2016 - Steven R. Southard (Poseidon's Scribe)

Home » Posts Published in: 2016 (Page 4)

BALTICON 50 – My Schedule

I’ll be at BALTICON this weekend and hope to see you there. Here is my schedule:

Saturday May 28 1:30 PM Autograph Session

I’ll be available to sign books, along with Paul Cooley and David Lee Summers

Location: Renaissance – PDR Table 1

Sunday May 29 7:00 PM Reading

I’ll be reading from one of my stories, along with Ming Diaz, Goldeen Ogawa, and Michelle Sonnier

Location: Renaissance – St. George

Perhaps you’ve read one or more of my stories, or maybe just read my blog posts. You’ve got an intense (and understandable) curiosity about me, and are eager to meet me. Here’s your chance. Go to BALTICON this weekend.

Oh, I understand there will be other writers there as well. Folks like George R.R. Martin, Kim Stanley Robinson, Michael F. Flynn, Harry Turtledove, Larry Niven, Connie Willis, and Joe Haldeman. You may have heard of them, too.

More importantly, you’ll be able to chat, and shake hands, with—

Poseidon’s Scribe

May 26, 2016Poseidon's ScribePermalink

After the Martians – the Cast of Characters

Today I’ll introduce you to the four major characters in my new book, “After the Martians.” The alternate World War I of my story has brought them together in and near the Black Forest of Western Germany in 1917, some 16 years after the Martians’ failed attempt to conquer the Earth.

In order of their introduction in the story, let’s meet them.

Private Johnny Branch is seventeen, an American from Wyoming. The hero of my story, he’s enthusiastic about getting to fight in the war, and thrilled to be driving a Martian fighting machine, a tripod. He grew up listening to, and reading about, the Martian War. Like boys across the nation, he built rudimentary models of the fighting machines and waged little battles with toy tin soldiers, pretending to be Teddy Roosevelt in the Battle for Washington, D.C.

Second Lieutenant Henry Wagner is about twenty-three, and commands the fighting machine driven by Johnny. Their machine is part of Crazyhorse Troop, Tiger Squadron, Third Armored Cavalry Regiment. He’s from Norristown, Pennsylvania, near Philadelphia. He’s been in the war since the beginning and is now seasoned by battle, and quite skeptical about the war. He looks forward to the end of the war, when people can develop peaceful uses for Martian technology.

Frank Robertson is a photographer for “The American Magazine,” initially assigned to send back pictures to give the public a sense of the life of a doughboy. As the war has gone on and casualties have mounted, his editor tells him to snap some shots of American heroism and gallantry in battle, to keep up the patriotic spirit. However, it’s hard to get close to the action in a modern war, with Martian heat rays and poisonous black smoke.

Hilde Gottschall is an old German woman living in a wooden cabin on Feldberg Mountain. She lost her husband in the Martian War and her son in the Great War. After the death of her daughter-in-law, she lives alone with her infant grandson, Andreas Gottschall, whom she calls her Schätzchen (darling). She is cynical and angry about all wars.

In addition, there are a couple of minor characters with bit parts, but those four are the major ones. Each of the latter three influence Johnny in various ways as he matures toward full adulthood.

On a separate note, I’m hoping to speak on a panel or two at BALTICON , the science fiction convention in Baltimore, next weekend. At a minimum, I’ll be signing my books on Saturday from 1:30 to 2:30, and I’ll be reading from one of my books on Sunday from 7:00 pm to 7:50.

I’ll post my complete schedule when it’s approved. If you’ll be in the area, you can meet, in person—

Poseidon’s Scribe

May 22, 2016Poseidon's ScribePermalink

After the Martians—the Story Behind the Story

It’s the question readers ask authors most often: “Where do you get your ideas?” I’ve blogged about that before, but today I’ll reveal the birth of the idea behind my just-launched book, “After the Martians.”

It wasn’t my idea at all.

My friend, fellow author, and critique group partner, Andy Gudgel, thought of the idea. Heaven knows where he got it. At one of our critique group meetings, he mentioned he’d like to write a sequel to H.G. Wells’ The War of the Worlds, but his story would deal with the aftermath, with dead Martians lying around, but also their technology. After all, the tripod fighting machines would be still standing where they stopped. The assembly machines would be intact and stationary near the landing sites of the Martian projectiles. Even a few flying machines might be available.

Andy’s idea was that humans would then use these weapons in a very different version of World War I.

This notion captivated me, and I urged him to write the story. Each time he sent us manuscripts of other tales, I’d ask him about the Martian story. “This one’s good, Andy,” I’d say, “but when are you going to give us that War of the Worlds sequel?”

Then at one December meeting, (at which we exchange little gifts to each other), I unwrapped his gift to me, and there were all his notes, and his copy of H.G. Wells’ novel. A note stated he was giving his story idea to me. I should write the tale, since he would not likely ever get around to it.

Wow! That could be the greatest gift one writer could give to another.

I say ‘could be’ because of an emotionally painful event that happened to me some twenty years earlier. At that time, I belonged to a different writing critique group. One other group member had written more than half of his novel. As I recall, it involved a modern-day (well, mid-1990s) nuclear attack on the United States.

Sadly, this writer died young. He had not completed writing that novel, let alone sent it to any agents or publishers.

His wife wrote to me to say how much her husband had appreciated my critiques of his work, and said he’d wanted me to finish, and seek publication of, his novel.

With a heavy heart, I had to decline the offer, but found it gut-twisting to tell his widow that. To write a story, I must have passion about it and care deeply about it and about the characters. I just didn’t feel that way in this case. Moreover, even if I’d had that enthusiasm, I would have had to rewrite large portions of the other writer’s novel to make it mine, and would have felt terrible about not honoring the deceased writer’s wishes exactly, or not living up to his hopes.

In the case of Andy’s WotW sequel, he hadn’t started writing yet. He’d compiled some notes and a rough outline, but I decided to take the story in a different direction than he’d planned. I didn’t feel badly about that, since he hadn’t begun the actual writing and my passion drove me toward the story that became “After the Martians.”

That’s the story behind the story written by—

Poseidon’s Scribe

May 15, 2016Poseidon's ScribePermalink

World War One—After the Martians

One century ago, war raged across Europe. They called it the Great War then. The year 2018 will mark a hundred years since the ending of that massive conflict. Today I thought we’d examine an alternate history scenario. How might WW I have been different if H.G. Wells’ The War of the Worlds had really occurred in 1901? My recently launched book, “After the Martians,” explores this scenario.

First, some background. In 1815, the Congress of Vienna created a sustainable peace across Europe. Half a century later, that peace had frayed. Five nations then dominated the mainland continent and vied with each other for supremacy—Austria, Denmark, France, Russia, and Germany (under Prussian leadership).

Otto_Fürst_von_Bismarck — Chancellor Otto von Bismarck

Enter Otto von Bismarck, Chancellor of Germany, who combined the ‘balance of power’ concept with a pragmatic or ‘realpolitik’ approach to foreign policy. He ensured Germany maintained a changing web of alliances with two of the other powers, while engineering a series of short wars designed to unite and strengthen the German states while weakening enemies. After each war, he’d shift the alliances, always maintaining three on his side against two on the other.

This strategy sustained a workable balance until Bismarck’s resignation in 1890, after which he predicted, “One day the great European War will come out of some damned foolish thing in the Balkans.”

After that time, the European powers armed themselves against each other and tensions increased—the so-called “powder keg.” Without any minor wars to relieve this tension, the strain increased such that even a small event could trigger a major war. That’s what Bismarck had foreseen.

So far, that’s an interpretation of how things actually happened. Let’s insert a fictional twist. Assume the attack of The War of the Worlds really occurred, in 1901. In H.G. Wells’ novel, the Martians only invaded Great Britain, but it makes no sense for a superior alien race to restrict their assault to just one country, so we’ll suppose the Martians spread their forces more widely across the globe.

In time, the Earth’s bacteria sickened and killed the alien aggressors, but only after they’d wiped out a significant portion of the world’s population. Human weaponry of 1901 had been almost useless against the Martians, so our war machines lay in ruin. However, the aliens had left behind their tripod fighting machines, heat rays, “black smoke” poison gas, and some flying machines.

The nations of Europe, then, would have faced two choices. Stunned by the devastation of the Martian War and fearful of another attack from that planet, they could have joined forces and combined their energies to prepare for another assault by a common enemy. Or they could have examined the advanced Martian military technology and used it to refill the powder keg.

After the Martians assumes, as backstory, that the latter occurred. I postulate that the same triggering event—the assassination of Archduke Franz Ferdinand—lit the fuse and set off the Great War.

Using the weaponry of Mars, WW I would have gone quite differently. Trenches would be useless against one hundred foot tall walking tripods with heat rays. Each side would have gone underground, using the Martian “assembly machines” to construct huge subterranean bunkers with hidden surface entrances.

Moreover, the heat rays and black smoke would have killed off the plant and animal life on every battlefield. There would have been vast areas of bare dirt. The combatants would have spared only the mountainous zones, since it would have been difficult to maneuver the tall three-legged fighting machines on sloped ground.

This is the (alternate) reality faced by my character Johnny Branch in my new book. As you mark the centennial of the real WW I, consider reading “After the Martians,” by—

Poseidon’s Scribe

May 8, 2016Poseidon's ScribePermalink

An Image’s Power

Joe Rosenthal’s famous photograph of Marines raising the flag at Iwo Jima is now in the news. There’s a bit of a controversy over who, exactly, is in the photograph.

300px-WW2_Iwo_Jima_flag_raising Regardless how that question is resolved, it’s a reminder of the influence certain images have on us.

I recall reading the story about Associated Press Photographer Joe Rosenthal snapping that photo—the fighting going on all around him, his sense that the flag raising would be good to capture, his swinging the camera up just in time to capture the pic, his sending it in with the rest of his photos, and the inclusion of that photo in newspapers across the country within hours.

That became my inspiration for my character Frank Robertson, in my story AftertheMartians72d “After the Martians,” published just yesterday. During the Great War, the editors of The American Magazine send Frank to the front to capture scenes of heroic American military prowess. As you follow Frank through the story, you’ll see that he thinks like a photographer, with a sense of color, contrast, texture, shadow, etc.

Like Rosenthal, Robertson goes through hell to reach the perfect spot and swings his Graflex Speed Graphic camera up just in time to snap a Pulitzer-winning shot of a lifetime.

Frank Robertson isn’t the main character of “After the Martians,” and it’s certainly not a book about photography. But the difficult work of wartime photographers such as Rosenthal does not go unappreciated by—

Poseidon’s Scribe

May 4, 2016Poseidon's ScribePermalink

Book Launch—After the Martians

Your wait is over! My book “After the Martians” is now available. No more gritting your teeth, drumming your fingers, or watching the clock tick the hours away. Even as you read this, you could be surfing over to Amazon or Smashwords and purchasing your own copy.

Not a bad idea. Stop reading this blog right now and buy the book.

Still reading this? Not yet sure you want to buy? Need a sense of what you’ll be getting first? Okay, here’s the short marketing pitch I use for press releases:

It’s an alternate World War I, with Martian weapons. Young Johnny Branch seeks military adventure, but a new and different uprising needs a hero.

This is your chance to be the first among your friends, family, and fellow members of your book club to read the latest book in the What Man Hath Wrought series. Download “After the Martians” to your electronic reader and let me know what you think of it.

Go ahead. I’ll just sit here gritting my teeth, drumming my fingers, and watching the clock tick the hours away until you submit your impressions about the book as a comment to this blog post. Your wait may be over, but it’s just beginning for—

Poseidon’s Scribe

May 3, 2016Poseidon's ScribePermalink

H.G. Wells’ Fighting Machines — After the Martians

My upcoming story, “After the Martians”—to be released this month—features the fighting machines, or tripods, of H.G. Wells’ book The War of the Worlds. In that book, the Martians assembled the machines after their arrival on Earth, and they caused considerable destruction. At the end of the novel, the Martians all died from our terrestrial bacteria.

“After the Martians” takes place in the world of Wells’ story, but sixteen years have passed since the alien attack. In my tale, humans make use of the Martian technology, especially the fighting machines, to fight World War I.

Wells depicted a fighting machine as being three-legged and about one hundred feet tall. He did not describe the carapace or main body of the machine, except to say that several flexible tentacles protruded from it. Two of these tentacles held a box with a lens from which shot the devastating heat ray. The tripod’s other weapon was a poisonous black gas.

Such a machine would have terrified the readers of 1897. Since then, the tripod from The War of the Worlds has become a science fiction icon, inspiring the walking weapons of Star Wars, the AT-AT and AT-ST. Combining huge size with the human attribute of walking somehow adds to the horror.

In The War of the Worlds, we see the fighting machines from the inferior vantage point of puny human victims on the ground. In “After the Martians,” I take readers inside the carapace as human pilots control the alien machines to battle other tripods.

I enlisted the aid of a close acquaintance to make a wonderful 3D printed version of the fighting machine. (Frequent readers will recall my 3D printed Ring of Gyges from my story “Ripper’s Ring.”) For the tripod, she used a Printrbot brand printer, the Simple (Maker) Edition, and PLA filament.

The .stl files you need to print the fighting machine yourself are on the Thingiverse site, and the design is by FuzzySadist (William Myers). I added the wire tentacles, and painted the machine to be generally consistent with my story’s description.

Very soon, I’ll give you details on how you can get your own copy of “After the Martians,” by—

Poseidon’s Scribe

May 1, 2016Poseidon's ScribePermalink

Author Interview — M.J. Ritchie

Today I’m pleased to present my interview with M. J. Ritchie, another author with a story in the anthology Hides the Dark Tower.

A lover of words, and things that go bump in the night, M. J. Ritchie’s been writing since the age of nine. She has degrees in business from Drexel University and Johns Hopkins University with experience in everything from accounting to sales. As a faculty associate at The Johns Hopkins University Carey School of Business, she has helped graduate students learn the intricacies of business processes and organizational change. In her consulting practice, she works with organizations to improve performance. Writing fiction indulges her desire to play god on a small scale. She hopes her writing will educate, entertain, or inspire her readers. She’s married and lives in Maryland. Visit her at www.mjritchie.com.

Now for the interview:

Poseidon’s Scribe: When and why did you begin writing fiction?

M.J. Ritchie: Ever since I learned to talk I’ve had a love of words and language. I began writing poetry at the age of nine and have written in various forms for my own enjoyment throughout my life. I began writing fiction with an eye toward publication a little more than a decade ago. At the time, I was working as an independent consultant on a variety of systems projects in which the only project variable that didn’t change was my deadline. Writing fiction appealed to me because it allowed me to play god on a small scale, to be the one in control. I’ve since learned that playing god isn’t easy.

P.S.: Who are some of your influences? What are a few of your favorite books?

M.J.R.: To this day, I remember the plight of the land turtle crossing the road, so vividly described in The Grapes of Wrath. I think I read that book in high school. It was my introduction to Steinbeck, who devoted a chapter to that one scene. That book made me aware of what good fiction could be and do. I made it a point to read all of Steinbeck’s works available to me at the time. I also enjoy the psychological horror of Shirley Jackson, as exemplified in “The Lottery” and We Have Always Lived in the Castle. I’ve written an homage piece to “The Lottery,” which I hope to get published. I love the Irish short stories of Frank O’Connor, and Frederick Busch’s “Ralph the Duck,” a study in understated writing that packs a wallop. I love the beautiful simplicity of children’s stories. The Velveteen Rabbit and Charlotte’s Web with their life lessons are favorites. I enjoy reading poetry too, especially when I’ve hit a writing wall. Poetry has an evocative effect that helps me work through a stumbling block.

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

M.J.R.: I don’t know that any aspect of writing is easy for me. Like Dorothy Parker, I “hate writing, but love having written.” That being said, I can’t imagine not writing. One of my biggest writing challenges is to write multi-sensory descriptions without having them seem appendages to the scene. I admire those who write scenes so that you can smell the coffee, or the manure; hear the wind or see the room and its garish furnishings. I struggle with that.

P.S.: Where do you get the ideas for your stories?

M.J.R.: Anywhere and everywhere: My own life experiences, watching people, eavesdropping, reading articles. Every once in a while, an idea just pops into my head.

P.S.: What is the primary genre you enjoy writing in? What interests you about that genre?

M.J.R.: To be honest, I don’t know that I have espoused a genre. I’m still flirting with different types of stories. I enjoy writing stories that entail elements of tragedy, lives gone awry, darkness, the supernatural, mysterious events, adversity. I have a curiosity about things that we can’t see or explain. I also am awed by people who, despite misfortune, somehow survive, succeed.

P.S.: In what way is your fiction different from that of other authors in your genre?

M.J.R.: This is a difficult question to answer because my writing is not specific to a genre. I’m interested in character and what motivates people to do what they do. I like exploring how people react to life events. Many of my stories involve a death of some kind. I don’t know if it’s because I’ve experienced the death of loved ones that I’m drawn to that topic or not, but I have a certain fascination with the subject. I also am a great admirer of the human spirit and its resilience, so my stories, though sometimes dark, are usually hopeful.

P.S.: What is your favorite story that you have written? Can you tell us a little about it?

M.J.R.: My favorite story is my novel, Emily’s Child, which is about a happily married couple whose world shatters when their eight-year- old son dies. Each grieves the loss of their son, but in different ways.

The husband, Tony, juggles the increasing demands of work, while tending to his grief. His position as the lead architect on a major project keeps him away from home and his wife, Emily. The stakes are high—this is the career opportunity of a lifetime.

When a project of her own falls through because of a trusted colleague’s betrayal, Emily feels increasingly lost and adrift. She begins acting strangely. An accident causes a psychotic break, and she is hospitalized. Here, she must unearth and confront her past.

This story of a young woman’s confrontation with death and her past is also a study of human relations. The story explores the ways that people cope with loss—some healthy, some not, and the strain that such loss places on relationships. Childhood trauma, betrayal, and mental illness are also potent themes of the novel.

P.S.: Your story in Hides the Dark Tower is “Soul for Sale,” a haunting tale of the value of that thing one shouldn’t offer on an online auction site. What prompted you to write it?

M.J.R.: Several years ago I read an article about the bizarre items people were auctioning on eBay. I remember thinking at the time that the theme might make for a good story. This idea resurfaced when I saw the submission guidelines for the Hides the Dark Tower anthology. I’ve been to the Yucatan and thought that it would be a good setting for “Soul for Sale,” which tells the tale of atheist Nicholas Marsden who sells his soul—something he doesn’t even believe he possesses—on eBay to a wealthy, attractive buyer for whom money is no object. The buyer’s sole condition of purchase is that Nicholas accompany her to Mexico on an all-expense paid trip. Such a deal, right? At the outset, Nicholas finds the whole arrangement amusing, as well as lucrative. He soon discovers, however, that this venture may involve a high price—to him.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

M.J.R.: I’m currently writing a story with the working title “Semper Fi” that’s about the casualties of war. A couple loses their only son, a young Marine, in the war in Iraq. The fallout of this terrible loss is their relationship with each other. Marva, the wife, who did not want her son to join the military in the first place, handles her grief by building a wall around her emotions. She is unavailable to her husband, Jude, who consequently enters into a brief relationship outside the marriage. Marva has to decide on how to move through her grief and whether she can forgive her husband.

My research for this story renewed my appreciation for our military and the sacrifices they and their families make. We need to remember that their sacrifices enable our freedom and the lifestyle we enjoy. While we sit eating dinner or watching TV, people are putting their lives on the line for us. No one returns home from war the same. Not all wounds are visible. These days, it’s all too easy to forget that we are indeed the “home of the free because of the brave.” We have to honor and value our veterans.

Poseidon’s Scribe: What advice can you offer aspiring writers?

M.J. Ritchie: My advice to aspiring writers and to anyone pursuing something that matters to them is to keep at it and to listen to your intuition or gut. Quiet your internal critic as best you can and don’t set up imagined obstacles for yourself such as I’m too old, too young, not smart enough, not talented enough, not whatever enough. Focus on what matters to you. Write what you enjoy writing. I have a saying hanging in my office: Dum spiro, spero. While I breathe I hope. Do the work, put it out there, and hope for the best. Save your old stuff—your rejected work that never saw the light of day. When you become famous, everybody will want to publish it. And if possible, join a solid writers group. My own group has been an invaluable source of knowledge and encouragement. They’ve kept me going when I might have given up otherwise.

Thank you, M.J.!

Readers inspired to find out more about her can visit her author website at www.mjritchie.com.

Poseidon’s Scribe

April 30, 2016Poseidon's ScribePermalink

New Book Alert – After the Martians

That’s right. I’m announcing the upcoming launch of a new book in the What Man Hath Wrought series. It’s called “After the Martians,” and the cover is sensational.

AftertheMartians72d

Here’s the blurb for the book, an alternate history occurring after the events of H.G. Wells’ War of the Worlds:

In 1901 the Martians attacked Earth, but tiny bacteria vanquished them. Their advanced weaponry lay everywhere—giant three-legged fighting machines, heat rays, and poison gas. Now, in 1917, The Great War rages across Europe but each side uses Martian technology. Join Corporal Johnny Branch, a young man from Wyoming, as he pursues his dream to fight for America. Follow magazine photographer Frank Robinson while he roams the front lines, hoping to snap a photo conveying true American valor. Perhaps they’ll discover, as the Martians did before them, that little things can change the world.

Gypsy Shadow Publishing and I are planning for a book launch in early May. You’ll find more news about “After the Martians” here at this website, so check back frequently with—

Poseidon’s Scribe

April 24, 2016Poseidon's ScribePermalink

Of Brands and Platforms

In previous posts, I’ve mentioned ‘author branding’ a few times in passing, and wrote a post on ‘author platforms.’ But what’s the difference between the two, and is one more important than the other?

First, let’s define both terms. In Brian Niemeier’s post on the subject, he quotes Jane Friedman’s definition:

Author Platform = the proven ability to reach a target audience with visibility and authority

Niemeier then cites Joe Konrath’s definition of brand:

Author Brand = the reader’s linkage of author name with a positive reading experience

To understand branding, think of the effort major corporations put into getting customers to associate the corporations’ products and logo with a happy experience.

Philip Martin has listed the ways author branding is akin to religious faith, though I wouldn’t go that far, and the analogy with religions quickly breaks down. In my view, it’s better to think of branding in the context of corporations, such as those marketing fast food or soft drinks.

Even better, think of your favorite authors. Just the act of recalling each of their names evokes the linked memories of your satisfaction with their books. For each author, you form the mental gestalt of their genre, writing style, typical settings, and common character types. The whole pleasurable reading experience comes flooding back to you upon the mere mention of a name.

That’s the effect you want to create in your readers. How do you do that? First, write great fiction. Ensure some commonality between your stories, in genre, style, settings, or character types. The more of these that are in common between your books, the more effective your branding will be, since readers will better know what to expect. You’ll achieve the consistency necessary for closer linkage of your name with your body of work. Lastly, you’ll have to do the marketing necessary to keep reinforcing that mental connection of name to experience.

Once you achieve effective branding, where a tribe of loyal readers associates your name with a great reading experience, then they will spread the word about you, and through them you’ll reach new readers. It’s that ability to reach new readers that is your platform.

Having defined and described platform and branding, what is the relationship between the two? Obviously, they’re related and intertwined. If you have a recognizable brand, you’ll have constructed a platform, which further establishes and cements your brand.

Think of platform as being from the point of view of a major publisher. Traditional publishers don’t often risk publishing works by authors who don’t already have a platform. Think of brand as being from the point of view of the reader. It’s in the reader’s mind where the desired linkage of name and experience occurs.

In my view, brand comes first, then it builds your platform, which then reinforces your brand and they snowball together after that.

That’s it, pardner. I reckon you better stop readin’ this an’ start heatin’ up your brandin’ iron. You got a heap o’ work to do, and so does—

Poseidon’s Scribe