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The SteamGoth Anthology Series Has a New Addition

The SteamGoth Anthology Series Has a New Addition

g1ggI generally don’t push products on this site, but I make an exception for our flagship line of books from Crosstime Publishing.

This week Goggles, Gears and Gremlins debuts on Amazon and Kindle.

Click HERE

The Kindle edition is 99 cents so please check it out and if you like it try out one of the other two books in the SteamGoth series… (and if you really love them please leave a review with Amazon)

 

sss

 

 

Sorcery, Steam, and Steel

 

 

 

 

 
mmm

 

 

 

Monsters, Magic, and Machines

 

The Enquiring Hitchhiker Interviews David Gerrold

The Enquiring Hitchhiker Interviews David Gerrold

The Enquiring HitchhikerDavid Gerrold has long been on my personal list of the best science fiction authors. Other than Robert Heinlein, I doubt there is another writer who had more influence on me during my childhood. David Gerrold was not only the author of the classic Star Trek episode The Trouble with Tribbles, he was also the creative force behind Land of the Lost. If you are a longtime reader of this site, you know I sing the praises of the that show whenever I get the chance. We even have an entire hour long podcast “showdown” explaining why it is superior in every way to the short lived Spielberg dinosaur abortion called Terra Nova… You can listen to the podcast here Prehistoric Hysteria. We are very privileged to bring you this interview.

The Hitchhiker asks…

Question 1. The Star Wolf series and Gene Roddenberry’s Andromeda seem to have quite a few things in common. The Morthan Solidarity is very similar to the Nietzcheans. Did you have any input into that?

I have absolutely no information about Gene Roddenberry’s Andromeda. I never saw it or anything connected to it.

 

Question 2. Land of the Lost probably had more influence on me as a small child than anything else I watched. First I want to thank you for creating the show. Second I would like to know if many people tell you that this show influenced them? I became an archaeologist because of my interest in the Sleestaks and the Pakuni.

 

 I always appreciate hearing from people who watched Land Of The Lost as a kid — especially the notes about how the Sleestaks made them wet their pants. Several people have told me that they became interested in science because of my writing, but you’re the first archaeologist.

 

Question 3. Robert Heinlein seems to have been a major influence for your work and so many others. What do you think our modern world would look like without his influence?

Hard to imagine a world without Heinlein. His hard-science stories demonstrated such a clarity of thought that he may very well have been the most influential author of the 20th century. He wasn’t afraid to discuss ideas and possibilities in a way that made people aware that these were very real things. More than anyone else, I think Heinlein’s work made readers believe that space travel was not only possible, but inevitable.

 

 

 Question 4. I have been eagerly waiting for the next War Against the Chtorr novel. I believe that Jim McCarthy is one of the first non-heterosexual literary characters I encountered as a teen. In many ways my introduction to him shaped my first impression of all gay, lesbian, bi, and transgendered people. Do you believe that positive literary examples have paved the way for the current LGBT social movement?

Positive literary examples are always the first step in changing the public perception of anything. Look at Mark Twain. Huckleberry Finn and Puddinhead Wilson were subversive novels for their time. The most noble character in Huckleberry Finn is the slave, Jim. Just about everyone else is a scoundrel.

I don’t think there were very many positive LGBT characters in science fiction before the seventies. Harlan Ellison’s Dangerous Visions anthology was a challenge to authors and one of the challenges was sexual issues.

My own book, The Man Who Folded Himself was the first SF novel with an openly gay hero and possibly the first mainstream novel with a positive ending for the gay hero. Instead of brickbats, it got award nominations. Ursula K. LeGuin’s Left Hand Of Darkness made it possible to think about transgender people and John Varley’s stories set on Luna often included gender-fluid characters. Joanna Russ won a Hugo for “When It Changed” which blew up the cliched idea of the planet of beautiful women.

Most readers seemed to welcome honest discussions of sexuality in SF worlds. But some were appalled and even today we still hear the occasional homophobic whine. But I think that SF not only predicted a wider acceptance of LGBT people, but that such predictions also helped turn the possibility into an inevitability.

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Question 5. We generally ask a political question. I realize that our site is mostly read by libertarians, but we have often given a forum to people who disagree. Can you give us a brief summation of what you believe and how libertarians can relate to your work even if you don’t relate to libertarian ideas?

My political views are very simple. Be kind to everyone, whether they deserve it or not — or at least until your threshold of bullshit is overwhelmed. Take care of the children, educate them well. Feed the poor, heal the sick, honor the elderly, because that’s how you pay it forward.

The mechanics of living that philosophy are left as an exercise for the reader.

Thank you for taking time out to do this interview. I really appreciate the work you have done in the science fiction genre.

The Enquiring Hitchhiker Interviews Author C.J. Cherryh

The Enquiring Hitchhiker Interviews Author C.J. Cherryh

The Enquiring HitchhikerThe Enquiring Hitchhiker is proud to bring you this interview with multiple Hugo award winning Author C.J. Cherryh.

1. I discovered your writing in 1985 with the publication of Cuckoo’s Egg. I really loved the detail you put into the world building, and “fish out of water” stories are my favorite type of fiction. Where do you find your inspiration for these unique cultures?


I’m a linguistics major with a specialty in Roman Law and Bronze Age Greece, and I’ve knocked around the world quite a bit—been IN that position a lot.

2. At the time you first started submitting your work, science fiction was a very male-dominated genre. What was it like being a female in such a testosterone-laden club?

No problem at all. The very earliest meetings in the Ivory Tower in NYC were co-ed, and the field always has been. I found absolutely no problem except reader and reviewer assumptions that because I was female, I’d be writing fantasy.

3. While I agree with what I have read you have said about grouping science fiction and fantasy into one category, why do you think that hard science fiction tales are lagging behind tales with more of a fantasy/horror orientation?

They’re harder to write when science is nipping hard at our heels. And we lost the businessman with the sf novel in his briefcase when we lost Heinlein and Asimov and the industry simultaneously lost Don Wollheim, Lester del Rey, and other editors with hard sf experience. At the very time the industry should have been promoting new ‘hard science’ writers—it was reeling from purchase by oil companies and the stupid decision (Thor Tool) that equated books with other goods in warehouse.

4. The future belongs to those who show up. I seem to see a very disturbing trend in the science fiction community towards fiction that depicts the human race as either degenerate or not worthy of inheriting the future. What happened to the optimism of the genre?


Not lacking in me. I think it’s education that’s let people down—and a push for ‘individual survival.’ Industry takes multiple people, and technology takes multiple industries. The largest sort of organization is what we need, not fragmentation. There’s nothing going on with the climate or anything else we can’t address technologically, but the people grabbing media attention are trying to get the deniers to get their heads out of the sand and waaaay overdoing it in scaring the rest of the public into believing we can’t solve this. We certainly can—but not if we each retreat into our bunkers.

5. The Freehold as a publication is dominated by a libertarian ideology, so we often like to gauge the political leanings of the people we interview. What are your political beliefs, and how do you see your beliefs affecting the future?

I don’t discuss those, out of respect to my readers, who have their own. I am pro-technology but no believer that corporations are always right, pro-history but do not believe it has to repeat unless through stupidity, pro-magic but not magical thinking, pro many things but not pro-abandonment-of-responsibility, and I hold so many opinions on both sides of so many lines I’m not comfortable advocating any single party as right, since none are entirely right.

Thank you for the interview, and I hope to meet you in person at a convention soon.

The Enquiring Hitchhiker Interviews Chad Byers of the World of the Weird Monster Show

The Enquiring Hitchhiker Interviews Chad Byers of the World of the Weird Monster Show

The Enquiring HitchhikerThis week The Enquiring Hitchhiker interviews Chad Byers who is better known as Undead Johnny the host of World of the Weird Monster Show.

The World of the Weird Monster Show is a horror host/sketch comedy show that premiered on Halloween Night 2004. It airs on Comcast Cable in Chicagoland as well as on The Monster Channel (monsterchannel.tv) The show is currently on hiatus on The Monster Channel but will be back soon with all new shows showcasing up and coming independent film makers featuring some of the best new horror short films being made today. The World of the Weird Monster Show also does a Live Show on the Second Friday of every month at the Wilmette Theatre in Chicagoland where they present and shadowcast the ultimate cult film of all time, The Rocky Horror Picture Show. The Chicago Sun-Times called The World of the Weird Monster Show “a sketch comedy/horror show that could be likened to SCTV and Son of Svengoolie having a mutant offspring together.”

The Hitchhiker asks…

Question 1. How did you get into the horror host business in the first place?

1. Horror Hosts had a huge influence on me growing up in Rockford, Illinios. As a kid I watched Svengoolie (then Son of Svengoolie) from right here in Chicago as well as Rockford’s own Uncle Don’s Terror Theater. And of course Elvira, Commander USA, and Joe Bob Briggs over syndication. I would be a totally different person if I hadn’t been exposed to those movies as a child. Everything from the Universal and Hammer classics to the AIP films to grade Z monster movies….I loved them all. It was a wonderful introduction to film in general and film of all types (color, black and white, foreign, old and new) and just gave me a place to go where my imagination could run wild. Later in life, I had an encounter with William Shatner that really inspired me and thru a series of events, The World of the Weird Monster Show is what came from that inspiration. We premiered on Halloween night 2004 and have been going ever since. It’s a great way to share my love of these types of films and this subject matter with other people as well as a great creative outlet for myself. And it’s been wonderful. The World of the Weird Monster Show has led to so many magical and memorable moments in my life.

Question 2. My favorite episode of World of the Weird Monster Show has to be the one where you parodied Mystery Inc. What is your favorite?

2. Well, I’m a huge Scooby Doo fan so I love the Mystery, Inc spoofs so thanks for saying so. It’s hard for me to pick a favorite. I do have a soft spot for our first Christmas Special. To me it’s exactly what I want a Christmas special to be. I also have enjoyed the three or four El Santo episodes we’ve done as those are just plain goofy and ridiculously silly and over the top. Probably our best episode was the one we made for “Horror at Party Beach.” Where we infiltrated the studio of one of our fake ‘shows within a show’ “The Geek Fantasy Hour.” But my personal favorite? I don’t know. Maybe our “Night Train to Terror” episode. Or our HP Lovecraft tribute, “Pardon me, is that a shuggoth in your pocket or are you just happy to see me?”

Question 3. Do you script most of the shows or are they largely improv?

3. The shows are scripted. Pretty much 100%. Once we get on the set, we all definitely play with the words a bit. And we’ll go thru each sketch a few times before shooting and we’ll maybe drop a line here, add a line there. Change some stuff. So there is some improv, but not too much. We use the script as a firm structure, but everyone contributes while we’re shooting.

Question 4. I have to ask about Dementia. I will be honest and tell you that she is the reason I first started watching World of the Weird monster show. Why did she leave the show? Will she ever return for a cameo?

4. Dementia was great (and still is great!) Dementia left the show in the middle of the 5th season. She was a favorite of so many viewers and I think she was definitely one of the reasons for the show’s success. The Dementia and Johnny characters just worked very well together and a lot of that came from the friendship between her and I in real life. She left on the best of terms after four years and five seasons of being on the show. We definitely hope to have her back at some point…maybe a cameo, maybe a whole episode. We’ll see. It’s brought up now and again.

Question 5. Most people hate to discuss their politics in public for fear of alienating parts of their audience, and your show never seems to get political beyond the politics of Viseria, so I will simply ask do you think the country is heading in the right direction?

5. That’s a hard question to answer. I mean, I feel as if there are many things wrong with the country for sure. And our political system. But on the other hand we have a President speaking out for same sex marriage in his inaugural speech and so many states have passed laws for marriage equality. You know? So many things are going right, and are better than ever before, but yet, I can turn on the news and hear a politician….someone who obviously had the people’s support in his area to get elected…blatantly not know something like how a woman’s body works. You hear terrifyingly hateful speeches from public officials and from the American public itself all the time. It can be frightening. But there is always hope. And I think we can be better.

All that being said, I have to say that I don’t think that just because someone is in the public eye (even in such a small way as us) that they automatically need to start talking about where they stand on every topic under the sun. Nor do I think we the public should really care what, for example, our favorite action hero has to say about gun control. The cult of celebrity in this country is ridiculous. If I or the cast of WOWMS has something to say, we’ll say it thru our art. We’ve made plenty of statements on various topics such as religion, politics and elections, commercialism and more on the show thru satire and humor. And we will continue to do so. Our show strives to be more than just your typical one camera/one host talking directly to the audience horror host show. Thru our comedy and the overall feel of the show we strive to be entertaining and also to say something about how we feel about the world we live in. And obviously politics is a part of that. But I prefer to let the show speak for itself. If you watch it, I believe our viewpoints on many topics are pretty clear.

Thank you for the Interview.

Buy Either of the SteamGoth Anthology Books for 0.99 cents on Kindle

Buy Either of the SteamGoth Anthology Books for 0.99 cents on Kindle

We don’t normally push our products but since we are having an after Christmas sale  I thought I would give everyone that reads the Freehold a heads up.

Check out our books here…

vintage002002

Monsters, Magic, and Machines

 

 

Or Here…
SSS
Sorcery, Steam, and Steel
(BTW Kindle lists SSS as having 94 pages it is actually 202 pages long so it is longer than MMM… For some reason Kindle has read the page length incorrectly when it was uploaded)

 

That also reminds me that in March our next SteamGoth Anthology will be coming out and it will be called Goggles, Gears, and Gremlins (we like to beat a theme to death)

Enjoy the sale and we will soon have brand new articles up for your enjoyment.

The Enquiring Hitchhiker Interviews Author Greg Bear

The Enquiring Hitchhiker Interviews Author Greg Bear

 

I have long been a fan of Greg Bear’s work. I think the first thing I ever read by him was The Strength of Stones and that segued into Blood Music which is probably my favorite novel by Bear besides Darwin’s Radio. It is hard to choose between the two.

 

The Enquiring Hitchhiker asks….

Question 1- As an archaeologist I found Darwin’s Radio fascinating. Do you think that the human race will undergo another major evolutionary change before we manage to wrest control of our own evolution?

 

Evolution never stops. We’ve defined evolution at the species level, but adaptation to changing environments occurs at the individual level throughout one’s life; we don’t individually grow wings to fly from danger, but we do bring into play phalanxes of genetic responses to changing seasons, physical threats, food supplies, sexual needs—you name it. Every aspect of biology is about solving problems on a second by second basis. What we call evolution, then, is a larger scale instance of that constant flux, observable in the different body plans of separate species, in the fossil record, in ontogeny AND phylogeny, which may or may not give us clues as to how change has happened in the past. Societies solve and support and adjust as well, politically and culturally, organizing populations, and that echoes back to how individuals adjust. To be sure, human evolution is now as much about social and technological adjustments as actual genetic adjustments; the mix and back-and-forth of this scale of evolution is not easy to quantify. But it’s important and may signal even greater changes to come. Whether or not, in all of this, a new “human” species will evolve is unknown—but if that sort of change is to come, it will have to sneak in soon. Because we’ll likely soon have the understanding and means to reverse such change, should we find it inconvenient.

 

Question 2- In Eon and subsequent novels you deal with the idea of alternate universes and alternate futures do you think that we are currently moving toward a physical model of the universe that allows for alternate universes in which life can arise?

 

These ideas are certainly fun to write about. But it’s becoming increasingly clear that a kind of “sum over histories” approach to alternate universes comes into play in living systems, including plants, which apparently have ways to maximize efficiencies through quantum adjustments in their photosynthetic chemistry. If that’s the case, and it appears pretty solid, then I may have to reassess my opinion of Frank Tippler’s quantum neurobiology! And that could imply that our own cognition and behavior may rely on a kind of motion through time which is less of a knife-edge slide into the future, and more of a smeared-out perception of competing futures… in which we may at times be able to make a choice. In CITY AT THE END OF TIME, I call it Fate-shifting. Fascinating prospects!

 

Question 3- Many of your works are about Humans evolving in a direction that seems to make them more dependent on each other physically and mentally. Do you think humanity is evolving toward a singular “overmind” or a small group of “control minds” and away from the rugged individual. Do you think there is room for the individual in the “Singularity”?

 

Centralization is not how minds get things done. Minds get things done through efficient and orderly distribution of problem-solving. An “overmind” is frightening because it’s basically unnatural. Likely it would also be terribly inefficient, and perhaps have a difficult time shedding waste heat! The Singularity is already upon us, has been upon us; no individual can grok the totality of modern technology. I know I can’t!

 

Question 4- I have not yet read The Mongoliad yet I am very interested in the concept and will pick it up at some point. Tell our readers why what is unique about it?

 

MONGOLIAD is distributed problem-solving (and story-writing) spread out among seven writers, with several other good folks providing tech support and fact checking. That it works at all—and it does, very well indeed!—points toward not just forward-looking attitudes on the part of Subutai’s founders, but a unique group of writers able to shed ego and focus on character and story.

 

Question 5- Our site is of course geared towards rational conservatives, libertarians, and objectivists. How would you describe yourself politically and what do you think are the major problems facing our society?

 

In many of my novels, I demonstrate my political persuasions through future-casting and social modeling—and because I try to play an honest game, many readers are confused about what to call me. I keep telling Jerry Pournelle I’m a liberal, mostly to irritate him—he’s been a major figure in my life–and he says I’m not a liberal, more of a maverick. Probably true. We still like each other, despite major disagreements. But the so-called rationalist and objectivist political persuasions have in recent decades slid into a lock-step with confederate conservatism that I find not only distressing, but irrational. I respect old-school libertarians—but not bigoted, pseudo-libertarian evangelicals who somehow manage to draw their ideals from both patriarchal plutocrats and Ayn Rand. That mix just doesn’t make sense. I doubt that Mr. Heinlein would sympathize with core Republican conservatism today, and I know Rand would have been disgusted. But that’s all part of continuing evolution in American politics! And times are a-changing, or swinging about in new winds. I remember back in the nineteen sixties, when I was a pre-teen conservative, trying to read a cruddy little tome called “None Dare Call It Treason.” I couldn’t get through it. The author accused Eisenhower of being a commie. Some currents never shift or run pure. Plus ca change!

 

Thank you for taking time out to answer these questions for us.

 

The Enquiring Hitchhiker Interviews Author David Drake

The Enquiring Hitchhiker Interviews Author David Drake

Known best for his Hammer’s Slammers series and his Lord of the Isles series David Drake has become an icon of military science fiction and fantasy over the years. We are happy to bring you an interview with the creator of the Hammerverse.

The Hitchhiker asks…

 

Question 1- You come from a history and legal educational background how did you end up in the writing business and what advice would you give to a person trying to get into the writing business today?

 

And Latin–don’t forget the Latin background, because it’s very important.

When I was in high school, a teacher (Eugene Olson) was a professional writer on the side. I determined that some day I would sell a story. Writing grew into a small hobby, but I didn’t dream of becoming a full-time writer.

Then I was drafted. When I got back to the World, I used fiction writing as a way to organize my memories and feelings, and to let out my considerable anger in an acceptable fashion.

After eight years of working as a lawyer, I realized that the particular stresses of the legal profession were going to kill me, so I quit and got a job driving a city bus. I spent more time writing because I had more time, and I figured the money would be very helpful. To my utter amazement, my writing career took off and I became a full-time freelance writer.

I didn’t begin writing in order to be a writer: I began writing to learn an interesting skill. I proceeded in a, well, in an obsessive fashion from 1970 on in order to control my anger and despair. I don’t really have advice for someone who Wants to be a Writer–who wants to get into the writing business today or any time–because that wasn’t me.

 

Question 2- How did your experiences in Vietnam prepare you for writing your fiction? Do these experiences show up in any of your books?

 

I served with an elite unit, the 11th Armored Cavalry; the Blackhorse Regiment or 11th ACR. In 1970 nobody I knew believed we were Saving Democracy. I suspect grunts in Iraq and Afghanistan have the same contempt for blowhards speaking similar twaddle today.

But we did our job. Everybody in the Blackhorse did his job. We kicked the ass of whoever they pointed us at, not because we believed in the war or in democracy or in any damned thing: we kicked ass because we were the Blackhorse.

I carried the attitude over into civilian life. My job is writing, and I do my job the best way I can; every time, every day. I’m David Drake, a writer, and I rode with the Blackhorse.

Yes, my military experiences show up in my fiction–even in humorous fantasy short stories. And bears shit in the woods.

 

Question 3- You helped start Carcosa a small publishing company, what are some of the pitfalls of publishing and how have those changed over the years especially in light of the internet. (We are interested because at the Freehold we have our own small press publications that will be coming out this fall)

 

I’ll give you two points; one which you probably think you know.

 

1)         Don’t put in more money than you’d be willing to burn in the driveway. Do not assume that anyone, ever, will buy one of your books.

Jim Groce and I put up all the money for Carcosa. Carcosa books are now sold for considerable sums of money, but Jim and I lost all the money we put in.

 

2)         Be aware that if you’re in a partnership, you may learn more about your partners than you wanted to know.

 

You should be publishing because you want to get certain books that you think are important out into the hands of readers. No other reason justifies small-press publishing.

 

Question 4- Who are the writers that have influenced you and your writing the most over the years?

 

There are a lot of ways to answer that. My prose style owes more to Tacitus than to any writer in English, and translating Ovid has taught me a great deal about the nuts and bolts of characterization.

In the SF/fantasy field, though, Henry Kuttner and Clark Ashton Smith. Kuttner started out as a crude stylist, but he always knew how to tell a story and he always went for the emotional punch. His stories have heart; even the hackwork is written with belief. Further, he kept learning from every story.

Smith’s vocabulary is unfortunate; he gives the impression of having taken it from a dictionary, not from the wide reading that would have permitted him to use the words in the correct context.

Despite that, his settings are gorgeous and his plot development shows that he really understood concepts about which Lovecraft merely mouthed words: his own insignificance and the insignificance of mankind. Smith’s work shows a detachment which I find in no other writer in the field, and the best of his stories are crushingly effective even after multiple rereadings.

 

Question 5- Tell us a little about your political beliefs, You told me in our email exchange that you are not a libertarian. What do you describe yourself as?

I have no ideology. My family in Iowa was Republican, but when I moved to NC I registered as a Democrat so that I could vote usefully in primaries.

I used to describe myself as apolitical, but my friend Eric Flint–a Trotskyist labor organizer–said I was the most political writer he knew, save for himself. It’s true that I analyze human interactions in terms of politics, so politics are at the heart of all my fiction.

I suppose I believe, as did Dickens and Orwell, that a society which ran on Christian principles (note that I did not say Christian theology) would be ideal for human beings. Again like Dickens and Orwell, I don’t believe there’s any possibility of such a society existing among human beings; but I wish it were the ideal toward which most people strove.

I don’t believe that’s going to happen either.

I try to be courteous; and honest; and even kind. I am in despair when I look at the world around me and at my own failings.

 

Thank you for the interview. I know there are several readers here who are ecstatic you took the time to do this for us.

The Enquiring Hitchhiker Interviews Dr. Gregory Benford

The Enquiring Hitchhiker Interviews Dr. Gregory Benford

 

This week the Enquiring Hitchhiker has several new interviews. The first of these is with  Dr. Gregory Benford. Dr. Benford is one of the leading authors of hard science fiction working today. His novel In the Ocean of Night was one of my first introductions to the idea of artificial intelligence.

 

The Hitchhiker asks…

Question 1. Ben Bova has commented that there is too little science fiction about scientists, their lives and the work that they do. Clearly, you are an exception to the rule but why do you think this is the case, even among scientists who write science fiction?”

 

Writing well is hard, and scientists are often single-minded, so never develop the narrative skills to really enjoy writing, as I do. I realized early on an advantage: You get to use material from part of life that few know and few writers attempt.

 

Question 2. You come from a science background how did you end up in the writing business and what advice would you give to a person trying to get into the writing business today?

If you possibly can, don’t write for money. It’s too hard to make it work, especially full time. I’ve always been a hobbyist and think that gives you freedom to enjoy it more. I’ve been very lucky in timing, coming in as the New Wave energy lapsed and there was appetite for more traditional, Campbellian sf. I added some literary graces to hard sf. Many have done this now of course.

 

Question 3. Who are the writers who have most influenced your writing?

The usual: Hemingway, Faulkner, the great English poets pre-Shakespeare, & in sf, Clarke, Heinlein, Disch, Russ, Silverberg, John D. Macdonald, Donald Westlake, Raymond Chandler. I learned a lot from them about narrative craft.

 

Question 4. This is sort of a personal question so bear with me on this. You and I are both from the South and we both work in a science field (albeit archaeology isn’t exactly a hard science). When I first started I moved to the border area of New York and Pennsylvania to work on a multi-year dig. I experienced a massive amount of anti-Southern bigotry not from the local people but from my fellow archaeologists who tout themselves as paragons of civility and liberalism. Did you experience anything similar as a Southerner turned scientist?

 

I changed my Alabama accent to a flat California one first year of grad school at UCSD…for good reason. Liberals aren’t really liberal, though they’re blind to that–they’re in love with a value system that needs villains. Be aware. When I taught in the English Dept. at UCI (honors program, and upper division journalism), I noted that American literature has been strongly Southern (Twain, Faulkner, Welty, both Tom Wolfes etc) but literary theory has a Northern cast. Many think it odd that I’m from the South, but that just reflects the monoculture of academe—which desires diversity in everything but opinion.

 

Question 5. Can you tell us a bit about your role at Reason Magazine and maybe a brief run down of your political beliefs?

I’m a Contributing Editor. I write a piece for the magazine when they bring me an interesting topic. I used to help shape issues, writing cover stories, but in recent years do much less. I’m a middle level libertarian. Don’t believe in open borders, as some do. Prefer some aspects of old line, cultural conservative views, which note the importance of continuity and community in shoring up liberties. Dislike our militarist impulses of late, though my father was a professional who fought in WWII and Korea and retired as Commandant of the artillery school, Ft. Sill. (I and my identical twin brother were in the reserves but never served.) I grew up in occupied Japan and Germany and saw the aftermath of that colossal struggle. A list:

1. I don’t think trying to manage Arabs or others is our proper job. Our Navy should keep the sea lanes clear for trade, but policeman is not our role; doing that endangers the structure of our Republic, as Eisenhower pointed out.

2. Nor do I like borrowing money from China to give it to people who hold us in contempt, hoping to curry favor.

3. I’d like a simple tax code and an end to the long-ago lost War on Drugs.

4. In law, change the costly legal rules from “discovery” to disclosure, as the Brits do.

5. I would consider advocating that California leave the Union, since it is simply too large an entity to run its affairs without being able to control its borders, make most of its laws or print its own money. We see now the limits of the Federal Republic model.

These ideas put me outside most political movements, of course.

 

Dr. Benford thank you for the interview.

Sorcery, Steam, and Steel – The Second SteamGoth Anthology

Sorcery, Steam, and Steel – The Second SteamGoth Anthology

Since this is the 100th post on the Freehold I thought I would celebrate with a little unbridled capitalism. Some of you know that I started a small publishing company (Baird publishing) a few months ago. Our first independent title will be published on October 15th. It is entitled Sorcery, Steam, and Steel and was written by some very talented artists from across the US and Canada.

What is SteamGoth/SteamPunk?

SteamPunk is an alternate version of the Victorian period. In the universe of steampunk science advances using steam power and culture becomes stuck in the nineteenth century. SteamGoth is a subgenre of steampunk. It is darker and it encompasses the magical and paranormal side of this alternate Victorian society. The easiest way to distinguish the two is to think of steampunk as science fiction and steamgoth as horror and fantasy. Of course, the lines are often blurred between the two.

This is the second in a series of steamgoth anthologies. The first anthology was produced in association with Amazon.com’s publishing house and is published through them. The new book will be published through Baird Publishing. While Amazon will still do the physical printing, the book itself will be an independently owned publication.

The first anthology Monsters, Magic, and Machines was a dry run to see how the publishing industry worked and if we could bring together the appropriate talent to create the anthology. It will be reissued in November directly through Baird Publishing. The reissuing process has created some problems for us. We have not been able to secure the rights to one of the original stories for the reissue. This means that we have had to replace one story and there will be new content added. We are leaving the original for sale at Amazon through the first of November.  So if you want a copy of the original run without the changes please buy it now because it will not be available after November 1st in any form. Click here to buy Monsters, Magic, and Machines in softback or Kindle versions.

The Enquiring Hitchhiker Interviews Daniel Knauf Creator of the TV Series Carnivale

The Enquiring Hitchhiker Interviews Daniel Knauf Creator of the TV Series Carnivale

 

This week we are proud to bring you an interview with Daniel Knauf. You may remember Daniel as the creator of the hit HBO show Carnivàle. He is currently working to recreate the story telling genre with his Bxx internet format. Bxx presents a non-linear method of telling a story in which the viewer can follow the story from multiple angles, out of sequence, or even follow specific characters through the story.

 

The Hitchhiker asks…

Question 1- Tell our readers a little about how you broke into the entertainment business. I have read a little about how Carnivàle was discovered and I would like to hear the story from your side?

I was an employee benefits consultant by day, writer by night. I’d had some limited success in the ’90s, but things hadn’t really gone anywhere in the long-haul. In 1998, I was in what I like to call “the crest of a slump.” I was closing in on the big four-oh, and I decided to take a last run at the whole silly screenwriting thing. I created a website called unmovies.com as an online resume’ of sorts, where I posted the first acts of all my unsold scripts as writing samples. In 2001, a young development exec, Robert Keyghobad, working for Scott Winant, an Emmy-winning television director-showrunner, found Carnivale at my website. We developed it together, took it to HBO and the rest is history.

Question 2- Many of our readers are older science fiction and fantasy fans. For instance I am 41. I know you broke into the business later in life meaning in Hollywood after your twenties. Was it hard to do that in a town obsessed with youth and what are your words of wisdom to someone like me just now trying to work my way into the entertainment field at this late date?

It helps to be talented. Know your craft. Deliver promptly. When an opportunity presents itself, seize it with both hands and ass-rape the shit out of it. I mean that. Don’t go for half measures. Keeping that fire blazing in your belly when you’re middle-aged is the hardest part of the battle. If you can pull that off, you should see a measure of success.

Question 3- You have been writing for comics for some time now. What is the real difference between scripting for a TV show or Movie and writing for a comic?

Comics are much harder to write. Like haiku, it’s a very unforgiving medium by virtue of its brevity. The disadvantages are that you can’t really depict movement. You’re writing a story with a series of stills. Also, you can’t rely on an actor or a deft edit to make your dialogue play. Everything is on you. Plus, comics pay way less than TV and movies. And there’s little or no back-end, so you totally get shafted out of any profits from movies that may be derived directly from your work. It’s a lot like how things used to be in the early days of rock-n-roll; a lot of terrific artists get terribly exploited by the big comic-book publishers. But the one big advantage to comics is the creative control you have as a writer. The editors pretty much leave you alone and let you create.

Question 4- Explain for our readers your latest project Bxx Haunted and where you want to take this? What kind of media would you like to see developed from this innovative approach to entertainment?

I created Bxx because, though the internet has been around for a couple decades, no one had devised a narrative format that exploited its characteristics. Sure, people post stories and videos, but they make no effort–other than, perhaps, length–to adapt them to the internet as a specific medium. An episode of television, for instance, can’t really be called “internet content” simply by virtue of being uploaded; it’s still just TV you passively watch on your computer. You’re not interacting with it the way you interact with actual internet content. I wanted to create a narrative form that the audience would access the same way they access other content on the internet, that is by instinctively clicking when their interest is piqued, receiving information in various media–video, text, images–and viewing it in a multitasking environment via multiple screens.The key difference between the internet and, say, film or a book, is that the internet is non-linear. The order in which you access content is dictated by each individual, not by some,external physical mechanism such a one page following another, or frames of film running through a projectors gate. The user defines how an what and in what order he or she wants to access content. So the first thing I had to broom what the idea of controlling how my story would be experienced. That’s not to say that there couldn’t be a three act structure–a beginning, a middle, and an end. In fact, that structure is immutable and unavoidable in life as in fiction. However, in traditional storytelling, the writer controls the sequence of events, parses them out in a very specific order that can be manipulated to maximize their impact on the audience. Since the internet is intrinsically non-linear, so too should be any narrative format adapted to that medium.So I considered other types of narratives that are experienced non-linearly. Ancient history, for instance. Artifacts are discovered, and a picture emerges of an epoch. Additional artifacts are dug up, and that picture changes. Artifacts don’t present themselves in linear order. History unfolds with massive gaps that gradually get filled as more information presents itself. Memories are another type of non-linear narrative format. We smell cut grass. We feel good. It evokes a moment in our own history, which then triggers synapses that connect us with adjacent memories–some connected by time, others by the people involved. And so in a few seconds, a scent can trigger a chain of memories that begin with our first kiss and end with blowing a math exam in college.A more technical type of non-linear narrative is the story contained on an airliner’s flight-recorder. The story begins at take-off and ends with a crash. The flight-recorder captures an uninterrupted real-time record of everything that occurred in the course of that story on multiple media–cockpit audio, radio transmissions, avionics, technical logs. The story of the flight is then accessed by investigators, not necessarily in chronological order, but in whatever way it is necessary to determine why the crash occurred.The flight recorder–or black box– became my model for the box-narrative format.As a proof of concept, I created an event that unfolded in real time–in the case of HAUNTED, a paranormal investigation in which the team is compromised and/or possessed by the very entity they are observing, leading to a tragic outcome. Like any drama, it was scripted and rehearsed. However, this drama lasted 32 hours, and was captured by 16 video cameras. We literally called “action,” and 32 hours later, called “cut.” We then put everything that was captured during the course of that drama–video, text, stills–on a website and developed a user interface that would allow the audience to navigate and access the content.Though the result is imperfect, it was much more compelling than it has any right to be. Without any promotion to speak of, we’ve generated a fairly large audience. Hopefully, we’ll get a shot at doing it again with a decent budget and better hardware.

Question 5- I am a big fan of Andrew Breitbart. He said, “Our culture is the most important front. And the three most important pillars of that culture are Hollywood and pop culture, along with education and the media. Those three are absolutely controlled by the left.” This website was created because I realized the truth of those words and I want to take back my segment of popular culture from the left. I know you were a friend of Breitbart and you suffered for coming out of the conservative “closet”. Please tell us your opinion of this quote and tell us what exposing yourself meant in Hollywood?

First of all, coming out as a conservative revealed the sheer vastness of the army behind me. I got so much support and so many kind letters, I was deeply moved. Meanwhile, I’ve gotten very little hate. I’m sure the decision has costs me a gig or two, but it hasn’t cost me any real friendships. Despite all the loudmouths, the majority of liberals in Hollywood lean closer to the center than you might think. All that said, as an artist, I serve truth and beauty, not right or left. If a narrative leads to a dark place with mature content, I’m going to follow it there. Injecting politics into a narrative is the sleaziest kind of propagandism. Yes, the Left does it all the time, and frankly, I think their work–and, btw, its effectiveness as propaganda–suffers for it. They have to twist reality grotesquely out of true to convey their values. So you end up with silly movies in which the “bad guys” are all big-business types of European descent, and all non-whites are portrayed as inherently noble–even magical. Nobody buys that stuff. It’s absurd. As MLK asserted in his “I Have a Dream” speech, character is not defined by skin-color. Bad guys and good guys come in all colors, races and creeds.Conservatives get that. Most people get that. It’s only the liberals that feel this need to PC everything up.To realize Breitbart’s words, you don’t fight leftist propaganda with rightist propaganda. You don’t fight fire with fire. You fight fire with water. The dramatic narrative is inherently a vessel for conservative values. The very construct of a classical “hero”–that is, an individual struggling against a collective, external menace–is deeply conservative. So my job is, in a way, easier than that of the modern Hollywood propagandist. All I have to do is tell a ripping yarn.I can tell you what I won’t do, though. I won’t ever write a gratuitous scene that makes the audience feel like a dupe because they go to church, or salute the flag, have pride in America and believe in its exceptionalism, or cherish the Constitution and the liberty it defines.

Thank you for the interview.