Last week, I had the pleasure of welcoming two-time Bram Stoker Award Winner, Rena Mason and she talked about her service to the horror community and how she started volunteering for the Horror Writers Association.
This week, Girl Meets Monster welcomes writer and publisher, Brandon Scott.
Brandon Scott scribbles tales of supernatural suspense from the mountains of Western North Carolina. He is an Active Member of the Horror Writers Association as well as Co-Founder of Crimson Creek Press and Mimir Press. He has been featured in various anthologies such as, Killers Inside, 19 Gates of Hell, 25 Gates of Hell and Abandoned. His debut novel of the Vodou series was launched in 2019 by Devil Dog Press.
The soon to be released third book in the Vodou series.
Three Questions
GMM: Welcome to Girl Meets Monster, Brandon. First, let me congratulate you on the publication of your Vodou series. What can readers expect from this series? Tell me a bit about your process and what it has been like to write a series as opposed to a stand-alone novel? What inspired these books? Did you originally pitch the first book as a series, or did the series evolve after writing the first book?
BS: Thanks for having me! So, I had written Vodou (Book 1) as a stand-alone, originally. I had no thoughts on taking the story further, though I enjoyed the landscape of the world I had created. I had no real plans on coming back, but when the owner of Devil Dog Press reached out, she made it clear that it would do better as a series. So, I had this idea of a magician that I had scribbled down in a steno book many years ago and once I read over that material, it all clicked.
Vodou was inspired solely off two hitchhikers that I saw on an on-ramp to I-40 at 2 a.m. after a short third shift. As soon as I saw them, I started playing a “what-if” game and what I settled on was an early thirties Clint Eastwood type with supernatural abilities. What if he would have stopped? What if they tried to rob him? I’ve always had a thing for Voodoo and the culture, so what if he was cursed and what if he worked for Samedi, what if he was a Grim Reaper of sorts. What if he pulled over with a purpose? So, by the time I got home, I had a strong idea of what I was going for story-wise and before I went to bed I had scribbled down twenty pages in a steno pad, which was later published as a short story by Zombie Pirate Publishing, titled “Associate Boogeyman”, which was basically chapter one of Vodou.
What readers and the feedback and reviews that I’ve seen said, I don’t really read reviews, is a fast-paced trip into the supernatural. So far, many people have enjoyed it. Ultimately, it’s a love story. I think readers can expect that underneath it all. A love story. My writing process is a little weird, so I start everything in a steno book. That is where I write large sections, chapters out of order and leave Easter eggs for my future self. Once I get an idea that feels solid, I write the stories by hand in legal pads, I use fountain pens with a different color for everyday of the week, easy way to keep track of progress and it all takes a while. I have two different keyboards, a modified Velocifire mini, that is a fast fast fast typing board and I use it to pound out the “first” draft as quick as I can and that is straight dictation from the page to the screen, making only slight changes. Then I run a hardcopy and begin the editing process with my Pilot Precise inked with Noodler’s Red. I’ll do that one step about five times except with the other keyboard, Qwerkywriter S with modified keys to slow me down. On Vodou, I did a few drafts and not that process and it showed, a thing that will be fixed when I get the rights back.
GMM: Your series is the Vodou series, but there’s a circus theme to the books. What drew you to this horror trope? Why do you think so many writers revisit this trope in their work? What makes a circus scary? Do you have a personal story about a circus that freaked you out?
BS: Well, the last half of Carnival Fantasmagoria (Book 3), which is still on my desk, takes place in a stationary carnival, one of the old traveling carnivals, but they found a place to stay, so it’s all rustic. I remember being a kid and places like carnivals having that special atmosphere of mysticism about them. It’s in the air and I wanted to try to capture that and what better place for some fallen Voodoo God’s to live.
I wanna say the trope is all about the clowns, I personally love clowns, but there is a real fear for some, if not most people, but sadly I think, along with zombies, we’ve mined those avenues to death. The carnival isn’t a focal point of the story, so let’s hope no one notices. Ha-ha!
GMM: You’re one of the co-founders of Crimson Creek Press and Mimir Press. How did you get involved in publishing? What kinds of fiction do you publish? How strict are your definitions of genre? Where can interested writers find out about upcoming calls for submission?
BS: We, being Brian Scutt, Sarah Scutt, Alex Shedd and me, make up the merry band. I think I can speak for Brian here, but I personally got into this after seeing several injustices and predatory situations with other publishers. I’ve seen budding talents be squashed by our industry and long ago I was disillusioned by the whole gamut. So, at Crimson and Mimir, our #1 priority is the well being and success of the author. Our contracts are structured in a way that the author reaps the benefits of signing with us and everyone gets paid fairly and treated like they matter.
We’re not too strict and Mimir is about crime and noir and mystery, but for Crimson, we do draw the line on no gore for gore’s sake unless it pushes the narrative, no rape (unless it’s in the past, remembered by a character and/or shapes the character’s motivations or arc, but please no graphic scenes even if remembered, just no!), no pedophilia (you wouldn’t believe some of the submissions we get, no…just no!).
So, as far as Crimson goes, stay away from splatter gore and rape and pedo material, then we’ll consider it.
Our website is under construction, but the best place to scope us out is on Twitter: @Crimson_Creek (that is pushing 9,000 followers and we stay active on it!) and Mimir Press: @MimirPress. We also have a Facebook page for Crimson Creek Press.
Thank you for having me, Michelle, and again I loved Invisible Chains!! It had my Bram vote and you should get Jill on!!
GMM: Ha! Thanks, Brian. Jill Girardi is at the top of my list for folks to contact in the coming months.
“At Night” By: Brandon Scott
“Mom!” A small girl cried out, but no one heard her.
The night air blew cold against her face as she ran, but no one saw her. Her heart pounded fierce in her chest, rocking in cadence with her footfalls on the dew laden grass—but she didn’t care, because she could still see its teeth.
It’s going to get you, her big brother teased, it comes in the night and it’s hungry for little girls! And when it sinks its teeth in—
A hateful cry broke her thoughts, but her feet never slowed, pounding the ground, pounding the ground, pounding the ground.
Darkness behind her, closing in on all sides. It reared up in a thick heavy mass and it had teeth. It was gaining on her.
The little girl shook awake in her bed, breathless, in the coldest sweat, reaching for the water bottle her mother had placed on the nightstand.
A hiss rose up from the dark beyond the closet door.
In eerie stillness, she stared at the silhouette of the closed door in the night. There was nothing beyond the soundless world outside her window. For what seemed like a lifetime, she held her gaze until she was sleepy again.
SHHHHH-TA-TA-TA…
The little girl sat up; face fixed onto the oblivion. In silence she got out of bed, standing without the protection of her blankets, as her brother’s words rattled inside her head. She thought back on all the times his blankets had saved him, swearing they were the one shielding force all monsters couldn’t work around. The impossible riddle with an impossible answer she knew it to be true, as her brother had told her so. He wouldn’t lie about something as serious as monsters in the night.
With a deep breath, she began the thousand-mile dim lit walk from the safety of her bed to the closet door. Each step piercing the unknown; enveloping her into the blackness she’d left behind, cut off from all her refuge.
What a big girl you are! Her mother would say, being so proud of her effort. She could only imagine her mom’s eyes as they filled to the brim with marveled wonder, her lips beaming a smile that only a mother’s pride could offer.
The little girl’s steps came together as her journey ended. She stood alone at the mouth of the closed doorway; eyes locked on the tiny glitter shock of brass just under her outstretched hand. The knob inside her shaken grip was an icy room chill, but letting go wasn’t an option. Forcing herself to push on she pulled the door open.
So proud of my little girl! Her mother would say.
She stood in the face of emptiness, staring into a bottomless void.
Hissing echoed from behind her as she realized it had been a trick the whole time. There was never a monster in the closet, there never is. The monster was all around her. Hiding out in the shadows just out of focus in the corner of every glance she gave, and it never left her alone. Sometimes big brothers were right.
She closed the door, turning to face perfect rows of sharp white teeth. “Mom!” A small girl cried out, but no one heard her.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week, I had an interesting discussion with veteran horror writer Amy Grech on writing horror while female. If you missed it, go check out her post.
This week, Girl Meets Monster welcomes two-time Bram Stoker Award winning writer Rena Mason to talk about her writing journey and her service to the horror writing community.
Rena Mason is the Bram Stoker Award® winning author of The Evolutionist and The Devil’s Throat, as well as a 2014 Stage 32 /The Blood List Search for New Blood Quarter-Finalist. She’s had nearly two dozen short stories, novelettes, and novellas published in various award-winning anthologies and magazines and writes a monthly column.
For more information visit her website: www.RenaMason.Ink or follow her at: Facebook: rena.mason Twitter: @RenaMason88 Stage 32: Rena Mason Instagram: rena.mason
Three Questions
GMM: Welcome to Girl Meets Monster, Rena. I’ve been waiting to have you as a guest for a while and I’m glad we were able to get together. Before we jump into talking about your fragment and your writing in general, I wanted to ask you a little bit about your involvement in the Horror Writers Association. In 2019 you received the Richard Laymon President’s Award. Can you tell us about the different roles and responsibilities you’ve had or are currently performing in the HWA, and why this award is such an honor? Have you won any other awards for your service within the organization? When did you first become a member of the HWA and when did you decide to become a more active member of the community? What advice would you give others on how to become more active within the community?
RM: I’m honored to be among the authors you’ve had on Girl Meets Monster. Thank you for having me, Michelle. I’d finished my first novel, which wasn’t The Evolutionist, in 2009 and didn’t know where to go from there or what I needed to do in order to get it published, or even if it was publishable, so I started Googling and then attended writer events, the first being the Pacific Northwest Writers Association event. It was a strange experience, and even though I enjoyed it and learned a bit, I didn’t feel it was exactly right for me. Huge crowd, and not a very diverse one. There was well over a thousand people there. One lady sat next to me, looked at my badge that had Sci-Fi and Horror printed on it and then she got up and left. I glanced at her badge before she bolted—Romance. I know not all romance writers behave that way, but for a very new writer at her very first writing convention of any kind, I’ll admit that stung a bit and has stuck with me since. Long story short, I finally got to a horror writer event. KillerCon was my first in the genre and after that first one, I volunteered to work registration at the next few because I thought that would be the best way to meet people and remember their names. It worked for the most part, although I’m still terrible at remembering names. After deciding these were fellow genre lovers and friendlier folks, I started attending other horror events and was encouraged to join the HWA by people I’d met. I volunteered to work registration and more at their events as well, but after the events were over it was hard to stay in touch with my new writer friends and meet more new ones (I was very new to social media then and am still not very good at it), so I thought volunteering within the organization would help get me more comfortable in this whole new writing world I knew nothing about. I’ve made so many wonderful, lifelong friends in the horror community that they’ve become more like my family. It has meant a lot to me both personally and to my growth as a writer and I wanted to return that in some way, and that’s why I volunteered and have worked so hard over the years alongside so many others, and I’m proud of what we accomplished together. I think I became an HWA Supporting member around 2010 and volunteered to do data entry as the Compiler, and then became head of that department after a couple years, and then I was asked to become one of the awards chairs, finishing my 9+ years serving on the awards committee in 2019. The Richard Laymon Award is a volunteer service award given by the current President of the HWA for “exemplary service and dedication to the organization.” I also received the Silver Hammer Award in 2014, which is another service award given to volunteers who do a “massive amount of work, often behind the scenes.” The organization is always reaching out for volunteers. Whether you’re serving as a mentor or a juror, they’re great ways to meet other people in the community. Attending the events, and volunteering to work them, and volunteering to work in organizations, was and is a great way to network and best of all, make friends.
GMM: When you began your writing career, did you always envision yourself as a horror writer or did you have other goals in mind? What was the first horror story you wrote, and what inspired it? As a woman of color writing horror, have you encountered any obstacles along your journey of becoming an established writer? If so, how did you overcome them?
RM: Being such a big fan of horror and dark sci-fi and fantasy, I knew that whatever I wrote, it would be dark and have horror woven throughout. I started out writing what I enjoy, and that hasn’t changed. The first horror story I ever wrote was a dark fantasy. I was inspired to write it by something my mom had said after my younger sister died in a car accident. And no, I won’t say what it was, but it wasn’t anything bad. I’ll get back to finishing that story one of these days. It’s a very personal story and I wasn’t ready to write it before, but I’m getting there. If there were any obstacles in my becoming an established horror writer, I can’t list any specifically that are related to my being a woman of color that I’m aware of. Any obstacles I felt I overcame were because of my writing and where I was at in my writing career.
GMM: Your excerpt reminded me of some of the experiences the protagonist in Octavia Butler’s Kindred has when she finds herself in the past and has no idea how she’s gotten there. The idea of waking up to discover physical evidence on your body from something you thought was part of a nightmare really is terrifying. Without too many spoilers, can you tell us what’s happening to your protagonist? Did actual events inspire this story? Were you influenced by the work of any other writers?
RM: Kindred is such an amazing story. The way Butler moved Dana and Kevin through time and the way time itself was a changeable character in the story with so many deep and rich layers. I’m smiling ear to ear that you mention my excerpt reminded you of some of the experiences. In my story “Of Earth and Bone” the main character, Qieng, was sent to assay an abandoned and crumbling part of the Great Wall in the desert for a future tourist site possibility. In his gut Qieng knows it’s a punishment for having an affair with his commanding officer’s wife. In his gut Qieng knows he’ll likely die there. In the heat, with his water supply dwindling, he finds himself back in time to when they were building the Great Wall. He’s one of the workers, being treated the way those who built the wall were abused. When he returns to the present time, he records what he’s seen in his journal. What happens to him in the end is karmic in that he was not an innocent character. His journal, which has in essence become his spirit, is able to exact its revenge. A lot of Chinese stories and folktales end this way, everyone dies/no one wins, to keep balance, and I know that has a huge influence on my writing. I think everyone I’ve ever read from nonfiction to fiction has had an influence on me that I interpret in my own way on the page. This has been fun. Thanks again for having me.
Excerpt from “Of Earth and Bone” in the anthology The Forsaken: Stories of Abandoned Places published by Cemetery Dance in 2017.
“Get up, dog! No sleeping. Only work. Bring those rocks over there!”
Clouded in a sleep haze, I looked up at a man standing over me, yelling and pointing. The bright sun behind him shadowed his face.
“What?” I said.
The man raised his arm then brought it down. A hard, sharp sting struck my shoulder. I scrambled onto my feet.
“You heard me,” the man said. “Now get moving or I’ll have the other dogs put you between mud and stone!”
A crack, then another surge of pain through my arm as the man whipped me again. Worn and beaten men trudged past in lines behind the one with the whip. Hunched over they carried large stones and bramble. I hurried in the direction from where they came.
My tent had vanished. The wall section appeared crude and low. Men moved their loads to the north end.
“Hey you,” I said to one of the workers walking past. The man kept his head down and rushed on. Everyone else ignored me or turned away if I approached.
Sun seared the bleeding lashes on my arm and shoulder, slowly cauterizing them, cooking the split wounds open. My white uniform shirt had already browned from the previous day’s digging. The green trousers I wore had powdery tan dirt coating them. Everything worn and raggedy. But my boots and socks…where were they? Had I taken them off when I laid down to rest? I couldn’t remember.
Hot ground burned my bare feet from below and the sun’s rays heated everything above. Any sweat from exertion evaporated too quickly to cool my body. How could these men work in the high heat of day?
By the time I got to the front of the line, I’d had two dizzy spells. A haggard man handed me a large rock and a dried branch of saxaul. Blood in various stages of drying stained what remained of his shredded clothing.
“What’s your name?” the man said.
“I’m Major Qieng—”
“Shush. Speak no more.” The man looked around, lowering his voice to a whisper. “Don’t tell anyone else you’re a soldier. They’ll treat you worse. Believe me, I know. My village rose up against Emperor Wu, and now I’m the only one left. I’m Niu.”
“Emperor Wu? From the Han Dynasty?”
“He’s Han, yes. I’ve never heard of dynasty, though. Is that a new place?”
“What? No.” I thought for a moment on my history lessons.
“It was Wu’s armies that destroyed my village and brought anyone still alive here. Every day since I’ve watched my neighbors and family members die, their bodies used to build up the old wall.”
“Old wall?”
“You two!” The work master stood above them and shouted down.
Niu flinched and shoved the rock and tree branch into me. “Take these and follow the others. Look busy when Feng comes around. He’s heavy-handed with the crop.”
Thinking it lighter, I armed the wood using my injured side. It weighed me down nearly as much as the stone. The course bark of the sauxal and abrasive rock tore through my shirt and scraped my skin.
As I walked in line and kept pace with the others over hot ground, I raised my eyes. Barren desert wasteland dotted with greenery went on for miles in every direction; more than I remembered from when I’d set up camp to survey it. The surrounding hills lower, as well as the wavy sand dune layers that crept toward the wall.
Niu spoke in a crude dialect of old Mandarin, but I’d assumed him an uneducated laborer from a desert village. The more I thought on it, I wondered if I’d become dehydrated and delirious. Besides ruined clothing and slash marks across exposed areas of their skin, the people’s attire looked old, ancient even. I’d thought Niu might be deranged when he’d told me about Emperor Wu, but perhaps he was right and I wrong. Had I somehow traveled to the past? Maybe I’d gone mad.
The most profound evidence stood before me. A long ridge of packed earth that rose only three feet high, lower in some areas, stretching across the desert plain. Very different from the section where I’d staked my tent. These men were tasked to raise the dirt mound with rocks and whatever else nearby that might lend strength to it. Then I passed three wooden carts on my way to the end of the wall, unusual for their primitive wooden wheels. Niu would have more answers, so I rushed back.
“You there! Stop!” the work master said.
Everyone halted. A quick glance up revealed no one on the wall. I turned my head and heard a whoosh before a sharp pain raced across my shoulders. Then another came, slightly lower.
“First you don’t move and now you want to hurry?” said Feng. The task master continued thrashing until my entire back throbbed and I fell over.
—I’ve no idea of the actual date or time.
I woke from a nap with wounds I received during a nightmare. Pain keeps me from getting up and working much, but I did manage to dig down another foot when I came across small bundles of old rope. I’ve placed them into the pack along with the broken bones.
My dreams have become increasingly realistic. I fear I may be suffering fromdehydration. As fast as I’m going through the water supply, I’m beginning to doubt I will lastuntil the end of the week. It seems I may have stumbled upon some type of wormhole and am able to travel back into the past. This desert section of the Great Wall is a gateway. On the other side is Hell.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week, I chatted with Donna J. W. Munro about her writing process and her debut novel, Revelations: Poppet Cycle 1, which you can purchase on Amazon.
Amy Grech has sold over 100 stories to various anthologies and magazines including: A New York State of Fright, Apex Magazine, Beat to a Pulp: Hardboiled, Dead Harvest, Deadman’s Tome Campfire Tales Book Two, Expiration Date, Flashes of Hope, Fright Mare, Hell’s Heart, Hell’s Highway, Hell’s Mall, Needle Magazine, Scare You To Sleep, Tales from the Canyons of the Damned, Tales from The Lake Vol. 3, Thriller Magazine, and many others. New Pulp Press published her book of noir stories, Rage and Redemption in Alphabet City.
She is an Active Member of the Horror Writers Association and the International Thriller Writers who lives in New York. You can connect with Amy on Twitter: https://twitter.com/amy_grech or visit her website: https://www.crimsonscreams.com.
Three Questions
GMM: Welcome to Girl Meets Monster, Amy. Here we are at the beginning of a new year. Many of us are setting our intentions, making plans, writing down our goals, and getting down to business. What writing goals have you set for yourself this year? Are you currently working on any projects that will be released in 2021? What would your ideal writing year look like?
AG: I’m working on final edits of my noir novella set in New York City and also a dystopian novella set in the not-so-distant future that features: A Golden Ticket. A Gathering. A four-hour eating orgy. Cyanide. “Willy Wonka and the Chocolate Factory” meets “The Hunger Games”. One of my main goals is to find suitable publishers for both novellas.
Yes, my poem, “Orange Julius”, will grace the pages of the Hell’s Mall anthology; “Perishables”, a flash piece, has been picked up by Flashes of Hope; and “Cold Comfort”, will be included in The One That Got Away anthology from Kandisha Press. My ideal writing year would have me appearing at several conventions, as well as working on several projects with an eye towards placing them with publishers for publication this year or in 2022.
GMM: Horror can mean a lot of different things to different people. How do you define horror in relation to genre fiction and where do you fall in the spectrum? When did you first think of yourself as a horror writer? What experience confirmed it for you?
AG: For me, writing horror is about telling stories where the characters are at the forefront, experiencing a range of emotions: whether it’s abject dread, or sheer, visceral terror. If I’ve done my job well, my readers will feel every emotion. Quality horror is multi-layered, like an onion, delivering subtle scares, as well as visceral visions that linger long after the reader turns the final page.
Genre fiction on the other hand, encompasses popular, commercial, or category fiction. It usually follows traditional formulas for plot and character arcs. Genre fiction is more literal with fewer obscure symbols and allegories. It’s more of a quick read, the equivalent of literary fluff—there’s no intellectual value and it can be cloyingly sweet.
I first thought of myself as a horror writer when I started writing short stories in high school. I attended Ithaca College in Upstate New York, where I majored in English, with a minor in Writing. I was fortunate that one of the electives offered was the Literature of Horror, where I was introduced to the work of Shirley Jackson, Franz Kafka, H.P. Lovecraft, and Mary Shelley. My first professional sale was to Shade Rupe’s Funeral Party II, way back in 1997, cemented my status as a working horror writer!
GMM: You’ve been writing horror a long time and you’ve got an impressive list of publications. What obstacles if any did you encounter as a new writer? What changes have you witnessed over time that have made it less difficult for female horror writers to get their foot in the door and get paid for their work?
AG: When I first started submitting my stories to small press publications and didn’t know any better, I was content to be compensated in the form of contributor copies, thrilled to see my name in print…The first and only time I fell for this was with a story I had published in a publication called 69 Flavors of Paranoia. I quickly learned that writers should be compensated for their work in the form of cold hard cash.
When I first submitted my stories for publication, I encountered lots of rejection. Uncertain if this was because I was a woman, or due to the fact I was new to the genre, I eschewed self-doubt and quickly progressed from form rejection letters to the inclusion of personal comments, which proved quite useful. As the submission process evolved from via snail mail — don’t forget to include a SASE — to email, and ultimately Submittable, I grew bolder, grateful for Editors’ insightful comments, which enabled me to grow as a writer and submit my work to another market, where it was usually accepted.
When I first started out, I felt a bit intimidated by all of the male horror authors gathered together. I had male horror authors come up to me and ask, “Who are you here with? Where’s your boyfriend? I would muster up some courage and say, “I’m here promoting my work. Come check out my reading at 3:00 p.m.” And some of those guys would show up and admit afterward that I’d managed to scare them.
I received an invitation to attend I-CON a convention that was held at SUNY Stony Brook in 1998, an actual letter in the mail — this was before social media’s heyday, though, I did have a website back then — as an author guest and returned several times, it was here that I met the incomparable Linda Addison, one of the rare female horror authors there, and we became fast friends, appearing on several panels together! This was also where I garnered my first handful of loyal fans, who purchased my books and inquired on what I was working on. Such an exhilarating feeling, to be sought after!
After several of my stories found homes in various magazines, I challenged myself to send stories to anthologies and have been published in several. Such an honor when Editor Billie Sue Mosiman invited me to submit a story to Fright Mare, an all-female author anthology published in 2016, that featured stories by: Nina Kiriki Hoffman, Elizabeth Massie, Kathryn Ptacek, Loren Rhoads, Lucy Taylor, just to name a few. Twenty authors in all. It’s a fantastic compilation that demonstrates that women can write frightfully-good fiction!
In the 2000s, I noticed more and more publishers were more amenable to publishing work by female horror authors, and the genre once a boy’s club began to welcome women into the fold based on the merits of their poignant prose. Gradually warming up to female horror authors’ contributions.
“Midnight Munchies” by Amy Grech
Tyler: I’ve got the Midnight Munchies.
Josh: So eat something…
Tyler: I already ate all of the perishables.
Josh: Perishables??
Tyler: Milk, ice cream, cold cuts, cheese, fruit, and vegetables.
Josh: You must be hangry.
Tyler: You have no idea.
Tyler: I had to choke down uncooked baked beans.
Josh: Nasty!
Tyler: Jasmine’s gone.
Josh: Where did she go?
Tyler: She fell on her way down to the basement.
Josh: Is she OK?
Tyler: Not really.
Tyler: The heel of her shoe got caught when she ran downstairs.
Tyler: When Jasmine tumbled to the bottom of the stairs,
Tyler: she broke her neck.
Josh: Tough break.
Josh: What was her rush?
Tyler: We were scrambling to take cover before the incident.
Josh: What incident?
Tyler: You know — the Cubans dropped an atomic bomb 72 hours ago.
Josh: Right.
3 minutes later
Josh: Is there anything you can do for her?
Tyler: Jasmine’s dead.
Josh: Yikes!
Tyler: She’s been laid to rest.
Josh: May she rest in pieces.
Tyler: Not cool, Bro.
Josh: My bad.
Tyler: We were together for 2 years.
Tyler: Almost an eternity…
Josh: No doubt.
Josh: Where??
Tyler: The walk-in freezer is her final resting place.
Tyler: She’ll keep nicely.
Josh: Why is there a walk-in freezer in the basement?
Tyler: My Dad is a Chef.
Josh: Nice!
Josh: The power is out.
Tyler: There’s a propane-powered backup generator.
Josh: Yeah. I could sure use one of those right about now.
Josh: I’m the basement now.
Tyler: Good.
Tyler: Where are your parents?
Josh: They’re out of town for the weekend.
Tyler: Where did they go?
Josh: California.
Tyler: Sorry, bro. They probably got incinerated in the blast.
Josh: I know. Where are your parents?
Tyler: They didn’t make it down basement in time.
Tyler: They got caught in the moment.
Josh: That’s rough.
Tyler: Ironic. My Dad the Chef burned to a crisp.
Tyler: My Mom, too.
Momentary silence.
Josh: Do you have everything you need?
Tyler: I think so: Several gallon jugs of water.
Josh: Check.
Tyler: A kerosene lantern from the mall.
Tyler: What have you got to eat?
Josh: Turkey Jerky and some Kind Bars.
Tyler: What Kind are they?
Josh: The Kind Bars?
Tyler: Yup.
Josh: Does it matter?
Tyler: I guess not.
Tyler: Do you have light?
Josh: I’ve got a bunch of flash lights.
Tyler: I have a set of my Dad’s Chef’s Knives.
Josh: What for?
Tyler: There’s no telling what survived.
Tyler: Do you know what radiation may have done
Tyler: To the neighborhood dogs and cats?
Josh: I have no idea.
Tyler: The ones that survived are probably rabid and famished.
Tyler: If I have to, I’ll use the knives to defend myself.
Josh: Did you block the windows?
Tyler: I covered them with plywood.
Josh: Smart.
Tyler: I’m resourceful.
Tyler. My Dad taught me that.
Josh: Respect.
5 minutes later.
Tyler: I’ve been consumed by Jasmine’s passion.
Josh: All the feels.
Tyler: Jasmine has been consumed by my hunger.
Josh: OMG!
Tyler: She wanted it that way.
Tyler: Trust me.
Josh: Classy.
Tyler licks his lips.
Tyler: It brings us together, body and soul…
Josh: Wut??
Tyler: With a heavy heart, I slice pale pink meat
Tyler: into translucent strips with a Chef’s Knife.
Josh: Seriously?
Tyler: My tears run down Jasmine’s cheeks
Tyler: as I gently place them down on a dish of
Tyler: delicate, fine Bone China with pale, pink roses.
Josh: Bro, no words.
Tyler: I chew every morsel slowly, relishing the poignant
flavor of my last meal, fresh off the bone.
Josh: Who says it’s your last meal?
Tyler: I’m tapped out — there’s nothing left.
Tyler wipes his mouth with the back of his hand.
Josh: Whoa! That’s dark.
Tyler: Just being honest.
Tyler: Jasmine’s thighs are a bounty of the sweetest meet I’ve ever tasted.
Josh: I can’t believe you ate Jasmine!
Tyler: I’m not finished with her, yet.
Josh: Bro?!
Tyler: I’ve already devoured the succulent meat on her rump, arms,
Tyler: breasts, lower legs, toes, and fingers.
Tyler: I have a newfound respect for finger food.
Josh: Did you put a ring on it?
Tyler: I did. Wanted to tell you, before
Tyler: all of this happened.
Tyler: I kept the diamond engagement ring as a memento.
Josh: Word.
Tyler: A girlfriend is a terrible thing to waste.
Josh: Just deserts.
[separator] 10 minutes later
Josh: I miss the comforts of home.
Tyler: You’re such a Mama’s Boy.
Josh: Bro, that’s cold.
Tyler: Just Joshing.
Tyler: [smile emoji]
Josh: [eye roll emoji]
Tyler: I miss the sun.
Josh: [sunglasses emoji]
Tyler: I miss Netflix.
Josh: [popcorn emoji]
Josh: I miss my parents.
Tyler: Ditto.
[separator]
Josh: I can hear some critters outside, near the basement.
Tyler: Uh-oh.
Josh: They’re yowling and growling.
Josh: It sounds really bad.
Tyler: Did you cover the windows.
Josh: Just with duct tape — I hope it keeps them outside.
Tyler: [fingers crossed emoji]
5 minutes later.
Tyler: Something just chewed through the plywood!
Tyler: It’s in the basement!
Josh: That’s not good, bro.
Josh: Is it a cat or a dog??
Tyler: Hard to tell.
Tyler: It’s growling.
Tyler: and it’s headed straight for me!
Tyler snaps a picture with his smartphone.
He takes a quick look.
Tyler: No, that’s my cat, Smoky.
Josh: How can you be sure?
He sends Josh a picture of his cat.
Tyler: You can see the name tag on his red collar.
Josh: Yeah.
Tyler: Smokey doesn’t look the same.
Josh: Poor little guy. His fur is caked with blood.
Tyler: And he’s drooling.
Josh: He looks very hungry…
Tyler is trembling.
Josh: Grab a knife!
Tyler: Already on it.
Tyler lunges for a Chef’s Knife on the butcher block.
It slips from his fingers and clatters on the cold concrete.
Tyler: I dropped the knife. I— Josh: Tyler??
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Happy New Year! Before Fiction Fragments took a short break to celebrate the holidays and regroup after a monumentally challenging year, I featured an excerpt from Deesha Philyaw‘s short story, “Peach Cobbler.”
Now, we’re back. It’s 2021 and Girl Meets Monster has some great writers lined up for the month of January, including this week’s guest, Donna J. W. Munro.
Donna J. W. Munro’s pieces are published in Dark Moon Digest # 34, Flash Fiction Magazine, Astounding Outpost, Nothing’s Sacred Magazine IV and V, Corvid Queen, Hazard Yet Forward (2012), Enter the Apocalypse (2017), Beautiful Lies, Painful Truths II (2018), Terror Politico (2019), It Calls from the Forest (2020), Borderlands 7 (2020), Gray Sisters Vol 1 (2020) and others. Her upcoming novel, Revelations: Poppet Cycle 1, will be published by Omnium Gatherum in 2021.
Order Donna’s novel, Revelations: Poppet Cycle 1, here: Amazon
GMM: Welcome to Girl Meets Monster, Donna and Happy New Year! Here we are at the beginning of 2021 and I’m sure we’re all hoping for a frest start and a less traumatic year than 2020. What exciting things do you have planned for the new year? What projects are you working on, and what writing goals are you setting for yourself?
DJWM: Happy New Year to you, too. I have a whole lot of hope that things will be better. I mean, the real world shouldn’t be weirder than things we are writing, right? It has been. I felt like we were living in American Horror Story for the last four years.
I’m excited that you’re interviewing me today, because my first novel is out tomorrow! Revelation: Poppet Cycle Book 1 is the first in a trilogy I’m working on, so most of 2021 will be rewrites of book 2 and 3. Besides that, I write a flash fiction story every weekend as part of the Obsidian Flash Writers Group. As far as goals, I think I’m shooting for at least 12 short stories published in 2021. Beyond that, I hope to stay well, get vaccinated, and start hanging out with my Convention friends again. Man, I miss my nerd fam so much!
GMM: Tell me a bit about your fragment. IS it more difficult writing from the POV of a guinea pig than it is for a human, or did you simply imagine Muffin as a human while writing this piece? What was your process like, and what inspired the story? Why a guinea pig?
DJWM: “He Ate It” is a story I wrote as part of a challenge at Obsidian Flash. We post images there to spark our weekly stories and then share them with each other for critique. One week the prompt was a guinea pig. That, combined with the my anxiety over our current US politics, created Muffin the meglomaniacal guinea pig. His voice wasn’t hard to come up with, since it’s the internal voice I imagined that our President might have. I had a whole lot of fun trying to think about what obstacles would stand in the way of a guinea pig trying to become ruler of the world. The absurdity of its lack of experience and not knowing how big the world is, but still wanting to rule it as it’s first act of sentience tickled my writing fancy. The hubris he had was super fun to write, especially since I got to slap him in it. It’s not a perfect story and the Neitzche joke at the end might be a bit flat, but it makes me cackle every time.
GMM: Tell me about your most challenging writing project to date. Was it a short story or a longer piece of fiction? What roadblocks did you encounter while writing it? How did you modify your process to complete the piece? Did you publish it?
DJWM: Novels challenge me. I force myself to write one every year because I’m told that’s where the big money is (all the writers I know are laughing along with me right now). Short stories naturally come to me. Good or bad, if I sit down to write a short story, one comes out. But novels! Holy cookies, there’s so many moving parts. Continuity and plot vs character arc and description and action and subtext–Oh my! That’s why I surround myself with brilliant people that catch me when I’m lazy. My beta readers are great, but Anna LaVoie of Literally Yours Editing is my savior. Honestly, if you are a writer and you want to make your plot sing, developmental editors like Anna are so, so worth it. My process now includes two to three rounds of Anna combing through my writing and asking hard questions that kill the stupid plot devices and melodrama. She’s incredible. The result of this new process is the beginning of my trilogy that’s dropping tomorrow, Poppet Cycle. Revelation: Poppet Cycle Book 1 has been in my hard drive for probably twelve years. I dusted it off after meeting with Johnny Worthen of Omnium Gatherum a couple of years ago at HWA’s Stoker Con and now it’s about to be born.
Novels are hard. You know what I’m talking about with your fantastic debut Invisible Chains.Writing is just one part of the job. Then, there’s marketing. And keeping track of businessy stuff, which isn’t my thing. I will learn though! Might take the rest of my life, but I’m on it.
Roadblocks? Everything is a potential roadblock. Time crunches, bills, kids, cats, day job as a teacher, depression, shiny things that keep me from putting my butt into the chair and getting work done. How about the fact that all writers are really two people inside. There’s the hopeful creative who keeps throwing out new ideas, even when you need to just focus on the one you are working one. Then there’s the vicious editor. No real life editor I’ve ever met acts like the editor I have inside my own head. It’s the voice that tells me I’m too old to make it as a writer or that my words are childish and no one will ever want to read them. That voice is useful when you can tame it into a true editor voice, but mostly it’s the worst roadblock of all. It takes away joy from the process. It belittles your efforts. No matter how many successes you have it makes you wonder if you’ll ever have another. That little monster is tough to tame.
HE ATE IT by Donna J. W. Munro
Muffin became self-aware on Saturday at 8pm. Until then, he’d been a carefree guinea pig occasionally living with a stinking cage or water, tinged green. Overall, he’d been well cared for. His human, a female juvenile, picked him up and cuddle warm sweet skin to his fur. This time he realized that he’d never have a better chance. He bit her soft throat where heat thrummed closest to the surface. Fluids gushed from her wound, red gouts wetting him. Her little hands dropped him as they struggled to cover the terrible wound. Exactly as planned.
Her screams drew the larger humans into girl’s room– exactly as planned– and Muffin rushed out the door into the larger world. He hid himself beneath a thing with metal springs and wooden slats and padded with lovely fluff, though it all smelled like human ass. He watched the humans rush by with the little one clutched between them. As they ran, they voices squeeled as he’d done when he’d been a dumb beast. He couldn’t blame them their weakness. After all, he’d attacked their young. But Muffin’s own history taught him that some young must be eaten for the benefit of the stronger. He’d eaten his nest brothers and sisters to keep the milk only for him.
They left and, exactly as planned, Muffin had conquered the world. He waddled into the food room, drawn by the bitter odor real food. Not the tough pellets the young female put in his cage. A tall machine hummed and rattled, doing business Muffin didn’t care to understand. Only the room’s obstacles concerned him. He sniffed the edges of the room, taking in the potential bolt holes as he sought food and water. High above him, the scent of fresh water falling in ringing drips wafted down, but the wall before him rose as a sheer monolith. Somewhere up there sat a bowl of fruit– he remembered seeing it when the female adolescent carried him. Now the cloying sweet of the fruit filled his nose full. He needed to climb the cliff, but how?
He noticed on the floor a bowl of slimy water and a bowl of kibble that reminded him he wasn’t alone. He slunk over to the flapping entrance in the middle of a closed door. It smelled like the other animal. Could he convince the dumb beast to help him reach the food and water, through tricks or taming. Or would the beast be so mindless he’d need to eliminate him? Muffin wanted to assess the situation. He tumbled through the flap into a cold, hard-floored room that smelled of bitter things and danger. Muffin sneezed the scent out of his nose. In the corner, a massive beast lay curled on a stinking pillow. Muffin’s heart hammered as he considered the it.
He sheltered behind a leaning chalky cliff, watching the beast take deep breaths. It had a pointed nose and long legs. So many times bigger than he. Muffin swallowed down the urge to run. Hadn’t he defeated the humans? Hadn’t he conquered the whole world? This creature would work for him or Muffin would kill him. With that thought, he scuttled forward, following the outline of the wall toward the corner the beast lay in. The closer he got, the stronger the creature’s musky scent. Muffin knew this beast from when the human played with this it in front of his glass-fronted prison. Named Nee-chee or some such, it leapt and capered and carried toys in its mouth like a giant imbecile. It could be trained, therefore Muffin just needed to figure out how.
“See here, beastie,” Muffin said, tapping on the wet, triangular nose before him. “Wake up.”
Its eyes snapped open and its lip curled over sharp teeth. But Muffin had come too far to let fear stop him.
“I defeated the humans. Sent them scurrying. Now, I’m the master of this house. You’ll serve me as you served them. Do you understand?” The creature nodded, teeth parting and tongue sliding out with panting breaths.
“I need food and water. Both are high up. You’ll let me ride your back to get up.”
The beast tilted its head, in deference. Muffin’s spirits soared and he hurried toward it, to climb its back. Then the best fixed his gaze on the exposed Muffin near it’s flanks and snorted.
“Why would I help the one who injured my little human? I’ve been training her for years. Foolish rat thing, do you think you are the only self-aware being in this place? ‘Battle not with monsters, lest ye become a monster.’” The tall beast lifted itself with a languid stretch.
“Or perhaps you’ll have to deal with a monster,” he said, smiling.
Muffin squealed and started to dart away when one massive paw pinned him to the cold floor. “What will you do to me?”
“Why worry about such things, little mote? I’m the abyss and I’m finished looking into you.”
His massive jaws encircled Muffin’s head, crunching down. Thus, Muffin was self-aware no more.
“I’m going to kill that rodent,” the woman said as she carried her bandaged little girl into the house.
“We’ll have to find it. Could be anywhere by now,” the man whispered, opening the door to the child’s bedroom so his wife could lay the child in bed. Stitches and shots and blood transfusions left their mark. She’d be scarred and fearful, but she’d survived. They checked under the bed, hugged their girl, and shut the door.
The man began searching for the Guinea pig under the couches, but the tick-tack of the dog’s claws across the wooden floor caught the wife’s attention. “Oh, my poor puppy. Are you hungry, Nietzsche Dog? Want dinner?”
The dog woofed and lay the head of the guinea pig at her feet. He grinned up at her, his grey schnauzer mustache stained red with the blood of the dead conqueror.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week I had the pleasure of chatting with Christopher Golden about his new novel, Red Hands.
This week, Girl Meets Monster welcomes National Book Award finalist Deesha Philyaw.
Deesha Philyaw’s debut short story collection, THE SECRET LIVES OF CHURCH LADIES, is a finalist for the 2020 National Book Award for Fiction. The collection focuses on Black women, sex, and the Black church. Deesha is also the co-author of Co-Parenting 101: Helping Your Kids Thrive in Two Households After Divorce, written in collaboration with her ex-husband. Her work has been listed as Notable in the Best American Essays series, and her writing on race, parenting, gender, and culture has appeared in The New York Times, The Washington Post, McSweeney’s, The Rumpus, Brevity, dead housekeeping, TueNight, Apogee Journal, Barrelhouse, Harvard Review, The Baltimore Review, Electric Literature and elsewhere. Deesha is a Kimbilio Fiction Fellow.
Three Questions
GMM: Welcome to Girl Meets Monster, Deesha, and congratulations on your nomination for the National Book Award for Fiction. Tell me about your collection of short stories, The Secret Lives of Church Ladies. Where do the stories come from? Which stories are your favorites in the collection and why?
DP: Thanks, Michelle! The stories come from a few places: a deep nostalgia that I have for my childhood, growing up in the South; memories of growing up in the church, and in particular, of church women; memories of women outside of the church, including my mother and my grandmother; and primarily, my decades-long interest in dissatisfied women, driven by my own dissatisfaction at various periods in my life. I love all the stories in the collection, but my favorites are “Peach Cobbler,” because the main character and her awful situation just get inside you, and lots of readers have told me that it’s their favorite; “How to Make Love to a Physicist,” because it’s a nerdy love story with a happy ending in an otherwise fairly dark collection; and “Jael,” because the main character is incredibly brave, and I just want to hug her.
GMM: The Church plays an important role in Black communities in the United States, and has almost become a trope in fiction about Black people since it seems to be such an integral part of culture. I didn’t go to church as a kid and didn’t have the experience of going to service on Sundays. What would you tell a heathen like me about The Church and why it is important to Black communities?
DP: It goes back to slavery, when belief in a better life to come sustained our ancestors. At the same time, for some enslaved people, Christianity fueled rebellion. Post-Emancipation, the church became a cornerstone of Black community; the first schools for freed people were in churches. HBCUs grew out of churches. And of course, the church was at the crux of the Civil Rights Movement. And now, even as the church holds less sway in the lives of younger generations, it’s influence is still felt–sometimes for better, sometimes for worse. And it’s important to note that Black Christians are not a monolith, though we typically think of the conservative Black evangelical denominations when we talk about “the” Black Church.
GMM: Many writers create stories based on personal experiences and even base characters on people they know. The vampire in my novel, Invisible Chains, is based on a real person with the same name. Not to put you on the spot, but is anyone from your past or who you currently know going to read these stories and say, “hey, that story is about me”? Will they be happy, or will they be upset?
DP: The story “Dear Sister” is about five half-sisters who have the same father. I have four half-sisters. There are aspects of that story that are drawn from our lives, but not in ways that any of my sisters would point to a character and say, “Hey, that’s me!” I wanted to respect their privacy, so I started with a premise that reflects our real-life situation, but fictionalized from there. One of my sisters is a nurse, but she is nothing like Tasheta! Also, there’s lots of mother-daughter stuff in these stories, some (but not all) of it influenced by my complicated relationship with my late mother. But there’s no mother character that’s my mom, and no mother-daughter situation that is us. I lost my mom to breast cancer in 2005, and even though we made peace before she died, there was emotional unfinished business that it seems I needed to work out in these stories. There are pieces of me and pieces of us sprinkled throughout, and that happened organically, subconsciously. I didn’t set out to write a collection about mothers and daughters, but that’s what it is, in some respects.
Also, “How to Make Love to a Physicist” was inspired by a real person, a physicist who I had a crush on. Alas, the crush was unrequited, but my interest inspired this story. This person knows he inspired the story, and he gave me some technical help with the science stuff in it.
A fragment from “Peach Cobbler,” a story from Deesha’s short story collection, The Secret Lives of Church Ladies
My mother’s peach cobbler was so good, it made God himself cheat on his wife. When I was five, I hovered around my mother in the kitchen, watching, close enough to have memorized all the ingredients and steps by the time I was six. But not too close to make her yell at me for being in the way. And not close enough to see the exact measurements she used. She never wrote the recipe down. Without having to be told, I learned not to ask questions about that cobbler, or about God. I learned not to say anything at all about him hunching over our kitchen table every Monday eating plate after plate of peach cobbler, and then disappearing into the bedroom I shared with my mother.
I became a silent student of my mother and her cobbler-making ways. Even when I was older and no longer believed that God and Reverend Troy Neely were one and the same, I still longed to perfect the sweetness and textures of my mother’s cobbler. My mother, who fed me TV dinners, baked a peach cobbler with fresh peaches every Monday, her day off from the diner where she waited tables. She always said Sunday was her Saturday and Monday was her Sunday. What I knew was that none of her days were for me.
And for many of those Mondays off and on during my childhood, God (to my child’s mind) would stop by and eat it—the entire 8 x 8 pan. My mother never ate any of the cobbler herself; she said she didn’t like peaches. She would shoo me out of the kitchen before God could offer me any, but I doubted he would have offered even if I’d sat right down next to him. God was an old fat man, like a Black Santa, and I imagined my mother’s peach cobbler contributing to his girth.
Some Mondays, God would arrive after dinner and leave as I lay curled up on the couch watching Little House on the Prairie in the living room. Other times, my mother and God would already be in the bedroom when I got home from school. I could hear moaning and pounding, like a board hitting a wall, as soon as I entered the house. I would shut the front door quietly behind me and tiptoe down the hall to listen outside the bedroom door. “Oh, God! Oh, God! Oh, God!” my mother would cry. I could hear God too, his voice low and growly, saying, “Yes, yes, yes!”
Even before he started coming by on Mondays, I had suspected that Pastor Neely, the pastor of Hope in Christ Baptist Church, was God. He was big, black, and powerful, as I imagined God to be. My very first Easter speech, memorized in kindergarten during Sunday School, was “Jesus is the Son of God,” but I didn’t find it odd that Black God could have a blue-eyed, blond son. Pastor Neely was dark, his wife was pale, and their son, Trevor, who was around my age, had gray eyes and wasn’t too much darker than the Jesus whose picture hung all over church. Plus, midway through every Sunday service, Pastor Neely, his wife, and Trevor stood in the front of the sanctuary and collected a love offering from the congregation as the choir sang, “I Love You (Lord, Today).” So it was easy for me to deduce that Pastor Neely was the “Lord.” My mother’s cries of passion through our bedroom door confirmed it.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you in 2021!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week I had a dream conversation with one of my writing heroes and fellow vampire enthusiast, Jewelle Gomez. I’m really proud of that intereview and hope you enjoy it, too.
This week, Girl Meets Monster welcomes yet another writer who has been an inspiration to me, Christopher Golden. Not only is he an inspiration as a successful writer of scary stories, but also as someone who supports the work of other writers.
Christopher Golden is the New York Times bestselling author of Ararat, Snowblind, Red Hands, and many other novels. He is the co-creator, with Mike Mignola, of the Outerverse horror comics, including Baltimore, Joe Golem: Occult Detective, and Lady Baltimore. As editor, his anthologies include the Shirley Jackson Award winning The Twisted Book of Shadows, The New Dead, and many others. Golden is also a screenwriter, producer, video game writer, co-host of the podcast Defenders Dialogue, and founded the Merrimack Valley Halloween Book Festival. Nominated ten times in eight different categories for the Bram Stoker Award, he has won twice, and has also been nominated for the Eisner Award, the British Fantasy Award, and multiple times for the Shirley Jackson Award. Golden was born, raised, and still lives in Massachusetts.
Three Questions
GMM: Welcome to Girl Meets Monster, Chris. Tell me about your newest book, Red Hands, which I believe is out now. Without giving away too many spoilers, what is the book about and what inspired the story?
CG: Thanks so much! Red Hands opens at a July 4th parade in a small town in the mountains of New Hampshire. A car plows through the crowd and a sick man staggers out of the vehicle. When people try to restrain him, everyone he touches becomes hideously sick within seconds and drops dead. When Maeve Sinclair steps in to stop the man, she ends up killing him, and the death touch he possesses—the Red Hands virus—passes to her. Ironically, I finished the novel in January of 2020, before the world became truly aware of the coronavirus. The idea for Red Hands had been bubbling in my brain for years before I set about writing it. Though it has a killing contagion at its core, and though it resonates strongly with Poe’s “The Masque of the Red Death,” at its most basic it’s really about how much we rely on the people around us, how much we need them, and about what it would feel like to know that you could never touch them again for fear of killing them. Which, of course, has taken on a whole new weight in the current environment.
GMM: You’re obviously a successful writer, with several awards under your belt, as well as being a New York Times best selling author. For many writers, finding yourself on the New York Times best selling author list is like a dream come true. It’s something many of us aspire to. Something any writer could be proud of. How has that success affected you as you continue to write? A few months ago, I interviewed Paul Tremblay, who was very candid about his experiences with impostor syndrome and the feelings of doubt that creep into our brains as creative people. Can you share what your experience as a writer has been in terms of impostor syndrome and how you push through it to keep writing? Were there any negative side effects of becoming a best-selling author?
CG: It’s certainly a mark of pride to be able to call yourself a New York Times bestselling author, but beneath the umbrella of that phrase is a vast array of different experiences. There are NYT bestselling authors who make the list with every book and who consequently make many millions of dollars per year. Then there are those of us who were fortunate enough to break onto the list with one project or another, but who are far from the sort of household names that usually make the list. I’m happy and proud to be able to say I’ve been on the list, but it hasn’t really affected me very much. It’s a constant battle to get readers’ eyes on your work. Some people know who you are, but most people don’t, and some who do have made up their minds about what they think of you without ever reading your work. I don’t know until a book is in readers’ hands and I start to see the results whether or not it’s any good. And I certainly never know if something is going to sell. My sales tend to rollercoaster, with one book doing pretty well and the next crashing into the basement, so I have to start from scratch for the one after that. But I’ve been on that rollercoaster for dozens of books over the course of twenty-five years or so. I don’t love riding it, but I’m used to it by now. As for impostor syndrome…very occasionally I’ll have a day where I’m working and I think I may actually be fairly good at this job, but that lasts about half an hour, and then I’m frustrated with myself again. I always try to explain that when I want you to read my book, I’m not making a quality judgement about it myself. I’m asking you to read it and make that call for yourself, mostly because I love the story I dreamed up and I want to share it with you. Whether I told my story well is really up for you to decide. And that evaluation is going to vary from reader to reader.
GMM: What is one of the most personally rewarding experiences you’ve had as a writer, and what advice would you give to new writers in terms of how to define success in their writing careers?
CG: I’m going to come at this from a certain angle—with a story. Years ago, not long after Bantam published Baltimore, or, the Steadfast Tin Soldier and the Vampire, which I wrote with Mike Mignola, we made a deal for New Regency Films to make a movie version. They optioned the rights to the book and hired me and Mike to write the screenplay. By that time, I’d already had loads of Hollywood disappointments, but this was my first screenwriting experience. I was truly excited about it, though still pretty realistic about the odds of making it all the way to a finished film. We had family coming over for someone’s birthday or one holiday or another, and my wife Connie bought a bottle of champagne. She wanted to celebrate the Baltimore movie and screenplay deal with the family. I refused to do that. I said we’d hold off on celebrating until the movie was actually made and released, because that would be the triumph, that would be the success for us to celebrate. Of course the movie didn’t get made—not then, anyway. At first the cynic in me thought that justified my original reaction, but over the years I’ve done a complete one-eighty on this subject. I regret not celebrating then. It was absolutely worth celebrating, an important step for me and a moment I should have been willing to rejoice in. Success is moment by moment. It comes in tiny victories. The really big ones are few and far between, and there are always setbacks, small failures and disappointments. Cherish the small successes, the small victories, every step you take that’s a step forward. Don’t hesitate to celebrate. You’re not going to jinx anything. Just keep your head down and do your work and when good things happen, pause to mark them and appreciate them…and then get back to work.
RED HANDS by Christopher Golden
~1~
Later, Maeve Sinclair will think of the girl with the pink balloon, and her heart will ache with a sting unlike anything she’s felt before. She’ll feel that sting forever, or for as long a forever as the world is willing to give her. In her mind’s eye, the little girl’s hand will always clutch the balloon string so fiercely, and Maeve knows it’s because the girl lost her balloon at the Fourth of July parade the year before. When you’re three years old, that’s the sort of thing that can scar you, and little Callie Ellroy was three last year when she watched her Mickey Mouse balloon sail into the blue and vanish forever.
It’s not Mickey this year, just an ordinary pink balloon, even a bit underinflated, as if Callie didn’t want to invest quite as much of her now-four-year-old adoration this time around. Yet she holds the string so tightly and smiles so brightly, showing all of her crooked teeth and every ounce of the joy bursting within her, that Maeve is sure the little girl can’t help but love that balloon. A little deflated or not. Plain, ordinary, boring balloon or not. Her sneakers are the same pink as the balloon, and though Maeve can’t hear the words she speaks when she tugs her mother’s arm and points at her sneakers, the pantomime is enough to communicate just how much delight she’s taken from this moment of pink epiphany.
Maeve has watched Callie Ellroy grow. She can remember the moment five years ago when Biz Ellroy—short for Elizabeth—had rushed up to her, beaming, and shared the news that she was pregnant with the little bean that would become Callie. Biz had even picked out her name already.
At twenty-nine, the memory makes Maeve feel unsettlingly adult. She’d been standing in nearly the same spot where she stands today, watching a troupe of clowns toss candy from the back of an antique fire truck while the Conway High School marching band blatted on trumpets and thundered on drums in a rough approximation of “Yankee Doodle Dandy.” But she’d been twenty-five then, still young enough that older people hesitated to take her seriously. Now she’s on the verge of thirty, unmarried, no children, steadily employed but not in love with her job, and looking for a change.
Maeve gets a little shiver as she watches Biz holding Callie’s hand. The same antique fire engine goes by, probably the same clowns on the back, throwing the same stale candy. Only Maeve figures the fire engine is a little more antique now than it was then, and aren’t they all, really?
Time is fucking merciless, Maeve thinks. It doesn’t ever slow down for you, even when you need it to. Even when, for instance, you still live in your hometown and can never escape the certainty that there’s another life for you out there, somewhere. Maeve wants to work to improve people’s lives, but after four years studying global health and public policy at George Washington University, dipping her toe in the water of half a dozen D.C. internships, she felt lost. She came back to Jericho Falls and got a job working for CareNH, a White Mountains political action committee. The money sucks, but she loves New Hampshire. She loves her parents, and her brother and sister. Over the past year, she’s foolishly allowed an old flame to reignite, and that makes it harder to leave and all the more important that she does.
The new job’s in Boston. A non-profit called Liquid Dreams, which she thinks is a stupid name but she admires the hell out of the company’s mission, fighting for clean drinking water in the U.S. and around the globe, and fighting against corporations trying to monopolize control of the water supply. It’s a fight worth having, and so what if her job is as an events coordinator and not impacting the company’s political efforts—she’ll be serving that admirable goal, and that’s what matters to her.
It’s time to leave Jericho Falls. She just has to tell her family. And she has to tell her…Nathan. Her Nathan. She guesses he’s her boyfriend, but that seems too concrete a word for the tentative way they dance around each other. Or, more accurately, the way she dances around him. Maeve is sure he’ll want to carry on seeing her, even if it means a long distance relationship. Three hours in the car doesn’t seem that long to begin with, but Maeve already knows it’s going to wear on them, and the truth is she never really thought of her thing with Nathan as long-term, just like she never thought she’d stay home for seven years after college. Both things just sort of happened. She wonders if she ought to leave both of them behind—Jericho Falls and her relationship. Nathan’s sweet and a comfort to be around, but so were the plush animals in her childhood bedroom.
Today’s parade feels like an ending of sorts, and maybe a beginning, too. The Mayor rolls by, sitting in the back of an old Cadillac convertible with his leathery wife, who’s never quite learned how to apply her makeup. Maeve feels a rush of love for the old bat and for her town, because in other places the Mayor’s wife might’ve been replaced by a younger, blonder version, but in Jericho Falls, she looks just the way you’d expect her to look. The future is going to catch up to her town soon, and though Maeve yearns to be a part of the rush of the real world, it saddens her to think of Jericho Falls changing. She thinks, momentarily, that the Mayor’s wife should ditch him for a younger, more attractive husband, and then run for Mayor herself. If the future has to come to Jericho Falls, Maeve wants it to arrive in heels.
All of these thoughts spin through her head while she glances around the crowd. Her dad munches an ice cream sandwich from a street vendor. He’s with Rue Crooker, maybe his best and oldest friend, so close that when the kids were little they called her Auntie Rue. Maeve’s brother Logan is over beside their mom, on the other side of the street, which is a good illustration of their lives since Ellen Sinclair finally had enough of her husband Ted’s alcoholism and changed the locks on the house. None of it had been as ugly as Maeve feared, but it hasn’t been pretty, either. Her dad’s had a rough time with addiction, but he’s kicked the pills at least, and he’s trying, which is maybe why Ellen and Ted can stand across the street from each other and offer a smile and subdued wave.
Maeve likes that. They’ll always be family, thanks to the three children they share, so it’s nice if they can manage not to hate each other. The youngest member of Maeve’s family finally arrives, her twenty-one year old sister Rose, who grins nervously as she approaches their mother and Logan while holding hands with her girlfriend in public for the very first time.
This is the Sinclair family today, doing their best to reenact a tradition begun decades earlier. The Jericho Falls Fourth of July parade, held at 11 a.m. on the actual goddamn Fourth of July, no matter the weather and no matter the stink some locals put up because they like the parade but they want to be on vacation somewhere nicer, somewhere with a great fireworks display, on the actual holiday. Other cities and towns cave to the pressure, celebrate a few days before or even after the Fourth, but not Jericho Falls. Fuck that. It’s another thing that makes Maeve proud of her town.
She’ll dwell on all of this later. She’ll turn it over in her head, wondering if there was something she could have done differently, anything that might have changed the outcome. If she had been paying more attention to her family, or the parade, or the crowd instead of lost inside her head and worrying about breaking the news of her new job and impending departure to her mom, would she have been able to save lives?
Would she have been able to save herself?
Of course, she’ll never know.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
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Back in March, when we first went into quarantine and I wasn’t sleeping and my anxiety put me on an all junkfood diet, I allowed myself to be pulled into a very deep rabbit hole. By which I mean, I started watching Shonda Rhimes’ hit TV show, Scandal (2012-2018). I had just finished watching all five seasons of How to Get Away with Murder (HTGAWM) that were available on Netflix (you can now watch all six seasons), so I was excited to watch another Rhimes show with a woman of color protagonist in a position of power. I mean, there aren’t exactly a ton of those to choose from, so I decided to invest some downtime during quarantine to what I thought would be mind candy. To be fair, both shows provide equal measures of suspense, stimulating romantic intrigue, and lots of violence and murder. I was hooked after watching the first episode of HTGAWM, but I gotta be honest, even though I enjoyed watching the first few episodes of Scandal, it didn’t really get interesting for me until Jake Ballard showed up and became my new TV boyfriend. Buckle up, this is a long post.
President Fitzgerald Grant, Olivia Pope, and Jake Ballard
Warning: Spoilers, Sweetie
Jake shows up in S2: Ep. 14: “Whiskey Tango Foxtrot,” and meets Olivia Pope at a coffee shop in a seemingly random situation, in which both of them lie to each other about what they do for a living. His timing couldn’t be better, since Olivia has been on a relationship break from her main squeeze, President Fitzgerald Grant. There was a spark of hope for me that Jake would become enough of a love interest for Olivia that she would stop seeing Fitz, but let’s face it, you’d need a goddamned firehouse to separate those two. No matter how many times each of them say things are over between them, we all know better.
Things start to get interesting in the next episode when Olivia goes to the Pentagon to talk to Jake Ballard while investigating the murder of a young woman who slept with important men in DC to gain information that she sold to the press. Her friend, David Rosen, is being accused of killing her. Turns out, Captain Jake Ballard works in military intelligence. While Olivia questions him as if he is guilty of something, Jake turns on the charm and asks her out two times during her visit. They both have professions that prevent them from sharing certain details about what they know or don’t know. While he’s concerned about her questions, you also get the sense that he sees her as a much needed challenge.
While making plans for a date with Olivia over the phone, we learn that Captain Jake Ballard is full of secrets, because he has surveillance cameras in Olivia’s apartment and is watching her from the comfort of his living room on an enormous flat screen TV. This super shady behavior puts him in the villain category. However, his directness, take-charge attitude, flirtatiousness, and dark sense of humor make him very sexy. I mean, beyond his tall, dark and handsome appearance.
Their first date doesn’t go as well as Jake planned, because first, Olivia is late, second, he hates the restaurant she chose, and refers to it as “a place where dates go to die.” Third, Olivia refers to their date as a meeting, which he corrects her about, and fourth, she leaves before the end of the date when she gets a call from her team of super spooky problem solvers.
Jake’s next big secret is that he’s friends with Fitz. Old friends. They were in the navy together. In fact, Fitz hired Jake to watch/stalk Olivia, but I get the sense that Fitz doesn’t know that Jake is also spending time with her in person. And, Fitz hasn’t told Jake that his relationship with Olivia has essentially been business up front, party in the…well, you get the idea.
Jake continues to watch Olivia, and his interest quickly becomes more than the assignment Fitz gave him. To say that Jake becomes obsessed with Olivia would be an understatement. And, much like the handsome and charming stalker/serial killer, Joe Goldberg, in Netflix’s You, Jake’s inappropriate behavior started plucking at my heart strings. Don’t judge me. Stalker or not, Jake Ballard is a super sexy man with a high profile job in the government. Each detail we learn about him makes him more and more appealing. At least, up to a point.
There’s a scene in which he’s watching Olivia while she’s crying in her bedroom. While watching her, he’s concerned about her well being, and calls her to ask her out on a second date. Which she turns down, most likely due to her feelings for Fitz after their latest encounter. Olivia is in her bathrobe sitting on the edge of her bed. After she hangs up with Jake, she goes to her closet and starts getting dressed. Jake has the opportunity to watch her undress, but turns off his TV instead. Placing him in the not-so-sure category. I mean, he is watching her without her consent as a favor to her emotionally unstable lover, but he sets boundaries based on the feelings he’s developing for her.
Is Jake a villain? It’s too soon to decide. Should Olivia has sex with him? Absolutely.
Olivia keeps making plans and then canceling on Jake. However, it is clear that his interest in her is strong enough that he is willing to be patient. Also, Fitz suspects that Olivia is seeing someone new, because he witnesses her laughing while on the phone with Jake. When Jake checks in with the President, Fitz demands to know who Olivia is dating, which puts Jake in an awkward position. Not only has Fitz essentially confessed to his relationships with Olivia, but Jake is the guy Olivia is technically dating. So, he lies to Fitz, and tells him she isn’t dating anyone. Which isn’t a complete lie, given the fact that Jake’s attempts to date Olivia keep failing.
Slowly, Jake earns Olivia’s trust, which is complicated by the fact that we still don’t know if we can trust Jake. But, he also allows himself to trust her. After they work together to bring American hostages home safely, their professional relationship begins, opening the door for their personal relationship as well. After Olivia stands him up for the third or fourth time, Jake shows up at her apartment and asks her to take a chance on him. She tells him she isn’t ready to date, because she can’t stop thinking about another man (Fitz). He tells her to close her eyes, and then kisses her. After kissing her, he leaves, which is brilliant because now, she’ll be thinking about him, too.
If you think things are complicated now, oh Honey, you haven’t seen anything yet. The next complication is that Jake is having secret meetings with a shadowy character who asked him to murder the Director of the CIA and make it look like a suicide. Then, when Jake realizes that Olivia is looking into the possible murder of the CIA director, the shadowy character tells Jake to “take care of Olivia Pope.” We can only assume that he wants Jake to kill her. Soon after, Jake and Olivia have sex for the first time. Confused? You should be.
That same night, while Jake is asleep, Olivia gets out of bed to get a glass of water. She looks around his place and picks up the remote control to his TV, which is when she discovers that he’s been spying on her. Obviously, she freaks out and tries to run. Jake tells her it isn’t what she thinks. They fight and he tackles her. She hits her head hard enough to get a concussion and Jake takes her to the hospital. Before she passes out, he explains that he is watching her to keep her safe, and about that time, a man in a black balaclava enters Olivia’s apartment, which they can see on Jake’s TV. So, I guess it’s a good thing he’s been spying on her, right? Maybe, but stalking is still a crime and is often a sign of more terrible things to come. It’s a red flag and not the ideal way to begin a relationship. Stalking is a trope in horror/paranormal romance for a reason. It is the behavior of monsters, or at the very least, dangerous men.
When she wakes up in the hospital, Jake is there and feeds her a story about being attacked at her apartment and that he saved her. He asks her to stick to that story if anyone asks. Moments later, the President shows up. That’s right, the President is so high on his white privilege that he sees nothing wrong with visiting his mistress in the hospital and putting a secret service detail outside her room to keep her safe.
This is when Olivia learns that Jake not only knows him, but has been watching her at Fitz’s request. Talk about awkward. So, not one, but both men she is romantically involved with have been lying to her. Together. And…too each other. Yeah, like I said, it’s complicated. And now, uncomfortably weird, because Jake sees Fitz embracing Olivia while she’s in her hospital bed, and realizes that Fitz is the man Olivia is pining for. Fitz apologizes to Olivia for hurting her, but she refuses to accept his apology and tells him to leave her alone. He leaves, but tells Jake to keep watching her. And suddenly, Jake realizes he’s the other man.
Before Olivia leaves the hospital, Fitz tries to get Olivia back. Again. He “demands a second chance,” and in a moment of weakness, she kisses him. But, sticks to her guns and refuses to take him back. At this point, I got excited. Because I started to believe that Jake had a real chance with Olivia. The shadowy figure asks Jake to deal with Olivia again, and Jake asks to have someone else assigned, because he feels there’s a conflict of interest. When the shadowy character asks if he means because of his relationship with the President, Jake lies and says yes. But we know it’s because of his feelings for Olivia. But Jake is reminded that he doesn’t have any choice in the matter and we begin to understand that Jake isn’t just in military intelligence, he truly is a spy. And, as it turns out, he works for a secret agency within the government that the government doesn’t even know about.
So, not only is Jake’s life complicated by the fact that he’s falling in love with the woman he’s supposed to he stalking for his friend, and killing for his boss, but now that Olivia knows that Jake has been spying on her, she puts her walls back in place to protect her feelings again. Despite the fact that Olivia keeps pushing Jake away by venting her anger at him, he refuses to give up on her. Which is good, because when Olivia’s life is in danger, Jake repeatedly saves her at the risk of losing his on life.
The second time he saves her life, Olivia learns that 1) Jake is part of B613, the secret agency she knows about because one of her team members used to work for them, and 2) Jake explains that the reason someone is trying to kill her is because she is dating the President. At this point, Olivia’s perception of Jake changes because she knows he is risking his life to keep her safe.
After saving her life this time, Jake comes clean with Olivia and tells her that sleeping with her was his mission (B613), and says goodbye to her. Before he leaves, she tells him to close his eyes, and kisses him the same way he did to her when she was trying to forget Fitz. By telling her the truth, he believes that his chances with her have ended, but in reality, he is now more appealing to Olivia because she knows he cares about her. Concerned about Olivia’s process of decision making? You should be.
Jake disobeyed a direct order from Command, killed another B613 agent, and now his life is in danger unless he figures out a way to make up for this huge mistake or run. Running really isn’t an option. Oh, and I almost forgot. While Jake was stalking Olivia, he had surveillance cameras in his own apartment and captured the two of them having sex in pretty much every room of his apartment. Unfortunately, someone else sees the video and uses it against Olivia. Well, tries to anyway, because Fitz has a worse secret and he forgives Olivia for sleeping with Jake. Fitz keeps up the fantasy of divorcing his wife and marrying Olivia to make her his First Lady. But, Olivia breaks things off with Fitz.
Meanwhile, Jake ends up in the hole — an extreme version of solitary confinement for B613 agents who misbehave. Simultaneously, someone leaked to the press that Olivia is the President’s mistress. And, we discover that the shadowy character who was commanding Jake to kill Olivia, is in fact, Olivia’s father. No shit. For real.
Her father makes arrangements for her to board a plane and leave the country so that she can disappear. But after having a conversation with the Chief of Staff, she decides to stay. Which further enrages her father, who is disappointed in her for aspiring to only become a first lady, a role he believes to be beneath her. He wants more for her, and thinks she should want more for herself. He’s not 100% wrong.
As we learn more about Olivia’s father, Eli Pope/Rowan/Command, it becomes clear that he wields more power than most high-ranking officials in government. He’s also scary as hell. The most unsettling thing is that he is able to control Olivia by holding whether Jake lives or dies over her head. While Jake is gone, Olivia visits the morgue each time someone matching his description shows up, because she has no way of knowing what has really happened to him. Olivia finally gets her father to release Jake and he doesn’t look so good when he’s dropped off at Olivia’s apartment.
After Jake has a chance to heal for a few days, Olivia decides to kick him out of her apartment. She does so, because she doesn’t want to be caught up in whatever her father is involved in, and she still isn’t 100% sure that Jake hasn’t been sent to continue spying on her even though he emphatically says otherwise.
So, rather than staying under the radar, Jake decides to team up with another B613 spy, Olivia’s employee, Huck, to try to take down Olivia’s father. Which, is really dangerous for everyone involved. Did I mention that we’re only in season 3 at this point? Jake is doing his best to maintain distance, or at least respect Olivia’s boundaries, but it is clear he still has strong feelings for her. So, I got really excited (again) when Olivia invited him to be her date to the White House Correspondents’ Dinner.
So, at the very least, they’re friends at this point, right? Except that Jake isn’t stupid and understands Olivia only invited him so that she could see Fitz at the event. He makes it clear that his feelings are hurt and rather than the two of them going back to one of their apartments at the end of the night, Jake simply tells her the evening is over and that he’s upset about how she has treated him.
I’m not going to lie. Each time Jake shows up to save, protect, or comfort Olivia, I would say out loud, “Olivia, you need to forget about Fitz and make Jake your main squeeze.” Sadly, she didn’t listen. I mean, she continues to see both of them, which is admirable on her part, because they are both smoking hot in my opinion, but clearly, Jake is the better option. At least, he is until he gets pushed away too many times. But, we’re not there yet.
At this point in the narrative, Jake has discovered that when Fitz was in the Navy, he shot down a commercial flight that Olivia’s mother was on. It’s a complicated series of events that I won’t delve into too deeply, but essentially Olivia believes that her father is responsible for her mother’s death, and the man she loves shot down the plane. Again, she doesn’t know who to trust. Her heart is broken. But, because Jake is one of the few people trying to help her, I assumed that he would become the best option for Olivia.
One of my favorite lines in the series, is Olivia’s response to Fitz when he says he loves her after she finds out that he shot down the plane her mother died on. When he says, “I love you,” she says, “so what?” That is an excellent response to a man who has hurt you over and over and over. Especially when he tells you to stay away from his rival. Would you stay away from this man?
Yeah, me neither.
But, things become increasingly complicated when Jake takes Olivia’s father’s position as the head of B613. He becomes Command with the help of Fitz. Before he takes the position, he goes to see Olivia. He kisses her, and tells her, “Whatever happens next, I wanna make sure you know that I loved you.” Why does he say goodbye? Because he knows that as Command, he will be expected to do terrible things that she might not forgive him for in the future. Although, telling someone you love them before saying goodbye is a smidge manipulative.
All right. It’s a bit more complex than that, but at this point in the series, Jake really is the best boyfriend option for Olivia. In fact, in order for Olivia to maintain the ruse that she is not Fitz’s mistress, she asks Jake to be her fake boyfriend. That’s right. This sexy hunk who could have any woman he wanted, chooses to be second best in Olivia’s life because he is in love with her. Does this handsome devil really agree to be Olivia’s “beard” (his word, by the way) to maintain the illusion that she isn’t the President’s mistress? Sure he does.
As terrible as it sounds, Jake’s role as Olivia’s beard allows him to be his wonderfully sarcastic self, while brushing up on his passive aggressive skills. To say that he’s frustrated is an understatement. I mean, he’s maintaining the pretense of being Olivia’s boyfriend, but without the benefits. After he leaves his super goddamned important job early because she needs to talk to him about something, he finally snaps and says:
“Stock. Your. Damn. Fridge. If I’m going to be your fake boyfriend all day, I’m going to come home at the end of it and drink a beer and eat real food. Wine is not beer and popcorn is not food.”
After which, he begins undressing and Olivia asks him what he’s doing. He tells her he’s going to take a shower and go to bed after having pretend sex with her.
Of course, this is all happening while he is given the highest level clearance in the government with access to all the skeletons in everybody’s closets. Jake is on the path to becoming an extremely powerful man. The problem with that is, power corrupts. And, in his new role as Command, he’s finding it very hard to be all things to all people. Not only is he responsible for protecting the Republic, while being Olivia’s beard and maintaining enough distance from her at the same time so the President doesn’t get jealous, he also has to deal with the ridiculously inappropriate demands Olivia sets for him as she tries to take down her father.
The fact that Jake hasn’t gone batshit crazy yet is a miracle. But, he’s a tough guy and can take a lot of punishment. Which is good, because a lot more is coming his way. Did I mention that we’re still in season 3? As we learn more about Jake through his role in B613, we soon discover that he is one of the nicest serial killers you could ever hope for in a fake boyfriend.
All of the terrible things Jake has to do in his secret serial killer role (I mean, I guess since he gets paid that makes himan assassin) begin weighing on him. Just because he does terrible things doesn’t necessarily make him a terrible person. Right? In fact, he keeps asking Olivia to save him.
At the end of S3, Olivia finally comes to her senses and runs away with Jake. And they stand in the sun together. I’m not ashamed to say that I cried like a baby because I was so happy that they were finally going to be together. She FINALLY chose Jake. They spend two months standing in the sun together. Apparently, standing in the sun means having sex on the beach with a smoking hot man who worships the ground you walk on.
And then, in S4: Ep. 1, Olivia decides to return to Washington, D.C. after finding out that one of her team, Harrison, was found murdered, despite the fact that she and Jake were happy on the island. Alone. Together. When they get back to the city, Jake tells her that they will only be in town for a few days. She seems non-committal when she agrees. Jake’s fears are starting to come true. He knows that if Olivia becomes reconnected to the life she left behind, it will be impossible to get her to leave again. But more specifically, he knows that if she sees Fitz she will choose the President over him.
Olivia is in denial about the fact that being back in D.C. will jeopardize the happiness they shared on the island. An island located somewhere off the coast of Zanzibar, that doesn’t exist on any maps. You know, a deserted island away from all their troubles. An island where she gets to spend every day with a smoking hot sex machine. Fortunately, Jake is clear-headed enough to help her see the reality of their situation.
Olivia is back for less than a day and already has a new case. She slips right back into her routine like she never left. She plans Harrison’s funeral and intends to go back to the island, but…as it turns out, feeling important is more valuable to Olivia than running away with a man who could easily be the love of her life.
So, instead of getting on a plane and heading back to the island with Jake, she decides to stay and pick up where she left off. And, as soon as she sees Fitz, you know it’s game on for them and their ridiculously dysfunctional relationship. Jake tells Olivia that he got a hotel suite close to her apartment for booty calls. When she questions his statement, he explains that since they are back in D.C. he also has business to take care of, and he doesn’t have time to live in her apartment and wait around to “service her.” She has the nerve to take offense. Again, Jake is the only one in touch with reality.
But, she hasn’t completely lost her mind. She still has enough sense to make a booty call to Jake’s hotel room. And bonus, she shows up wearing her coat, boots and nothing else.
Maybe they aren’t standing in the sun anymore, but they still seem to be happy. At least for the moment. The longer they stay in the shadow of 1600 Pennsylvania Avenue, their chances of riding off into the sunset together get smaller and smaller. But it doesn’t look like Olivia is going to stop riding Jake any time soon.
Despite the fact that Olivia and Jake are maintaining a sexual relationship, he keeps making the distinction that he is not her boyfriend. Not because he doesn’t want to be, but because she has never officially recognized him as her boyfriend even though they spent two months alone on a tropical island banging each other’s brains out.
I mean, I understand that it isn’t always necessary to define roles in a sexual relationship between consenting adults. However, the only reason Olivia refuses to define her relationship with Jake is because she’s hoping for something, or rather someone better. And, he knows that (and who she wants instead). So, he keeps making it clear that she is the one who defined those boundaries within their relationship and refuses to pretend to be her fake boyfriend anymore. He deserves better. Of course, he’s still interested in having sex with her on the regular though.
I’d clear my whole schedule to find out what that thing might be. I mean, she knows what that thing is, obviously enjoys it, and yet they are sleeping in separate beds most evenings. If a man as fucking spectacular as Jake Ballard wanted my undivided attention, not only would I clear my schedule for him to do that thing nightly, but I’d find time first thing in the morning, plan a few nooners during the week, and I don’t know, the moment he walked in the door, whatever time that might be.
Olivia doesn’t share my point of view and is more than happy to piss away really good sex with a smoking hot man who is willing to call her on her bullshit. Which is exactly what she needs. He genuinely loves her. Would do almost anything she asked. Except, be her pretend boyfriend. He needs her to acknowledge her feelings for him. He needs her to choose him first. But he also doesn’t ever expect her to choose him. And yet, he continues to protect her. Even though that means putting his own life at risk.
I know I’ve been painting a rosy picture of Jake, but the more we learn about him, the more that comes into question. I mean, he is a Black Ops spy. We know he’s killed people, but at this point, we have no idea how many people. Admittedly, if my fake boyfriend killed people for a living, I might have some misgivings about making him my real boyfriend.
Who am I kidding? He looks amazing when he’s killing people.
I mean, he even looks good when he’s digging an unmarked grave to hide the bodies.
At the beginning of S4, Jake keeps trying to get people to listen to him about what is happening around them now that Olivia’s father is Command again. He keeps trying to tell Olivia that her father has put a hit out on him, and he tries to tell Fitz that Rowan is responsible for assassinating his son. But no one has time to listen to Jake, and then all of a sudden Jake is accused of killing the President’s son. And, since Fitz is already jealous of Jake for running away with Olivia, he can’t wait to make Jake’s life a living hell.
And, when Olivia doesn’t hear from Jake, she assumes that he’s avoiding her. Which is crazy given the fact that he wants to spend all of his time with her if she would allow it. Oh, and it would be great if she publicly recognized him as her ACTUAL boyfriend. It takes her a while to figure out something is really wrong.
The good news is that Jake’s training has prepared him to deal with interrogation and extreme methods of torture. So Fitz’s efforts to get Jake to admit that he killed his son aren’t going well. In fact, Jake manages to push all of Fitz’s buttons instead.
Fitz allows his jealousy to cloud his judgement and refuses to hear the truth about who really killed his son. Then Jake makes the mistake of saying the thing that no one else is able to say out loud–he tells Fitz that Olivia loves both of them. Which makes them both good guys, because she wouldn’t love them if they weren’t wearing white hats. Even though it’s obvious that Olivia loves both men, Jake is the only one who can say it out loud without having icky feelings about it.
Everyone is out to get Jake and Olivia’s father continues to lie to and manipulate her so that she believes that Jake actually killed the President’s son. So, not only does the President not believe him, but Olivia begins to question the facts. And, after Jake gives up on the notion of proving his innocence, he tries to comfort Olivia even though he knows he will never be her first choice.
Olivia figures out a way to prove that Jake didn’t kill Fitz’s son. But, instead of releasing Jake right away he is kept at the Pentagon so that Olivia can prove that her father was behind the assassination. Jake uses this opportunity to take additional digs at Fitz. He especially likes to remind Fitz that Olivia chose to run away with him and that they are still seeing each other.
Despite Jake’s posturing, he still doesn’t believe that Olivia cares about him as much as he cares about her, and after Fitz leaves the room, Jake tells her he knows that she’d rather be standing in the sun with Fitz. She gets upset that he keeps talking about himself as if she doesn’t care about him.
When Jake is finally released, things get more complicated as he attempts to find and potentially kill Olivia’s father. He’s a bit stressed, so when he arrives at Olivia’s, he’s surprised to see how happy and carefree she’s acting. She has food, beer for Jake, wine for her, and there is music playing. Stevie Wonder’s “Don’t You Worry ’Bout a Thing” to be exact. And, she’s dancing. He tries to tell her about the danger they need to be concerned about, at least the one he’s aware of, and she refuses to talk about anything serious.
Just to keep things interesting, Olivia is kidnapped by mercenaries that same night, leaving Jake with the most terrifying case of blue balls in history. He’s about to get kinky with his sorta kinda girlfriend. He takes off his clothes, prepares to make her fantasy come true, and then she disappears. Because he’s a highly trained spy, he jumps into action and begins looking for her immediately. But the men who took her are professionals and no one can track her down.
She’s gone for weeks, put up for auction to the highest bidder on the Dark Web, and the President is forced to go to war by the Vice President in order to get Olivia back. Yeah, the Vice President had the President’s mistress kidnapped to make him go to war. This show is not boring. A little over-the-top at times, but never boring.
Neither Jake or Fitz are able to rescue Olivia. An old friend who has connections with the Russian mob through Interpol is able to make the highest bid and rescue her. When she finally gets back to D.C., and after she is interviewed by the FBI to determine if she let any government secrets leak to her kidnappers, Jake and her team take her home and make sure she’s okay. Jake offers to spend the night, but Olivia declines, confusing Jake. Then, Fitz arrives on Jake’s heels, and Olivia throws him out after telling him that he wasn’t the one who rescued her.
Olivia is clearly suffering from PTSD, but she isn’t seeking help. She jumps back into her work and pretends that everything is fine, but when she isn’t working, she’s hiding in her apartment with a gun. She avoids Jake and Fitz, but at least she takes Jake’s calls when he checks on her.
I guess because neither of them are currently sleeping with Olivia, Jake and Fitz slip back into business as usual, and Jake continues his part-time job of stalking Olivia so he can keep tabs on her for Fitz. Confused? Don’t be. Olivia has always been an assignment for Jake, whether he’s watching her for Fitz or her father, his job is to stalk her and report back to whomever is paying him to watch her. The problem is, Jake can’t separate his job duties from his attraction to Olivia. Even though doing the job you love is good advice, in this case, maybe not so much. If your job is to stalk someone, you should try not to fall in love with them. To be fair though, that is an obvious danger of voyeurism.
B613 is in danger of being exposed by former agents and the District Attorney. Jake has warned them to stop because they are all in danger of being murdered. Jake bugs David’s office and finds out that he is planning to trap Jake into testifying, but Jake has other plans that involve killing off agents that are willing to testify against him.
Backed into a corner, we begin to see Jake’s true colors and his mercenary is showing. Olivia has abandoned him for Fitz. Well, actually, she’s been sleeping with another guy who just happens to be a B613 agent, too. Surprise! But we don’t know that yet.
Jake’s in danger or being exposed as a Black Ops spy who has killed a lot of people. No, really. A lot. He is finally pushed to what appears to be his limit, and takes up residence in the apartment across the hall from Olivia without her knowledge. Olivia’s team decides to kill Jake and when they come looking for him, he threatens to kill Olivia if they don’t leave him alone. Would he kill Olivia? Maybe. But it seems unlikely since he’s still in love with her.
Because they can’t guarantee Olivia’s safety, and honestly, because they are a little terrified of Jake, they back off and give up on exposing B613. Jake is now officially a villain. And, as we all know, any villain of note should have an interesting, and often heartbreaking backstory. Jake has that in spades.
Is he really a villain? Not yet. At best, he’s an intriguing antihero who is doing his damnedest to be the hero. And, if he’s really lucky, he’ll win the heart of the woman he loves. In fact, he agrees to testify and bring B613 down with Olivia and her team. Once again, Jake risks his own safety to wear a white hat and stand in the sun with Olivia.
And then, Olivia’s father reappears and begins threatening everyone Olivia cares about unless she puts a stop to exposing B613. Eli Pope is an actual villain, and he’s been grooming Olivia to become just like him some day. And, they both use Jake to do their dirty work. Jake is loyal to a fault. He has been a gun for hire, a convenient boyfriend, and a champion for the causes Olivia insists on upholding no matter how insanely dangerous. Even when he has seriously important work to do, he always seems to be on call whenever Olivia needs him. How long do you think someone can do that without receiving the love and respect they deserve? My guess is not long. Especially when you consistantly give the person you love opportunities to step up and treat you better.
Jake has several part-time jobs, and one of them is wooing a woman who should have chosen him already. As the date of the trial to expose B613 gets closer, Jake stops by Olivia’s office to remind her that he’s got her back, and if she’s scared or needs someone to talk to, his strong, broad shoulders are available for her to cry on. He doesn’t make any sexual innuendos. He doesn’t remind her of how badly she’s treated him. He simply tells her he’s there for her if she needs him. And she seems to be adamantly opposed to accepting his help.
This man is hopelessly in love.
And what does he get for his trouble? He gets mortally wounded by the guy who’s been banging Olivia and almost dies after being stabbed many, many times.
As you might imagine, I had a lot of feelings about this. When the character you care about the most is in danger of dying, and if you’re anything like me and live vicariously through fictional characters, it’s going to hit you pretty hard. When Olivia’s team find him the next morning barely hanging on to life, I was a mess. It takes a very long time to get Jake the medical attention he needs, and because there’s a price on his head, they can’t take him to the hospital. They have to rely on a back-alley Russian doctor who most likely makes a living attending to bullet and stab wounds for the criminal underworld.
So, not only is Jake in danger of dying because of his many, many stab wounds, but then the person who tried to kill him insinuates himself into the situation enabling him to try to kill Jake again. Let’s just say that it’s an exciting episode. Olivia obviously cares about Jake, because she’s terrified of him dying. But her feelings for him are still unclear. She loves him, but she isn’t in love with him. It takes him almost dying for her to admit that she never should have left the island. Well, no duh.
After figuring out that the guy she’s been banging is actually a B613 agent and working for her father, Olivia has her team torture him for information while Jake recuperates in her bed. He has wanted to be back in her bed for a while, but this isn’t what he had in mind.
But hey, he’s still alive.
Jake’s a smart guy. He figures out that Olivia has the B613 agent, Russell, in the apartment across the hall and explains to her that it doesn’t matter how much she tortures him, he won’t talk. Jake tells her he won’t talk because Russell is like him. She gets defensive and says that Jake is nothing like Russell. He says that they were both trained to get close to her, and that they both have a PhD in Olivia Pope, but there’s one difference between Russell and Jake.
He then goes on to say that Command would consider his feelings for her a defect. When he shares with her that essentially she is his greatest weakness, she opens up and finally talks to him about what happened to her when she was kidnapped. Something she hasn’t talked to anyone else about. Instead of using this connection as a way to get closer to Jake, she lets him know that she isn’t going to stop trying to get information out of Russell because she wants to get her father.
Jake’s curiosity gets the better of him and he goes across the hall to meet Russell, have a beer and compare stories about what it is like to be trained by Rowan, Olivia’s father. They bond over the fact that they are both unique among B613 agents. And, Jake explains to Russell Olivia’s role in Rowan’s weird game of control. Proving that Jake definitely has a PhD in Olivia. No one knows her better. Which would be more romantic if he wasn’t her stalker and a serial murderer. And yet, I still want him to have a happily ever after with Olivia.
Jake testifies before the grand jury about B613. And minutes later, all of the jurors are brutally murdered. Rowan/Eli Pope blackmailed the First Lady who is also a senator into giving him the list of names so that he can kill them. So, everyone who listened to Jake’s testimony is dead except Jake and the District Attorney.
Jake once again offers Olivia the option to run away and she turns him down because she’d rather keep trying to take her father down which makes everyone around her potential victims. So, when Olivia decides to involve the CIA, shit gets real. She and Jake are thrown into prison, because the head of the CIA is too afraid to arrest Rowan. How many times is Jake going to take a bullet for Olivia — literally and figuratively?
At the end of S4, Jake tells Olivia his mission is over. B613 no longer exists. He has delivered her home safely. Once again, he tells her that he is in love with her, but she’s in love with Fitz. He walks away and she is confused. She thinks of their time on the island. But instead of running after him and telling him that she loves him, too. She lets him walk away and goes to the White House to see Fitz that night.
To say the least, I was disappointed. I mean, I wouldn’t kick Fitz out of bed for eating crackers, but Jake Ballard is far more interesting. And WAY more murdery without being a vampire, werewolf, or the Devil himself. In fact, Jake Ballard is the first non-supernatural character I’ve been interested in to this degree in a long time. Come to think of it, the last human I obsessed over was also a murdery secret agent.
At the beginning of S5, Olivia is outed as the President’s mistress and decides to run instead of dealing with the fallout. She takes a case and dives into work rather than dealing with reality. Who comes to help her? Why, Jake Ballard, of course. Although he told her his mission was over, he can’t seem to stay away from Olivia. He wants to help her and always wants to come to her rescue in the hopes that she will see him as a hero and accept him as her main squeeze.
While Olivia is working a case/running away from her life, she is emotionally distraught over her relationship with Fitz, but asks Jake to spoon her on the filthy motel room bed they share. In fact, when Jake returns from his beer run, he climbs onto the bed next to Olivia as if it is the most normal thing in the world, and she doesn’t question it. They are lying together like a couple. A couple who has faced a lot of obstacles and trauma, but are still there for each other. Olivia got Jake out of prison. And Jake runs to Olivia’s side when she’s in trouble. Is it just me, or should they run off to Vegas and get hitched? I mean, Jake is Olivia’s lover and in many ways, her best friend. But she doesn’t treat him as well as she should. Without hesitation, Jake comforts her and they spend the night together with him holding her. He doesn’t think twice about doing it. Because, as he’s said to her time and again, he loves her.
With the case solved, Jake returns Olivia to her apartment in D.C. and asks if she’s going to be alright. She says yes and gets out of the car into a throng of reporters asking if she is the President’s mistress. She turns to the camera, and says yes. I wanted her to say no. I wanted her to get back in the car and go somewhere with Jake. But that didn’t happen.
Jake’s response to Olivia’s “truth” is to go to her office where her team is trying to put out the fire Olivia started and “help” her. He tells them that she doesn’t need help, because she finally did the thing she tells everyone else to do, “do not lie.” When the teams asks Jake what the plan is, he says, while opening a plain brown paper bag, “My plan is to sit here and drink the majority of this vodka. Get remarkably wasted, and watch the world end. Anyone care to join me?”
And then, while Olivia is in the White House, after making out with the President in the Oval Office and pissing off everyone else around her, she calls Jake to tell him that she thinks she made a mistake and he says, “Just say the word, Liv, and I’m on my way.” She tells him she’s good, there’s some awkward silence on the phone, and then she tells him to have a drink for her. His response is, “Done.”
Unpopular opinion: Olivia Pope is a monster. There, I said it.
When Jake sees the news report that the Louvre is on fire, he goes to visit Eli Pope in prison. Jake asks Eli if he is responsible for the Louvre, which is part of a plan called Lazarus 1. Which seems to mean that Jake has never left B613 and that B613 isn’t really gone, just on temporary hiatus. Jake accuses Eli of trying to regain power and threatens to kill whomever Eli is working with on the outside.
While the media is pulling Olivia’s life apart and trying to make her look like a power-hungry harlot, and the writers use this as an opportunity to highlight the use of racially coded language or dog whistle politics in the media for the audience, Jake heads to Paris to follow the trail of clues leading to who is kicking off the plan Eli pretends to know nothing about. And, while in Paris, Jake runs into someone he never thought he’d see again: his wife.
Jake thought his wife, Elise, was dead. Surprise! They were supposed to meet at Grand Central Station and she was an hour late, and he assumed that she had been murdered. He tells her he grieved for her and that he loved being married to her. So, of course, I was hopeful that Jake might get a little happiness. He’s reunited with a woman he loved and they are obviously happy to see each other.
But, Jake Ballard isn’t allowed to have long-term happiness. First, Elise gets shot in Paris, and when Jake visits her in the hospital, she admits that she didn’t meet him at Grand Central Station because they are both spies. He asks her to come back to the States with him.
Olivia randomly drops by Jake’s for a visit and meets Elise, but he doesn’t tell her she’s his wife. Olivia goes to him for advice about her relationship with another man. When she is scared about what is going to happen next in her life, she goes to Jake. And, because he seems to know her better than anyone else, I mean he did stalk her for a long time, he always tells her what she should do and he’s almost always right.
Jake should be getting his happily ever after, right? Wrong. Elise is the person on the outside who has been helping Eli Pope regain power. When Jake finds out, he’s less than thrilled.
Olivia finds herself in a situation where she might have to marry the President, and who does she call? Jake. She asks him what she should do about whether or not to marry Fitz, and he points out how ridiculous that is, given their history. She says that she’s sorry and that he’s the person she talks to when she needs a friend, and then he hangs up on her after saying he’s hanging up.
Then she calls him again to tell him that she’s going to marry Fitz. She says that she wanted to tell him before he heard about it on TV, and his response is “whatever.” She starts to say that she needs him to feel a certain way, and he tells her that she’s not allowed to need him for anything, or ask him for anything, because that’s Fitz’s job now. And, he hangs up on her again.
He decides to leave with Elise, and they plan to meet the next day at the train station. But when he shows up, she’s already dead. Why? Because Olivia arranged for her father to be freed from prison. There is an amazing scene in which Olivia comes home to find Jake in her living room sitting in the dark drinking bad wine, which he complains about when she asks why he’s there. He tells her to sit down, she ignores him and then he shouts at her to sit down.
Typically, when Jake is with Olivia, he is there to keep her safe, but she has found herself on the wrong side of Jake Ballard and he can be quite scary. As always, he points out to her that he knows her better than anyone, including herself. He calls her a hypocrite because her story about wearing a “dumb white hat” is bullshit since she just left a mass murderer out of prison to serve her own agenda. He points out that the President isn’t impeached and she doesn’t have a wedding ring on, two things that she needed to make happen at any cost. Jake tells her that Elise is dead and Rowan killed her, then he corrects himself and says, that she killed her, because she let Rowan out of prison. Then he says this wonderful line, “The woman I love killed the woman I used to love, or the woman I used to love killed the woman I love. I can’t figure it out.” He yells at her some more, she tries to justify her bullshit and then he stands in front of her menacingly before kissing her and leaving.
Jake Ballard is out of fucks to give.
The President asks Jake to hunt for Rowan, and Jake let’s her know that when he finds him he’s “going to look him in the eye and put a bullet in his head.” Apparently, Jake can hold a grudge and when people fuck him over, his solution is to start killing people.
Of course, Olivia doesn’t believe that Jake’s serious about hunting Rowan. And when her father comes to see her to tell her that someone is trying to kill him and that he’s a victim, she decides to call Jake. Actually, she summons him to the Oval Office. After Olivia tries to convince Jake that her father is in danger, he lets her know that he isn’t down for any more of her bullshit.
“What did you think? That I’d come here and spoon you? Give you a shoulder to cry on, listen to you talk about all the dark places Rowan built inside of you? That train has left the station and you do not get to ride this (he means himself) anymore. If you want someone to talk to, tell your boyfriend that you just let his son’s killer out of prison. See how that works out.”
Olivia gets vindictive and accuses Jake of being petty and jealous because she chose Fitz instead of him. But their argument, that I hoped would come to fisticuffs, was interrupted when Fitz comes into the office and they pretend they aren’t having a lover’s spat. Is it a lover’s spat when you fantasize about killing the other person?
Soon after, we discover that Olivia has a secret. While Fitz is waiting for her at a state dinner that she helped to plan, she is at Planned Parenthood getting an abortion that she won’t be able to tell anyone about. There is no one she can turn to for support because she has essentially burned her bridge with Jake and is a prisoner in the White House.
And, when Fitz asks her where she was? She can’t tell him the truth, so they have a fight about all the terrible things that are wrong with their relationship. They both air their feelings of resentment, and Olivia admits that she preferred Fitz when he was unavailable. Fitz tells her he hates that she’s always right and that they tried. But their current situation makes it impossible for Olivia to continue to be his girlfriend.
So, as a completely unexpected turn of events, Jake moves in with Olivia’s father because he finds out that he wasn’t Lazarus and honestly he has nowhere to go. Or does he? Six months after Olivia and Fitz break up we find out that Olivia has started having dinner with her father again. She tells him she doesn’t want to come by the house since Jake is there. Which is funny, because when she gets home, Jake is waiting outside her apartment and tells her she’s late. And then Olivia pretends that she wants him to leave and then they jump each other’s bones and have epic foreplay before heading to her bedroom. I guess Olivia is allowed to ride that train again. Ride, Olivia, ride.
The President asks Jake to investigate leaked information from the NSA. While they’re catching up, Fitz asks Jake if he talks to Olivia, to which Jake says no. But he has a smirk on his face. He isn’t exactly lying. He’s having sex with her, but they aren’t having a relationship. They are friends with benefits without the friendship. Like, she acts disgusted when Jake tries to show her actual affection. Not only are they not friends, but they are also working against each other on the same case.
Jake loves Olivia. Well, at the moment he loves to fuck her. But, he can’t just sit around waiting for Olivia to come to her senses and fall in love with him. He has aspirations and he’s worked hard to get to where he is in his career in the military and government. He needs a day job beyond secret agent, mercenary, and Olivia’s doormat. So, what does a super spy with lots of bloodstains on his resume do when he’s looking for a new job? He kills the competition. Literally. Jake essentially murders his way to the top. He’s not afraid of hard work or getting his hands dirty. And, by getting his hands dirty, I mean blood and soil from unmarked graves.
After the suspect Olivia is looking for turns up dead, and they figure out Jake killed him, Olivia gets a little upset. Especially when Fitz appoints Jake as the Head of the NSA. Which Jake knew about and didn’t tell Olivia. While he’s still living at her father’s house. Potentially shady? Yeah, totally. I guess Jake is accepting his role as a villain. And, he looks effing stunning doing it.
Olivia confronts Jake. And her father dresses her down, telling her to follow their example and get some real power, and refers to Jake as his son. Which always makes me a little uncomfortable given his relationship with Olivia, and that is going to get even weirder in the coming seasons. Like really weird. Like Cesare and Lucrezia Borgia weird.
As much as I would love to keep yammering at you about Jake Ballard and his insanely dysfunctional relationship with Olivia Pope, I think I’m going to leave it up to you to discover Jake’s fate. Will Olivia pull her head out of her ass long enough to realize that Jake Ballard, regardless of his many murdery flaws, is an ideal partner as she continues punching her way through glass ceilings? Or, will Jake continue to make terrible mistakes in the hopes of winning Olivia’s love only to be disappointed again? With the Winter holidays just around the corner, and since we’re all stuck in our houses anyway, why not devote roughly 5 days and 4 hours of your holiday break to binge watching Scandal. It is delightfully entertaining, with a cast of characters so frustrating that you’ll talk to your TV. So, find a warm blanket, make some popcorn, pour yourself a nice big glass of wine, and get ready to fall in love with Jake Ballard. Scandal originally aired on ABC and is currently streaming on Hulu.
Last week is spoke with poet, lyracist and writer Donna Lynch about the quiet horror associated with growing up in the suburbs.
This week, I have the pleasure of chatting with one of the writers who has inspired my work, and whom I admire as a scholar, a writer, and an activist, Jewelle Gomez.
Jewelle Gomez (Cape Verdean/Ioway/Wampanoag) is a writer and activist and author of the double Lambda Award-winning novel, THE GILDA STORIES from Firebrand Books. Her adaptation of the book for the stage “BONES & ASH: A GILDA STORY,” was performed by the Urban Bush Women company in 13 U.S. cities. The script was published as a Triangle Classic by the Paperback Book Club.
She is the recipient of a literature fellowship from the National Endowment for the Arts; two California Arts Council fellowships and an Individual Artist Commission from the San Francisco Arts Commission.
Her fiction, essays, criticism and poetry have appeared in numerous periodicals. Among them: The San Francisco Chronicle, The New York Times, The Village Voice; Ms Magazine, ESSENCE Magazine, The Advocate, Callaloo and Black Scholar. Her work has appeared in such anthologies as HOME GIRLS, READING BLACK READING FEMINIST, DARK MATTER and the OXFORD WORLD TREASURY OF LOVE STORIES.
She has served on literature panels for the National Endowment for the Arts, the Illinois Arts Council and the California Arts Council.
She was on the original staffs of “Say Brother,” one of the first weekly, Black television shows in the U.S. (WGBH-TV, Boston) and “The Electric Company” (Children’s Television Workshop, NYC) as well as and on the founding board of the Gay and Lesbian Alliance Against Defamation (GLAAD). She was an original member of the boards of the Astraea Foundation and the Open Meadows Foundation.
GMM: Welcome to Girl Meets Monster, Jewelle. I can’t tell you how excited I am to have you as a guest on my blog. Thank you for being here. Thank you for being a source of encouragement and inspiration. And, thank you for being supportive to me as a new writer. When I reached out to you back in 2019 to ask if you’d be willing to blurb my novel, Invisible Chains, I took a risk not knowing if you’d respond. One of the sayings that drives me to take risks, is that if you never ask, the answer will always be “no”. What risks have you taken as a writer, and what advice would you give new writers about taking risks in order to create their most authentic work?
JG: Writing The Gilda Stories was taking a risk of sorts because several lesbian feminists and African American writers insisted that it was going to be insulting to women and lesbians. They thought Gilda would be just another predator reinforcing negative stereotypes. But I think an even bigger risk was when I asked Audre Lorde to read the manuscript which at that stage was just the short stories. She responded that she didn’t care for short stories much or vampires but she agreed to read it. I held my breath the entire time she talked until she said yes! Her response was really positive and she was the person who first said it must be re-edited and presented as a novel. That was a choice my publisher, Nancy Bereano agreed with enthusiastically! I’d recommend that beginning writers stay open to listen to critiques of their work. Sometimes criticism is meaningless but sometimes there are important things to hear–like my book was really a novel. Don’t be afraid that others can tear down your work, only you can do that. And don’t be afraid to imagine the lives of characters who don’t look like you and do the work to make them real. If I hadn’t done that there’d be no vampires in my oeuvre!
GMM: Until recently, I didn’t realize The Gilda Stories was your debut novel. I think it’s interesting that as black women writers, we both chose to write vampire novels that deal with slavery and its affect on the American psyche. Your novel and Toni Morrison’s Beloved were inspirations to me. What inspired you to write The Gilda Stories? Where did this narrative come from and why did you decide to make it a vampire novel?
JG: It’s heartbreaking how this society hasn’t begun to address the ripple effects of slavery on our present-day culture. It seems more important to dismiss history as irrelevant while the police kill black people with impunity as if it were 1860 and not the 21st century. The novel grew out of an incident on the corner of my street when I lived on the Upper West Side of Manhattan. I’d gone to the corner to use a telephone booth (remember them) one evening and two drunk black men walked by and stopped to harass me with lewd descriptions of what they’d like to do to me (more ripples). I became furious, asked my friend on the other end of the line to hold on as I set the phone down. I turned to the men and screamed at them like a wild thing! And I wouldn’t back down. Finally one brother said to the other, “Let’s get out of here man, she’s crazy!” And I did go a little mad; if there’d been a weapon nearby I would have used it. Meanwhile my poor friend heard the screaming and worried she should be calling the police to save me. I hung up, went back to my apartment and was shaking with fury at that verbal assault that I and other women endure every day. Adrenaline was coursing through me and I sat down at my typewriter and began the first Gilda story. In the early draft Gilda does kill the guy and toss his body in the Hudson River. After I calmed down and went back to look at the story I wanted to explain her superhuman strength, and I’d always read vampire fiction so I thought that would be the character’s secret.
GMM: It’s been almost 30 years since The Gilda Stories was published. It has been adapted for film and the stage, and it celebrated a 25-year anniversary with an expanded volume. I’ve been stressing out because people keep asking me when the sequel to my novel, which was released just last year, is coming out. Why did you decide after all this time to write a sequel to The Gilda Stories? What stopped you from writing the sequel sooner?
JG: I spent three years adapting two chapters of The Gilda Stories for the stage (along with Toshi Reagon) for the Urban Bushwoman Company and then toured with it for a year. So I was a bit burned out for a while. That experience sent me back to the stage and I’ve been writing a trilogy of plays for the past decade commissioned by New Conservatory, the queer theatre here in the Bay Area. Cheryl Dunye optioned Gilda for a limited TV series last year so I’m hoping we get to see that soon. But all along I did write new Gilda pieces for different anthologies. I kept in mind they’d be for a new book which I call Gilda Interposed because rather than a sequel the new chapters take place in between the current novel’s chapters.
Don’t be distressed that people ask about the next book…it’s one (unfortunate) way they have to express their admiration for the current work! I’d worry when they stop asking!
GMM: You have accomplished a lot in your career(s) as an academic, as a writer and as an activist. Which of your accomplishments are you most proud of, and what accomplishments do you still have your sights set on for the future?
JG: I feel very strongly that the different aspects of my career are all facets of my activism; I’m most proud of that. As a teacher and director of the San Francisco State Poetry Center and Archives; the 30 years I spent as a grantmaker for government and private foundations; writing the many essays, short stories and plays–I looked at each position through my lens as a lesbian feminist of colour and was conscious always of how I could affect the institutions and the people who were being touched. Holding on to that political perspective means a lot to me and it wasn’t always simple.
As for the future I look forward to seeing Gilda Interposed (which is both darker and funnier) find a publisher and fans. About ten years ago I finished a comic (non-vampire) novel, Televised, about a group of African Americans attending their college reunion and experiencing the effects of their youthful black activism. Again the ripple effects of slavery are alive in the racism they faced on their college campus in the 1960s and are still there decades later when they return. I think this is a good time to finally find a publisher for that. And I have two more plays outlined: in one I give new life to lesbian characters who’ve been demeaned in the work of others, also a comedy. And the second is about the Native American girls basketball team in 1904. If I’m still alive after that, who knows!
GMM: Aside from the fact that you wrote one of my favorite vampire novels of all time, I think the one thing that stood out to me the most in your bio was that you were on the staff of the television show “The Electric Company”. Growing up, I loved that show more than “Sesame Street” and wondered what your role was in creating one of the coolest, most diverse shows on Public Television.
JG: I’d been a production assistant in Boston at WGBH TV (1968-71) on one of the first weekly, black television shows so was hired for the production staff of “The Electric Company” right out of college. It was a job I was ill prepared for because of the complexity of the unionised environment in NYC and the rush of creating pilot shows. Again ripples of racism…for optics they needed to hire a person of colour and didn’t consider how I might not be up to the task. I had little to do with shaping the show but learned so much from working with the educators and writers about how to imbed effective messages in silly little skits. I was inspired watching some of the most immense talents of the time perform. And I made one of my dearest friends there. I’d met Morgan Freeman earlier when he’d done a TV drama in Boston and in the NYC studio he was my one friend. When I was fired he and his (then) wife, kids and I became very close. His encouragement staved off my deep depression from being unemployed in NYC; abandoned in an expensive apartment by a roommate when she realised I was a lesbian; and the death of my great grandmother who’d raised me. His support helped me decide to get my MS in Journalism from Columbia. So I’d say “The Electric Company” gave me more than I gave it.
I Brought You Into This World 1892 for Toni Morrison, who showed me the power of death
Samuel looked into his wife’s deep brown eyes as he squeezed the life out of her—or at least he thought he had.
I’ve heard several versions of this story but wasn’t sure how close to truth any of them came. I understood, though, that one beloved woman, abused as a child, had grown up to seduce and manipulate others to be as destructive as the uncle who’d destroyed her childhood. I suppose it was that history which made Eleanor’s cruelty almost invisible to me. Over the subsequent centuries, tales of abuse of children never ceased to wring my heart with a barbed pain. But people had begun to speak of Eleanor and Gilda in one whispered breath infused with romance. All began to unravel for me in Eleanor’s salon where she held sway over the almost elite citizens of the still rustic Yerba Buena. And over me.
This evening, I was rejoining Eleanor, eager for the intimate warmth emanating from her presence. I noted how the green velvet of the draperies matched the green of her eyes and was thrilled at the manner in which her voluminous gown was caught so tight in her corset it made one wonder how she could breath. Of course, breathing was not an ordeal for either of us. It was then that Samuel, an early conquest of Eleanor’s, burst through the door and marched toward her. He was not uncommonly tall nor short and quite fit. His tailor must have worshipped him because he was never less than exquisitely turned out. Except tonight it was all slightly askew.
“I’ve finally come to you a free man, my darling,” he said in a low, tremulous whisper as he arrived at the small table where Eleanor sat. With our preternaturally acute hearing it almost sounded as if he whispered in my ear as well as Eleanor’s. He noted the table was set with places for two. “And I see you’re expecting me.”
“No, I am not,” Eleanor’s voice was unmistakably unwelcoming. Please leave my salon and make an appointment if you wish to see me on a future evening.”
From my place by the curtains I could see rage pass over Samuel’s face and I thought to step out and be prepared to defend Eleanor. Fortunately, I remembered that although she was diminutive in size, Eleanor was not of meager strength herself. Additionally, she had been the one to bring Samuel into our dark life so he would not risk hurting his maker.
I use the phrase ‘dark life’ not to denote negativity. In fact, dark to me means rich like fertile soil; warm as were the dark faces of the family I lost to slavery; or unbounded like the night sky. I know so many, even in this unruly place of Yerba Buena, look upon the darker races with scorn—free Africans, Chinese railway workers, Mexican vaqueros, the indigenous tribal peoples—are no more than paving stones on the White’s path toward riches. For Whites he have little value beyond what our sweat can produce or to serve as receptacles for their lust or anger. I knew Samuel to be one of those who felt this way so tried to avoid his company.
He moved closer, towering over Eleanor as he said. “She’s dead. I did it for us.”
“Should I ask who?” Eleanor’s icy tone almost frosted the glass in her hand which sparkled with the effervescent wine that was gaining popularity.
“You know who.”
“Does your wife have no name?”
“She doesn’t need a name now.”
“Please cease your nattering and remove yourself or I’ll have you removed.”
At that I stepped from the shadow of the drapery and faced Samuel. I too am of medium height and build, although my shoulders are of extra width because of my labour on the plantation when a child. My physical vessel is complimented by my finely tailored wool and silk purple jacket and split skirt. I wear my thick hair in a braid wrapped as a crown on my head and my dark skin now shines with a mist of angry perspiration. The hatred in his eyes was a fire he would not contain but for the audience around us.
“Good evening, Samuel,” I tried to employ the even, musical tones that often served Eleanor so well.
“Ahh,” he barely glanced in my direction as his voice raised in pitch. “You are interviewing for a new maid. I’m so sorry to interrupt. We’ll talk at another time.” He must have seen the flame in my eyes because he turned so quickly, he was barely visible as he left the salon.
“Gilda, I am sorry for that. Samuel is impossible.” Eleanor looked up at me with a smile that felt like sunshine; the sunshine that those of our nature could never fully enjoy. Ringlets of crimson curls caressed her handsome face as if she’d not a care in the world. “He’s famous for his fabulist nature. He’ll say anything to get my attention.”
“Even confess to murder?”
“I suppose.” Eleanor responded. “But murder may have to brush closer to him than just his wife.”
I gasped and Eleanor said with the sweetest of tones, “Dearest Gilda, let’s not speak of death when we have so much life to live together.”
The initial stoniness inside her voice and the ease with which it melted into honeyed tones sent chilled ripples through my entire body. Without her speaking another word I understood she was opening a door she expected me to walk through. A door to the true death for her former lover; her creation which she wished to discard…for me.
***
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week I chatted with Tony Tremblay about tacos, reviewing books, and his forthcoming novel from Haverhill House, Do Not Weep For Me.
This week, Girl Meets Monster welcomes poet, lyracist and writer Donna Lynch.
Donna Lynch is a two-time Bram Stoker Award-nominated dark fiction poet and author, spoken word artist, and the co-founder—along with her husband, artist and musician Steven Archer—of the dark electronic rock band Ego Likeness (Metropolis Records).
An active member of the Horror Writers Association and three-time contributor to the HWA Poetry Showcase, her published works include the novels Isabel Burning, and Red Horses; the novella Driving Through the Desert; and the poetry collections In My Mouth, Twenty-Six, Ladies & Other Vicious Creatures, The Book of Keys,Daughters of Lilith, Witches, and the Ladies of Horror Fiction Award-winning Choking Back the Devil (Raw Dog Screaming Press).
She is the founder of the Garbage Witch clothing brand, part-time tour manager, avid cross-country driver, and geography fanatic. She and Steven live in Maryland.
GMM: Welcome to Girl Meets Monster, Donna. Thank you for joining me in these weird times. Has the pandemic and current events had an impact on your creativity? What spooky things have you been cooking up while in quarantine?
DL: It absolutely is having an impact. My focus and concentration are worse than usual, and I’m having to work extra hard at not putting myself down because of it.
That said, I have been able to dive into a new poetry collection: a mix of contemporary folk legends and the lives of my friends and myself growing up in suburban and rural areas. There is a quiet horror that happens in those communities that have traditionally fancied themselves safer and of higher moral ground than urban areas, and as young women growing up in those places, we knew it all too well.
GMM: Tell me about your writing process. Does your process differ between writing lyrics, poetry and fiction? Or, does the same Muse speak to you for all of your creative endeavors?
DL: Lyrics require hooks and there are more “restrictions”. The words not only have to be memorable and impactful, but they have to fit. Everything else feels easy compared to that.
But the words all come from the same well. The bigger challenge is keeping the well from going dry.
GMM: Without giving away too many spoilers, can you tell me about your fragment? Is this part of a larger piece? What’s happening in the story?
DL: My fragment is an excerpt from a work-in-progress collection of short stories that feature the same protagonist: a centuries-old entity who has taken numerous forms throughout time, but during the twentieth century, assumes the identity of a southern gentleman, based on an archetype of the devil they once saw in a film. I won’t share their/ his purpose here, only preface this excerpt by saying they act as a companion to those who need it the most, but in this particular story, struggles with their agenda.
I started this collection many years ago, and I made two mistakes: I made it too big, and I made it too precious. But now, in 2020, enough has changed that I feel ready to carve it into manageable pieces, and I can make the adjustments necessary to feel good about its place in the world, to whatever degree that may be. Offering up this (unedited) fragment here is the first step in me letting it breathe and letting it go.
Miss Abyss
I said it before and it’s always true: some of them are just harder than others.
This one, I can’t say she’s a failure. I wouldn’t ever call her that, no way. But she ain’t made of the same stuff the others are. She’s of something stronger and stranger, and at the same time she’s nothing.
A very long time ago she bound me not to say her name, and I can’t even remember it now, which goes to show how powerful she really is. And pardon my metaphor, but if I’m the stitches, she’s the wound that’s just too wide and deep.
I can’t really save any of my girls, that’s not my job and I couldn’t if I tried, but I especially can’t save her. For her to be who she is, she can’t ever be spared from it. She’s a chasm, a void. But, by god, there’s something deep down in there that is so fragile, and compassionate, and alone, I don’t know how it survives. It’s so far down, I don’t know how it’s fed, but it is. Not much, but enough, I guess.
Now—for a void— if there’s one thing she’s excellent at filling, it’s your time. Otherwise, she’s a taker. She takes your energy, your sanity, your common sense. But even then, that ain’t her fault. It’s her nature, and she only takes what you offer. It’s a pretty deep hole she’s aiming to fill, so it takes a lot, and there ain’t much point in fighting because once you open your mouth and start telling her your story and she starts listening in a way nobody ever listened before, you’ve already approached the event horizon.
The problem with little Miss Abyss is that there ain’t no lesson for her. There’s no moral of her story. She’s not a saint, or a martyr, not a demi-god, or a spirit. She’s eternal, but that don’t mean much when you only exist for other people, because they will you to exist. She’s a distraction for anyone looking for an escape, though she doesn’t know it’s temporary. If everyone let her alone tomorrow, she’d just…not be.
She doesn’t know she isn’t real. But that ain’t ever gonna happen, because people ain’t ever gonna stop wanting someone to listen the way she listens. They ain’t ever gonna stop wanting something to fill their time and emptiness.
It took me a hell of a long time to figure out why we came across each other, but then it hit me: someday, I’m might have to tell her. At least, I think I will. My job is to be merciful, to make the transitions easier, to not let them linger, hurting and desperate. I get mad at myself for letting her go on this long, getting used and thrown away time and time again. I lose track of time, but I’ll tell you, it’s been long enough to make me feel ashamed. Hard truth is, I’m fond of her, and I don’t want to set something into motion I can’t control. Like I said, that ain’t my job. But it also ain’t really fair to her.
It seems harmless enough, just thinking it through. If she’s nothing, then why shouldn’t people bring her into existence if they need her? She’s summoned by the lonely, the trapped, the insecure. She’s called by people who need a distraction from their boring lives and ugly selves, and they’d rather face the better person they see reflected in her hopeful eyes. “Where’s the harm?” they think. They never remember asking for anything out loud. So when they’ve used her up, or offered more than they could afford to lose to, they always say “Hey, sweetheart, I never said you had to keep coming around,” or “We never said this was forever”, and they send her away, emptier than when she got there, if that’s even possible. It’s like looking at a hole torn in space. You can hardly even understand what you’re looking at. You just know it’s dark and cold.
But here we are, over and over, and though I see she’s hurting, I can see she’s hoping—hoping to be real, hoping that this time, she’ll be enough—and I let it ride because it feels so good to have her with me. I don’t have to teach her a damn thing. I don’t have to carry her through a trauma or a gate, into her next form. I don’t have to hold her hand while she nestles into place in a folktale or ghost story. We just exist together and I tell her about all of it and she just listens and smiles and makes me forget all of the terrible things I see, and every time, just as I’m feeling so good, it hits me like a shotgun blast to the head—
I don’t set her free because she’s my distraction, too.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
Last week I spoke with horror writer Denise N. Tapscott about her love of New Orleans and Voodoo.
This week, Girl Meets Monster welcomes horror writer and former Cemetery Dance Magazine book reviewer Tony Tremblay.
Tony Tremblay is the author of the Bram Stoker nominated novel The Moore House from Haverhill House Publishing. In addition he has two short story collections The Seeds of Nightmares, and Blue Stars, both from Crossroad Press. He is one of the co-editors of the Eulogies series of horror anthologies, and is a co-editor on an upcoming untitled horror anthology about trains. He has worked as a reviewer for Horror World and Cemetery Dance Magazine. For three years he hosted a television show called The Taco Society Presents which focused on New England horror and genre writers. Along with John McIlveen and Scott Gousdward, Tony is one of the three organizers of NoCon, a horror convention held in New Hampshire. His latest novel, Do Not Weep For Me is currently at the publisher. Tony lives in New Hampshire.
Three Questions
GMM: Welcome to Girl Meets Monster, Tony. Tell me a little bit about your forthcoming book from Haverhill House, Do Not Weep For Me, without giving away too many spoilers.
TT: First let me say thank you for having me Michelle. Do Not Weep For Me is my second novel with Haverhill House. I would not consider the new novel a sequel, but it does follow up with some of the characters in my first novel The Moore House. In Do Not Weep For Me, we encounter an old couple that has kidnapped children to use them in a demonic sacrifice. At the end of the ritual, only two of the children survive, but they’ve changed. While we follow the exploits of the children in the novel, the emphasis is more on their parents and other adults, including a certain pawnshop owner who assists them.
There are differences between my two novels. In the 70’s and 80’s, I spent way too much time devouring all those classic horror novels of that era. The Moore House was my homage to that time period with its action packed plotting and cliffhanger endings. Do Not Weep For Me is also action packed, but I gave the characters a bit more room to breathe, and many of the chapters are self contained. The other big difference in Do Not Weep For Me is that it contains a fair amount of sex that is intrinsic to the plot, where as I shied away from it in The Moore House.
GMM: What was The Taco Society Presents about? I mean, I assume tacos had something to do with it, but can you really talk about tacos for three years?
TT: I’m smiling as I’m typing this. The Taco Society Presents was an interview show shown on local television and YouTube. I was the host with two co-hosts, Sydney Leigh and Phil Perron. We interviewed authors, artists, and craftsmen mostly from New England that were involved in horror and related genres. Before the show was conceived, a mutual friend of all three of us brought us together one evening at a taco restaurant so we would get to know one another. We all clicked. Later, when the television station asked me to host the show, I asked the others if they would like to join me. They said yes, and we became The Taco Society Presents. After every show, the three of us, and our guests would drive down to that taco restaurant and spend the evening eating and drinking. The show lasted three years, and we had a great time doing it. And, as I mentioned earlier about my love of 70’s and 80’s horror, The Taco Society Presents is also a nod to one of my favorite books of the time. The Chowder Society is a feature in Ghost Story, a novel by Peter Straub.
GMM: Are you still reviewing books? How has that experience shaped your own writing? Do you think reading the work of other writers helped you become a better writer? Did it change your perceptions of what the writing process looks like?
TT: I don’t review professionally anymore. Nanci Kalanta gave me my start reviewing for her Horror World website which led to me to reviewing for Cemetery Dance Magazine and the occasional review elsewhere. I’ve been an avid horror reader since my early teens so I had a fair idea of what was good, what worked and what didn’t, so reviewing came easy for me. Joining a writers group enabled me to learn the mechanics of crafting a story, and that made a huge difference in the quality of my work. To this day, I lean on guidance from my writers group—they are the best beta-readers anyone could ask for. It was my desire to write my own fiction that put an end to my reviewing.
Excerpt from Do Not Weep For Me
As he did every morning before going to work, Paul Lane glanced at the thermometer on his front porch—74 degrees—and then with a cup of coffee in his hand, stood on the concrete stairs at the front of his house. He took note of the thick cloud cover. It delivered a gray hue, muting the sunshine, dulling the vibrant palette of the season. He dropped his gaze and frowned. The grass covering his yard looked different. The stiff, neatly trimmed blades rested limp on the topsoil. The deep shamrock green had faded a shade; the tips tinged with yellow. He thought it too tired-looking for mid-June.
The flowers on the Rose of Sharon hedge bordering the left side of his home, so proud yesterday, were now listless. Their parade of bright red blossoms absorbed the muted sunlight and reflected a color more akin to copper than candy apple.
Swinging his gaze to the street offered no respite from the gloom. The neighborhood had taken on a dingy appearance. It was as if the brick, aluminum or vinyl siding facades on the homes had bathed in a layer of dust. Not one of the new or more expensive cars parked in driveways or in front of the houses screamed, “look at me”. Their wax jobs lacked sparkle and their chrome trims did not gleam.
Something was off.
People in his neighborhood had pride. They did not neglect their property.
“Daddy?”
The call broke his concentration. “Yes, Cindy?”
“Can I play on the swing for a few minutes before you bring me to school?”
Paul didn’t answer. Instead, he took one more look around. There was heaviness to the area he couldn’t put his finger on, as if the atmosphere had weight. Not only was it oppressive, it was concerning in a way that defied an easy description.
He caught sight of Sheila White, the neighbor across the street, as she retrieved the daily newspaper from the box at the end of her driveway. The woman waved to him, and he returned the greeting. She was a fine looking woman, and the thing was, she knew it. He smiled when she stopped a few feet from her front door and wiggled her ass before she stepped back into the house. Paul’s wife had been dead for four years now, but that didn’t mean he was. Though Sheila often flirted with him, Paul rarely returned the favor. She was off-limits. Her husband, Tom, and he were good friends, and he would never betray that trust. Still, though, she did brighten Paul’s mood on occasion.
“Daddy, can I?”
“Huh?” He had forgotten about, Cindy. “Yeah, sure, honey. Stay in the back, I’ll come get you when it’s time to leave. You want to eat anything before you have breakfast at daycare?”
“No. I’m okay. Can you push me?”
He chuckled. “Sure. Give me a minute to bring my stuff to the car, I’ll be right out.”
“Thanks, Daddy!” She gave him a quick hug and ran back inside the house.
He followed her in and, after chugging his coffee, Paul draped his suit coat over his arm and grabbed his briefcase and backpack. There was a thud, and he mentally confirmed his daughter had gone through the back door to get to the swing set. The forecast had been for clear weather so his car remained in the driveway overnight. He walked to the vehicle with thoughts of the meeting this morning he had planned with the engineers of his company. He made a note to himself to review the cost analysis on the retrofit of the South Willow Street strip mall in Manchester. His thoughts lost on the price of granite and ceiling fixtures, he threw his suit coat and luggage into the rear seat of the Lexus. After shutting the door, he made the effort to clear his head and attend to his daughter. He walked past an area of tall pines and scrub that marked the property line on the right side of his house. When he was about to turn the corner to the back yard, he slowed.
This doesn’t feel right.
He should have heard squeaks from the chains attached to the joints at the top of the swing set. They were rusty. Needing oil. It was something he had meant to do but never got around to. The squeaks were loud, annoying, and you could hear them from twenty feet away. His back stiffened and he unconsciously hurried his pace.
She could be sitting and not swinging. Maybe she went back into the house. God, please, don’t let me have fucked up.
He rounded the corner.
The swing was empty. Cindy was nowhere in sight.
Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.
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