John W. Wells III

 

 Interview with John W. Wells III

Author of

The Kalib Andrews Chronicles

 Please tell me a little about your current work in progress.

I am currently working on The Invisible City, the third book in The Kalib Andrews Chronicles. I am so excited to share this one with the world. In the third book, Kalib and his friends are forced to leave Hainesville after the town is afflicted with a supernatural plague in the third book. And the only way to save the city is to find one of the last remaining Enochian stones. That stone, combined with an ancient spell and the blood of the Angel Warrior, will vanquish the demon, Beelzebub, who is responsible for the city's supernatural disaster. But where does one find an Enochian stone? Legend has it that a fragment of the stone was hidden inside an ancient city. So, what’s the dilemma? This ancient city is hidden by magic and can only be found if one knows where to look. A difficult piece of knowledge to come by considering that the city inhabitants have been forbidden to leave for thousands of years.

Where did you get the idea for this book or series?

When I was a kid, I LOVED fantasy. Harry Potter, The Chronicles of Narnia, the Lord of the Rings, and even the Percy Jackson series (though I was a little older when that came out). But the one thing I never saw as a kid was a hero that looked like me. As an African American, I wanted kids to see heroes that looked like them among the myriad of eurocentric protagonists. I wanted BIPOC kids to know that they are more than just the sidekick. So I wrote one. When people tell me they read my books, they tell me that they were inspired by the diversity represented in my books. And this inspires me to keep writing.

Do you write in more than one genre?

I tend to stick to the genre that I like to read, Contemporary fantasy. This is where I feel most comfortable. But who knows, maybe I will venture out into other genres one day.

Tell me about something that you believe makes your writing unique or worthy of attention.

I believe my sense of character and voice make my story unique. When people read my book, I think they will empathize with my main character, Kalib. They get the chance to be in his head and hear what he is thinking, and I think the reader's connection to him is powerful.

Is there anything about your personal history or personality that manifests strongly in your writing?

I relate a lot to my main character. We are not the same, but I believe our core needs are similar. In the first book, Kalib struggles with his identity. Being the mayor's adopted son, he doesn’t know where his place is. He wants to know where he belongs and his purpose. These insecurities are the engine that drives Kalib’s story.

Now, I was not adopted. However, I did grow up in my own smaller version of a LimeLight. I grew up a pastor's kid in a small town. Because of this, I often shared with Kalibs feelings that I was in the way. Or that I didn’t belong. I spent most of my Adolescence searching for my place, for my people, and I never found it. So I think I subconsciously infused Kalib with my own struggle with identity, acceptance, and belonging.

What else would be helpful for readers to know about you?

For a brief moment, during a safari in Kenya, I was in danger of being charged by an elephant. The driver didn’t realize until we left that there was a baby elephant in the bushes, and the mother thought we were a threat and began to position herself between the baby and us. The driver then informed us that it was time to go.

Excluding your own work, what underrated author or book would you recommend that more people read? Why?

Jonathan Yanez is a great author, and he tells funny and compelling stories. I came across his books at a seminar and then had the privilege of meeting the guy; not only are his books excellent, but he is also a pretty cool and down-to-earth guy.

Also, Rick Riordan is my favorite author. My love for him began with his fast-paced and witty, Spider-manesque dialogue in the Percy Jackson series. But my admiration grew to respect during the Magnus Chase Series when I realized how intentional he was about inclusivity in his stories. He truly tries to represent all kinds of people without judgment. And to me, that is both admirable and important.

Which of your books do you most highly recommend? Why?

The Heir of Ambrose is my favorite book that I’ve written so far. It was just such a hard story to write. And even going into it, I wasn’t sure how I would write it. I was afraid it would just be a bridge book, and I hate those. But, once I wrote it, it was most definitely NOT a bridge book. It was more involved than I ever thought possible. There is an intriguing mystery, great world-building, and a plot that will keep you on the edge of your seat.

Which break, event, decision, or fortuitous circumstance has helped you or your writing career the most?

Meeting my editor, Mentor, and Coach. What started as just a business relationship has evolved into a relationship that has changed my life. My editor is a wise man who not only gets my stories, but he gets me as well. He has taught me more than I could have ever learned in school, and I attribute much of my success to the time (probably more time than necessary) that he takes to ensure that I understand the notes he is giving me. He is no longer just an editor. He has become my mentor, my teacher, and my friend.

What question do you wish you would get asked more often?

mmmh… maybe “Where would you like to visit?”

Do you have a catchphrase or quote that you like? What is it? And why do you choose it?

 I don’t! But I think I need one.

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Thanks to John for participating.

The Haunted Mesa

This week I finished reading Louis L'Amour's The Haunted Mesa for the first time. It's a tale set in the Navajo Mountain area--San Juan County, Utah. I have some passing familiarity with the region and a bit of the history, particularly regarding Moab, Blanding, and Bluff. None of these places figure prominently in the story as the the canyons and mesas provide the larger-than-life setting. 

Legend, myth, and reality clash in this novel. Louis L'Amour channels Tony Hillerman and Edgar Rice Burroughs in this sci-fi/fantasy mystery thriller. The protagonist, Mike Raglan, is a world traveler who investigates and mostly debunks claims of mysterious and supernatural. He's been summoned to the area by an acquaintance, Erik Hokart. By the time Raglan arrives, Hokart has gone missing from the place he's building on one of the mesas. However, he left a journal of his activities, including the strange experiences he has had involving a kiva on the mesa. It becomes apparent that Hokart went through a portal from this world to the old world from which the Anasazi came. That world is apparently a pretty terrible place.

The journal gets dropped off to Raglan and some bad guys try to get it from him. The story wanders from there. Raglan occupies lots of time doing things other than immediately studying the journal in minute detail. He spends too much time wondering--and I can tell that Raglan's wondering is Louis L'Amour wondering where he's going with the story and not getting immediate or satisfactory answers. L'Amour didn't know the answers, so Raglan can't find the answers. The story stalls. 

We meet some interesting characters like Gallagher, a local law enforcement officer; Kawasi, a girl from the other side; Eden, a mysterious woman who may or may not be from the other side. Most of the other characters lack the depth and texture that would make them memorable. A couple interesting bad guys show up late--too late to make them serious players in the drama. 

L'Amour and Raglan grope their way along. There's a sense of urgency to rescue Hokart from the other side before he's killed or tortured or something that could be worse but nobody knows because the author didn't know either. Raglan engages in so much wondering that it becomes painful to read. I know from experience that getting a character to ask questions, to speculate, or to engage in conversations that raise issues the author hasn't yet explored can be good ways to get to those answers. Unfortunately, each dip of the wonder-scoop only dredged up another heaping helping of questions.

In channeling Hillerman and Burroughs, Louis loses L'Amour. The author never successfully weaves the three influences into the tight narrative of action and drama we've come to expect and love. By the time we get to the other side, the book is almost over. The rescue of Hokart stumbles along, rushed and unfulfilling. The whole course of events on the other side reminds me of Trelane's feast and fire for Kirk and company, having form but devoid of flavor and warmth. 

L'Amour gathers components with promise for a fabulous story, but ultimately the tale as assembled becomes less than the sum of the parts. I give it three out of five flutes.

The bonus material at the end indicates that L'Amour researched and discussed this book for a long time, perhaps too long, and may have lost interest in it, but had become obligated to write it. Apparently, L'Amour's usual method was discovery writing where the tale emerges in the telling; the writer experiences it much like the reader. That's also my preferred method. As discussed above, the discovery experience didn't unfold in the usual manner for him with this book--hence the all too frequent wondering sessions by the protagonist. 

If I were to rewrite the book (or perhaps write a similar story) it could be improved by: 1) Cutting down on the wondering and 2) giving the protagonist some clear obstacles to overcome on this side, and 3) thereby discovering a way or two to get to the other side; 4) by the midpoint in the book, the protagonist should be crossing over; 5) the other side should be more interesting with more people and supernatural elements (the enemies were not difficult to defeat), requiring more than bullets to dispatch. (Burroughs would've had his hero stripped of firearms at some early point so that the fights were up close and fraught with personal danger). As it was, the villains of the other side did have a special weapon that worked only at short range, but the hero was never in serious danger from it that I can recall. Also, 6) the journal should be examined more seriously or not used at all; Kawasi could provide the pertinent information and her coming and going or language difficulties could be used to thus delay or misconstrue some revelations.

Maybe I could develop a short story featuring my Whip and Truth characters in a similar setting. 

I do have another short story coming out soon in Raconteur Press' Sultry Murder Jazz anthology. I've also submitted a story for the Wyrd Warfare anthology and am writing on a third to submit for the Magic Malfunction anthology.

 

 

 

Hamlet - Mel Style

 

 Who knew Mad Max made an appearance in Hamlet?

It's Franco Zeffirelli's 1991 adaptation of Shakespeare's moody prince, starring Mad Mel as the perturbed prince, crazy Glenn as Queen Gertrude, Helen Bonham Carter as the tormented Ophelia, Alan Bates, and Ian Holm. I believe the latter is Polonius, which would make Bates the Step-King.

I was delighted to see this one come up on the suggested viewing list. I've already seen two or three Hamlet adaptations and I've watched Branagh's 4 hour marathon a couple times. How does Zeffirelli's version stack up against that of the actor/director who tackled not only Hamlet, Henry V, Much Ado about Nothing, and who knows which other of William's plays?

Zeffirelli gets off to a great start by having a cooler sounding name and a movie short enough that I don't have to take a break in the middle to renew my passport. So, he's got those things going for him.

On the other hand, Branagh didn't have crazy Glenn, so that's a point for him. What have I got against Glenn? Nothing really. She's a fine actress. My distaste for her is purely subjective and probably irrational. That's just the way it is. I preferred Branagh's Julie Christie in the role.

However, Zeffirelli came back with Helen Bonham Carter in the role of Ophelia. I have to approve of the choice. She looks like she's about fourteen in this movie, but she played the character less over-the-top insane than Kate Winslet's Ophelia. I preferred Carter's more demure and sympathetic interpretation of the drown-bound maid.

As for the poisoned daddy of Hamlet, Zeffirelli's ghost-king, played by Paul Scofield, lacked the impressively frightening and motivating presence of the scenery-chewing Brian Blessed.

Alan Bates just doesn't have much to work with in Zeffirelli's adaptation. He's the villain but lacks opportunities to be villainous, his fratricidal deed having preceded the beginning of the play. In Branagh's marathon, Derek Jacobi gets a little more to work with. I have to give the character to Branagh.

As for Polonius, I think I'll call this role a draw. I like both Bilbo Baggins as well as Tom Good/Hector MacDonald in the role. They both proved adept at catching a sword behind the tapestry, which was their primary purpose, so the young Laertes could return with visions of vengeance dancing in his head.

 "Alas, poor Yorick!" The skull had the same number of lines in both adaptations. As for the graveyard scene, Zeffirelli's was good enough. Branagh's was what? It's difficult to remember what I didn't like about it now. Was Billy Crystal too deep into the role to speak clearly enough to be understood? Can't say. I don't remember. I'll have to decline to give points either way on this one.

Laetes returns to avenge the death of Polonius and gets further motivation when his sister Ophelia decides to dabble in underwater poetry. Nathaniel Parker fills the role without as much venom as exhibited by Michael Maloney in Branagh's version. It's a close call, but the duel has to be the deciding factor. Branagh's brings more excitement and tension. It's the climactic scene of the play, and Branagh nails it.
 

Of course, the big lacuna in my comparison to this point has been the lead actors. Mad Mel versus Henry V, Australia versus Great Britain. They both measure up at 5'10" and were about the same age when they elected to suffer the slings and arrows of outrageous fortune. I admit that I liked Gibson's portrayal. However, Branagh enjoyed a bigger set and a more comprehensive role. He got a lot more screen time than Gibson and had more impressive sets about which to hurl his intemperate outbursts and indulgent monologues. He created a more complete character because the director elected to perform the entire play. Branagh wins this one by virtue of getting to make the important decisions.

Looking back over the score, I count a 4-4 tie, but the calculation is premature. We're not done yet. There's much more to consider. Branagh did the whole play. He had all the characters, and more importantly, he had Charlton Heston--that alone gives him the victory for the better adaptation.

I recommend Zeffirelli's version as a great way to familiarize oneself with the basic plot and the main characters without distractions. It's a streamlined abridgment that carries the audience through from start to finish with an unobstructed view of all the major landmarks. Branagh's Hamlet, like Shakespeare's play, wends its way through the landscape, leaving the main road to explore every copse and goat trail along the way. It's a complete experience--if you've got the time and your passport is new.

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Enough about The Bard. Let's talk about me. I signed a contract for publication of a short story yesterday and finished writing another new story too. I've sent the new one to my Skirmish Team for a quick review. The story contracted for publication is "A Stardust Memory" and comes out next month in a sultry murder jazz themed anthology in ebook and paperback. I'll post the cover when it's available.

Tea, Coercion, and Conciliatory Acts

 Fun Fact:

Frederick Lord North was 38 when he became prime minister in 1770. Corpulent with large features and a bulbous head, he was famous for his wit, literary anecdotes, and historical references. Prior to becoming PM, he had supported the policies that led to the revolution in America. Although he took a more conciliatory policy when he took office, his policies regarding the East India Company tea precipitated the rebellion. 

The East India Tea Act of 1773 was designed to make tea cheaper in America and increase revenues from the tea tax, thus upholding the right of Parliament to tax America. It seemed like a win-win. While England viewed the right to tax as fundamental to parliamentary supremacy, the Americans regarded any direct tax as a tool for tyranny.

The Americans responded by dumping the East India tea into Boston Harbor. North escalated the tension by imposing the Coercive acts, intending to make an example of Massachusetts; instead, it made North despised in the colonies. The sanctions failed to isolate Massachusetts, uniting the colonies in opposition. 

In February 1775, North introduced his Conciliatory Proposal to Parliament to avoid escalating the conflict. The idea was to allow the colonies to tax themselves--provided they made a sufficient contribution. Parliament would not give up the right to tax the colonies but would suspend the exercise of the right. As you might expect, it was a hit neither with Parliament nor the colonies. Franklin said it was akin to a highway man bringing his hat to the window for you to fill sufficiently to spare him the trouble of rifling your pockets himself.

Although North showed tremendous political courage in submitting the proposal in direct contradiction to the King's wishes, it was too little too late as parliament and the people were set on demonstrating supremacy, and it didn't address other issues that concerned the colonists. 

The heavy losses at Bunker Hill in June 1775 made North believe that a successful military conquest of the colonies was not a likely possibility. 

The above is condensed from The Men Who Lost America by Andrew Jackson O'shaughnessy -- Chapter 2 or 3, I think.

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I spent most of yesterday researching and writing a short story. Don't leap to the conclusion that I finished; it's not even half done. The weather was too cold to do anything outside, and will be worse tomorrow with temperatures coming in at -20.

A fellow author's having a difficult time, being hospitalized at the moment. Give her books a look and choose one or six to start with. Here's a link to Rex Regis, a series starter.

Writing Buddies

 

The characters and items pictured above have been my writing companions for a few years now. On the left is what may be an Aztec death whistle. It makes a sound like rumbling wind or growling jaguar. There are two stone dice from Texas, some poker chips from a production I was in, one white plastic die, an Eiffel Tower replica (not actual size), and a dragon I found at Walmart. The two flanking denizens not only assure that I focus on my work, like the other items, they also have special functions.

The stone dice are a reminder  that the protagonist can't always succeed--even sure things are subject to chance. Even when he does succeed, there must be high probability that he won't. The plastic die suggests that after a failure or a success, there may be more unanticipated possibilities that can change the earlier result. A little luck never hurts. The chips represent the idea that a good story requires rising stakes. Eventually, the protagonist has to go all in.

The Eiffel Tower replica is a reminder to write stories that stand out from the rest of the landscape. The real tower was assembled in two years, two months, and five days. Although that was record time for the age, it's a reminder that a quality project takes time. The Eiffel Tower is made of wrought iron from the Pompey forges in France. The metal was refined through a process known as puddling, which creates almost pure iron. Eiffel claimed it was the best and most robust of materials--another thing it has in common with my stories. It was the first building to reach 1,000 feet in height and remained unchallenged for 40 years. (These facts and more about the tower can be found here). Don't forget, the tower symbolizes Paris, a city of mystery with countless faces. Stories there may rise to the tower's lofty pinnacle or descend to the dark catacombs. Whether in Roman, Viking, medieval, or modern times, Paris makes a fabulous setting. Anything can happen in Paris. A great story has no limits, and the boundaries of every setting and genre can be expanded.
 

What about the monsters? The Aztec death whistle conjures images of human sacrifice with bloodstained altars, stone knives, and naked hearts offered to the sun. Sometimes a story should tear your heart out--or at least nick it. On the one hand, it's death at the hands of evil or deceived fanatics. With the dragon on the other hand, it's have death by fang, flame, and claw. A good story should have some fire to it, with multiple ways to land the protagonist in jeopardy. The antagonist or difficulties must be formidable; it helps if they seem insurmountable and are complicated by a serious case of awesome. 

Finally, note that the death whistle and the dragon bookend the tableau. They remind me to get the protagonist into some peril or adventure early--it helps the reader get interested--and to have a powerful finale. Those monsters on the flanks also symbolize the terrible choices the characters must face. Awful consequences and uncertainty torment the protagonist. The big decisions turn on the small hinges of character and necessity. All the alternatives have their risks and drawbacks. The monsters are Scylla and Charybdis. The true hero sometimes must place his hope in something beyond himself and his own abilities, and trust that he has made the right call--just like the writer does.

Remember, time is running out to get the first three books in the Tomahawks and Dragon Fire Series for only 99 cents each. The first two books lead to the thrilling finale in the third.

Jeff Chapman

 Interview with Jeff Chapman

Author of

The Great Contagion, The Sniggard's Revenge, Last Request: Victorian Gothic, and more

Please tell me a little about your current work in progress.

I’m working on a novel in my Merliss Tales fantasy series. Merliss is the spirit of a young woman who has been trapped inside the body of a gray cat. She had been training to become a healer/shaman, so she retains some magical abilities, but she lives as a cat. The magic which transferred her spirit to the cat gives her physical body an unusually long life. We’re talking thousands of years. Merliss aids her human companions in their battles with disease and supernatural threats. I’ve written two novels in the series (The Great Contagion and Cat Sidhe) and a short story “The Water Wight.” My work in progress is The Breath of the Sea, which is set several centuries in the future from the first two novels. The story concerns an injured mermaid and a dying girl who befriends the mermaid. Merliss is drawn into events to protect the mermaid.

Where did you get the idea for this book or series?

The Merliss Tales were inspired by a cat that my family adopted off the street. Smokey arrived at our house one day begging for food. She was sick and starving. After a trip to the vet, we had a new cat. Smokey possessed several old battle scars. One of her ears was notched and two of her four canines were missing. This gave me the idea for a character based on an old soul in a cat’s body. Merliss was born.

Do you write in more than one genre?

Yes, in addition to fantasy, I’ve written weird westerns, steampunk, horror, historical, and stories that are just weird.

 Tell me about something that you believe makes your writing unique or worthy of attention.

The Merliss Tales feature a cat as the primary protagonist. I call it fantasy from a cat’s eye view. Much of fantasy is written from the perspective of people at the top of the social order. Many of my fantasy stories focus on characters in less exalted positions. I’m aiming to tell the story of events from the perspective of the man in the trench as opposed to the general directing the army.

Is there anything about your personal history or personality that manifests strongly in your writing?

I’ve always found stories of premature burial especially terrifying. This fear was the premise for my historical novella Last Request: A Victorian Gothic. I also love cats. So, it’s not surprising that I’ve created a fantasy series centered around a cat and cats make frequent appearances in my other stories.

 What else would be helpful for readers to know about you?

I have a couple degrees in history, and I enjoy reading and watching documentaries about historical events. My interest in history has guided me toward the fantasy genre. I love looking at the past. Fantasy gives us an opportunity to make up a new past.

Excluding your own work, what underrated author or book would you recommend that more people read? Why?

They should check out Simon Kewin’s The Genehunter. It’s a dark story about a time in the future when human cloning and human-machine integration become commonplace. Kewin gives a compelling glimpse of where humanity’s darkest desires might take us when paired with the technology to get us there.

Which of your books do you most highly recommend? Why?

The Great Contagion. The story is dark and gritty at times and told completely from Merliss’s perspective. More than a few reviewers have said it’s unlike any fantasy they’ve read before.

Which break, event, decision, or fortuitous circumstance has helped you or your writing career the most?

I wouldn’t describe the events as fortuitous, but I faced some serious health issues a few years ago which reminded me of my mortality and refocused my efforts on pursuing my writing dreams.

What question do you wish you would get asked more often?

Have you written any vampire stories?

Yes, I published a short story titled “The Princess and the Vampire.” It’s about a spoiled princess who wants to take a vampire as a lover, but first she wants him to be de-fanged, literally, as in his fangs removed. The love affair doesn’t go according to plan.

 Do you have a catch-phrase or quote that you like? What is it? And why do you choose it?

I've all my wisdom teeth
Two up top, two beneath
And yet I'll recognise
My mouth says things that aren't so wise

That’s a few lines from “The Bereft Man’s Song” by the Crash Test Dummies. It’s part of my email signature. I do have my wisdom teeth, but they don’t always impart wisdom. Seems appropriate to place at the end of an interview.

Links:

http://www.jeffchapmanbooks.com/

https://www.facebook.com/JeffChapmanWriter

https://www.goodreads.com/JeffChapman

https://www.bookbub.com/profile/jeff-chapman

https://www.amazon.com/Jeff-Chapman/e/B004YQ2ZWW

https://books2read.com/ap/n0Qjkw/Jeff-Chapman

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Thanks to Jeff for participating.

My news for the new year is from a list about last year. My story "Tokens of Moonlight and Mist" made the Tangent Online Recommended Reading List of 2024. The story is in Cirsova Magazine Issue 21/Winter 2024.

I'm between short stories at the moment, having submitted one yesterday and not having commenced another. I've also got Antonio and Rip nagging me for attention for the stand alone novella of their adventure in the islands and perhaps Mexico in search of Johnny Coyne and Catalina with the matter of the stolen ship and munitions to increase their ardor for the chase. Rip wants the ship. Antonio wants Catalina.  It will be book 7 in the Tomahawks and Dragon Fire Series. If you haven't read the prequel to the series, In Death Bedrenched, you can find it on the first of the links below. Check out the other deals too.

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