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ALL PULP’S SITE SPOTLIGHT- POST MODERN PULPS!

http://postmodernpulps.blogspot.com/

This insightful, fun blog site is the home of Jack Badelaire, author, fan, and overall armchair philosopher and expert on Pulp in a post modern age, including publishing, movies, and just pulp in concept as general.   Posted below is an example of thought, theories, and general ramblings from Jack that make this blog a fantastic place to postulate on Pulp pretty much daily!

Embracing Indie eBook Publishing

As of this week, I’ve made the decision that when (not if) I finish the book I’m currently writing, I will publish it as an eBook through Amazon and B/N’s self publishing portals.

I’ve come to this decision for four reasons.

1. I’m tiring out. Writing part-time while there are a million other things vying for my attention drags this process out to an intolerable degree, and once it’s done, I simply don’t have the stamina to then spend months – hell, years – finding an agent and a publisher who’ll take my novel. I just can’t wait that long. The way I see it, writing for publication is like gambling; you can play the short odds and be careful and amass a small but tidy sum cautiously, or you can keep throwing money on the long odds and hope that someday – someday! You will win it big. I see Indie ePublishing as the short odds, and traditional publishing as trying to win the lottery. And for the record, I don’t play the lottery.

2. Electronic Self-Publishing is here to stay, and I want to ride the wave while it’s still growing. What was considered a “vanity press” idea ten or fifteen years ago is now becoming a viable alternative to finding a publisher. This is something indie game publishers have know for a while now, but non-game book publishing is taking a while to catch onto the idea that someone being able to publish their own work != the downfall of the literary world. This was the case of all the Web 2.0 technologies as they came along, taking the ability to “publish to the world” out of the hands of certain gatekeeping individuals and giving that power to the masses. Yes, it’s given us some stupid crap on the internet (okay, a LOT of stupid crap), but it’s also created some truly amazing things as well. If you’re one of those “All People Are Idiots!” folks, the ability for just anyone to write a novel and potentially have someone pay to read it is anathema to you. But on the other hand, five years ago, I thought “blogging” was stupid, and here I am. A year ago I thought Twitter was stupid, and yet, I’m on it, Tweeting away. People make money blogging and Tweeting, too. People even make a living teaching others how to blog and Tweet, shockingly enough. Journalism, Film (see: Youtube et al), and now Fiction publishing is all shifting to a Web 2.0 paradigm; it’s Publishing 2.0, and it is only going to get bigger.

3. Indie ePublishing suits what I want to write. Quality aside, I honestly do not think there is a viable market for what I want to write in today’s dead-tree publishing paradigm; the short serial action thriller as was popular back in the 60’s – 80’s in titles like The Executioner, The Death Merchant, Able Team, Longarm, The Ninja Master, The Survivalist, the Richard Blade series, Casca the Eternal Warrior, and so on. There have been dozens of these titles over the years, cheap “post-modern pulp” paperback novels out of those few decades selling for $2-3, averaging less than two hundred pages and 50-80K word lengths. These books were enormously popular at the time, and I think the sort of serial fiction they provided is still viable, but no one is going to see the profit in that kind of publishing in today’s print fiction market, at least not outside of Young Adult fiction (which I don’t write…yeah no). On the other hand, a short novel format would be perfectly acceptable – even preferable, on an eReader, and the price point hasn’t changed much, either.

And finally, one last big reason. I want to be paid to write. I’ve been writing fiction since grade school. I might not be a great writer – I might not even be a “pretty good” writer, but I am a passable writer, and the more I write, the better I get. I’ve got ideas, I have some modicum of talent, and if properly motivated, I can produce copy quickly. But the motivation is the key, and my motivation right now, as I close in on my mid-30’s, is income. I’m not satisfied with my current job, but it pays better than some, and that keeps me locked in. If I could supplement my income with a small but steady stream of royalty payments, it would be both encouraging and pleasing to the pocketbook, and I could consider a less stressful job even if it meant a pay cut, in order to put myself into a better frame of mind for writing. And Indie ePub money – that’s money now, as in within a year, not fantasy dream lottery money that I might get if I’m one that one single writer out of every ten thousand potential new fiction writers that gets picked up for distribution by one of the Big Six, and then waits another year to eighteen months before my book hits the shelves. There are fiction writers out there in the hot genres – not a lot of writers, but a fair few – who have seen real, I-can-do-something-with-this amounts of money within just a few months of putting their eBooks up for sale, and we are talking rookie authors who are doing it all by the skin of their teeth and the sweat of their brows.

I’ll conclude this little soapboxing session with the link to the blog that’s turned me around on this idea: J.A. Konrath’s “A Newbie’s Guide to Publishing“. I read an anthology of hitman stories edited by Konrath a few months ago, “These Guns For Hire“, and having looked him up, I now see that he is a very big proponent of “Indie Publishing” as he likes to put it (sound familiar, gamers?), and his blog has become a rallying point for Indie authors who have started to make a living publishing their own eBooks. Anyone who’s interested in self-publishing fiction – or anything, really – should read through his blog.

And with that, back to the typewriter…

Posted by Jack Badelaire at 9:00 AM

The Point Radio: From SCRUBS to Sundance


After nine seasons as Carla in SCRUBS, Judy Reyes has spread her acting wings to a new film getting a lot of buzz at Sundance. Judy gives us the preview, plus Jessica Walter talks more about ARCHER and even that DOCTOR STRANGE film so many of us geeks loved.

And be sure to stay on The Point via iTunes - ComicMix, RSS, MyPodcast.Com or Podbean!

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Don’t forget that you can now enjoy THE POINT 24 hours a Day – 7 Days a week!. Updates on all parts of pop culture, special programming by some of your favorite personalities and the biggest variety of contemporary music on the net – plus there is a great round of new programs on the air including classic radio each night at 12mid (Eastern) on RETRO RADIO COMICMIX’s Mark Wheatley hitting the FREQUENCY every Saturday at 9pm and even the Editor-In-Chief of COMICMIX, Mike Gold, with his daily WEIRD SCENES and two full hours of insanity every Sunday (7pm ET) with WEIRD SOUNDS!

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HANCOCK TIPS HIS HAT TO THE DAMNED THING!

TIPPIN’ HANCOCK’S HAT-Pulp Reviews by Tommy Hancock

THE DAMNED THING
by Barry Reese
Wild Cat Books

For those of you who have read my reviews since starting ALL PULP, you know that I tend to like to say a little something in the opening and even though I’m usually very positive, I’m not full of accolades and purple prose…until now. Get ready…

This is the best work by Barry Reese I have ever read.  Simply.  Period.

Reese has shown through his various works, including 5 volumes of THE ROOK, a book about Ki-Gor, the LAZARUS GRAY stories for Pro Se Productions, RABBIT HEART, his novel from 2010, and other stories and tales, that he can handle multiple genres and knows how to build characters and tell a story.   After reading THE DAMNED THING, I now know that those other books and tales were just wonderful steps to the masterpiece this book is.

The story of THE DAMNED THING centers around Violet Cambridge, a Private Detective in the late 1930s who runs an office with her dead husband’s former partner.  The story starts like many detective tales, a comely young woman walks in and wants her sister found.  Of course there’s twists right from the beginning, the case becomes focused on a relic, and Violet ends up having to avenge her partner’s death.  If you think I’ve spoiled anything, I’ve only given away information in the first twenty or so pages.  

Reese seamlessly blends good old fashioned mystery, private eyes, supernatural hoodoo, mafiosos, asylums, and even Alistair Crowley.   The action does not let up, every aspect of this story, from violence to sex to exposition, is used just enough and is dead on at every turn.   It’s a short read which is good in that you can’t put it down anyway but is bad in that you want more, even though the story is tied up pretty well.  Throw in a fan favorite character from Reese’s THE ROOK and you have a pulp burner here that cannot miss.

And I didn’t even go into the fact that this is possibly one of the best tributes to THE MALTESE FALCON I have ever seen that didn’t drift into parody, but maintained its own identity while still nodding respectfully to that classic.

FIVE OUT FIVE TIPS OF THE HAT-The best Reese and one of the best Pulps I’ve read in a while.

ALL PULP NEWSSTAND BULLDOG EDITION 2/4/11

ALL PULP NEWSSTAND
BULLDOG EDITION
2/4/11
PRO SE AND HANCOCK TAKE US BACK TO
YESTERYEAR WITH DEBUT NOVEL
Pro Se Productions, producers of Pulp Magazines beginning in August, 2010 and Pulp author Tommy Hancock, a nominee for Best New Writer in the First Annual Pulp Ark Awards (voting underway now), announce today that Hancock’s first full length novel which will also be Pro Se’s first novel to publish is in the final stages of editing and will debut within the next 4-6 weeks.
YESTERYEAR is Hancock’s first full length novel work, but has been a work in progress for nearly ten years.  Now thanks to Pro Se Productions, this long told, but little read tale will finally be shared with the public.   And it sports a fantastic cover drawn by Jay Piscopo!  “The three characters,” Hancock stated to ALL PULP, “featured on the cover are sort of the crux of this whole universe while the book one of them is holding is the lynchpin that could send that world spinning into oblivion.  Jay’s work brings out the contradiction of glory and darkness that these heroes go through as well very clearly illustrates character traits of each of them without a word on the cover about them!  The attention to detail and the focus being on that book…that all important book…makes this cover jump out at me and this would not be the same book without Jay’s cover.”
According to Hancock, the basic concept is that the YESTERYEAR world was a fairly normal place until October 29, 1929.  Not only did the world very nearly collapse under economic depression, but something seemingly more positive happened.  A man flew.  Without an airplane.  Under his own power.  And he wore a mask.
This singular incident sets off the appearance of a string of Heroes, taking their name from the name given to the first of their kind by the papers-Hero- who are more or less pulpy in nature, although some tip their hat to the super hero genre born from the pulps.   These heroes enjoy a particular ‘golden age’ well into the 1950s.  But in 1955, a well known author, who also happened to have been a Hero, vanishes and along with him a much rumored manuscript that, through the use of newspaper articles, letters, and stories revealed the true obsidian side of this golden age.  Both author and book have been missing.  Until now.
“There are really three stories,” Hancock said, “being told in YESTERYEAR.  One is the modern tale, of how this book with all these alleged secrets pops back up and sets the entire world, most definitely the inheritors and keepers of the Heroes legacies, on edge.  Another one is the titular manuscript itself.  Pieces of it will be printed in the book and will tell stories of how the Heroes were seen in their day, the two fisted, heart of gold stories.  Then other parts of the manuscript will be used as well and these are the ones that aren’t so shiny but oh so revealing.  I hope with this concept I’ve pulled off something that’s not really been done extensively.  Construct an universe, deconstruct it, yet allow enough of what was good about it, even if it was a ball of lies, to remain for the reconstructing that must follow.”
Hancock stated that the plan currently is to have interior art in the book as well from an up and coming artist in the Pulp field, but that this book will be available by the end of March and will not be held up by any delays.   The book is being published by Pro Se Productions (http://www.proseproductions.com/, pulpmachine.blogspot.com).  Hancock also pointed out that the book, including the graphics work on the awesome cover, will be designed and formatted by Sean Ali, Pro Se Design Specialist and a long time friend and supporter of Hancock’s works.  Also, the book will open with an introduction by noted Pulp author Derrick Ferguson, the first writer other than Hancock to write characters from the YESTERYEAR universe almost ten years ago.
Stay tuned to ALL PULP for future information on the release of YESTERYEAR!

ALL PULP NEWSSTAND-NIGHTHAWK EDITION FOR TODAY!

ALL PULP NEWSSTAND
 
NIGHTHAWK EDITION
2/3/11
 
Now Available as an E-book from Smashwords!
 
DIAMONDBACK: IT SEEMED LIKE A GOOD IDEA AT THE TIME
 
When a gunman calling himself Diamondback Vogel arrives in Denbrook offering his services to the highest bidder, the crimelords who have a stranglehold on the city have some questions to ask: Is this the same Diamondback who was reputed to have been killed in a bloody Foreman City shootout or is he an imposter, and why does his arrival coincide with an impending weapons shipment?

https://www.smashwords.com/books/view/40452

GUEST REVIEW OF THE WEEK-CONSTANTINE ON FERGUSON

Diamondback: It Seemed Like A Good Idea At The Time

2 02 2011

Ever since I read Derrick’s first book, Dillon and the Voice of Odin, I’ve been sold on his work. Derrick has a knack for intriguing characters, snappy dialogue, and some of the best action I’ve had the privilege of reading.

Whereas Derrick’s Dillon series (as of this writing composed of Dillon and the Voice of Odin and the follow-up Dillon and the Legend of the Golden Bell) is a love letter to Doc Savage and the classic adventure story, Diamondback is a true spaghetti western. But like with Dillon, Derrick mixes his love of the classics with a modern sensibility. Derrick has frequently referred to this story as an urban western and that’s the most apt description I can think of.

Although this story could have been set in the Old West out on the frontier, it fits perfectly in the fictional city of Denbrook, which could easily give Gotham a run for its money.

When one of Denbrook’s biggest crime lords is planning to bring in a shipment of hi-tech weapons, it just so happens to coincide with the arrival of gun-for-hire Diamondback Vogel. And this is one mercenary who is the best there is at what he does and what he does is fill his enemies with lead and leave a trail of destruction in his wake. Crime lords, crooked cops, and secret societies are all involved and all interested in Diamondback’s role in this tale. However, Diamondback supposedly died in a shootout in another town, so one of the ongoing questions is just who is this guy? It’s a question that plays no small role in this story and I’m not going to say anything more about that, because you’re better off reading it for yourself.

What I will tell you is this is a great read that won’t suck up a lot of your time. Not only because it’s a short book, but also because Derrick wastes no words. He knows you’re here for the action and he gives it to you in abundance. The action sequences are crafted with both bloody intensity and a flawless grace that would make even John Woo envious. And by the time you reach the last page, you’ll want to track this Ferguson guy down and find out when the sequel is coming, because he leaves you with a cliffhanger ending that will put you on the edge of your seat.

ALL PULP’S A BOOK A DAY GETS THIN!

http://www.bearmanormedia.com/ 

THE FILMS OF THE THIN MAN

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The Thin Man films are one of the most highly regarded and successful series of films from Hollywood’s classic era.  This book looks at the people who populated the films, including full chapter profiles of its stars, William Powell and Myrna Loy, whose chemistry together was a huge reason for the success of the films. As Nick and Nora Charles they knocked the stereotypes of on-screen marriage out of the park and replaced the stiff and formal with fun and sexy. But not to be forgotten are the great character actors who added their own special magic to each and every film.  Each chapter includes profiles of these actors as well as the creative teams behind the films.  The book offers up detailed synopses of each of the films as well as behind-the-scenes anecdotes and trivia.  If you love The Thin Man then this is the book for you! 
 
 

ALL PULP INTERVIEWS BEST SELLING AUTHOR AND DOC SCRIBE PAUL MALMONT!

ALL PULP INTERVIEW-Paul Malmont-Writer
AP:  Paul, it’s indeed a great pleasure to have you sit across the ALL PULP table today for this interview.  Would you mind to share a little bit about yourself?
PM:  Thanks.  I’m a copy director at an advertising agency in New York.  I live in New Jersey with my wife and two little boys.  My new novel about the birth of the science fiction pulps, THE ASTOUNDING, THE AMAZING, AND THE UNKNOWN, comes out in July. 
AP:  You’ve definitely done a bit of work that falls within the realm of pulp and taking the concept of pulp a couple of different directions.   What about pulp appeals to you as a fan and as a writer?
PM: What I’ve tried to do is take some of the conventions of pulp (the freedom of heightened realistic fantasy, outrageous topics taken for granted, outlandish characters, crazy plot devices) and apply them to the sensibilities of literature.  I think literature is flagging because books aren’t fun to read anymore, I’m trying to borrow from the pulps, the things that might make a big book fun.
AP:  Let’s get to the meat.   Your name first became known to many readers with the release of your novel THE CHINATOWN DEATH CLOUD PERIL.  First, can you sum up the book for our readers, including who your main protagonists are?
PM: DEATH CLOUD takes two real writers from the hero pulp era, Walter (The Shadow) Gibson and Lester (Doc Savage) Dent and casts them in an a story that hopefully captured some of the elements they used to write about.  It’s also a top-to-bottom overview of the pulp industry at that time, introducing the reader to everyone from H.P. Lovecraft to L. Ron Hubbard.
AP:  What inspired you to take the best writers of pulp fiction and turn them into pulp heroes in their own right?
PM: I always like that time period and the pulp atmosphere and it always influenced my work.  Then I read an Isaac Asimov biography and he mentioned hanging out with Hubbard.  I realized I knew so much about the era, but Hubbard would be that little something extra that really pushed the story over the top.  It all kind of fell into place after that. 
AP:  You’ve talked about a follow up, maybe not so much a sequel, to PERIL.  What can you share about that?
PM: My new novel THE ASTOUNDING, THE AMAZING, AND THE UNKNOWN takes places in 1943 and focused on a couple of DEATH CLOUD characters, Robert Heinlein, Hubbard, and adds Isaac Asimov and Sprague de Camp.  It really is about how the industry and world had changed so quickly from the events in 1937.  The hero pulps were doing a fast fade and sci fi was in ascendency.  It’s less atmospheric and more straight-forward, as suits that style of story-telling.  Gibson and Dent do appear again.  But it’s different.  Whereas DEATH CLOUD was about the redemptive powers of the imagination, and JACK LONDON was about the destructive powers, this one is about whether there are any limits to imagination. 
AP:  Your latest novel, JACK LONDON IN PARADISE, deals with an author that many would say wrote works that fall within the pulp genre and he definitely influenced many pulp writers and literature as a whole.  Can you tell us about this book and then discuss why you focused on the particular point in his life that you did?
PM: Jack London inspired most of the writers who were writing pulps by the ‘30s.  If not in style then they modeled their careers on him—he was the first writer to figure out how to make a living writing for magazines.  And his writing was so transformative that all the magazines wanted his type of stories, so they started giving opportunities to other writers, and before you know, you had an industry.  His life itself was so incredible, and he lived it so hard, that it just lent itself to a novel.  Add to that the fact that there was an incredibly romantic center and some mystery to his very young death, and it became a very satisfying challenge to take on.  In a lot of ways, it’s a spiritual prequel to DEATH CLOUD and ASTOUNDING. 
AP:  You also were the initial writer of the DOC SAVAGE comic in the FIRST WAVE line from DC.   First, what was it like going from writing novels to having your stories translated into images on the page?
PM:  Writing a DC comic was something I was able to cross off my bucket list. Who doesn’t want to see their name on a DC comics?  Having said that, writing for comics is a very different medium than for literature, or even film—it has rules I’d never even thought of.  So it was difficult, but rewarding. 
AP:  What sort of editorial restrictions or pressures were you under while writing DOC SAVAGE at DC?  Did Editorial have a specific direction in mind and if so, did that agree or conflict with where you felt the book should go?
PM:  There was a bible to follow, of course, but within that I was given a lot of freedom.  But they rejected my first draft outline and went for the second.  I wanted to get more into Doc’s head and background a little more than I was ultimately able to. 
AP:  There’s obviously been a lot of negative fan response to the FIRST WAVE line, particularly from fans of the characters in their original forms.   What are your thoughts on this reaction, primarily being that DC is not remaining true to the concepts as they were conceived and is even going beyond tweaking them, outright changing some of them?
PM:  I think one of the inalienable rights of a fan, be it sports, movies, comics or something else, is that of complaining about how things weren’t done right and should have been done better.  I do it myself all the time.  I would have liked the fans to get behind it more, but what can you do?  I don’t want to make it seem like it’s all on the fans, or on me—I think there is some design inconsistencies throughout the various First Wave books that are confusing.  I remember pointing out that I didn’t think the cars in my first issue looked like the cars in the FW debut issue, and was told not to worry about it.  There’s perhaps more editorial consistency in the writing than maybe there is in the visual direction.  I can tell you that, as a Doc fan, I’m pleased with what I wrote and that by issue 3 it was really clicking along and there were big things ahead. 
AP:  What other pulp characters would you like to get a shot at, if any, in comics?  What about prose, any interest in penning any particular classic pulp hero in a short story or novel?
PM:   I love magic so I’d love to get my hands on Captain Marvel or Doctor Strange. 
AP:  Anything in the near future you want to make sure our readers look out for?
PM:  THE ASTOUNDING, THE AMAZING, AND THE UNKNOWN is available in July.  My collected run of DOC will be out in trade paperback in April and hopefully fans will take a second look. I’ll be at Comic Con in San Diego.  I can be found on twitter- @pmalmont.  And my Facebook book page is http://on.fb.me/f8q7zw – please join.  We’ll be giving away advance copies and making other announcements soon. 
AP:  Paul, please come back anytime and visit with ALL PULP!
PM:  Thanks! 
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ALL PULP’S A BOOK A DAY-Two books today!!!

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http://www.bearmanormedia.com/

Comic Strips and Comic Books of Radio’s Golden Age
by Ron Lackmann

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From Archie Andrews to Tom Mix, all radio characters and programs that ever stemmed from a comic book or comic strip in radio’s golden age are collected here, for the first time, in an easy-to-read, A through Z book!
 
From Ron’s introduction:
“The wonderful thing about Radio as it used to be in the 1930s, 1940s and 1950s, is that whoever or whatever you were hearing over the airwaves was your very own visual creation. It was your imagination that supplied the images of what the people, places and situations you heard looked like. The “pretty” girl was your version of what “pretty” was… and the “handsome” hero was your visualization of what constituted “handsome.” During the memorable years when Radio was America’s favorite home entertainment medium, the airwaves were permeated with all sorts of programming.

 There were the daytime dramas of domestic stress, or soap operas as they were called because they were usually sponsored by soap detergent companies, that at-home moms and night-working dads could tune in to hear and sometimes their sick-at-home–with-a-cold kids also listened to “the soaps.” There were the five-day-a-week children’s adventure serials that were heard in the late afternoon when youngsters came home from school. There were prime-time mystery programs, and comedy and variety shows, game and panel programs, and even adaptations of great works of the theater and literature, as well as radio versions of well known films, for the mind’s eye to envision.”

100 Years of Broadway
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“Broadway After Dark is a compilation of columns, stories and never-before-published profiles by my father, Ward Morehouse, and myself. The profiles were originally intended for a book called Stars I Have Known. The columns of his are representative of those he did for the New York Sun from 1926-1950 and after for other newspapers. I started writing sporadically about show business for The Christian Science Monitor in the 1970’s and continued as a reporter and theater columnist for the New York Post, Reuters, New York Sun, and The New York Times, and The Epoch Times. It’s my hope that these columns and stories, taken together, will be a portrait, however sketchy, of some of theater for the last and current century through some of their biggest stars, including Katharine Hepburn.”

– Ward Morehouse III, from his Preface

ALL PULP NEWSSTAND NIGHTHAWK EDITION 2/2/11

ALL PULP NEWSSTAND
NIGHTHAWK EDITION
2/2/11
FIRST PULP ARK AWARD VOTING HAS BEGUN!
Pulp Ark Coordinator Tommy Hancock notified ALL PULP today that the nomination period for the first annual Pulp Ark Awards ended on January 31st, 2011, and the final ballot formed from 66 nominations was released today!  The awards for excellence in the Pulp field for 2010 cover nine categories and multiple authors, artists, publishers, and titles were represented in the nomination process.  Each person who made a nomination received a ballot for voting.  Hancock reported as of press time that more than half of the ballots had already been completed and returned.  Voting is open until all 66 ballots are completed or February 28, 2011 at 11:59 PM, whichever comes first.  Once the voting is complete, the winners will be announced and Hancock encourages all nominees and winners to attend PULP ARK May 13-15, 2011 in Batesville, AR.
For more information on Pulp Ark, contact Hancock at proseproductions@earthlink.net
The Nine Categories on the Ballot were Best Book, Best Short Story, Best Cover Art, Best Interior Art, Best Magazine, Best Pulp Revival, Best Comic, Best Author, Best New Writer. 


The Ballot can be found at http://www.facebook.com/pages/Pulp-Ark/102201746498123?v=app_2373072738#!/topic.php?uid=102201746498123&topic=93