Derry, Northern Ireland

Derry, Northern Ireland
A book I'm working on is set in this town.

Monday, March 31, 2014

Headachy but done...

RIHC6 is up on Smashwords for the e-book and has been accepted by Ingram to offer as a paperback. It's amazing how much work there is in making an e-book ready -- clearing out non-useful formatting, removing all tabs, keeping the sections tighter together, adding a table of contents that links around the book, and back. I be cross-eyed and my neck is killing me. Advil is just starting to take effect.

Now comes Porno Manifesto...and I have a solid idea for the cover. I found a great shot of some young men marching down an alley, holding baseball bats and looking very mean. Plop that into the lens of a video camera, like it's a reflection...but we'll see how it works after I go through the book and prep it for reissue.

I had another idea as to how to make The Alice '65 a better script...and it entails removing the Australian twerp from being anything but in the background. This is Adam's jorney, and everything has to pertain to that. He's been hinting at how to make this a strongly-grounded script...and I finally let it permeate into my brain. This will definitely mean a restructuring of the whole story.

Something else is, Carly's ready to rock and roll...and she's not someone you want to keep waiting.

I think I need to work this moment in,'s just too much fun.

Sunday, March 30, 2014

Here we go...

This is the new paperback cover for RIHC6. Pretty stark and more than a little threatening...and very indicative of an intense read. I got to this one because a couple of friends were willing to give me feedback and offer suggestions...and I kept myself open to them. That's the real trick...not locking yourself into an idea.

Because the truth is, I liked the Gilbert & George feel of an earlier version. It was rich and pleasing to my eye and told everything I wanted about the story. But the truth is, it was wrong for the book. Red lettering and color on black worked well for HTRASG because that is more of a slasher/thriller/psycho-killer kind of story. RIHC6 is like traveling into the heart of human darkness, so too much color was wrong, wrong, wrong. Especially if it's got bright happy clouds.

I will say, I increased the saturation a bit on the bound guy, to bring the color out a hint more. But everything else got desaturated and its contrast pumped up. I'm currently waiting on Lightning Spark to verify its contents and usability...and that's taking forever. Looks like my upload is caught in a loop, but I can't stop it to do a reload; I tried and it ignored me.

There've been lots of computer issues, lately. I can't finish the nomination of my ISBN on Bowker because it won't let me designate a category but demands I do it before they will accept it. But I've also had issues with Network Solutions, at Caladex, and the server we use for all our work. Irritating but nothing I can do about it; I can barely work my Macs.

So I've got the e-book version 90% ready; all I need to do is add the table of contents and verify all the quirks and ticks are gone before I upload that. But my goal is to have a version ready by April 1st...and I'm on schedule.

Oh, man...I shouldn't have said that...

Another idea for RIHC6 cover...

This is just a quick question -- I like the richness of the first one, without as much lettering on the cover, but I also really like the starkness of this one...just with making the bound guy a bit smaller in the frame.

Which one is better? I'm torn.

Saturday, March 29, 2014

RIHC6 redux...

I got some feedback on the new cover for my RIHC6 reboot...including being pointed to some great images that fired up my imagination. Here's what I came up with. It's not smooth, yet; I don't want to buy rights to the images until I'm sure I'll need them.

The upper part of the layout has a touch of Gilbert & George to it...which I may emphasize a bit more. And I think the image of the young man in the hoodie, kneeling with his hands tied, should be a bit higher instead of so close to dead center. I think I want the Shattered font for the lettering, but I need to find it, first, then figure out how to upload it into PhotoShop.

But those quibbles aside, it really gets across the scope of the story, I think..and is mysterious enough to make people wonder. Is it as spooky as I think it is? I honestly don't know; I'm too close to it. I just like the feel.

But if anyone has any other ideas they'd care to offer, I'm still open. Just no naked bodies. I considered that for about ten seconds then tossed it. RIHC6 is not porn or even really erotica...though there are some intense sex scenes in it. This is about how revenge destroys. Period. And it doesn't care if you're guilty or innocent.

That's what pisses me off so much about Amazon and the others dumping on my work as if it's unworthy. Obviously, the people who work for those companies have never been taught not to judge a book by its cover. That or they're closet Christianists out to deny everyone the right to read what they want.

These days, I'm more prone to believe the latter explanation.

Friday, March 28, 2014


I just realized I have all of the scripts I've written, printed out and tucked away in file boxes. Some of them I have more than one version, even. I tell myself I keep them to remind myself of how far I've come as a writer, but I wonder if it isn't just a tad narcissistic of me. Or maybe a way of verifying that I've actually been working at this for so damn long and built up so much proof, I can't move house in just my car, anymore; I need a Ryder truck.

Some of my early work is good -- a few shorts I wrote turned out well (including a couple that were shot at UT by directing students), and the initial ideas behind Darian's Point, my first full-length script, were so solid, the basic script stayed the same -- but a lot of it shows me casting around trying to find my voice...and hiding it, to be honest.

I was trying the commercial thing, like crazy, and getting nowhere. I wrote action-suspense scripts meant to be funded in Texas and got nothing...except a good punch in the face by reality when one actually did get shot, and totally destroyed. Then the director blamed my script for his lack of ability. Of course, he never got it sold, but that wasn't because he'd turned it into a racist piece of crap; no, it's because it was "too gay."

That's when I decided if I was going to get fucked like that, I was gonna get fucked in LA. Which took the fucking to a whole new level. "Change this for no money and maybe we'll think of buying it" kind of crap, a lot. Hell, I'd get so much casual criticism, I wound up building a solid little wall of ego to keep from being destroyed by it. I like to think I'm so good, no one can see it...but that's even more narcissism.

There are a number of things that I truly love about writing a book -- exploring a character in depth, no restraint on imagination or budget, total control of the plot (so long as you let the characters determine it), and the sense of accomplishment in holding your published work in your hands.

Maybe I've fallen in love with my words...but I'm truly proud of parts of HTRASG, RIHC6, BC, and LD. Now I cling to that to keep me from sliding into apathy, knowing I can write and do so with honesty and courage.

Bu it's not the same as a movie...

Thursday, March 27, 2014

Bigger is cheaper

I finished the main prep for RIHC6 as a paperback, and it's going to be 342 pages long in an 8.5" by 5.5" format. About ¾ of an inch thick. And I can't charge less than 12.99 for it or I go into negative territory as regards printing costs and discounts to stores. Damn. But it's 127,000 words long, so...

Still, the original books were $17.95 each, so mine's about ⅓ the price for both books. Fortunately, e-books are easier to price...if not easier to publish. And I can get away with $1.99 for that version.

I really like how the story wraps up. Book 2 is on the James Bond side...hell, a lot on it, just with the lead bedding guys instead of every girl that comes his way. I bet if I changed Antony to Antoinette, this book would sell a million copies. Of course, Antony hates that idea, as does Jake...but it's fun to think about.

I may do that with Carli's Kills. I'm most comfortable writing in first person, and having the story told from the viewpoint of a woman who loves to fuck with men and fuck men over...that might be fun. I think I already have the opening:

Suicide is murder, and I'm not just talking self-murder. Way too many times people are flat-out driven to kill themselves -- by bullies, or financial stress, or abuse that's physical or emotional...or all of the above. My sister fit this last category, because she was driven to her death by some friends...and her rapists...and a system of justice that didn't give a damn about her. That's why I'm going to kill them all.


Wednesday, March 26, 2014

I still dream...

...About making movies. Directing my scripts into instant classics. Which is what they'd be, of course; I'm not capable of writing crap or making crap. Sure.

My favorite dream deals with making The Cowboy King of Texas, based on John Millington Synge's "The Playboy of the Western World". It's a classic play of unparalleled beauty in its use of language and sharp satire. I shifted it from the west of Ireland just after the turn of the 20th Century to Texas in 1880, and it worked. It's probably my funniest script as well as my most romantic.

I won my first screenwriting awards with it -- 2 of them from Worldfest Houston (when it was known as the Houston International Film Festival). "Best Adaptation - Drama" and "Best Screenplay", beating out a thousand other scripts. I came out to LA, not long after, and got a few meetings...but nothing happened. I got a lot of the "Westerns aren't selling" stuff even though Dances With Wolves and Unforgiven were doing kick-ass business and winning Oscars.

The following year I adapted two books into a script about the life of Beryl Markham for some women I'd met in LA through a friend, and it won "Best Adaptation - Drama" from HIFF. What happened then? The women lost the rights to the books to Sydney Pollack and he wouldn't even read my script; I wasn't proven and he wanted to work with his own screenwriter. He never got the movie done. And I was left out in the cold.

I should have taken a hint that Hollywood does not want me, but I didn't. I'm oblivious to the obvious, sometimes...and sometimes deliberately so. I get locked into something and just cannot contemplate the problems that might arise or how there might be better ways to get what you're after. I think it's a family trait; I have a brother with the same mindset.

So here I am, nearly 25 years and 30 more scripts and two dozen awards later, and not one jot closer to getting a movie made from something I've written. And now I'm getting the "Vampires are so last year, now" and "Nobody's doing romcoms, anymore" responses. Yet I'm still dreaming.

Doesn't that fall under the definition of insanity?

Tuesday, March 25, 2014

Me and typos...

I going through RIHC6 and finding more goofs I missed after going through it a dozen times before sending it out for publication, yeas ago. Stupid things, like "doping" instead of "doing" and leaving out words. I need to get myself tested for dyslexia; this is embarrassing.

I didn't get started till late, today...well, this evening...thanks to some jerk stealing my Mastercard number and charging nearly $1000 to a catering service. I found it only because I check my cards weekly, since this has happened before. This time, it's because I paid my brother's energy bill online using that card. He's between jobs, again, and was a month behind. Now I know their system is infiltrated, because the day after I paid it the bogus charge went through.

What startled me was, it put me way over my credit limit...and the card company still allowed it. And they'd have used that as an excuse to double my interest rate and charge me fees out the butt if I hadn't caught it so quickly. And still might try that. I'll have to be even more careful.

After RIHC6 is done, I'm getting Porno Manifesto set up, and then I'll be done. I don't like having these hanging over me, and I've got some momentum on the GoodReads group I belong to -- HTRASG is selling nicely, enough -- so want to keep it going. PM's the weakest of the books...but that will finish it, and I'll be all out of excuses to not write.

Monday, March 24, 2014

Second pass at RIHC6

I compared my published copy of RIHC6v2 to the Word file I found, and it's the same in the important parts, so I'm going through that to prep it for reformatting. I'm still irritated with myself for making such a stupid mistake -- reformatting an old version of the book -- but it's coming along, at least.

I've also worked up an idea I had for the cover of the book -- which is a bit better but still kind of meh, and way too on-the-nose. I want something to kick butt, and these two have come across as amateurish, at best.

I'll be getting my second royalty check on The Lyon's Den. Not as much as my first one since the book's sales are down, but the total count is a LOT more than Amazon claimed. And I'm getting the same sense from the ongoing sales figures on Bobby Carapisi; what Vook is telling me sold and what Amazon says are different. Looks like my suspicions were right.

Dunno what I can do about that, short of offer the books on my own website and advertise the hell out of them and hope people take notice.

Like a publisher should do.

Sunday, March 23, 2014

Wasted time...

I spent much of the weekend going over the two books of Rape In Holding Cell 6 to begin prepping them for a single volume...and as I got to the final chapters of the second book, something seemed off. I'd noticed a number of typos as I was going and though I'd been an idiot for not seeing them...and then I hit a section of the book I knew was wrong. It was missing something. So I pulled out the paperback copy and read it...and realized I was working on an earlier draft of the books.

In short, everything I'd done all weekend had not only already been done, but sections where I'd avoided making changes because I thought this is how it'd gone out actually had been changed. So I now need to start from scratch and redo the whole thing, using the latest-bestest version.

This is what happens when you have too many flash-drives with copies of everything spread across them. One of these years I need to go through the damn things and get rid of the redundancy that keeps proving it's not really redundant.

That said, RIHC6 holds up well...even though I think I over-explained Antony's actions as he was going along...though that sort of worked for his mind-set. It's also helped me see some plot problems within The Vanishing of Owen Taylor. What's funny is, that book may wind up being the finale of RIHC6, after all.

Oh, well...the weekend wasn't a complete waste. I found this -- DO you solve a problem like Maria?

Saturday, March 22, 2014

First pass on RIHC6...

First pass at a cover for the reboot of another book. Not really there, yet; still pretty bland and amateurish. But it is giving me ideas. The thing I like about the cover I worked up for HTRASG is the menace lurking in the cover.

I spent today going through the story, checking for typos and formatting issues. I'm halfway done, and hope to be finished, tomorrow. Then I'll start shifting it into the final format for paperback.

The new editions of Bobby Carapisi and HTRASG are listed on GoodReads, but the latter one doesn't have an avatar with it. I tried to add a jpg of the cover, but can't figure out how to do it, and GoodReads has taken the tactic that they don't need to respond to you about things like that. Hell, it's damn near impossible to find out how to even contact them; all questions get referred to their FAQs page and nothing on there addresses the issue.

It's the same with Kobo. They just do not want to deal with issues raised by people using their sites, so don't. A lot of internet-based companies are like that. I guess I'll need to take the time to learn more about how to handle that sort of thing.

It it's even possible.

"A No is free; it doesn't cost you anything"

Two legends making real. Too perfect. And John Waters has the perfect exit line.

Thursday, March 20, 2014


I'm being contacted by people asking where they can get copies of my other in-your-face book, Rape In Holding Cell 6. It was published in 2 overpriced volumes and offered in an overpriced e-book, all of which have been stopped. But now volume 2 isn't even available via Amazon's Marketplace, and no one can get it in e-book form. I guess this means I'm building a following.

But something I've noticed...and I'm not saying this a bad or weird or anything...but it seems my following is among women and damaged men. I can't even begin to explain that, considering the subject matter of most of my writing. I mean, not all of the people who've let me know they like my work fall into those two categories, but there are a number who do...and it fascinates me.

 I'm tempted to reformat the book and get it out, now, just to be done with it. But I don't even have a vague idea of what to do with the cover. I'm not crazy about the ones that graced volumes 1&2...yet I'm blank as to what to do in place of them.

Would something like this work, surrounding an image like this? With stark lettering? I guess it'd help if I did something in Photoshop to show what I mean.
I plan to issue both books in a single volume, like I did with Bobby Carapisi, so I only need one cover. Thing is, it's a wide-ranging story -- almost James Bond-ish in its scope. Well...volume 2 is, for sure. And then ...OT is a followup, with Jake as the lead and Antony supporting him...maybe.

I kind of like having a following, of sorts. Would they be minions of mine? I wonder if I could get away with taking my books to Comic-con? That would be a hoot.

And exactly what Antony would do, just to be him.

Wednesday, March 19, 2014

So much for linear

I've got the consistency of jello when it comes to my writing. I try to do one thing, it wants to do something else, so along I go with it...mainly because I'm so glad the story's revealing itself, again, I don't want to do anything to slow it down. So I jumped to a later scene between Dev and Reg, where the Japanese Kanji symbols on the nape Reg's neck are explained.

Got me my 4 pages. And the story keeps proving how subversive it can be. Can't complain when that happens.

Tuesday, March 18, 2014

Straight lines are tough...

I'm trying to write Underground Guy in a straight line, from beginning to end, now. I've got my plot-line to follow and just need to fill it in...but damn, it's proving to be hard. I got one whole page done, today, because I kept hopping back into the story to set things up better. That's expanded parts of the storyline...and shifted the plot a little...and hinted at softening Dev's character. I don't know how I feel about that.

I hope I haven't fallen too much in love with the idea of Dev being villain, hero, and victim, all at where I'm fighting to keep him like that, to the detriment of where his character wants to go. But I can't tell, right now. I've got my ending written, sure, but it can change. And already has, once.

There's a growing viciousness beginning to shadow the story. Which I don't mind...and yet, do. And I'm still trying to figure out why Dev is caught in this particular book. I wonder if I could wind up making him the killer? I've read a couple of books like that, where you follow the lead as he investigates something and learn he was the one who did it all along. But that doesn't feel right.

Maybe I just need more sleep.

Monday, March 17, 2014

Let the story write itself...

You can always edit to get rid of the triteness and redundancy...sort of. That's what I'm trying to do, now, with Underground Guy...and I got my 4 pages done, today. I'm up to over 23,000 words. And Devlin revealed more about himself...something I'm still a bit shaky about. But he's doing it in such a roundabout fashion, I can't even think about stopping him or diverting the storyline...not till I figure out what the hell he's up to.

So I watched The Farmer's Daughter, with Loretta Young, Joseph Cotton, Charles Bickford and Ethel Barrymore...and the very young James Arness and Lex Barker as Loretta's Swedish brothers. It's corny and cute and simplistic, but it shows even in 1947 evil white men in power were talking about limiting immigration and voting rights to WASP males, and politicians were demanding ludicrous things like forcing guys selling apples on a street corner to get a permit (during the Depression, a lot of people would actually stand on the street and sell apples for 2-5 cents each, to make enough money to eat and have a place to sleep), and the end to free milk programs in schools. Just listening to Paul Ryan yammer on and you'll see nothing's changed in the last 67 years.

What does that have to do with UG? Reminding myself you can make statements without being boring or depressing. So I'm trying to keep Dev's tone light...well, as light as it can be.

My brain's still buzzing from yesterday...but it worked in today's writing. Hopefully, it will factor in tomorrow's, too.

Sunday, March 16, 2014

Characters take over UG...

So much for Dev being a randy bastard who only thinks of his own gratification and inadvertently messes with the wrong man. His character is now driving the story, and it's as much about the past as it is about the present, and how sometimes...even when you think you've escaped a hideous situation, it's still with you...and sometimes dictates how you will react to other situations. Looks like the London stuff is just the spine upon which to build a character study of a man in transit from being one type of person to another, and not realizing it till it's done. Now I know why Dev cries during chapter one.

What helped illuminate this in my brain, finally, was a long conversation I had with a Facebook friend, in Orlando, this evening. Some of the things we talked about raised memories I'd kept locked away...and now think I should begin making use of. They're doing nothing but festering in the shadows, so they may as well come in handy for something. And Dev's perfectly happy to play with them.

Damn, he's turning out scary. What's good is, it's raised the game of the other characters in the story. He has a confrontation with a cop that I was initially having Dev win, in a small way. Changed it. Totally. It's going to be part of his learning process, now. He's also added a couple of years to his age, so now he is, without question, a man -- neither young nor old, and not yet middle-aged, but at that stage where he thinks he knows himself. He doesn't.

I want to know why this is happening right now. It started in London, at the beginning of January, when I saw "Reg" on the underground line and nearly lost control of myself. What is it about that guy that set this story off on the journey it wants to take? Was my writer's block an attempt to avoid dealing with something in this story that scares me or digs too deep, and I used the edit of FCB as my excuse? Shit, my brain's a muddle.

And now I'm getting a fucking headache...of course.

Saturday, March 15, 2014

Nothing new under the sun...

After adding several pages to Underground Guy and having the characters reveal aspects of themselves that make the whole premise different, I felt the need to watch The Little Foxes -- the Bette Davis - William Wyler version. On YouTube. It's in sections of 10 minutes each, a couple of which are not quite in sync...which usually drives me nuts, but I've seen the movie so many times it actually didn't matter to me.

The story is set in the South of 1900, where a trio of greedy siblings are willing to lie, cheat, steal and even kill in order to make themselves wealthier than they already are, and have no consciences whatsoever. Just like today, with the Koch brothers and their puppets. And just like King Lear and two of his daughters, written more than 400 years ago. If I knew more about the Greek classics, I'm sure I'd find the same story there, someplace...Agamemnon, maybe?

What happens? The innocent and good are destroyed, and the pigs get what they want, just not necessarily in the way that they want it. I have a feeling the end of Underground Guy is going to wind up the same way.

I'm sort of rambling about this because Colin, Dev's brother, has become a way into explaining Dev's actions and attitudes without Dev having to explain them. And Colin's wife, Caitlin, is also helping to set up the last half of the story in a way that I hadn't expected. It's also a doorway into showing how Dev is not as in control as he thinks...even as he continues to think he is.

What else happened is the story began setting Dev up as both villain and hero and victim. All at one time. I have no idea if that will work, but all I can do now is go with the flow.

Man...I set out to write a trashy erotic mystery and wind up working on a gay version of Crime and Punishment.

Friday, March 14, 2014

Taxes done...

...and I owe less than last year, fortunately, and most of that is self-employment tax. Now I need to figure out how to pay it all.

Tomorrow I am spending working on UG. Gonna start at the beginning and go through to the end. May take more than the rest of March, but it's getting done. Period.

Now I go dance with the fishes.

Thursday, March 13, 2014

Nothing else to say, tonight...

And do not even try to tell me otherwise. I've pushed boundaries and written things WAY beyond my comfort zone...and other people's. And I've gone the other extreme to write scripts and stories suitable for children and families. I'm not good enough in my own mind, yet, but that is how it should be. Anytime an artist is happy with his work, he's started dying as someone creative.

I can already think of a number of things that need tending to on A65, but that doesn't mean the script is bad. It's just not finished, yet. Same for OT and UG and P/S. All I need to do is finish them. I can't control how other people react to them; I can only tell the stories as they want to be told.

My spectrum is too massive for me to consider myself limited. It's only my own fears doing that...and I got plenty. But I seem to be able to work my way past them, sometimes with a lot of whining and angst, sometimes quietly, but eventually I do push them aside and continue on.

But that's the way of the human world, isn't it?

Wednesday, March 12, 2014

Snow day..

Nice little winter snow storm, all day...starting at 8:15 am and not even slowing down till after 6, so I stayed home and worked on prepping photos I'd taken of dealers' trunks at various book fairs and finishing up working out my tax information. Not great...but it's done and in a spreadsheet that's easy to read and explains everything. I hope. I'll find out Friday night.

Going through my photos took me into my backup thumb drives and files I'd forgotten about -- like for my trips to Miami and Detroit and Boise. I took the above photo of Niagara Falls 4 years ago, from the tower on the Canadian side of the border...well, photos, obviously; I joined them in PhotoShop. I did it to send to my mother, to show her how the falls worked and how snowy it was. I thought that was a hard winter. Turns out it was the first of three mild ones in a row. This year's is making up for all the others.

Can't go over to Canada, now; not till my passport's back.

Only thoughts and notes have been worked up for UG, the last two days. I'll get back on it, tomorrow. It's pushing to get done...which is a good thing.

My Mac Mini is finally reaching the end of the road. If I try to do anything complicated on it, the program goes screwy. I can still use Photoshop because it's a pretty basic edition, and Word does okay, as does Final Draft. But online it gets lost, half the time, some sites refuse to work right with it, and its CD/DVD player doesn't work at all. I don't know if I'll replace it when it finally stops working. I may just rely on my laptop until I have to replace it, too.

What the's working okay now.

Tuesday, March 11, 2014

Words to the wise-asses who direct

Sam Mendes’s 25 Rules for Directors (lifted from Vanity Fair Magazine)

At its spring gala, the Roundabout Theatre Company honored Sam Mendes, prolific director of theater—his King Lear and Charlie and the Chocolate Factory are both currently playing in London—and films, including Skyfall and American Beauty.

The event, at the Hammerstein Ballroom in Manhattan, included speeches and performances from Helen Mirren, Jeremy Irons, Liam Neeson, and Alan Cumming, who did a number from Cabaret, which Mendes is bringing to Broadway this season.

Some Mendes collaborators weighed in via video, including one clip in which Judi Dench and Daniel Craig joined in singing “Cabaret.” After reviewing his career highlights, in depth, the British Academy Award winner said, “One of the things I love about Americans is you do massive ego trips incredibly well. Blimey. I don’t think I’ve ever seen so many photographs of myself. I didn’t even know they existed.” Mendes also noted that while tributes are wonderful, they are backward looking, and then decided to share what he’s learned along the way. “If there are any directors out there in the audience, or anyone who’s interested in directing, I’ve written 25 steps towards becoming a happier director. These are them:

1. Always choose good collaborators. It seems so obvious, but the best collaborators are the ones who disagree with you. It means they’re passionate, they have opinions, and they’ll only ever say yes if they mean it.

2. Try to learn how to make the familiar strange, and the strange familiar. Direct Shakespeare like it’s a new play, and treat every new play as if it’s Shakespeare.

3. If you have the chance, please work with Dame Judi Dench.

4. Learn to say, “I don’t know the answer.” It could be the beginning of a very good day’s rehearsal.

5. Go to the ancient amphitheater at Epidaurus, in Greece. It makes you realize what you are a part of, and it will change the way you look at the world. If you’re an artist, you will feel central, and you will never feel peripheral again.

6. Avoid, please, all metaphors of plays or films as “pinnacles” or “peaks”; treat with absolute scorn the word “definitive”; and if anyone uses the word “masterpiece,” they don’t know what they’re doing. The pursuit of perfection is a mug’s game.

7. If you are doing a play or a film, you have to have a secret way in if you are directing it. Sometimes it’s big things. American Beauty, for me, was about my adolescence. Road to Perdition was about my childhood. Skyfall was about middle-age and mortality. Sometimes it’s small things. Maybe it’s just a simple idea. What if we do the whole thing in the nightclub, for example. But it’s not enough just to admire a script, you have to have a way in that is yours, and yours alone.

8. Confidence is essential, but ego is not.

9. Theater is the writer’s medium and the actor’s medium; the director comes a distant third. If you want a proper ego trip, direct movies.

10. Buy a good set of blinkers. Do not read reviews. It’s enough to know whether they’re good or they’re bad. When I started, artists vastly outnumbered commentators, and now, there are a thousand published public opinions for every work of art. However strong you are, confidence is essential to what you do, and confidence is a fragile thing. Protect it. As T.S. Eliot says, teach us to care, and not to care.

11. Run a theater. A play is temporary, a building is permanent. So try to create something that stays behind and will be used and loved by others.

12. You are never too old to learn something new, as I reminded myself, I learned to ski with my 10-year-old son, of course, who did it in about 10 minutes, and I spent four days slaloming up and down, looking like a complete tit. But, don’t be scared of feeling like a complete tit. It’s an essential part of the learning process.

13. There is no right and wrong, there is only interesting, and less interesting.

14. Paintings, novels, poetry, music are all superior art forms. But theater and film can steal from all of them.

15. There are no such things as “previews” on Broadway.

16. Peter Brooks said, “The journey is the destination.” Do not think of product, or, god forbid, audience response. Think only of discovery and process. One of my favorite quotes from Hamlet—Polonius: “We shall, by indirections, find the directions out.”

17. Learn when to shut up. I’m still working on this one.

18. When you have a cast of 20, this means you have 20 other imaginations in the room with you. Use them.

19. Please remember the Oscars are a TV show.

20. Get on with it. Robert Frost said, “Tell everything a little faster.” He wasn’t wrong.

21. The second production of a musical is always better than the first.

22. Learn to accept the blame for everything. If the script was poor, you didn’t work hard enough with the writer. If the actors failed, you failed. If the sets, the lighting, the post, the costumes are wrong, you gave them the thumbs-up. So build up your shoulders, they need to be broad.

23. On screen, your hero can blow away 500 bad guys, but if he smokes one fucking cigarette, you’re in deep shit.

24. Always have an alternative career planned out. Mine is a cricket commentator. You will never do this career, but it might help you get to sleep at night.

25. Never, ever, ever forget how lucky you are to do something that you love.

Taxing taxes...

The only good thing about prepping your taxes for the CPA is, it makes you so cross-eyed from figures and crap, you'll do anything to get away from it -- even write. Which I did. Added 5 pages to UG. I'm trying to limit myself to going straight through the story, now. It's plotted out; it's time to focus on making it happen.

So...Dev's been arrested as a suspect in a series of murders...and his brother, Colin, isn't even aware of what's going on, yet. But Dev's getting his first lesson in life -- sometimes people just don't give a damn about how you think things should go, or even what is right or proper.

Yeah, this is going to be a rough and tumble book. No idea how long it'll be,'s still surprising me with little add-ons -- like a moment between Colin, and his wife, Lynn, that came out of nowhere. Colin's got slight brain issues thanks to being beaten by their father, so he gets frazzled easily. Devlin's the one who's held their business together, but it's Lynn who knows how to soothe Colin when he's freaking out. Indications are, she'll wind up playing a stronger role in the book than I anticipated.

I think I'll used Paddy O'Brien as the model for Colin. Better-looking than Dev but rather addled, and very straight. Maybe he doesn't really understand that Dev is gay...hmm...

Aw, man...I'm back to enjoying the journey!!

Sunday, March 9, 2014

Back to work...

I wrote more on Underground Guy, and altered the ending. It's now less convoluted and more in tune with the rest of the story...and maybe nightmarish. Of course, Dev, Tawfi and Reg all figure into it, but someone I wasn't expecting showed up and wanted to be part of the revelation, and who was I to deny it? The main thing is, I'm back to enjoying working on it...and Dev seems happier, too.

I don't know how much writing I'll get done in the next week; I'm meeting with my CPA to do taxes on Friday evening, and I have a lot to pull together for that. But I'm feeling better about the whole logjam thing in the brain. A65 did as good a job on that as Liquid Plumber does on I now aim to do a minimum of 4 pages a day.

My goal is to have a first draft of UG done by the end of March. I have it plotted out; it's just filling it in, now. Hopefully, I won't let myself get too distracted...but I do need to push the books I've published, and that takes time, too. And then there's reading to be done...

I almost had a packing job that would have taken me back to LA for a week, but it fell through...fortunately. Same for a New York Job the first week of April. Since I'm not going to London or Paris for those shows, I sent off my passport to get it renewed. Looks like I'll getting into a very non-travel period till after London's fair in late May, and I want to be ready for the next bookfair season. Toronto's in the middle of that, and I usually drive up to handle it.

I just realized, this will be my fourth passport. I've had one since college and can't imagine being without it. Good to have if you need to rush off someplace away from it all...especially if the GOP wins in November.

Can you ask for political asylum based on disgust with people voting for Republicans?

Saturday, March 8, 2014

Some tricks can work...

To see if I could break this logjam in my brain, I went back through The Alice '65 and changed a couple of things...I think for the better. Including reversing the direction I was taking one character. But I didn't change much of his dialogue, so I think it comes across as funnier. I also shortened the fight at the end and pushed an emotional moment to the very end, where it's much better positioned. Nothing huge, but enough restructuring to consider it a fresh draft.

This is one of my tricks -- re-reading an old script and polishing it up. It's like priming the pump. I've got A65 out to a couple of people for feedback. It'l be interesting to hear what they have to say. But what's most important is, it worked. Tonight, I wrote 7 more pages on Underground Guy. I'm back to wanting to complete it. Woo-hoo.

I still think Russell Tovey and Eliza Dushku would be perfect in the roles of Adam and Casey. I know it's a mistake, but I pretty much wrote it picturing them.  He's on an HBO series now -- Looking -- which I wish I could watch. She's doing the voice of She-Hulk in the animated TV show, Hulk and the Agents of S.M.A.S.H. And she was in Joss Whedon's Dollhouse proving she's a capable as they come.

Wow...guess I'm also back to dreaming...amazing what a little whining can do.

Friday, March 7, 2014

Burn out?

I've been counting my scars. Mainly the ones on my soul, left by characters and stories and people who've encountered them. Seared there without least, I like to think so. And I'm sure that was  true for the majority. The cuts wielded by having my work rewritten by an old man whose grasp of grammar is non-existent, him arrogantly thinking he could improve on my writing...those weren't deliberately inflicted. I think I grew too close to the truth of him a few times, in the version of the book I wrote, and he had to remove what stripped him too bare. But some were aimed to crush and destroy...and I wonder, lately, if they've finally succeeded.

I've been in states like this before -- calling it writer's block and gridlock of the creative mind and getting nowhere with anything for weeks and months. I think it's part and parcel of being a writer...hell, any kind of creative person. We all have periods where you wonder if you really know just what the fuck it is you're doing. And the non-stop rejection in the film and writing community just adds to that questioning.

Plus, it's more intense, now. The connectivity and anonymity of the internet expands both the joy and pain of being creative in ways so manifold as to be like a tsunami of reactions and complaints and counter-reactions crashing over you. I'm guilty of doing this to others, I know, so I honestly have no right to make an issue of it...but my latest bout with gridlock is more than that, now; it carries something new with it...something that scares me...


I find myself asking, "Why bother? Who's going to care?" No question a few people will. There will always be some who support you. I've been like that with others. And maybe that should be enough. And maybe it would be if there wasn't also the vicious dismissal from people who spit on your work just because they can, and who care nothing for what that does to your whole being.

I used to be able to use anger to get past it -- at the person, at myself, at how the fates have messed with me -- but I don't feel any of that. what?

So...I don't write. I use other things to keep me distracted -- bills, laundry, reading, re-publishing books,  travel, work, anything to keep from facing my inability to form a fictional sentence that sounds real.

SHIT, I hate it when I get like this. All whiny and self-involved with what are really just superficial issues. Maybe it's only burn out. I need to take a rest from writing. Do some painting. Binge-watch all of Firefly and rewatch Buffy and Battlestar Galactica's reboot. I dunno. I just know I can't focus...except on those fucking scars.

And keep asking myself, "Why bother?"

Thursday, March 6, 2014

Finally...HTRASG is up and running...

Took the whole evening, but I finally got How To Rape A Straight Guy posted and available for download on SmashWords. Click on the title if you want to check it out. Seems that SmashWords absolutely hates tabs in a Word doc, but even though everything in Word says you do not have any tabs...if you don't do this one last step to prove it, you get rejected. And it's a silly step -- you go into find/replace, input the symbols for tabs in "find", leave the "replace" bar empty and hit send -- but it wasn't till I did that, that everything went fine.

I've now checked it in Nook and pdf, and it looks good. The Table of Contents works. And I made it cheap -- $1.99 in reaction to Nazca Plains making their epub edition so damned expensive. Now comes getting the word out.

This was friggin' exhausting...but I hope I've learned enough so that when I do it with Porno Manifesto and Rape in Holding Cell 6, I'll go faster. Then by the time I'm ready to put up Underground Guy and ...Owen Taylor, I should be able to do it in my sleep. Ha!

Of course, I also had a long day, not just at work or home. I had a stress test run to check my heart. Seems an EKG last week said I'd had a heart attack. News to me; probably a false positive. Anyway, it was a long process that was made very uncomfortable because the woman doing an echo-cardiogram pressed against my side so hard, she damn near dislocated a couple of ribs. But I didn't say anything because I was getting to watch my heart at work.

Man...that is breathtaking. I could see valves opening and closing. The muscle contracting and expanding. From a couple of angles. And I could hear it during a couple of recording moments. And it was spooky, too...because that little thing is what keeps you alive. Pumping away, day in and day out, for as long as it can. The rest of the test was typical -- walk on a treadmill, faster and steeper and faster and steeper and hurry up, already and stay up front, here...but that little moment was so intense, I was in another state of mind all day. side is damn sore.

Wednesday, March 5, 2014

Epublishing blues

I'm trying to get HTRASG into order to publish in an ebook, but getting the table of contents right is taking forever. It's strongly recommended to have one in an e-blook, so I've got it ready; it's the linkage that's proving to be difficult. I'm doing it on my desktop, which has an older version of Word, so I may have to shift to my laptop to make this work. Everything else is set...Oh, le sigh.

After days and days of gridlock in the brain, I'm finally sensing some movement and beginning to have itchy fingers...which is why I want to get this e-pub thing done, ASAP. Underground Guy is nudging me and ...Owen Taylor is sitting, waiting patiently...but won't for much longer.

The ending has shifted slightly for UG. I was going to have one person in deep danger from the killer; now it's a different one. I've posted segments of it on my tumbler page, just to get an idea of how people feel. If they like it they can click a button that says so. But all I'm putting up is the first chapter and that's already going to be six sections long...and the most "likes" I've gotten, so far, is 5 on the latest bit. So we'll see.

Seems that's all I can do, lately, is wait and see...

Tuesday, March 4, 2014

My big bad book is submitted...

And in honor of everything going right, for once, I'm reposting an interview I did just over 3 years back for Dining With Strangers. In the photos I look like a budding John Wayne Gacy...or killer I'm not posting those.

#26 The Write Stuff

November 21, 2010

STRANGER: Kyle Michel Sullivan
LOCATION: Heartland Brewery, 350 5th Avenue, New York City
THEME: Words with a writer

“This is going to sound somewhat psychotic.”

Probably not the best combination of words you want to hear roll off the tongue of a stranger. But somehow Kyle Michel Sullivan was able to say them without putting me at unease. And by way of full disclosure, he was prefacing his explanation of how he gets inspiration for the novels that he writes, some of them tending to be rather controversial. One of his fiction books has “gotten me into trouble a few times,” he said with a smirk. Here’s why: The title is “How To Rape A Straight Guy.”

Kyle contacted me through the site (you should too!) to arrange dinner. Only problem is he lives in Buffalo, New York, and I had no plans to be there anytime soon.

But as kismet would have it one of my good friends from England said he’d be in Manhattan for his birthday in late November. So it was that Kyle and I managed to arrange a dinner at the Heartland Brewery, a chain restaurant with a few locations dotted around the Big Apple.

Kyle chose the restaurant’s Empire State Building location, and it was a good idea. That monument of a building is always impressive no matter how many times I’ve passed by it or gone to the top. Plus, it was only a few blocks from where I was staying with my friend, so the location appealed to the cheapskate in me because I didn’t have to pay for a taxi.

After a few minutes of waiting for a table we were shown to one looking out onto the lobby of the Empire State Building. The tables were well spaced out and although the music in the restaurant was irritatingly distracting, conversation was still possible.

We scanned the menu — basic pub fare — and then ordered a couple of drinks, a beer for Kyle, a white wine for me, while we waited for our food. As I sipped on my Pinot Grigio, I asked Kyle for his life history before he launched into telling me about being a writer.

Kyle was an “Air Force brat” meaning his father’s work in the military led to a lot of moving from state to state during his formative years. He’s lived in London, Nevada, North Dakota, Hawaii, and Missouri but spent the most time being raised in Texas. That’s where most of his family is from and where many of them live to this day.

He went to college in San Antonio, Texas, and graduate school in Austin, studying communication and film, and started out writing screenplays. “Nobody wanted them,” he said. “I did well in script competitions and I would get this close to selling something but something would always come up.”

As would become clear during dinner, Kyle is no fan of Texas, largely because of its conservative politics. It’s also why he doesn’t live there. “I’ve always been a liberal, but being away from Texas made me even more of a liberal. Now when I go back to Texas they think I’m Joseph Stalin.”

Kyle, who is gay, also said it was tough growing up in the state because of his sexuality. “For a long time I was in the closet simply because it was illegal in Texas.” Until just a few years ago state laws prohibited gay sex, with the threat of jail time for violations. Kyle told me stories of Texas policemen failing to act on cases of gay bashing in the state, and what he saw as a general ill-treatment of homosexual people, something that would ultimately inform his writing.

After graduating he worked in Houston on industrial and training films, but “got sick of that and moved out to Los Angeles.” His first job in film was doing storyboards — a series of images that outline plans for how to shoot a movie — for a “really cheesy” film called “The Exterminator.” Unfortunately the experience soured Kyle on the moviemaking process. “The director thought he was doing ‘Citizen Kane’ but he was doing a straight-to-video type of movie,” and ended up redoing much of Kyle’s work on the movie. But he still ended up getting a credit for his efforts.

“Initially I thought I wanted to direct. I liked storyboards and using them for directing, because that’s what Alfred Hitchcock did. He worked out his films on storyboards first. He said he never looked through the eye of a camera because he’d already done all his creative work. I thought that was really cool,” but the actual experience of storyboarding in Hollywood turned him off the idea.

“Step-by-step, the writing started taking over,” Kyle said.

Kyle is critical of most modern films and their dependency on the three-act structure, in which characters face a series of neatly timed problems all ending in a happy conclusion. Kyle said that when he would write screenplays he’d let the story take charge, rather than try and shoehorn a story into a three-act format. He was once part of a writers’ group in Los Angeles, and they didn’t want a two-act script he’d written because it didn’t fit the traditional screenplay structure. “That was when I started moving away from screenplays and into books,” he said.

“Part of the reason my scripts don’t sell is that they don’t follow the format. I can’t diss my characters like that, I like to let the characters decide what the story’s going to be and where it’s going to go. When they do, it all fits together and I can’t change it. Sometimes it means that it just doesn’t work for somebody who wants something that’s easy to understand,” Kyle said.

Our rather brusque waiter took over the conversation at this point, seemingly springing up out of nowhere to set down the starter, a plate of mozzarella sticks.

Told you it was basic pub fare. But for $8.50 it was a pretty generous portion and the batter on the sticks was surprisingly tasty, with a bit of a kick to it. The marinara sauce was so-so, but I wasn’t expecting fine dining and it definitely hit the proverbial spot.

As I polished off the plate — Kyle only had one stick — he started to describe his creative writing process, and that’s where the “psychotic” quote came up.

Kyle said, “This is going to sound somewhat psychotic but characters started talking to me, and that basically is how I write. Characters come up and tap me on the side of the head and say they want me to write their story. People give me really strange looks when I tell them that.”

I’ll admit it seemed like a slightly odd description, but Kyle has a relaxed way of speaking and comes across as a mild-mannered fellow, so I asked him to continue.

“It works a number of different ways. If I come up with a story idea or I grab one out of the ether, then I have to find the character to tell me what it’s going to be about. Sometimes I think this one’s going to be the person leading it and I’m surprised that it’s someone else. I have to wait until they start talking to me,” Kyle said. “It’s not a case of when they talk to me, but when it starts to feel comfortable.”

Kyle said that the protagonist of his controversial book “How To Rape A Straight Guy” started talking to him and led him through the story.

Written in the first person from the perspective of an ex-con named Curt, the book is mercifully not a factual how-to guide but instead a tale of social injustice — albeit it with what Kyle described as “very graphic sexual content.”
“What Surprises People Is That The Book Is Also Very Hopeful”

“It’s a very political book,” Kyle said, adding that he was “very angry” when he wrote it. That anger stemmed from seeing photos of two young men in Iran who were hanged for being gay. Kyle’s outrage at that intolerance “radicalized me,” he said. So he set out to write a book covering a number of big issues: sexuality, the legal system, social justice (or injustice) and more.

Kyle described the book’s plot. Curt is a heterosexual who was jailed for drug offenses, and in jail learns to use the rape of a man as a form of revenge against the injustice he feels done to him. When he gets out of jail he fails to find decent work and starts hustling men to pay him for sex. He ends up bragging to two men that he can force a man to have sex, and they bet him a lot of money that he can’t. Things spiral out of control and there is a “very violent ending,” Kyle said.

“What surprises people is, it’s also hopeful” despite the ending, Kyle said. “Curt acknowledges that he screwed himself up. So the whole title is basically about he raped himself, screwed himself out of everything, the state screwed him out of things, society screwed him out of things, the justice system screwed him out of things. He thought the best way to get back at people was to do the same thing and he realizes that, no, it didn’t work. All it did was make things worst.”

How did he get a publisher for a book with the title “How To Rape A Straight Guy”?

Kyle sent the book out to various publishers and found an interested party, but they wanted a title change. He thought about it and tried some new titles but “it wasn’t working. Just to add to my psychosis, the lead character Curt wasn’t happy. He said, ‘Dude, it either is or it isn’t.’ And so I told the publisher, ‘I understand if you don’t want to publish it as is, but I can’t change the title.’”

The publisher eventually went ahead and released it with the original title intact, and Kyle said the novel is now the company’s number two bestseller.
“Immoral Morality Tales”

Other entries in Kyle’s bibliography also have a political theme. He wrote “Porno Manifesto” about a man who is gay bashed but the police don’t do anything to help, and try to protect one of the assailants because his father is a judge. The victim “finds out and exacts his own revenge and finds out in doing so he’s hurting innocent people as well,” Kyle said.

Continuing with the themes of attack and revenge, Kyle also wrote “Bobby Carapisi,” which is told from the viewpoint of two men who are raped. One is straight and has a family and a high-profile job as a pitcher for a baseball team, the other has none of those things and is left to struggle alone. “All the books have very intense sexual content but the story in them is basically very political. One of the reviewers on Amazon called them ‘immoral morality tales.’ I like that,” Kyle said.

Kyle is taking a temporary break from serious writing to take part in National Novel Writing Month, which challenges authors to write a 50,000-word novel within 30 days, something that lets him a more relaxed approach to writing. He’s taken an old story about an author who goes up to a cabin to write and gets caught up in political intrigue, but adapted it to modern times, and made the character gay. “The whole thing is a combination of farce, drama and comedy” and a break from an upcoming Irish novel Kyle’s writing, he said.

Kyle’s demeanor seemed to change ever so slightly as he transitioned from telling me about his previous controversial books, with their themes of revenge and injustice, to the Irish novel, which he described as having broader themes. But before he could tell more me about that upcoming book, our waiter with the abrupt manners was back, as personable as a cranky robot. If robot had emotions.

By virtue of its location Heartland Brewery is very busy, but I think a little more attention to the customers would go a long way. The service wasn’t rude, it was just very cold and too quick, the main course coming out while the starter of mozzarella sticks was on the table.

Kyle went for the $15.95 fish and chips, served with fries and tartar sauce.

I thought about ordering the same dish, but demurred.

While I love a lot of things about living in America, good fish and chips isn’t one of those things. Despite sampling some allegedly stellar efforts at making the dish in Virginia, Los Angeles and Washington D.C., I’ve always been disappointed. Especially growing up devouring the best fish and chips in the world from the puntastically named Fryday’s in Anlaby, a small town back in north England. To misappropriate a lyric from that irritating bald Irish creature Sinead O’Connor, nothing compares to Frydays. But Kyle said he enjoyed his food, so that’s good.

I opted for a $24.50 Buffalo strip steak.

I had plans to get drinks for a friend’s birthday celebration later that night and thought steak would be a better stomach lining to soak up the inevitable alcoholic over-consumption to follow. The steak was tender, the Jack Daniels sauce was delicious, and the mashed potatoes were incredibly well done — light and creamy, and not microwave-zapped.

As I made my way through my main course, Kyle told me how his upcoming novel set in Ireland will see him “changing directions completely.”

It’s set in Londonderry and follows the life of a young, straight Irish Catholic called Brendan coming of age between the tumultuous years of 1966 and 1981, a “very intense time” in the nation’s history, Kyle said. Because a lot of the terrain is unfamiliar to him the project “requires a lot of research. It’s taken a year to get to the point where I felt comfortable enough to write.”

Again his character talked to him and helped shape the story. Initially Kyle was going to have Brendan be an architect and come up with a “big metaphor about him wanting to rebuild in the face of all this destruction” associated with the Irish republican movement. “But it would never work or come together, Brendan wouldn’t talk to me.”

So Kyle took a holiday to Ireland. One night walking back through the countryside to his hotel, Brendan “finally started talking and said, ‘You’ve got me all wrong. I’m not an architect, I’m a mechanic, all I want is a nice life, that’s it, I’m not out to go to college, I don’t need college, I work with my hands. I want to get married, I want to have kids, that’s all there is to me. Don’t give me more than that,’” Kyle said. From there the plot fell into place.

In his spare time Kyle also likes to update his two blogs, one focusing on his writing and other interests, on an adults-only link far more “angry” and political, he said. Repeatedly during dinner he’d bring up public events he sees as major social injustices, and it seems his liberal political convictions drive him not just in writing but his general approach to life.

For example, he told me that the publisher of his books apparently knows the Bush family and offered to introduce Kyle to former President George W. Bush. “I thought about it for five seconds and said ‘no.’ I’d want to spit on Bush, and then I’d be in jail for the rest of my life,” he said.

Republicans are one big target for Kyle, but a perceived lack of American culture also bothers him. “It seems most American culture these days is about the depth of this knife,” he said, holding up one of Heartland Brewery’s thin cutting devices. “People seem to think that nothing really matters as long as they have their car and their wide-screen television. All else is superfluous. There’s a lot of that going around. You don’t see as much of that in Europe.”

Kyle therefore uses his books as a way to express his outrage at a lack of culture, at injustice, and other things that he sees with failings in today’s world. And he’s committed to himself to at least put pen to paper, or finger to keyboard, once a day to try and express his thoughts through words.

No matter how busy his days get from work, travel or hobbies, there is one constant in Kyle’s life. Every day he makes sure he writes something. “I got in the habit years and years ago of writing every day. If I don’t, I feel like I haven’t done anything,” he said.

Monday, March 3, 2014


Okay...I've got the book reformatted for POD in an 8.5 by 5.5 in. format, and this is the cover I've come up with. All I need to do now is get the barcode, and I think I'm going to add some positive blurbs in the space under the synopsis. Something from the raves the book's gotten off GoodReads, but I need permission, first. Ain't gonna pull no nonsense, here.

Officially speaking, the book is now 148 pages long...but in reality, it's 136. A short novel, with nothing changed but a couple of typos and shifting from CAPS in some words to italics. The rest is title page, table of contents, blank pages and carefully numbering it so the book starts on an odd page instead of even.

Next comes getting it ready for e-book...if they'll take it. Publishing organizations and distributors have become very difficult in what they will and will not offer. I'm hoping by making it clear in the synopsis this book is about more than just sexual titillation...and it is NOT a guide on sexual assault. Why anyone would think that is beyond me...but it has happened. People are weird.

I'm finding one big limitation of publishing through Smashwords is, they don't offer all their books through Amazon Kindle or BN Nook. You can buy a version that works on either, through Smashwords' own page, but not necessarily buy it through either distributor. That's irritating, and really something they should have noted prior to my publishing the e-book of David Martin through them. live and would think...

Distractions of the deliberate sort

Still dead in the water as regards writing, so I worked on prepping How To Rape A Straight Guy for publication. I want to get it out, next, then Porno Manifesto. I started working through the Word file I have (from 7 years ago) and formatting it for publication, and got about halfway. Found some typos...of course. I'm going for a slightly smaller edition -- 8.5x5.5 inches -- and the description on the back cover is going to be more precise. I'm also going to note this is a second edition.

I watched the Oscars, tonight and don't know if I should be happy or not. I'm glad Alfonso Cuaron got director for Gravity; he's the first Latino male to win that award. And I'd forgotten, I saw Blue Jasmine while flying either to Hong Kong or London, can't remember which, right now. Cate Blanchette was phenomenal and deserving, as was Sally Hawkins (who didn't get it). I sort of enjoyed the whole ceremony, but it wasn't overwhelming.

Tomorrow I'll finish HTRASG and its cover and get those uploaded to Lightning Source and Smashwords. See what kind of reaction I get to the title. They may refuse never know.

Amazon's being funky, again. They had the e-book of David Martin available for weeks, then suddenly it's been taken off their site. I've asked about it and so far the only response was, "Talk to Kindle Publishing." I didn't publish it through Kindle, as I told them in my initial e-mail, so why would I want to talk with them? It's irritating.

And typical.

Sunday, March 2, 2014


I'm finally watching the Firefly series and it's fun. I'm through Serenity, The Train Job and Bushwacked...and now I'm waiting for Saturday Night Live to come on because it's being hosted by Jim Parsons. And I'm doing all of this because I am caught in gridlock of the brain. I've been trying to get back to Underground Guy or ...Owen Taylor or even slam back into Carly Kills...and I got nothin'. Not a hint of movement.

Oh, le sigh...I wonder if working on FCB screwed up my brain...