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What We Talk About When You Buy My Books

March 13, 2023
freelancing, guignol, how to see ghosts, monsters from the vault, never bet the devil, on writing, painted monsters, privateer press, revenge of monsters, thoughts
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As of this writing, I am the author of some seven full-length books with my name on the spine. I have contributed to plenty of others, edited one more, and published a handful of chapbooks and zines. But these seven books are all me, from start to finish, minus the occasional introduction by an esteemed colleague.

Four of them are short story collections, because short stories are my primary raison d’etre. Never Bet the Devil & Other Warnings, my first collection and first full-length book, has actually been published twice. First back in 2012, in softcover, and then reprinted in a (gorgeous, frankly) deluxe hardcover in 2017 by Strix Publishing. The latter adds new illustrations by Mike Corley and a couple of new stories not collected in the previous edition.

The other three collections are all out from Word Horde, who has been my most reliable and frequent publishing partner. These include Painted Monsters, Guignol, and, most recently, How to See Ghosts. I’m proud of all of them, and all three boast phenomenal cover art by Nick Gucker, who has probably been responsible for selling more copies of any of them than my name ever has.

My other full-length books include two collections of short, informal essays on vintage horror films – Monsters from the Vault, reprinting a column that I used to write for Innsmouth Free Press on the subject, and Revenge of Monsters from the Vault, which continues the theme.

Rounding out the list is Godless, my only published novel to date, written for Privateer Press as work-for-hire, and intended as the first book in a proposed series that never came to pass for various reasons.

Recently, I got royalty statements for most of these books from the publishers, and I thought it might be a good time to talk somewhat transparently about royalties and the writing life and what it means when you buy one of my books. I believe in transparency, in general, and I’ve only gotten where I am thanks in part to the generosity of my fellow writers in this regard.

I am a full-time writer, which most people assume means that I make a living writing novels or even – absurd as the proposition actually is – short stories. This is far, far from the truth. There are writers who make a living writing novels, but I’m not one of them. (I don’t think there have been any writers who made a living writing short stories for… many years.) Instead, my income comes, primarily, from writing “content,” which means any number of things. I write marketing copy of all sorts, from the words on websites and corporate blogs to social media posts to “white papers” and press releases.

I also write for a number of what are sometimes derogatorily called “content mills,” websites that busy themselves with generating a never-ending stream of listicles, articles, and other odds-and-ends. Of these, I am probably most closely associated with Ranker and The Lineup. Ultimately, though, all of this is my “day job,” the work I do to bring in the money to write my goofy little short stories about monsters and ghosts.

Besides all that, I currently produce four regular columns: one on folk horror, one on old horror TV shows, one on board games, and one about… pretty much whatever I want to write about, ranging from muck monsters to Ultra Q and beyond. And I continue to regularly write for Privateer Press, including putting together a large swath of their new Iron Kingdoms: Requiem 5e-compatible RPG.

All of that (with the exception of the columns) is work-for-hire stuff, meaning that, once it is published, I no longer own it. I get paid my fee, and that’s the last recompense I will ever get for the work. Fiction and such is, however, a different beast. When I sell a short story, I am likely to sell it again, at least into a collection down the road. Then, when I publish said collection, I will get a small advance.

Short stories do not pay well, nor have they for many, many years. Short story collections do not pay any better. While advances on novels may vary considerably, one can still potentially expect a few thousand dollars, maybe even five figures, if one is publishing through a larger press. Publishing a short story collection through a larger press is mostly unheard of unless one is already a best-selling author. So, you’ll be going through smaller presses, and your advance is more likely to be in the neighborhood of a few hundred to a thousand dollars, at least in my experience.

The advance is an “advance against royalties,” which means that you have to “earn out” that advance before you start making any royalties. Royalties on a collection are a fraction of the total price of the book. This fraction varies depending on your contract and the form of the book, but let’s say around 5-10% for physical copies, around 25% for ebooks. So, to make the math easy, if you sell a physical book for $1, you’ll make a shiny nickel. If you sell an ebook for the same amount, you’ll get a quarter.

Once you’ve accrued enough nickels and quarters, you will eventually have gotten enough money to pay back your advance, at which time those nickels and quarters start coming to you as royalties. At this point, most of my books (that pay royalties) have earned out, with the exception of How to See Ghosts, which literally just got published at the tail end of last year.

And yet, part of the reason why short story collections don’t pay as well as other books is that they also don’t tend to sell as well. I have been very fortunate, but even then, the number of copies of all my collections that are in circulation – including ebooks – still numbers only a few thousand, less than the print run of the average single novel. This is not a cry for pity or any such thing, but a bid toward transparency. I knew the marketplace of the short story when I got into this business, and I make a nice living with my writing, despite that it isn’t in the form of story sales.

What’s more, as I promised at the beginning of this surprisingly lengthy essay, I want to talk about what happens when you buy one of my books, in any form: I get some money. One way or another, sooner or later. Maybe it’s those nickels and quarters, but they add up. Every three months or so, I get a check from my publishers for enough money that I can buy a couple of nice Blu-rays, or pay part of one of my utility bills. It’s appreciated, and it helps, and that only happens when you buy my books.

And if you’ve already bought my books (thank you), it helps further to blog about them, review them, ask your library to order them. Little books like mine only do well thanks to word of mouth. That’s just the nature of this business. Without people talking about them, posting about them, leaving reviews, and telling their friends, they sink out of existence and into oblivion.

Perhaps even more important, those books selling as well as they do – the numbers might be relatively modest compared to a novel, but they’re pretty nice for short story collections – helps ensure that I’ll have the opportunity for more down the road. I look forward to a nice, long career writing various other stuff on the side so I can keep publishing books filled with stories about ghosts and monsters. And if you look forward to reading more of them, then I hope you keep buying! And for all those who have bought my books so far – I literally couldn’t keep doing this without you!

NoGL

January 18, 2023
freelancing, privateer press, tabletop
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What a quiet and uneventful year 2023 has been so far in the tabletop gaming space, huh folks?

I’m honestly not sure I’m equipped to even provide background here. Back near the beginning of January, a leaked document from Wizards of the Coast, owners (under Hasbro) of Dungeons & Dragons, revealed draconic (pun intended) planned changes to the Open Gaming License, or OGL, which the company first rolled out back in 2000 when the “world’s most popular roleplaying game” was still only on its 3rd edition.

In a nutshell, the OGL was a license for third-party companies to make and distribute stuff using certain select parts of D&D’s product line. It’s something of a weird area, because game mechanics are already not copyrightable, so the ability (or not) for people to do that even without the license is somewhat nebulous and always has been.

There has already been considerable writing, both before and after the leaked OGL draft, about whether or not the OGL was ever actually good for anything besides helping D&D to achieve and maintain market dominance, and I am neither a lawyer nor an industry insider, so there are certainly better voices than mine that you should be listening to in the midst of all this.

What’s relevant here is that this bombshell leak showed the hand of Wizards of the Coast in a way that seemingly destroyed a decade’s goodwill in one fell swoop. The fallout was immediate and considerable. So many people canceled their D&D Beyond subscriptions that it forced the company to do some damage control by attempting to backpedal the most egregious aspects of the proposed new OGL, which they did in a pair of statements released after a damning week of silence.

The damage had already been done, however. In the time between the initial leak and WotC’s statements, easily half-a-dozen of their largest competitors had already announced plans for OGLs of their own, and seemingly everyone in the tabletop hobby space had drawn battle lines in response to the proposed changes.

Those who have been following along for some time know that I’ve been working on and off in the tabletop field for some years now, primarily for Privateer Press. In that time, I’ve worked on several 5e-adjacent books for the new Iron Kingdoms: Requiem setting and system, all of which have made use of the OGL. In fact, I’m in the midst of a new project in that vein as I write this, which is partly why I’m just now getting to it. As such, it seems that I’m obliged to have at least some opinion on this.

I like 5e. It’s been easy to work with, and while it has its drawbacks, it’s fun to play. And I’m still extremely proud of the work that I and others have done on the three sets (and counting) of books for Iron Kingdoms: Requiem. I hope IK:R keeps going for a long, long time, in whatever ultimate form.

But I also recognize what WotC doesn’t seem to, which is that the OGL was, in actual fact, a boon to them more than anyone. Sure, Advanced Dungeons & Dragons may have achieved a similar market saturation back in the ’80s, without the aid of an OGL. (I’m not sure we’ve quite hit “D&D big wheel” levels in 5e just yet, honestly.) But it’s also true that both 3e and 5e would probably not have enjoyed their respective popularities had it not been for the OGL, and D&D’s current dominance of the field is likely as much a result of that as Hasbro’s considerable marketing budget.

Again, I am not a lawyer nor principally a game designer, but as near as I can tell, the biggest benefit that the OGL brought to the community was community itself – a way for lots of folks operating in disparate circles to speak the same language. It made things welcoming that might have previously been opaque, while also opening up the scene for countless newcomers.

I don’t know what the way forward is, really. The damage that WotC has done to their product and their brand is considerable – and maybe insurmountable. If that’s so, I hope that the folks who next pick up the reins are better stewards. What I will say is this: Over the last few years, I’ve gotten back into tabletop gaming in ways that I haven’t been in close to two decades, and in that time, some of my best experiences have come from games that were built only to do what they do, not to be the sort of one-size-fits-all solution that the OGL has often prompted.

Take, for example, the short campaign I played in the Alien RPG from Free League. Though built on their Year Zero engine, the game incorporated plenty of things that would really only work in a survival horror type setting – but in that setting, they worked like gangbusters.

What I’m saying is, whatever happens with D&D, it’s always been good that it isn’t the only game out there, and hopefully, if nothing else, this will remind us all to look to other pastures now and again.

This is the End

December 30, 2022
appearances, cinema, freelancing, how to see ghosts, lists, privateer press, reading materials, secret identity, tabletop, year in review
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As I write this, we are less than two days away from the end of 2022 and the beginning of 2023. I’m not going to pretend that 2022 has been an especially good or easy year for… well, anyone, really. Or that 2023 looks inclined to change that trajectory overmuch. But some big things happened for me this year, most of them in the last couple of months.

Earlier in the year, the third set of books for the Iron Kingdoms: Requiem 5e RPG setting hit Kickstarter. As was the case in the previous two installments, I wrote a huge amount for these books, including some very fun stuff that I’m really looking forward to people getting to see. And, as I write this, I’m working on some future stuff in the IK setting, as well.

As usual, I wrote a lot of movie reviews (mostly for older movies getting released onto Blu-ray) and attended Panic Fest back in April, covering it for The Pitch. I also became the movies editor for Exploits, an Unwinnable publication, and acquired some fun essays on movies like The Monster Club, Night of the Devils, Anna and the Apocalypse, The Ghosts of Hanley House, and more. In fact, I kicked off my tenure by immediately making them regret putting me on staff, acquiring an essay from Perry Ruhland on Mermaid in a Manhole. And I “helped” (by not actually contributing much, ultimately) with the movie programming for the NecronomiCon in Providence, even though I then wasn’t actually able to attend due to various circumstances beyond my control.

I also continued to write three regular columns (two monthlies and one quarterly) and added another monthly, while I was at it. So, currently, I write about board games at Unwinnable, folk horror and old anthology TV shows at Signal Horizon, and whatever tickles my fancy, pretty much, at Weird Horror. (You can read my latest, on Man-Thing and Swamp Thing and the weird history of muck monsters, here.)

I continued to co-host the Horror Pod Class with Tyler Unsell of Signal Horizon and, more to the point, we switched over from just doing a standard talking heads podcast to actually hosting the movies we discuss and then recording live at the Stray Cat Film Center. We kicked that off back in March with 976-Evil, and since then we’ve shown Someone’s Watching Me!, Doctor Mordrid, The Mask (not the Jim Carrey one), Night of the Creeps, Uzumaki, Ghostwatch, Yellowbrickroad, and we sadly had to cancel Bloody New Year due to inclement weather. We’ll be kicking off the first part of our 2023 season with The Undying Monster on January 26, so if you’re local, come join us at the Stray Cat for one of my favorite werewolf (?) movies from the ’40s!

Over the course of 2022, I read 42 books, the lion’s share of which were graphic novels. That’s… far from ideal, but here we are. Of those, some notable titles include Jonathan Raab’s The Haunting of Camp Winter Falcon, Victoria Dalpe’s collection Les Femmes Grotesques, Abby Howard’s 2020 graphic novel The Crossroads at Midnight, all of the Orochi volumes that Viz has put out so far, and John Dickson Carr’s 1932 novel The Corpse in the Waxworks.

I also watched an impressive 345 movies so far in the year, though that number may increase by, like, one or two before the year is out. That’s also perilously close to an average of a movie a day, a feat only accomplished by a few days in which I watched several movies in 24 hours, such as during Panic Fest and my annual attendance of Nerdoween. At a glance, that appears to be the most I’ve watched in a single year since I started keeping a journal, which I guess is an accomplishment.

Of those, more than 265 were first-time watches for me, easily demolishing my goal of keeping to at least half “new-to-me” movies each year. Of those, some of my favorites that didn’t come out this year were The Medusa Touch (1978), The Adventures of Robin Hood (1938), The Glass Key (1942), The Psychic (1977), Jigsaw (1962), War of the Gargantuas (1966), The Flying Phantom Ship (1969), and Mute Witness (1995). You can see the rest of the list over here. By far the best new-to-me movie that I saw in 2022, however, was The Ghost of Sierra de Cobre (1964), one of my favorite new discoveries in a long, long time.

As for movies that came out in 2022, I saw a surprising number of those, as well. Around 35, in fact. We’ll be discussing our favorites on the Horror Pod Class in January, so I won’t do a top 5 or anything, but despite a lot of perfectly good movies this year, very few of the year’s new releases (that I saw) were anything that I fell in love with. There was no Malignant this year, is what I’m saying.

So, that’s all the (substantial, as it turns out) bookkeeping stuff taken care of. With all that going on, it is perhaps unsurprising that I didn’t publish a lot of new fiction in 2022, and of the five or so stories I did put out, two are original to my newest collection. And maybe that’s the biggest news, at least from a professional standpoint: How to See Ghosts & Other Figments, my third collection from Word Horde and my fourth overall, came out in October, though at the time I was a little distracted.

You see, in October we also bought a new house! And I’ve been a little distracted ever since then because, to be frank, a lot has gone wrong since we moved in. We still love the house, though! It just seems that the people who sold it to us don’t particularly love us. (And we’re not terribly fond of them, at this point.)

Those have been the two biggest changes in a year filled with personal milestones – my twentieth wedding anniversary was also earlier this year, for example. As I said, 2023 promises to be filled with new challenges along with a bunch of the same old challenges and honestly, the world is probably just going to be on fire for the foreseeable future. But I’m hopeful that I can achieve some more milestones, too. My goals for 2023 include more reading, publishing more stories, and hopefully some exciting surprises for my readers. Plus, of course, more of the same, too.

When You Don’t See Me

July 14, 2022
appearances, how to see ghosts, news, privateer press, tabletop
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Let’s start with the bad news: I won’t be at NecronomiCon Providence this year. Which is a bummer for any number of reasons, not least because I’ve been helping out (in very small ways) with the film programming, and I’m excited to see that come together. But alas, this year it just isn’t in the cards.

(Also, my contributions to the film programming are borderline nonexistent, so all the good bits are going to be Phil Gelatt’s fault. You can blame me whenever something goes wrong. I won’t be there anyway.)

There are a lot of you that I’m going to miss seeing, which makes me sad. But with any luck we will mostly survive until the next convention (though that seems more touch-and-go than we’d all like these days) and I’ll see you all again soon.

With that out of the way, here’s some better news: It has recently come to my attention that I have not been sufficiently vocal about the fact that I have a new collection coming from Word Horde later this year.

You can expect to hear a whole lot more about How to See Ghosts & Other Figments, my fourth collection of short, spooky stories and, somehow, my seventh full-length solo book in the weeks and months to come, including cover reveals, a table of contents, and other goodies. For now, though, I can let you know that it’s going to be my longest collection to date, with 18 stories from across my writing career.

Also, if you happen to be a reviewer and you’re interested in getting your hands on How to See Ghosts a little early, you can reach out to the folks at Word Horde by emailing publicity[at]wordhorde[.]com, and they’ll hook you up.

That’s about it for now but, if you haven’t already, head over and check out the Kickstarter for the latest thing I worked on at Privateer Press. It’s in its final days and it’s pretty cool, if I do say so myself. You can also read a little more about my involvement in it here.

Dead Men Tell No Tales

July 5, 2022
freelancing, news, privateer press, tabletop
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All the way back in 2013 – nearly ten years ago now – I wrote my first story for Privateer Press. It was a novelette called “Under the Shadow,” a retelling of the Demeter portion of Dracula, centered on the Cryxian general Gerlak Slaughterborn.

By then, I had already been a fan of the setting for… many years, and getting to play in that sandbox was a dream come true. A dream that I got to relive many times in the years that followed, writing additional short stories, novellas, and even a novel set in the Iron Kingdoms world, not to mention contributing plenty of content to the previous iteration of the Iron Kingdoms tabletop roleplaying game.

Then, back in November of 2020, I was asked to work on something new. Iron Kingdoms: Requiem would be the newest attempt to bring my favorite fantasy setting to the TTRPG sphere, this time powered by the popular 5th edition of the world’s oldest roleplaying game.

For that first installment, I wrote more than 50,000 words of mostly setting text, detailing the world and the ways in which it had changed since the last time such a book had been put out. I got a surprising amount of control over some of those changes, and the relationship I had with the material went from adapting it to, in many cases, inventing many aspects whole cloth.

About a year later, and the first expansion for Requiem hit Kickstarter, in the form of Borderlands & Beyond. This time I had written just as much, maybe more, but I also got even more freedom to add to the setting that I loved so much. Perhaps most notably, given that this is me, I got to design a bunch of weird fucking monsters from scratch. If you got the book, see if you can guess which ones I did.

We haven’t been sitting idle in the months since, either. Almost as soon as we had finished Borderlands & Beyond, the same team that had been working on Requiem all this time had already started work on the next installment, which just hit Kickstarter today.

In many ways, this is the most exciting one that I’ve worked on so far. For those who don’t know the Iron Kingdoms setting very well, it has primarily existed in the form of the tabletop wargames Warmachine and Hordes. And one of the four core factions of the former, since the game first launched back in 2003, has been the Nightmare Empire of Cryx.

Ruled by a dragon, Cryx is primarily occupied by the undead, which their necrotechs experiment on to create cyborg undead war machines. Despite its prominent position in the narrative of the game, however, there has never been a sourcebook released to bring Cryx to the table in roleplaying game form. Not in all the years that Privateer Press has been releasing books and games set in the Iron Kingdoms.

Certainly, Cryxians were available as antagonists in previous editions of the game, but there were precious few resources available to play as them, or to explore, in detail, their haunted and haunting empire. With the new Nightmare Empire expansion for Requiem, though, all that changes.

With each new iteration, I have gotten to leave more and more of my stamp on the Requiem roleplaying game and the world of the Iron Kingdoms – along with a talented and dedicated team of writers, artists, designers, and more, all headed up by Matt Goetz, who is as much the captain of this vessel as anyone.

This time around, I got to introduce new places and organizations, flesh out things that had been throwaway mentions in the past, and, most exciting for me, work on developing some of the new subclasses that are presented in the book. I’m very proud of my work there, and I can’t wait for fans of the setting to see it – not to mention newcomers to the world of the Iron Kingdoms, who I hope grow to love it just as much as I always have.

Nightmare of Empire

April 18, 2022
freelancing, privateer press, tabletop
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By now, it is no longer a matter of much surprise that I have been working extensively on the newest attempt to bring the Iron Kingdoms, setting of games like Warmachine and Hordes, to the world of tabletop roleplaying. And I think that I’ve made it pretty clear already that our latest project has been a long-awaited sourcebook for one of the game’s original factions – the Nightmare Empire of Cryx.

For those who aren’t familiar with the setting, the Iron Kingdoms were first introduced more than 20 years ago – in a trilogy of adventure modules for what was then 3rd-edition D&D called the “Witchfire Trilogy.” Within two years, it had given rise to Warmachine, the first tabletop wargame to make use of the setting, and one that’s still being played today.

I’ve been a fan ever since that time, and I’ve been working with Privateer Press as a freelancer – on and off – for about a decade now. I’ve written licensed fiction, including my first novel, and worked on the previous attempt at creating an Iron Kingdoms roleplaying game. Now, I’m working very closely on the creation of Iron Kingdoms: Requiem, which brings the setting to the 5th edition of the world’s most popular roleplaying game system.

And here’s what makes our latest project, which should be hitting Kickstarter any day now, so exciting: Since that very first book, Cryx has been one of the core factions of the setting. An island nation of mechanical undead, ruled by a dragon who is essentially a living god, Cryx was one of the original four factions of Warmachine. And yet, despite no less than three versions of Iron Kingdoms roleplaying, dating back as far as 2001, there has never been a book that gave you the tools you needed to play as the forces of Cryx in a roleplaying game.

Until now. Recently, Privateer Press released their first sneak peek at the new material that’s coming in Iron Kingdoms: Nightmare Empire: a list of new classes and subclasses, several of which, I’m happy to say, I worked on designing.

But that’s far from all that will be included in the book. There’s all sorts of exciting stuff in there. A history and gazetteer of the Nightmare Empire, new spells, new monsters, rules for Cryxian warjacks, and even rules for making and playing an iron lich – one of the setting’s most iconic creations, and one that my regular GM and gaming buddy has been clamoring to play as for 20 years now.

I’ll be posting more about my work on the game as the Kickstarter launches but, for now, this is one of the big projects that has been occupying a lot of my time of late, and I’m very excited for people to get to see it come to fruition.

Of course, that’s not all I’ve been up to lately. Panic Fest is starting this coming weekend, and I’ll be covering it for The Pitch, and I’ve also got some other movie-adjacent announcements and things, but those I’ll save for their own post this week…

Kick! Punch! It’s All in the Mind!

January 31, 2022
cinema, privateer press, tabletop
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In the month of January, I watched eleven Shaw Bros. movies. This is noteworthy for a number of reasons, not the least of them because, prior to that, I had seen… one? Maybe two, depending on whether you count their joint production with Hammer, Legend of the Seven Golden Vampires. It’s possible that I have seen others without remembering or realizing it, over the years, but the number is small, is the point, and over the last month I have certainly much more than doubled it.

This came about because I received a review copy of the very nice Shawscope Vol. One box from Arrow Video, and I have been trying to work my way through it for an eventual piece. I’m not quite there yet, either. There are two movies left to go – there’s a lot of movies in this box – but I’m getting close.

Interestingly, at the same time, I also watched a few of the latest Marvel movies that I had missed because there was a plague on. Now, those who have followed along for a while here know that I am, broadly speaking, a person who enjoys Marvel, and Marvel movies, and, more to the point, not someone who likes to rag on modern movies and go on about how movies were better “back in my day,” notwithstanding that every movie in this Shawscope set was made before I was born.

And yet, it bears mentioning that, with the exception of Mighty Peking Man, which really didn’t do it for me, the worst movie in this Shawscope set is at least several notches above the best offering from the latest batch of Marvel films. (The new Spider-Man possibly notwithstanding – I haven’t seen it yet.)

I’m not really here to rag on the recent slate of Marvel movies, though, as much as I am to just say what a joy it’s been to dig through all of these old Shaw Bros. pictures. I’ll have more coherent, and hopefully thoughtful, thoughts on them in the eventual piece (likely at Unwinnable) that will come out of all this, but it’s just been a lot of fun to get a much fuller view of a slice of cinema that I’ve long been aware of but have rarely seen.

That said, I’ll admit that these flicks (which are all kung fu pictures, with the exception of the aforementioned Mighty Peking Man) are not necessarily well-suited to binge-watching. Like any other very specific sub-field, even my beloved Hammer gothics, they get a bit same-y after you mainline enough of them all in a row. But thus far that hasn’t hampered my ability to appreciate the distinct pleasures each one offers, nor dimmed my enthusiasm to put on the next disc in line.

The other thing that makes it noteworthy that I watched all these movies in the month of January is that it’s vaguely miraculous that I managed to make time to watch anything at all. Chalk it up to basically not being able to leave the house because of the plague, I guess, but I’ve been incredibly busy in the month of January, working on a semi-secret licensed tabletop gaming project that is not terribly hard to guess the particulars of for anyone who has been following along at all.

It has eaten up pretty much all of my time that hasn’t been devoted to watching people kick one-another, and I’m looking forward to being able to discuss it at greater length hopefully very soon. In the meantime, you can read my weirdo thoughts on Matt Wagner’s Grendel and the Saw franchise in the latest issue of Exploits, if you’re so inclined…

JoCo Writes

November 4, 2021
appearances, on writing, privateer press, secret identity
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It’s NaNoWriMo and, for the first time in a year or two, I am not inadvertently participating simply by dint of having so much freelance work on my plate that I write well over 50,000 words in the course of the month – though I do still have a lot of work, so I may crack that number without breaking a sweat anyway.

Instead, I am going to be talking about writing some. Specifically, I will be talking about writing licensed fiction and work-for-hire stuff and how to take inspiration from the movies over at the Johnson County Library Writers Conference. It’s my first time as a presenter at said conference – and my first time presenting online pretty much ever – so I’m more than a little nervous, but you’re all still welcome to come check out one or both lectures/workshops. Plus, there’s lots of other cool stuff going on!

The conference is all online, so you don’t have to be local to the Kansas City metro, and it’s totally free. You can learn more at this here link, and if you want to stop by for my sections, I’ll be talking about writing licensed fiction TOMORROW at 4pm CDT and doing a longer workshop on how to write from movies, rather than for them on Saturday starting at 3pm CDT and running until 5.

The former will be a pretty straightforward talk about how I got into writing licensed fiction (primarily for Privateer Press), its relationship to fan fiction, how it differs from my regular work (and how it’s similar), and what my experience with it has been. The latter will be a more in-depth discussion of both the similarities and differences between film and prose, and how the strengths of one can be adapted to fit the other.

Anyone who has read much of my fiction knows that I draw a lot of inspiration from film, and I at least seem to do an okay job of it. But translating film to prose isn’t a one-for-one process, and knowing how to borrow is perhaps more important than knowing what to borrow.

Both sessions will be recorded and available on the library’s website in the future, if you can’t make it this weekend. In the meantime, I dunno, wish me whatever the Zoom equivalent of “break a leg” is…

Time is Running Out

October 27, 2021
countdown to halloween, freelancing, halloween, privateer press, tabletop
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Each tick of the clock brings us ever closer to the Great Event, that grandest of all nights, Halloween. In the meantime, though, there are a few other things that are ticking down, too, and some will be over before that one comes to pass.

For those who have been following along, I’ve been doing a lot of work on the new, 5e-compatible Iron Kingdoms: Requiem books for Privateer Press. These tomes not only bring the classic Warmachine and Hordes setting to 5e for the first time, they also update the setting itself to the way it exists today, in the aftermath of the Claiming – also for the first time. And if you don’t know what any of that means, don’t worry, the books will explain it.

Anyway, the latest installment is currently on Kickstarter and it’s entering its final hours. In fact, as I write this there’s only about a day left. It’s already funded, so at this point we’re just blowing away stretch goals, and while the stretch goal that’s a new adventure written by yours truly isn’t likely to materialize, there’s still some pretty cool stuff within reach. So, if you’ve been on the fence about it, now’s the time to get involved.

Plus, if you head on over to the Kickstarter page and check out the updates, you can get a gander of artist’s renditions of just a tiny handful of the many weird creatures I got the pleasure of designing this time around. And there’s plenty more (and plenty weirder) waiting in the wings where that came from.

And that’s not all. While the Kickstarter for Iron Kingdoms: Borderlands & Beyond closes up shop in about a day’s time, the Unwinnable subscription drive runs through the end of the month. For those who don’t know, Unwinnable is an incredible indie publication that pays its writers and publishes some of the best, smartest crit, essays, and cultural appreciation around – all based on an ad-free model that relies on your subscriptions.

We’ve already done really well on the drive, unlocking the “monster” theme issue that I absolutely had to get unlocked in order to survive, but we’ve still got more cool stuff up our sleeves, including a Doom-themed issue that’s about a minute away from unlocking. Besides movie reviews and my regular column on board games over at Unwinnable, I’ve also written long-form essays on everything from Monster Squad to my love of dungeon crawl games to, most recently, the weird fact that the original Universal Mummy sequels are actually set in the 1970s through the ’90s.

Few other publications would give me such free reign, so if you like reading the random nonsense that comes pouring out of my head, toss a coin to the folks at Unwinnable, who help to prop up such bizarro “journalism” from me and plenty of other incredibly talented writers and artists.

That may be the last you hear directly from me in this space before the one-two punch of my birthday and Halloween, but I’ll be very active on social media over the next few days, and there’s still a whole lot going on, so stay tuned…

Beyond the Iron Kingdoms

October 12, 2021
news, privateer press, tabletop
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Around a year ago now, give or take, I was working on a project for Privateer Press that, at the time, I couldn’t talk about. A few months later, it was revealed to be the new Iron Kingdoms: Requiem roleplaying game, compatible with 5e, which launched on Kickstarter in January of this year and blew away its funding goals.

Since then, I’ve been working on something else. A follow-up product that takes players beyond the walls of the Iron Kingdoms themselves and into the wilderness that surrounds them. For those who played the previous IK RPG, this can be seen as a companion to the Unleashed volume released for that game – I wrote an adventure for that, too, BTW, which was printed in the Wild Adventures supplement.

This isn’t just about the wilderness, though. It also explores – in depths that have never really been delved into before – the dwarven kingdom of Rhul and the elven nation of Ios, a nation which has undergone a stark transformation, making it just as alien and unfamiliar to long-term players of the game as it will be to those who are new to the setting.

Called Borderlands & Beyond, this new expansion also just hit Kickstarter today, and was funded within just a couple of hours. We’re already well into the realm of stretch goals now, and the campaign is less than a day old. Which is good, because one of the stretch goals is a new adventure written by yours truly, set to take place in the eerie wilderness of the Glimmerwood.

As with Iron Kingdoms: Requiem, I worked with an incredible team to help bring this book to life, all organized by Matt Goetz, who was the captain of our little ship. I can’t say what parts I did and what parts were the work of other hands, but I can say that, to an extent that has never been true on any previous tabletop gaming product I’ve worked on, we really did collaborate as a team throughout the project, with each person’s contributions informing the others in unique and dynamic ways.

In all, I contributed even more words to this project than I did to Requiem, and got to build more stuff from the ground up than ever before. And I’m already looking forward to the next project, which the success of this one will all-but ensure.

And I can say one other thing, I think, that will likely come as a surprise to no one. If you check out the Kickstarter for Borderlands & Beyond, you’ll note that they mention “a horde of never-before-seen monsters to test every last ounce of your players’ resolve.” The other thing I think I can say is that more than a few of those never-before-seen monsters are ones I helped cook up. And I hope you’re going to love them.