our prime suspect is a rolling ball of goo that washes up on random beaches just to eat…tourists?”

“Think about it, Scully. It attacked Mark Starr, the only non-local among a group of four other perfectly viable targets. And then it devoured another tourist when it could’ve attacked anyone else on that beach. It even went after you in the lab, probably because you’re not from around here.”

“Let’s say you’re right, Mulder. Let’s say this thing is only going after tourists. How do we catch it? It’s July in a beach town. Thousands of tourists are rolling in here every day for the rest of the summer.”

“Like any good fisherman, Scully. With bait.”

Act Four, Scene One

With night descending, Mulder and Scully head for the beach. Mulder theorizes that so long as a non-local is in or near the water, they have a fair shot of being attacked.

“But you’re immune,” Scully reasons. “You’re from Martha’s Vineyard.”

“Hey. Martha’s Vineyard is not Secluded Glen. Totally different.” He removes his flip flops and steps into the water. Scully does the same.

“Scully, I’m not gonna ask you to risk your life for this case.”

“You don’t have to.”

So they stand there in the water up to their knees, waiting. To pass the time, Mulder asks, “Did you go on vacations as a kid?”

“A handful,” Scully says. “But my father’s military career made everything feel like a vacation. We’d stay in places months at a time, sometimes a couple years. Inevitably, though, he’d get the call and we’d be off to elsewhere.”

“Sounds difficult.”

“Actually, it was kind of fun.” Scully peers out at the sunset beyond. “We still had our family. Still had each other. Visiting new places every few months wasn’t so bad. Not when I liked who I was traveling with.”

“And now you’re stuck with me.”

“Mulder,” she says, “you’re my favorite tourist.”

“I’m not…” Mulder gazes at the horizon. “Likewise.”

Something splashes in the water. Both agents draw their guns and…

It’s just a seal. Maybe the bait idea isn’t right. Just then, Mulder gets a call from Sheriff Sitwell. She just got a call from someone who claims a giant carcass washed up on the beach.

“Don’t let anyone near it,” says Mulder. “We’re on our way.”

Scene Two

The agents arrive at the new location. They find Sheriff Sitwell, local law enforcement, and a bunch of people they don’t know. They’re all gathered around a bulky carcass. Everyone’s covering their noses.

“Stay back,” Scully warns. “Federal agents. Everybody keep your distance.”

“Look,” somebody says, “it’s got faces on it.”

Indeed, we see the tourist dude’s face plastered on the side, along with Mark’s deteriorating face elsewhere.

“By show of hands,” Mulder says, facing the crowd. “Who here lives in Secluded Glen?”

All but one person raises their hands. Mulder points at the odd one out. “You. Go home. In fact, I need everybody off this beach, pronto.”

One tourist steps forward. “Sheriff, why do we have to listen to this guy? He’s wearing socks with sandals, for God’s sake.”

“I can explain that,” Mulder says, but the Sheriff steps in first.

“Everybody stand back,” Sitwell commands. “Go on. The beach is closed. Get moving.” She escorts the people off the beach.

When they’re all gone, Mulder turns back to the globster. “Now how do we arrest this thing?”

“We need a cleanup crew out here,” Scully says. “Maybe the New England Region EPA office can get someone.” She calls. And the Globster stirs.

“I don’t think it wants that, Scully.”

The faces on the Globster stretch and twist. The entity seems to grow. A tentacle wiggles out from beneath the slime, then another.

“Run!” Mulder roars.

Together, he and Scully take off at a sprint. And not a moment too soon, because the globster starts rolling. Fast.

“We need to keep it away from the water!” Mulder calls. “We can’t lose it again!”

They veer left, now going the opposite direction of the water. However, that now points them toward the parking lot, and beyond that, the town.

“But we can’t lead it toward more people!” Scully calls back. She hooks another left, and now they’re running parallel to the water again. “How do we stop it?”

“I don’t know!” Mulder tries shooting it a couple times, but shooting while running is tough work. Even when he does finally hit, the glob keeps rolling, kicking up sand in its wake.

A pair of figures appear in the dark ahead of them: two teenagers making out on the beach. Scully screams at them to get the hell out of there, but they just stare dumbly. She and Mulder make a wide circle around them, and fortunately, the globster rolls right past.

“Was that a bouldah?” the girl asks.

“Mustah been,” the guy agrees.

The agents run on, the globster still following. It’s now leaving bits of itself along the beach as it goes, tips of tentacles, fish scales, jelly goo. They come to an outcropping of rocks and dash past a sign that reads Please do not climb the rocks. They climb the rocks.

“Mulder,” Scully pants, “if this thing has Botley’s DNA…”

“Yeah.”

“…And it hates tourists as much as he does…”

“Right.”

“…Then maybe it shares other traits with him as well.”

“Like what?” The agents haul themselves atop the rocks, and not a moment too soon: one of the globster’s tentacles reaches for them and nearly grabs hold. They sprint down the other side, the glob still pursuing them.

“Immunodeficiencies. Mulder, Botley’s allergic to peanuts.”

Mulder checks his pockets as they run. “I threw them out. Couldn’t stand the texture!”

Scully scans the beach, then points. “There!” We discern a faint outline in the darkening distance: a box-shaped little building with a sign reading “The Snack Shack.” The agents run to it.

Scully gets there first, tries the handle. Locked. “Keep it busy!” She slams her shoulder against the door, trying desperately to break it down.

As the globster draws near, Mulder waves his arms. “Hey! Where’s the nearest gas station? You have any dinner recommendations? I’m here with my wife and our seven kids—what’s a good family-friendly excursion?”

The globster takes the bait. It now comes at Mulder, and he runs. “I’m cramping up, Scully. Hurry!”

Scully finally busts down the door of the Snack Shack. She flips on a flashlight, rummages through endless supplies of junk food. Twizzlers, Doritos, Lays Chips, Skittles, Milky Ways…

“Where the hell are the damn peanuts!?”

She trips over something bulky, curses. Then she gets the light on it.

A bag of peanuts. Industrial sized.

Outside, Mulder’s now running in circles, trying to keep the creature in the same vicinity as the Snack Shack. He’s slowing, though, and we see the creature gaining on him. Finally, it whips a tentacle out and trips him. Mulder tries to crawl away, but the tentacle snares him around the ankle and drags him across the sand.

“Scully! Scully!”

She emerges from the shack lugging a massive bag of peanuts. As the globster draws Mulder closer, Scully sprints forward and dumps the peanuts all over it.

The globster freezes. We watch as the peanuts sink into its gooey flesh. The tentacle goes limp, and for a moment, there’s silence—or would be, if not for the lapping of the waves and the heavy breathing of the agents.

“Is it—?”

The globster explodes.

Bits of dead marine matter rain down from above. When the sand settles, we find Scully and Mulder standing there, covered in fish guts. Mulder wipes some from his face.

“I’ll have the seafood stew,” he says.

Dissolve cut to…

Scene Three

It’s sunrise, and a cleanup crew has arrived—though not from the EPA. Their hazmat suits have BioArt logos on them. Sure enough, Ronald P. Botley is among them, too. He stands in the parking lot on the edge of the beach, leaning on his sports car, watching from afar.

Scully and Mulder approach him. They’re both still covered in fish guts.

“You can’t hide the truth,” Mulder says to Botley. “This was a test, wasn’t it? Is this some new biological weapon, or did you just want to see what would happen when you crammed too many organisms together?”

Botley pats Mulder on the shoulder, which makes a squelching sound. “I don’t know what you’re talking about, Agent Mulder.”

“Two men are dead because of you.”

Botley shrugs. “I heard it was a lone shark.”

“There were witnesses,” says Scully. “Many of them, here and at the other attacks. You can’t suppress their stories.”

Botley steps into his car, starts the engine. “They’re tourists. Who cares what they have to say, anyway?”

He drives away, leaving Mulder and Scully alone in the parking lot.

Scene Four

We watch a car zoom down the road. The agents. Scully drives, and Mulder rides in the passenger seat.

“Mulder,” says Scully, “I know this vacation didn’t work out quite as you wanted. So I got you something.”

“You shouldn’t have.” Mulder opens the gift. Inside, he finds a package of sunflower seeds.

Scully smiles at him. “They just restocked.”

Mulder thanks her, then tears open the bag and offers her some. Scully declines, so Mulder cracks a seed and eats it.

“Scully?”

“Yeah Mulder?”

“Can we come back again next year?”

They pass a sign reading Fresh Lobster! And they keep on driving.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about cats.

Architect or Gardener: Which Kind of Writer Are You?

Writer

As a writer, I’m fascinated by other writers’ writing habits. There are infinite ways to construct a story, so it’s interesting to hear how others choose to do it.

George R.R. Martin, author of A Game of Thrones and its sequels, devised an excellent metaphor for writers and their processes. He divides them up into two loose categories: architects and gardeners.

What exactly does that mean? Let’s dig in.

Architects

Here’s how Martin defines them:

“The architect, as if designing a building, lays out the entire novel at a time. He knows how many rooms there will be or what a roof will be made of or how high it will be, or where the plumbing will run and where the electrical outlets will be in its room. All that before he drives the first nail. Everything is there in the blueprint.”

In other words, architects plan everything before writing it. They might work from a detailed outline or multi-page treatment. Architects often devise character bios or event timelines. If you’ve ever covered your wall in sticky notes, you’re probably an architect (or maybe a detective?).

When I did screenwriting in school, we were obligated to be architects; that is, we were required to write an outline for every script. Makes sense. With only a semester to write, it’s a unwise to choose a destination without a map.

However, spending time as an architect revealed some inherent weaknesses with the style. For one, characters might feel a bit less natural when they’re written to an outline. Characters come alive when they make organic decisions which align with their established traits. They can feel stiff when making decisions for the sake of an outline.

Of course, being an architect also has its advantages. For instance, architectural writing tends to feel more focused, especially on first drafts. Architects spend less time searching for their path since they’ve already built. All that’s left is to expand upon it—adorn it with some yellow bricks or something.

Gardeners

I’ll let Mr. Martin take over here:

“And then there’s the gardener who digs the hole in the ground, puts in the seed and waters it with his blood and sees what comes up. The gardener knows certain things. He’s not completely ignorant. He knows whether he planted an oak tree, or corn, or a cauliflower. He has some idea of the shape but a lot of it depends on the wind and the weather and how much blood he gives it and so forth.”

Gardeners plant the seed of an idea and watch it blossom. Unlike architects, they usually don’t have a blueprint for their stories. Instead, gardeners often begin with a particular thought, character, or scene, then work from there. Where it goes is anyone’s guess.

Although being a gardener is liberating, it also requires a lot of trial and error. Gardeners might start on a promising idea and spend weeks nurturing it. But what if it doesn’t grow? What if it doesn’t go anywhere? It’s discouraging to spend time on a particular piece only to realize you have no idea how it should develop.

The advantage of being a gardener (besides the fresh vegetables) is that such writing often feels spontaneous. Unlike architects, gardeners will often find surprises within their own work. Gardener characters also might feel less rigid than architect characters. Their actions will often shape the story since there is no predetermined path for them to follow.

Which Are You?

Here are Martin’s closing remarks on the subject:

“No one is purely an architect or a gardener in terms of a writer, but many writers tend to one side or the other. I’m very much more a gardener.”

As Martin wrote, most writers fall somewhere near the middle and lean toward one side or the other. So which are you closer to: an architect or a gardener?

I’m still figuring out which side I favor. In my screenwriting days, I had to be more of an architect. After graduating, I swung far (maybe too far) towards gardening. Now I’m shifting back toward an architect.

Whichever you are, keep building and keep planting. Keep writing!


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about coffee.

When Writing Dialogue, Don’t Forget Who’s Talking

A burly henchman wearing an eyepatch and a prickly sneer leans against a castle parapet. He stands not three paces away from a knight in glittering armor. The latter of the pair is not happy.

“I’ll ask again,” growls the knight. “Did you or did you not witness the incident in question?”

The henchman thinks on this for a moment. He wads a ball of phlegm in his throat and spits, not far from the knight’s shiny boots.

The henchman says, “For whom do you work, sir?”

And the reader thinks, Wait a second. What?


Dialogue is one of the trickiest components of writing fiction. We authors spend years learning the numerous rules of grammar and punctuation, only to discover they should, almost always, be ignored when writing dialogue. After all, people rarely talk like they write.

Consider the above example. It’s grammatically correct for the henchman to use “whom” in this statement, since it’s a pronoun in the objective sense. Furthermore, avoiding the construction “Whom do you work for?” precludes a hanging preposition at the end of the sentence.

Yes, this line demonstrates good grammar. But it’s still bad dialogue.

That’s because when we write dialogue, we must always remember who’s talking. Dialogue is about character, authenticity, and occasionally plot—it’s almost never about adhering to syntax or grammar.

The henchman’s line feels wrong because everything else he’s done suggests he wouldn’t talk like that. He’s a henchman, he sneers, he spits near people’s nice boots. There’s no way this guy would know the difference between who and whom.

Ideally, dialogue sounds unique to the character speaking it. I find it helps to ask myself, Would this character say that? Or, Is this how this character would say it? Or, Would this character use that word, or another?

Questions like these make writing dialogue both difficult and enjoyable. It’s a challenge, and like any challenge, improvement comes with practice. There are many ways to develop the right voice for characters, but I think the best way is to just write. And write. And write.

Most importantly, let’s not forget who’s talking. It’s the number one influence on every line of dialogue.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about coffee.

Kyle’s Time Travelin’ Tour, 2019 Edition

Time Travel 2018

Time travel. It’s better late than never.

In this article, I’d like to take a look back at my 2019 writing year. I hope it doesn’t come off as self-indulgent! I just think reviewing the past makes me excited for the future. Also, we’re already halfway through January, so if I don’t publish this now, I never will.

Anyway, time machine’s here. Hop in!

January

We begin with a blog post: “I Am Your Father: Making Similarities Work in Fiction.” Here I compare Star Wars with Neil Gaiman’s American Gods. Both employ the same plot twist, yet the latter never feels like it’s ripping off the former. Check out the post for my thoughts on how it was done—and how other writers might do the same.

Also, January marked the publication of my first guest post of 2019: “3 Signs It’s Time to Stop Editing That Manuscript.” I’m pleased with the way this one turned out, in large part because I experienced so much of what I wrote first-hand. Hope you enjoy reading it. And, if you’re a writer, I hope it helps you.

February

Short month, but a big event happened during it: the publication of an ebook I helped write for ProWritingAid! It’s called How to Go From First Draft to Published Authorand you can download it for free by clicking the link in the title.

You can probably guess what the book’s about, but here’s something you may not know: there’s one part where I made up a musical called “A Sloth is Born.” I know what you’re thinking, and the answer’s yes. I’m already working on the novelization.

March

A quiet month of March. The coolest thing that happened was finally releasing a paperback version of my first novel, Gerald Barkley RocksI must say, the feeling of holding one’s own book in one’s hands is electric. And even a big bar across the top reading “NOT FOR RESALE” couldn’t stop the feeling.

April

Fresh off the release of one book, I pranked some folks with the false release of another. See this article for deets: “Announcing Wee Stories: 1,001 One-Word Tales.”

I received some worried messages from friends and family who thought I was serious about microstories. For those who haven’t read it, here’s a snippet:

Consider this [microstory]. I call it Crossing at Dawn. Here it is, in its entirety:

“Turtles.”

It took me six months to write that piece. I tried to imagine what animal would be most likely to cross a road at dawn. A squirrel felt unremarkable, a chicken too cliche. Finally I settled upon the present form. I’m thrilled with the results.

Anyway, I got a good chuckle out of it.

May

Another guest post, this one entitled “How and Why to Treat Your Setting Like a Character.” It was especially gratifying to publish this post on Joanna Penn’s website. She’s the host of The Creative Penn Podcast, a show I find very informative. Thanks for sharing my post, Joanna! And thanks for adding a picture of this dude in there:

I have no idea who he is, but something tells me his name is something like Sir Bertrand Godfrey of the Luscious Hair. Just a guess.

June

No writing news, but that’s because I took a big step forward at my day job. In June, I was hired to work at Special Olympics New York!

You don’t need me to tell you what an outstanding organization Special Olympics is, but I’ll say it anyway. It’s a privilege to work there!

July

I finally caved and started an Instagram account. Here’s my first post:

 

View this post on Instagram

 

Currently reading, currently liking. Not as creepy as it sounds. #bookstagram #books #bookshelf

A post shared by Kyle A. Massa (@kyleamassa) on

Just wait for next month. That’s when my Insta really took off.

August

By this time I was furiously editing a manuscript (that’s coming soon), so there weren’t many writing updates. Instead I turned to Twitter for my hottest post of the year.

Clearly I was prognosticating the wild success of Cats.

Oh yeah, then I posted this on the Gram:

 

View this post on Instagram

 

Time marches on…for whom the @tacobell tolls 🤘

A post shared by Kyle A. Massa (@kyleamassa) on

One of my finest moments of 2019.

September

I released Monsters at Dusk!

 

Cover designed by Nathan Rumsey

This book means a lot to me, not least of all because the first story is about a cat. But really, please give it a read. There are 10 stories, so odds are you’ll find at least one to like.

October

Fresh off its release, Monsters at Dusk earned a mention in the Times Union Book Blog! Thanks to reviewer Alicia Abdul for the kind words, and thanks to my brother-in-law Dan Fisher for making it possible.

November

Not only did Dan orchestrate last month’s news…he got me my first ever reading and signing! Here’s me at Flights of Fantasy Books & Games

I think the eight-year-old sneakers + white socks combo was a nice touch. Shoutout to bad fashion choices.

December

Finally, I capped off 2019 by completing my reading goal of 40 books. That’s a career high for me! If you’d like to see my five favorites of the year, check out this post (also from December): “My Favorite Books of 2019.”

Happy 2020!

Looking forward to another great year. Check back for more posts, more books, and—fingers crossed—more goofy social media posts.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about coffee.

Happy Birthday “Gerald Barkley Rocks”!

Cover designed by Nathan Rumsey

One year ago, I published my first novel. It’s called Gerald Barkley Rocks.

Most writers have soft spots for their first book. I certainly do. It’s the summation of a hell of a lot of work, not to mention the tangible proof that yes, you are indeed a writer. Plus, even non-writers can’t resist seeing their names on books.

So yes, I have a soft spot for Gerald Barkley Rocks—or GBR, as I’ve come to call it, since three-letter names are hot right now. But that certainly doesn’t mean I think it’s perfect.

In fact, in honor of its one-year birthday, I’m going to mercilessly criticize GBR. Well, maybe I’ll show a little mercy. I’ll give credit when it’s deserved. But overall, I’m hoping this might be a fun and educational critique, both for you and me.

Be warned: If you haven’t read the book yet, please consider doing so before reading this blog post. Onward!

Side I

GBR is separated into four parts, which I call “sides,” so named to mimic the four sides of a vinyl double album. I pushed the metaphor even further by renaming the chapters “tracks,” as in tracks on a record. (You might’ve also noticed that each track’s title corresponds to a song by Black Cat Waltz.) I thought it was a cool meta-metaphor then and I feel the same way now. Good job, former self.

Unfortunately, Track 1 starts off slow. It performs its function well enough by introducing our main character and a few conflicts he’ll explore throughout the novel. And yes, there are some decently funny lines (“tall mocha latte swirl”). But I wish I’d found a more exciting way to begin the book. Two dudes sitting in a doctor’s office discussing blood leaking from orifices is not exactly a thrilling opener.

Things pick up in the elevator when the man in the red coat appears. I think I did a nice job connecting him with Barkley’s illness and the music of Black Cat Waltz. It’s a quick scene that suitably unsettling, both for the main character and, I hope, the reader.

The book doesn’t really heat up until Track 2 (This is when Barkley arrives at the scene and meets Carmen for the first time.) I must say, the writing is sharp here. If you’ll allow me to pat myself on the back, I feel I provided a detailed description of the scene and established several important plot points, all economically and elegantly. Carmen Fowler’s first scene in particular has some nice dialogue…

…But, that brings me to one of my main criticisms: Why does Carmen like Barkley? To be honest, this was a question most beta readers asked me when reviewing my manuscript. They didn’t understand why a Hollywood actress would have any interest in an old, glum, and mostly boring detective on the verge of retirement. Honestly, I myself had the same question, even after reading the finished product.

To be fair, I did try to answer said question in the following passage. Carmen begins it (and note, Barkley doesn’t yet know her name).

“Ever since my husband passed I go for walks at night. Can’t sleep. A few times I caught Julian out wandering and we chatted.”

“I’m sorry.”

“About the chatting?”

“About your husband. My wife passed a while back, so the sleeplessness…I get it.”


Unexpectedly, the woman reached out and squeezed Barkley’s hand. “Stay strong, detective. You’re not alone.”


Barkley wasn’t so sure about that, but it was kind of her to say so.

This is better than my earlier drafts, but it’s still a problem, even in the final one.

Rounding things out is the first of the “Hidden Tracks.” Again, going with the vinyl terminology, a hidden track is a song that isn’t listed on the sleeve but appears on the record nonetheless. A great example (and one of the first) is the song “Her Majesty” from The Beatles 1969 classic Abbey Road. It plays about almost 20 seconds after the alleged final track, though it’s not listed on the actual sleeve.

I went for a similar effect with the Hidden Tracks in my book. They’re additional pieces that add color and flavor to the narrative, though they break the book’s point of view and don’t occur during the present timeline. There are three Hidden Tracks, one at the end of each side except the fourth and final. And I’m happy to say, all three work well.

The first Hidden Track is my second favorite. Young Julian Strange’s midnight prophecy is pretty cool, and it hints at the concept of Deaths without outright explaining them. Plus, it hints at supernatural events to come.

Side II

We begin with Track 4, entitled “Sing Us a Song (But Not That One).” Here I think I did a decent job setting up the mystery. The fairy-tale inspired record store is a solid setting and Francisco Jones is a weird character. My main gripe with myself is the “Song of Eggs and Semen” bit.

I remember agonizing over the name of the song for months. I wanted a title that described the song’s purpose (offering new life) yet also made readers laugh. “Song of Eggs and Semen” was meant to be a placeholder, but I simply couldn’t come up with anything funnier. Sometimes you just run out of time and need to write something, even when you know it’s not the best answer.

Another misstep: my heavy-handed symbolism with the color red. For example, in the next track, “Love is for Strangers,” when Barkley and Carmen run into each other at Trader Joe’s, this happens:

They stood there in the aisle, just staring at each other. Cans of stewed, diced, and whole tomatoes waited silently beside them.

A swing and a miss at subtlety there.

However, this side wasn’t a total failure. Nicks proved to be as fun a supporting character as I remember him being. He plays a strong foil to Barkley and has some hilarious dialogue, such as this exchange:

“Hello. Is this Gerald Barkley?”


“Yeah. Who’s this?”


A pause on the other end. Then the voice said, “This is Julian Strange.”


The sound of Barkley’s world dipped out. His lips moved but formed no words. The message made it to his mind clear enough—it was just that his mind wasn’t accepting it. “I…this…it can’t be.”


A moment’s pause. Then a giggle, which turned into a laugh. “Nah, just fuckin’ with you. It’s Nicks.” Nicks. Detective Nicks. His second on the case. “Ha. Did I scare you?”


“Jesus Christ, man.”


“Yup, he’s here too. Let me put him on.”

Next comes Track 6: “Janine.” Honestly, I debated whether or not to keep her scenes. Though powerful, I worried their separation from the main plot made them extraneous. Ultimately, I decided to keep them. I’m glad I did.

Barkley’s conflict with Janine moved me. I think I succeeded at presenting a compelling case for both sides of the argument. I also feel the dialogue conveys grief without verging into melodrama.

The next Hidden Track, “A Night with Black Cat Waltz,” remains my favorite part of the novel. I’ve gotten similar feedback from many readers. I think it’s well-written, thrilling, and delightfully surreal. Furthermore, it serves as a keystone for the entire book. As we later discover, Barkley actually appears in this scene (even though we don’t know it’s him). It also offers a big clue about Strange’s late-night visitor. Third, this scene is the closest look at Julian Strange we ever get (while he’s still human, at least).

Also, on an adult note, a few readers noticed the constant references to Julian Strange’s—cover your eyes, kids—penis in this book. Yes, that was intentional. It’s my way of making fun of old rock stars. That’s because, and forgive me for being vulgar, classic rock is basically dick music.

Rock’s lyrics are laden with sex and macho bravado, which is simultaneously one of the genre’s signatures and most problematic elements, especially in a modern context. Some examples:

  • In Led Zeppelin’s “Whole Lotta Love,” Robert Plant shrieks, “I’m gonna give you every inch of my love.”
  • Humble Pie has a song entitled, “One Eyed Trouser Snake Rumba.” One of the lyrics goes, “I got the key and you got the door.”
  • The Doors’ “Light My Fire” is pretty obvious in its symbolism.
  • AC/DC’s “Go Down” doesn’t even try to hide what it’s about.

And the list goes on. I’m not telling anyone anything they didn’t already know. But since Gerald Barkley Rocks is a comedy at heart and meant to poke fun at its subject matter, I made constant references to Julian Strange’s love gun (as Albert King might call it). Seemed like a fitting joke.

Side III

This side is the shortest in the book (just two tracks), but covers important ground. First of all, it explains Deaths and how they work. Barkley confronts the man in the red coat, and this is the explanation he gets:

“You all have your own Deaths,” the man continued. “We go where you go, for your Death is with you from the day you’re born. And when you are done—and I mean done, done—we take you. Yet usually we go unnoticed.”


“What does that mean?”


“It means each Death is a stranger. It means those who are dying do not notice their Deaths until they are very near the very end. And you’ve noticed me, Gerald Barkley.”

Readers, on the whole, seemed to dig the concept of Deaths. A few even remarked that it felt like something Stephen King might devise, which of course made me blush. Maybe I’ll come back to this concept in the future.

The other important detail from this side: A closer look into Carmen and Barkley’s relationship. I still don’t get why they started dating, but this is where I’m glad they did. Infinite, the restaurant that never closes, is one of my most cherished settings, both because I think it’s a fun concept and because it speaks to the broader theme of the book: the natural yet unattainable desire to live forever.

Of course, I did notice some overwriting. For example, this:

There was no bar music, either—just euphonious and presumably urbane conversation.

“Euphonious,” eh? That feels like I hit up the closest dictionary for a big word. Not my finest moment.

Fortunately, I recovered somewhat with the karaoke scene. Another fun setting here: some weird bar infused with a sci-fi vibe. The drink called “Qui-Gon Gin” is perhaps the best pun I’ve ever devised. And Barkley’s failure to sing works as a nice dramatic moment, plus sets him up for success at the end.

Then comes the William Shakespeare revelation, which I’m still conflicted about. As a refresher, Barkley gives Carmen a gift, which happens to be a Black Cat Waltz album with her picture on it. Shakespeare’s on there, too, and Carmen identifies him as Strange’s visitor on the night he died.

I needed a breakthrough on the case and this seemed to work decently well. On the other hand, as noted by my writer friend Levi Jacobs, the protagonist doesn’t find this breakthrough clue. Rather, it falls into his lap. Yes, this does feel like a flaw in the story. Readers want active protagonists who solve problems, not those who stumble upon answers by mistake.

Another Hidden Track follows this one, and is perhaps the most experimental of the three. It’s a script for a VH1-style music documentary chronicling the downfall of Black Cat Waltz. I feel I achieved the effect I aimed for, plus offered some insight into the band’s inner-workings, along with Julian Strange’s mental state prior to his death.

Side IV

Strange’s funeral is an okay scene, though not one of my favorites. It’s kind of whacky and hearkens back to their Nebula Lounge show in the second Hidden Track, but feels a bit more tame than I wish it could’ve been. Wish I’d written it as a more raucous affair. And then we come to Warren Wilder.

The issue with Wilder, I think, is that it’s pretty obvious he’s not dead. Readers might not necessarily make the connection that he’s the mysterious visitor, but I certainly doubt they believe my attempts to make him seem unimportant (for example, when Nicks claims, “[Wilder’s] probably dead and rotten.”

The encounter with Wilder works well enough, though. He’s pretty funny in a weirdo way, and I always enjoy writing in an old English style.

Then comes Track 12, when Barkley and Strange finally meet. It’s certainly one of my favorite scenes, especially this monologue from Strange (who’s now a kitten):

“And yet [being Julian Strange] brought me no happiness.” The kitten batted its gopher toy, watched it roll away. “At times I found it, but never for long. I’ve been searching for eons. In one life I fought for Jerusalem. In another I was accused of witchcraft. I was an American soldier who stormed the beaches of Normandy. I saw the last of the wooly mammoths wither and die away. I farmed the land in the time of the Song dynasty. I was a Mayan astronomer whose name time forgot. I was Robert Johnson. I was Cleopatra. I was Judas and Brutus both. I was Julian Strange, born Johnson Henry Mudge. I’ve lived many lives, yet never have I felt content. Maybe shitting in a litter box will change all that.”

Finally, we have the final scene. I tried not to be too obvious, though I hope that didn’t leave the result too vague. Barkley’s Death leaves him alone because he’s finally found something to live for. Then come the final lines of the book, which work smashingly, if I do say so myself…

Barkley and Carmen took their bows. Then he kissed her, and she kissed him back, and that got an even bigger hand. The crowd chanted one word, over and over.

“Was it bad?” Barkley asked.

“Terrible,” Carmen answered. “Do you hear what they’re saying?”

A smile parted his lips. “Is it…?”

And Carmen laughed like it was the funniest thing in the world. “I think they’re calling for an encore.”

Overall Thoughts

It’s interesting—at times, Gerald Barkley Rocks feels like a rote detective novel. We’ve got a down-on-his luck L.A. cop investigating the murder of a famous person. Yet at other times the book gleefully breaks that mold. For example, Barkley is a decidedly unglamorous main character, plus there’s a ton of supernatural crap happening. And, as it turns out, our murder victim wasn’t even murdered.

I’d give Gerald Barkley Rocks three out of five stars. It has a flawed romantic plot, a rather pedestrian setup, and a protagonist who sometimes fails to be likable or compelling. But I believe the book makes up for those shortcomings with solid themes, intriguing supernatural elements, and a strong ending. Plus, I feel I earned extra points with an innovative structure and daring side stories.

I know, I’m biased. But if you’ve gotten this far, I hope you’ve enjoyed this article. Also, as a thank you, please try this code on Barnes & Noble Press:

BNPBIRTHDAY

Use it between 12/21/2019 and 12/29/2019 to get 50% a hardcover version of GBR.

Happy Birthday, Gerald Barkley Rocks! Hope I didn’t hurt your feelings too bad.


Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. 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 about coffee.

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