Interview: Glen Held

Today I chat with author Glen Held. Born on a Monday, Glen Held grew up in Brooklyn, then was unceremoniously whisked off to Long Island where he still resides with his wife Kathy and the fabulous Eddie the dog! His writing credits include the just published 1930's adventure Legends in the Earth, the pulp team-up novel, The Devil You Know, the young adult sci-fi tale Way Out World (all three available on Amazon), The Killer -  a short story anthology (available from Gromagon Press) and the mystery/romance novel Burning Secrets (available nowhere.) In addition, he has a number of science fiction and fantasy short stories published in various magazines/anthologies. Glen is retired from a thirty year plus Civil Service career and enjoys travelling as well as watching the Mets - having converted his adult children into fans, thus teaching them the agonies of NY National League baseball.

 

Hi Glen. Thanks for taking some time to chat with me.

A pleasure!

Indeed — always a pleasure talking to a fellow long-suffering Mets fan!

I’m running this series of interviews as a lead-up to PulpFest, so my first question is: what draws you to the pulp genre?

What drew me to the pulps, what I guess drew most of us, was Doc Savage. It really was a strange circumstance that introduced me to The Man of Bronze. I was in fifth grade and this one kid, who was a bit nutso, raced over to me at lunch, stopping inches from my face. He said he had this book I must read (I learned afterwards, his parents forced him to read a book as punishment for something he did, and he wanted me to give him a summary of it.) It was The Devil’s Playground, one of the Bantam Doc reprints. The cover interested me in it immediately…as did the fact I didn’t want to have to fight him.  So I put aside the Foundation novel I was reading, and started the Doc. Even though it’s not a Dent, I was drawn in immediately. From then on, I devoured every Doc I could find. As my neighborhood had a number of antique stores, I went to them hoping to find original Doc pulps. The few I found were way expensive, however I did find other pulps that I could afford and that lead me to other reprints and heroes and…here we are!

 

Your latest release is Flights of the Peregrine Book One: Legends of the Earth. Tell us a little about the book and how you came to re-launch the character.

This book had a strange journey from the start. A few years back, I saw an ad on the old Pro Se site saying they were looking for authors to write a novel based on Barry Reese’s character The Peregrine. At that time, I had one book published, a romance/mystery printed in 1991, and a few short stories. Fascinated by the art for the character, I came up with a proposal and was thrilled when I was given the okay to write the book! Four months later it was done, and I submitted the finished manuscript. I heard nothing for over a year. I kept contacting the company and was told various things. I had just about given up, when I was contacted by Dale Russell who would be the book’s editor. Together we polished up the story and got it ready for publication. More months passed and I saw various things on the internet which led me to believe Pro Se was in trouble. Eventually I was contacted by them and told, yes, they were going out of business and releasing stories back to their respective authors. However, as The Peregrine belonged to its creator Barry Reese, I would have to work something out with him to use it or change all the names and descriptions. Luckily, Barry was thinking about starting his own publishing company and we worked out a deal bringing Legends out as the first of his Flights of The Peregrine series.

The book itself is a two-part story. The first section deals with establishing the characters and has our good guys fight a truly evil menace that they had inadvertently released. But when the bad guys are defeated, it turns out  there’s a bigger bad behind them. Part two deals with The Peregrine, his fiancé, and a surprise from part one, venturing into the hollow Earth with the fate of the world resting on their shoulders. I tried to give the story as many twists and turns as I could, throwing in some easter eggs and cameos, and gave an ending which, I hope, was thought provoking. Once I get some reviews, I’ll know for sure.

 Will you be writing further installments? Or is this a multi-author franchise?

There will be at least two more novels in the series, but I won’t be writing them. One of the stories will be written by my friend, J.P. Linde, author of Fool’s Gold. I can’t wait to read his take on the characters Barry allowed me to play with. I suppose one should never say never though as The Peregrine is a great character and I’d be happy to return to chronicle more of his adventures.

Tell us a bit about your other recent novel, The Devil You Know, which came out in 2024. This also has some strong connections to both classic pulps and the “New Pulp” movement, right?

Boy that one was a doozy to write! At the time I started thinking about concocting a story for Airship 27, I figured I’d have a better chance of getting published if the tale had as many public domain characters as possible. Doing my research, I came upon an image that blew me away. It was the cover of the August 1935 Weird Tales with a picture of a red clad, horn masked man with the words “Meet the Sinister and Mysterious DOCTOR SATAN, the World’s Weirdest Criminal” I mean, come on! What could better than to have a character like that as my antagonist?

I immersed myself in all eight Satan stories, feeling a fondness for not only him, but his enemy, Ascott Keane. Although Keane, a minor practitioner of the mystic arts, would be my main hero, he would need help going up not only against Satan, but another villain of my imagination who would be working for the nazis.

Since there would be a decent amount of magic in the tale, I figured Ravenwood, Stepson of Mystery, would be likely to give a hand. So, I read a bunch of his stories. Considering the worldwide scope I had planned, there would have to be a governmental liaison to eventually coordinate the efforts. More research brought Major Steele, a minor pulp character, as that liaison. And, what the hell, why not add a bigger hero into the fray? I looked for someone who wouldn’t overshadow Ascott. When I discovered that the girlfriend of Secret Agent X, the man of a thousand faces, shared the same last name of Keane’s girlfriend, I knew it was fate. (And I also had an easy way of bringing X into the picture when the cousin’s got together.)

After that, I sprinkled in some real-life characters of the time (such as Amelia Earnhardt’s navigator Fred Noonan and the criminal Meyer Lansky) as well as historical places such as the German bund camp in Yaphank on Long Island and, eventually, I had a story. It’s gotten some good reviews (always room for more!) so I think I may have done a good job.

 

 

I’d be interested to hear a bit about your writing process. Are you a plotter, a “pantser,” somewhere in-between? Do you have a set writing schedule?

 

Definitely not a plotter; not even close. Nope. No, sir! I have a vague idea of the story’s beginning and nothing more than that. My chapters are usually a few pages long and end on cliffhangers to get me (and hopefully the reader) excited about what’s to come. After chapter one, I have to spend some time thinking about where to go from there. Usually a new chapter idea comes to me overnight or on a walk with Eddie the dog. It’s really a terribly time-consuming way to write since I have to go back and change the previous parts to agree with any new plot twist. However, writing this way keeps me engaged with the story and I don’t get bored. Frustrated? Yes. Bored? No.

 

I know you’ve published short stories in anthologies like Atomic Stories, Dead Science, and Spectacular! Spectacular! Does your process for writing short stories differ at all from writing novels?

That depends on what sort of short I’m writing. If it’s someone else’s character – like the ones I’ve written for Code Name Intrepid, the Reese Unlimited Universe, Atomic Stories and the Radio Rita anthology – I have to immerse myself in the character’s established histories. I don’t want to go against anything that’s already established or have the characters behave differently than readers of the series are used to. Completely new stories require a different kind of research as I try to make my stories believable in their unbelievability. Like for my story ‘At His Hands’, which featured John Wilkes Booth and Dr. Samuel Mudd (‘Hands’ appeared in Freedom Fiction Journal) I read everything I could about the aftermath of the Lincoln assassination and visited both Mudd’s house in Maryland and Ford’s Theater. (Actually, I would have gone to those places anyway as history fascinates me.)

 

 

Finally, do you have anything in the works that readers should keep an eye out for?

Thankfully, I do! Currently, I’m writing a Lazarus Gray story for a Barry Reese anthology as well as a tale bringing a version of The Shadow into the Doc Talos universe. I’m just starting to write a sequel to my book The Devil You Know, available on Amazon (plug, plug)  with what I hope is a really cool idea that I just got on a walk with Eddie. In it, Doctor Satan…well, that would be telling.

At the moment, I have a young adult book making the rounds at a number of agents and another I’ve written about 10,000 words of that I’d like to finish. I also have a story in Robert J. Mendenhall’s Code Name Intrepid anthology coming out mid-August as well as a Radio Rita short to be published later this year by Airship 27.

I’d like to write a mainstream novel, but I’m still hunting for that one great idea. I think Eddie and I are going to have to start taking much longer walks!

 

Thanks again Glen! See you at Pulpfest!

 

 

 

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!

Interview: METEOR HOUSE PRESS

Today I chat with Meteor House founders Paul Spiteri, Win Scott Eckert, and Michael Croteau, to discuss their new collection Savageology, showcasing Philip José Farmer’s love of Doc Savage and some of the work it has inspired. Savageology is available to order from the Meteor House website and will also be available for purchase at Pulpfest.

Meteor House is a publisher of science fiction and fantasy. They publish The Worlds of Philip José Farmer anthology series, authorized limited edition novellas set in Farmer’s worlds written by other authors, and high-end limited-edition hardcovers of Farmer’s classic works.

Philip José Farmer fans are well aware of his love for, and work on, Doc Savage. What made Meteor House decide that now was the time to publish a collected volume of Farmer’s non-book-length Doc writings, along with writing about Farmer and Doc by other authors?

METEOR HOUSE: We published The Man Who Met Tarzan in 2021, a collection of Farmer’s writings about the jungle lord, including an interview he did with Lord Greystoke. We knew then we wanted to also publish a collection of his writings on Doc. When we heard last year that DocCon would be held at PulpFest this summer, we thought Savageology would be a great way to celebrate.

How would you compare Savageology and The Man Who Met Tarzan?

There is a fundamental difference. The Man Who Met Tarzan is, apart from introductory essays, all by Farmer and looks at how Farmer built his theories about Tarzan. Savageology takes a wider perspective and includes many pieces from fans and scholars influenced by Farmer and his varied writings about Doc.
    The commonality is Savageology is a fan focused love letter to Doc, and The Man Who Met Tarzan is his love letter to the lord of the jungle.

Savageology sports a truly impressive table of contents. Are there any pieces that are particularly rare or that were difficult to get included?

We really wanted to include “Doc Savage and the Cult of the Blue God,” a screen treatment Farmer wrote for George Pal as a potential sequel to the movie, Doc Savage: The Man of Bronze. It took a bit of time to negotiate with Condé Nast for permission to reproduce this, but it worked out in the end.
    Another item that was a lot of work, but really worth the effort, is the expanded version of the 8,000-word interview Will Murray did with Farmer in 1989 for Starlog magazine (published in 1990). Murray gave us access to the tapes of the over three-hour long interview, and we were able to expand it by over 10,000 words.

Meteor House has now brought out two editions of Doc Savage: His Apocalyptic Life. Is it accurate to describe Savageology as a companion piece to that biography?

Yes, absolutely. We believe anyone who enjoyed Doc Savage: His Apocalyptic Life will find this book just as educational and entertaining.

Doc fans can be notoriously split on how they view Farmer’s Savage-related writings. Would you say Savageology is aimed more at Farmer fans or Doc fans?

Both. We’re hoping this book may bridge that gap some. We always want to stress that Farmer absolutely loved Doc Savage. He had many different takes on Doc; he was not a black-and-white thinker and creator. So one of the points of the book is not adherence to one, strict interpretation, but rather an all-encompassing enthusiasm for the character and for fandom, something that everyone can share in. As Farmer and Murray discuss in the interview, Farmer was striving to explore the character of Doc Savage, to get into the essence of what a superhuman would actually be like.

Of course, some of that split has to do with Farmer’s creation of Doc Caliban, as Chuck Welch points out in his piece that acts as an introduction to the collection. There is some Doc Caliban content in this book. What are the essential differences between Doc Savage and Doc Caliban?

Put simply, Doc Savage is not flawed. He rarely makes mistakes, and he rarely, if ever, regrets a course of action he has taken. Doc Caliban is just as brilliant, both mentally and physically, but he comes with all the hangups and neuroses that we all have, coupled with the baggage of his highly unusual upbringing. Consequently, Caliban made a deal with the Devil when he joined The Nine. That’s not a decision (a mistake) that Savage would have made.

I never got to meet or interact with Phil before his and Bette’s passing, but you all at Meteor House did. Do any of you recall having conversations with him about Doc (Savage/Caliban) that readers here may find interesting?

Not about Savage or Caliban specifically, but rather pertaining to the novel about Doc’s daughter, Patricia Wildman. Win Eckert and Chris Carey were sitting with Phil and Bette, having a deep discussion about the approach Win should take in completing Phil’s unfinished novel The Evil in Pemberley House. At issue was whether to excise the highly graphic sex scenes Phil had written, or leave them in. Bette was in favor of deleting the sexual material; Phil wanted it left in but seemed resigned that due to the sensibilities of the late twenty-aughts (the book saw publication in 2009), the material would be removed. In the end, the sex scenes were deemed essential to the plot, theme, and character, and were left intact. It was an interesting conversation, to say the least.

Do you have plans for any more themed collections like Savageology and The Man Who Met Tarzan?

MH: We would like to someday publish a collection of Farmer’s writings relating to Sherlock Holmes, both fiction and non-fiction. And if we ever reprint his novel, A Barnstormer in Oz, we’d like to also include several shorter pieces he wrote about Oz. Perhaps one day we’ll collect his original Sturch stories and maybe do a collection of his shorter Riverworld stories.

And finally, what do you think Farmer would have made of books like Savageology and The Man Who Met Tarzan?

Farmer loved these characters so much he spent years researching them and writing about them. We think he would have liked how the pieces were presented and how, in concise volumes, he could see how his own thinking on these two iconic characters developed over time. And also appreciate the further study of these characters he inspired.

Thank you, Paul, Win, and Mike for your time. I look forward to seeing you all at PulpFest.

Thank you, Anthony, this has been a lot of fun!

 

 

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!

Interview: Douglas Klauba

Today I chat with artist Douglas Klauba. An award-winning illustrator, Douglas Klauba was born and raised in Chicago, and is a graduate of the American Academy of Art. His paintings have been included in the art annuals of Spectrum: The Best in Contemporary Fantastic Art, the Society of Illustrators, and Imagine FX magazine. His artwork has graced the covers of books from Edgar Rice Burroughs Inc. (Tarzan Trilogy, Untamed Pellucidar, Tarzan and the Valley of Gold, The Girl from Hollywood Centennial Edition, and Tarzan and the Forest of Stone), Flinch! Books (the Midnight Guardian series), and Craig McDonald’s Zana O’Savin Doc Savage pastiches.

 

Hi Doug! Thanks for taking some time to chat.

Thanks for thinking of me, Anthony!

First, I’d like to ask about your early influences. What are your earliest memories of really connecting with a piece of art?

Looking over my earliest childhood drawings that my family saved, you would see drawings of Batman and Robin, Superman, The Beatles, and lots of monsters. One of my earliest recollections of the visual world around me was movies and the magazine and comic racks at the corner grocery store. There I saw Famous Monsters of Filmland for the first time and my obsession with monsters began. Soon after, a newsstand/cards and gift shop opened next to the grocery store and that became my place to explore paperbacks, monster magazines, and comic books. I began collecting the Warren magazines, because the artwork looked the best to this 8-year-old developing artist. With the Frazetta and Sanjulian covers, and inside I found the Reed Crandall, Pepe Gonzales, and Richard Corben stories. And soon I would become obsessed with an artist named Wrightson. The artists that have influenced me the most is a long list. Some of them are: Frazetta, Basil Gogos, Steranko, Michael Wm. Kaluta, Barry Windsor-Smith, Franklin Booth, Joseph Clement Coll, Dean Cornwell, N. C. Wyeth, Roy Krenkel, J. Allen St. John, Hubert Rogers, Reynold Brown, Drew Struzan, Thomas Blackshear, and Alphonse Mucha.

What were your earliest creative outlets?

I was fortunate to be raised in a creative household. My father was a painter in the trades who grew up on EC and Classics Illustrated comics. His original career choice was to follow his older brother and become a Chicago illustrator. Instead, my father decided on marriage and starting a family. So he went into the trades. Our home was still decorated by oil paintings that my father painted. My uncle George was an illustrator at the Chicago Sun-Times newspaper, and I would see his artwork every week in the newspaper. We would visit my aunt and uncle often and I got to hang out in his home studio. We would visit his gallery openings, and I always thought it was pretty cool that my siblings and I were the youngest in attendance. I would soak up each experience. George Klauba is an internationally recognized painter and is best known for his Moby Dick series. There was always some form of inspiration throughout my early years - and beyond. Drawing was pretty contagious, and I did it daily, for hours. I didn’t lack imagination and when I didn’t have anything to draw, I would copy the Famous Monsters covers by Basil Gogos. My mother would often ask me to stop drawing and go outside and play with the neighborhood kids. But, throwing rocks at passing trains, or getting into fist fights grew old fast. One memorable Halloween, I entered a contest to paint a Halloween scene on a store front window. I painted Lon Chaney’s vampire from London After Midnight. I didn’t win the contest, but all of a sudden, I had made myself known as the neighborhood artist - and more importantly I met this kid, John, who lived two blocks away on another street. Like me, John had the Aurora monster models, collected the Warren monster magazines, he was into old monster movies and John had a Super 8 movie camera and his own projector! It was pretty fortunate to meet someone else that shared my interest in movies, comics, and monsters. Over the years we made our amateur movies, we tried our hand at stop motion animation, I worked with make-up to transform ourselves into monsters. We soon found other like-minded creative kids and spent hours creating fanzines, reading monster magazines, comics and going to the movies.

I’m always interested in hearing about the creative process. What medium and materials do you work with most frequently (your “favorites,” I guess)?

I love to draw in pencil. I am happiest when I am sitting at my drawing table and working on drawings. The last few years, I have been drawing with black acrylic paint. It was a natural transformation of working on a pencil drawing or using a black color pencil and I have continued to explore and enjoy working this way. It’s similar to any illustrator or comic book artist working with brush and ink - only I am using acrylic paint. I have been using acrylic paints for my color work since my advertising years of working in a Chicago illustration studio. Originally, I was hired because I was able to work in a variety of mediums from pen and ink, markers, watercolor paint, etc. But eventually the air brush was forced upon me at the studio, and I soon acclimated myself to this new tool and form of applying paint. I began exploring all that I could do with it and developed a working technique that has evolved into how I work today with acrylic paint. My process when working on a color piece has its measured steps. I start with putting gesso on a Crescent illustration board, followed by transferring my drawing onto the gessoed surface. I sometimes tighten up the drawing with color pencils before painting with the brush. At some point, I soon break out the air brush and apply color. I then finish up with my lighter values, using opaque acrylic paint. That’s basically the painting process from start to finish. The only thing not mentioned is finding good music to accompany the session (or listening to an old time radio drama) to help capture the mood of the narrative, the back and forth wrestling the artist will go through with the painting, maybe some frustrations, but eventually emerging through the challenges.

Has this changed over the arc of your career?

When I entered the art program at The American Academy of Art in Chicago, I was mainly a pen and ink artist that emulated Bernie Wrightson’s style. I had some experience with watercolors, but I didn’t have any confidence with working in color. I was intent on developing my craftsmanship with black and white ink and becoming a comic book artist. However, the few years at the Academy was more than I could have asked for. The academia of figure drawing, oil painting, watercolor instruction, and commercial illustration classes formed me into a much more rounded artist. My pen and ink illustrations became more developed, but I soon realized my passion for painting. In particular, I was drawn more towards pursuing a commercial art path, than a comic book career. Those were exciting times, as a developing art student. I worked at a few Chicago illustration studios that serviced advertising agencies for the next few years. I worked in every medium: pencils, pen and ink, marker renderings, watercolor / gouache paints, pastels, oil paints, air brush, and acrylics. It soon lost its lustre and the many hours of work, switching mediums, being told which technique to do a project - soon burned me out. I fell into an awful depression because I had lost my path. I no longer knew what kind of artist I was or wanted to be. I thought that if this was what the rest of my life was going to look like, I didn’t want it. But, instead of quitting, I left my studio position. And, within days (literally) I packed up my things and moved to California. I enrolled at the Academy of Art College in San Francisco for a semester, and studied with my favorite illustrators: Thomas Blackshear, Kazuhiko Sano, and Drew Struzan. The program, the fellow students, and the art community opened my eyes to becoming a better artist. The work that I developed, the friendships I made, put me back on a better footing of the artist I wanted to be and goals to pursue. I eventually ran out of money and returned back to my hometown of Chicago and intended to save up funds to permanently move back to San Francisco. But I became a busy illustrator, and life took its course. I eventually returned to working in pen and ink and developed a painting style of working in acrylics. The technique has changed a little over the years, but the process is more focused.

Does your process change at all depending on the type of project you’re working on?

Deadlines can dictate a path for a project. Under tight deadlines, I might not develop tight sketches or studies - and go straight to board. Spend less time constructing the drawing, and do more work with the painting process. It has its advantages, and the work is more immediate, and have a certain impact. The most important part of working on an illustration is the thumbnail sketch. Very small sketches, maybe 1 x 2, or 2 x 3 inches a piece. And I’ll sometimes do endless concepts. Usually, every assignment gets the 12 to 36 thumbnail session. I’ll immediately rough out every idea that comes to mind. The thumbnails are very simple, just shapes and scribbles - until something catches my eye.

I know you primarily as the artist of so many amazing book covers. Can you walk us through the process of developing a book cover? How much input does the author or publisher have throughout the project?

Once I finish the thumbnail session, I’ll pick the best of the lot and narrow them down to the best four or five to present to the client. I like having a discussion. I like getting input and much information or thoughts during this stage. This has worked well for me, so I don’t second guess myself or over analyze during the next stage of drawing studies and the finished pencil drawing. Once this drawing is approved, I have all of the confidence of creating the finished painting. I’ll spend up to 10 hours developing the drawing onto the board. Depending on the design and composition, applying paint can be 12 to 16 hours over 2 days, and then approximately 12 more hours of finishing. Depending how much time the painting wants to wrestle with me. Then I scan it and send the file for its approval.

What projects do you have coming up that fans should be on the lookout for?

I am developing an original pulp, sci-fi book of illustrations. I have been talking about it for years and I am slowly going through it. I would love to work on it full time, but commissions and projects come in at their own timing. I started a personal project earlier this year of painting black and white portraits of the classic movie monsters, as I reconnect with my younger monster kid roots. I also would like to strengthen my pulp influence. So, I’ll be exploring ideas with color paintings and black and white illustrations. Even while teaching part-time, I am always open for more assignments. I enjoy working with new creatives, and I like working in a team setting to develop new ideas and concepts. It’s that work that opens my eyes and fuels growth. In the meantime, I’m working on ideas and sketches for The Land That Time Forgot from ERB Books, as well as an alternative movie poster for the film, Caligula: The Ultimate Cut. You can also expect more covers for Craig McDonald’s Zana O’Savin books, as well as John Bruening’s The Midnight Guardian. And I look forward to any upcoming project from Edgar Rice Burroughs, Inc.

Thanks, Doug! Looking forward to talking to you more in person at Pulpfest in a few weeks!

  

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!

Interview: CHARLES F. MILLHOUSE

Today I chat with writer Charles F. Millhouse. Charles is the author of more than thirty books in the Science Fiction/Fantasy/New Pulp genres. A storyteller/dreamer since childhood, Charles published his first book in 1999, and he hasn’t looked back. A pioneer in Independent Publishing, he patiently waited for technology to catch up with his visions and with the advent of Print on Demand and the eBook craze, Charles created Stormgate Press in 2006 to further his publishing endeavors.

 

Hi Charles! Thanks for taking some time to chat with me.

It’s my pleasure, thank you for asking me to participate.

You write across a variety of genres. What were some of your earliest influences in science fiction, fantasy, adventure, pulp, etc.?

My earliest influence in science fiction of course, for many people my age was Star Trek. I immersed myself in anything I could when it came to the final frontier. Of course, for my generation, TV was like a best friend and there was a lot of science fiction throughout the 1970s into the early 80s. And by the time I hit my teens I started to read a lot more, The first book I remember reading was Ringworld, by Larry Niven. But when I encountered DUNE when I was in high school, everything changed for me, including how and what science fiction I gravitated to.

From science fiction I found myself reading a lot of fantasy books, one of my favorites then and still now, is Elric of Melniboné and of course Conan, by Robert E. Howard (Great stuff!)

After I saw Raiders of the Lost Ark in 1981, my dad introduced me to the world of pulp. The Shadow, Zorro, the Spider, on and on. In the 1980’s you could find a lot of pulp in boxes under tables at comic shops I went to. The owner sold them to me cheap, and I didn’t turn down a deal. I discovered a lot of serials around that time, The Phantom Empire with Gene Autry my favorite.

Your longest-running series features a golden age / pulp adventure named Captain Hawklin. Can you tell us a bit about the genesis of the character and how the series has developed?

I first created Captain Hawklin in the early 1990s but then he was named Captain Thunder, but a friend of mine made me realize that that name was overused and could eventually get me sued lol, if I decided to publish it. It was his suggestion that I changed the name, and he threw out, “Just call him Hawklin, or something like that.” Originally, he was set in the early 1960s and an astronaut who ran a secret organization that had been travelling to other planets since the 1950s. From there he evolved into a 1930s pulp character. (I’m not sure why. I think it could have possibly been that I had an idea for a 30’s story, and that’s why he manifested into that.) I only intended on writing one book just to fulfill my need to write a pulp character. So, I wrote The Skyhook Pirates in 2004, And after I wrote the first couple chapters I saw the trailer for Sky Captain and the World of Tomorrow, and it kind of mirrored my work in progress. So, I held off writing the book until after I saw the movie thinking that—if it was a lot like what I had written I would change the story completely. I'm happy to say that even though there were some similarities I felt there was enough difference between the two characters. And sadly, Sky Captain never manifested into a series.

After I published the first book in 2012, I discovered there was this new movement called “New Pulp” and there were other people writing their own versions of pulp type characters. Skyhook Pirates sold really well, to my surprise, and I decided to write a second one. I'm happy to say that he has gotten a bit of a following over the years and the evolution of the character has really taken root not only by me, but from other pulp writers who have written the character, adding to his already growing vast history.

 I think the first of your books that I read was the first Serena Darkwood science fiction adventure. I hear you’re working now on the third book in the series. How’s that going?

Thank you for reading Absolution. Serena doesn’t get the love that Captain Hawklin does. When I first wanted to be a published writer, I thought I would be a science fiction author, but as fate would have it, I became more of a pulp writer. Which I have embraced. But my love for science fiction is still in my heart. I'm currently outlining the third book for Serena Darkwood called “Capital” this will move the story forward immensely and will really put her in the middle of some galaxy changing events. Readers can look for “Capital” to release in the first quarter of 2026.

I’m always interested in hearing about a person’s creative process. Tell us a bit about how you develop a story. Does your process differ from genre to genre? Does it differ at all when you’re working on a short story versus a novel?

First, and I think this goes for most writers, I come up with the idea for a story. Most of my ideas come from driving in the car, and pitching them to my wife, who is great at helping me flush out ideas. Sometimes it's just a premise, other times it's a character and the story revolves around that character.

Sometimes the story begins one way and ends up totally different. My idea for my supernatural western trilogy “New Kingdom” started out as a mining colony in space and then took a sharp right turn to the Old West.

I scribble my ideas on index cards and keep them taped above my head when I'm writing.

I do this for novels and short stories. I write more from the seat of my pants than I do from an outline. My outlines generally are just a description of the characters and if I think of something that I really want to say in the story I'll jot it down on an index card.

I consider my first draft my outline, and from that outline I sculpt it into its final version. I always write my first draft at my desk. Working on the second draft and editing I tend to do on my iPad at work during breaks.

Speaking of short stories: I am intrigued by and loving your Stormgate Press Quick Reads series, which feels like it is meant to cover ALL THE GENRES! What inspired you to create this line and give it such diversity in content and tone?

I have to give credit where credit is due, and the idea for the Quick Read Books came from my wife. (The actual name Quick Read Books came from my cover designer Jeffrey Hayes.)

I have a banner that I sit up at my shows and on that banner are several characters that I created that had appeared only in the “Pulp Reality” series, and I had a lot of people at a show we were at in 2024 ask about characters like the “Purple Mystique” and “Night Vision.”

I knew I would never have time to write full-fledged novels with those characters, and it was my wife's idea to publish a series of short stories around 10,000 words and offer them on my table for $5, this would give patrons a chance to read my work who might not spend $10 or $15.00 for a novel and allow them the opportunity to see how I write. I’m happy to say it’s been a huge success.

I intend on keeping the series primarily on pulp style characters and manifesting them into the Captain Hawklin universe. Given time I will even work my barbarian character into that universe.

Finally, what do you have coming up that readers should keep an eye out for? And where will you be appearing in the near future?

I just released “Evolution Man Year Three” back in June of this year, I had great fun writing that book and the series is quickly becoming a favorite for returning readers.

On August 12th the third book in “The Lost Adventures of Captain Hawklin” will be available on Amazon, and its eBook will be available on several platforms. It is my intention to have copies exclusively on my table at PulpFest in August.

Readers can keep an eye out for more Quick Read Books; I'm currently writing another “Purple Mystique” story that will end this current wave of Quick Reads.

Also, for the Captain Hawklin fans who may be reading this interview, I am writing a new series of short stories set in the 1930s that are being released exclusively on my Patreon page.

My upcoming appearances:

On August 7th – 10th you can find me in Mars PA at PulpFest

For a complete list of my appearance, you can visit www.stormgatepress.com.

 

Thanks again for chatting, Charles! See you at Pulpfest!

 

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!

Interview: WIN SCOTT ECKERT 2025

Today I chat with author and friend Win Scott Eckert, as a part of my ongoing series featuring creative folks who will be appearing at Pulpfest 2025. Win is the editor of Myths For the Modern Age and three volumes of short stories featuring The Green Hornet, co-author with Philip Jose Farmer of The Evil in Pemberley House and The Monster on Hold, and author of Crossovers: A Secret History of the World, The Scarlet Jaguar, and the authorized Edgar Rice Universe canonical novels Tarzan: Battle for Pellucidar, and Korak At The Earth’s Core. He has also written short stories featuring classic characters like The Green Hornet, the Lone Ranger, the Avenger, the Phantom, Sherlock Holmes, the Domino Lady, Honey West, T.H.E. Cat, and Irma Vep. Win is a member of the International Association of Media Tie-In Writers, holds a B.A. in anthropology and a Juris Doctor.

 

Hi, Win! Thanks for taking some time to chat. I know you’re busy working on the second book in your Edgar Rice Burroughs Universe trilogy, the Dead Moon Super-Arc.

WSE: Hi, Anthony! Yes, Pellucidar: Land of Awful Shadow.

 

We’ll talk about the new book shortly, but my first question is more general. You’ve had a wonderful career writing in the worlds of Edgar Rice Burroughs, Philip José Farmer, the Green Hornet, The Avenger, Honey West, the Lone Ranger, and others. Talk to me a bit about your earliest memories of wanting to write these characters/in these worlds.

To be honest, I didn’t consider writing fiction until after I started my metafictional Wold Newton Universe site in 1997. My first forays were non-fiction (or rather, metafiction) essays which were writing about characters’ chronologies and family trees, rather than traditional fiction stories. It was only when Jean-Marc Lofficier suggested that I try my hand at straight fiction for his annual Tales of the Shadowmen anthologies that I considered it. This was in 2004.

What is your current writing process like? That is, are you a plotter, a “pantser,” etc.? Do you set daily wordcount goals? And has that process changed at all throughout your career?

I am not a “pantser.” I definitely outline, but at a high level. I know the beginning, middle, and most importantly, the end. Part of this is because it is generally required when writing for licensed properties (although requirements for licensed properties are on the spectrum of detail from “almost no detail, just a pitch” to a strict chapter-by-chapter outline). Even with a strict chapter outline, there is a lot of room for creativity as I actually write the chapters, as additional inspiration inevitably hits while I am writing. And sometimes the chapters end up getting moved around as I write, and so forth. So, the outline is not a strict contract, but rather a demonstration that I know where I’m going in the end, even if the path of getting there deviates from the outline. As for your other questions, when I am deep in a writing project, I do set wordcount goals. My process has not changed much in the last twenty years, with the exception that within the last five years or so I occasionally dictate some portions of a novel; it speeds up my writing, but I’ve also noticed that more errors are introduced which I sometimes fail to catch despite intense proofing, so I am a bit gun shy right now about dictating too much.

 

You’re on your third novel for the Edgar Rice Burroughs Universe (the first being Tarzan: Battle for Pellucidar in the “Swords of Eternity Super-Arc” that launched the Edgar Rice Burroughs Universe (ERBU), and the second being Korak at Earth’s Core, the first book in your “Dead Moon Super-Arc”). I’d love to hear a bit about how you came to write for ERB Inc., and how you crafted your pitch for the “Dead Moon Super-Arc.”

Shortly before Christopher Paul Carey joined ERB, Inc. as Director (now VP) of Publishing, I pitched a Korak novel to CEO Jim Sullos, which was accepted. Once Chris joined, and outlined his plans for the ERBU, to be kicked off with the “Swords of Eternity Super-Arc,” it was a no-brainer that a Tarzan novel was needed for that launch. I reworked my Korak pitch into a Tarzan pitch which became Tarzan: Battle for Pellucidar. After that, Chris and I still really wanted to do a Korak novel. I explained my idea to him in person at PulpFest, to which he burst out laughing, and said, “Let’s do it!”

Philip José Farmer wrote an article originally published in ERB-dom No. 57, April 1972. His ideas were worked into his mock biography, Tarzan Alive. The article has also been republished in my collection Myths for the Modern Age: Philip José Farmer’s Wold Newton Universe (MonkeyBrain Books), Pearls from Peoria (Subterranean Press), and The Man Who Met Tarzan (Meteor House). The article is entitled “The Great Korak-Time Discrepancy” and deals with how Korak, the son of Tarzan, impossibly ages about eight-ten years between the ERB books The Beasts of Tarzan and The Son of Tarzan. Farmer proposes an explanation, and there is another branch of fandom that proposes a different explanation. You can read the article online here. The “Dead Moon Super-Arc” will present a third, in-universe explanation.

We also wanted to explore as-yet untouched (or relatively untouched parts) of Pellucidar, the hollow world at the Earth’s core, and decided that the Dead World and the Land of Awful Shadow would be great settings for this trilogy.

What challenges have you encountered in moving Burroughs’ classic characters forward in time and in expanding the ERBU while still remaining true to his spirit and Burroughs’ original timeline and characters?

Honestly . . . not many. The biggest challenge is ensuring that all the writers’ stories remain consistent with each other, with no contradictions. That is one of the big selling points of the ERBU: the novels, stories, and comics are consistent both in continuity and in character with what ERB wrote, but they are all also consistent with each other. It’s not difficult to portray these characters as honorable and heroic. Perfect? No, of course not. I had a good time portraying Korak as less than perfect, and yet still heroic.

 

Without spoilers, what can you tell us about the upcoming second “Dead Moon Super-Arc” novel, Pellucidar: Land of Awful Shadow?

Yes! It takes place mostly concurrently with Korak at the Earth’s Core (this was a technique Burroughs used; for examples, see the Pellucidar novels Tarzan at the Earth’s Core and Back to the Stone Age), in which it is mentioned that Rahnak and Kyrianji have set off into the Land of Awful Shadow in search of Rahnak’s mother, Suzanne Clayton. So, Pellucidar: Land of Awful Shadow is the tale of their adventure. Rahnak the Daring is the grandson of Korak, and thus the great-grandson of Tarzan! Kyrianji is a great Waziri warrior princess.

Along the way, they have many adventures in this weird Land of Awful Shadow as they struggle to get back to their friends and allies, including David Innes, with some important information. We’ll also get some insight into what happened to Suzanne (Tarzan’s granddaughter), who was mentioned in Korak at the Earth’s Core (her disappearance set off the events of that book).

It's a lot of fun because the book is probably eighty or more percent focused on characters I was privileged to create: Rahnak, Kyrianji, and Suzanne.

All the plotlines will come crashing together in the third book, Tarzan Unleashed. (You see … there’s really no way to “pants” this. 😊)

You also had a short story in the anthology Thrilling Adventure Yarns 2025, edited by Robert Greenberger. Tell us a little bit about that story and what inspired it.

It was an honor to be invited to contribute to that anthology, with such an awesome lineup of authors, and it was great to flex my short story muscles. My entry was a weird menace tale, bordering on occult, called “She-Devil of Paris.” It was very much a Sax Rohmer homage, and featured Irma Vep, the anti-heroine of a 1915–16 French serial in ten chapters called Les Vampires. (The Vampires are a criminal gang who terrorize Paris, not actual vampires.) But, as with most Rohmer stories, the main character isn’t really the one who appears more “on camera,” Irma Vep, but rather her antagonist, who in 1923 Paris is calling herself Astarte.

Finally, do you have anything else upcoming that you’re able to tell us about?

I do! After Tarzan Unleashed, I plan to write the fifth and final Secrets of the Nine novel, as yet untitled. You may recall that the fourth book, The Monster on Hold (cowritten with Philip José Farmer from his outline and including large sections of his prose), most of Doc Caliban’s plotlines were wrapped up. Caliban was the POV character, and Phil’s outline and plot did not include anything regarding Lord Grandrith. Therefore, we still have dangling plotlines regarding Grandrith going all the way back to A Feast Unknown, Lord of the Trees, and The Mad Goblin. Phil’s estate and agent have granted me permission to write a Lord Grandrith-centric novel (I’m sure Caliban will also make an appearance, but its Grandrith’s book) resolving all the plotlines. I want to be clear that we do not have anything in Phil’s files (“The Magic Filing Cabinet”) regarding a fifth book, so this will be solely by me. Believe me, I wish we did have notes or hints. The book will be published by Meteor House, with consistent trade dress, art, and design as seen on the other Secrets of the Nine books.

I also plan to finally return to Patrica Wildman and write more novella-length follow-ups to The Evil in Pemberley House and The Scarlet Jaguar. I’d like to write more Sherlock Holmes short stories, following up on “The Adventure of the Fallen Stone.” And I want to do a series of novels featuring Astarte in different time periods, from the Victorian era, to the 1930s, and perhaps even into the 1960s and ’70s.

Finally, Anthony, I want to thank you for the interview. It’s been quite a while since we’ve done this (2017!), and I appreciate it. I’m looking forward to seeing you at PulpFest 2025 / FarmerCon XX in August 2025!

It was my pleasure, Win! Always fun discussing writing and Phil and Burroughs and Star Trek and The Man From U.N.C.L.E and everything else we have in common. See you in a few weeks!

 

 

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website.com/ for registration and hotel information!

Interview: FRANK SCHILDINER

Today’s interview is with author Frank Schildiner. Frank’s work has been published by Belanger Books, Black Coat Press, Meteor House Press, and others. He writes in multiple genres, including historical fiction, horror, and adventure.

Hi, Frank! Thanks for taking a few moments to chat with me.

My pleasure, brother, it’s been way too long. I hope you’ve been well!

 

As well as well can be! Your current Kickstarter project (through the wonderful Belanger Books) is for Let Loose the Falcon. The Kickstarter ends on July 20th, so let’s start there. Tell us a bit about the book.

This is a book that is very important to my heart. I started it when my late wife Gail was in the hospital. I started it as a way of dealing with how rough that time was for me and hiding how bad I felt from her.

The story is one set in 1751 about a Royal Navy Post Captain named Henry Falconer aka the Falcon. He’s an excellent sailor and a very dangerous fighter with weapons and hands. His unwillingness to follow foolish orders has him forced into intelligence work. He picks up a few fellow spies along the way as he tries to uncover a major danger for the king.

 

What inspired you to write a nautical novel set in the late 1700s, and what influenced the character of Post Captain Henry Falconer?

I love Royal Navy fiction, having become a fan of Patrick O’Brian, Dewey Lambdin, Julian Stockwin, Alexander Kent, and C.S. Forester over the years. I also had an interest in the Georgian era, especially the real Hellfire Club under Sir Francis Dashwood and the 4th Earl of Sandwich. They were an infamous bunch whose stories were both bizarre and exaggerated. It all came together that way and I had fun writing it.

 

Knowing you, this is intended to be the start of a new series. Have you started on a sequel, and can you tell us anything about it?

The second book is also completed and involves 2 cults of killers whose styles are truly nuts, even for me. I also have an idea for the 3rd one involving a pirate treasure and a few ideas for the 4th and 5th. So yeah, definitely a unique series and maybe one I try and write for many years to come.

 

Your previous novel for Belanger Books, Caesar Now Be Still was also a historical novel but set in the late 1800s in New York City, an era I know you also have a passion for. Will there be more books featuring Detective Wilson Hargreave?

Yes, I do plan on doing more with him and old New York. I have an idea about a team of burglars who are tormenting the wealthy. There’s also a group of gangsters hoping they can catch them for…well…reasons…

 

I’d be interested to hear about your writing process. Are you a plotter, a “pantser,” somewhere in between? Do you have a specific daily word-count goal?

I am the living embodiment of a pantser. I sometime start work on something and switch to something else that my evil muse wants written. I have no word count goal but usually do between 1500-2000 a day. I have been known to exceed it when I get going or less when I suddenly go dry. It’s weird.

 

I’d also be interested in hearing about any literary or filmic influences you haven’t mentioned yet.

Oh my, so many.

 Literary: Jack London, Dennis Wheatley, Frank Herbert, Philip Jose Farmer, Louis Cha, Eiji Yoshikawa, Paul Feval, A.C. Doyle, Donald Westlake, Joe Lansdale…the list could keep going…

Film: Yojimbo, the Zatoichi series, Le Samourai, The One-Armed Swordsman, Brave Archer 1-3, Berserk, Alexander Nevsky, Universal and Hammer Horror films, Memories of Murder, The Dollars Trilogy, a few dozen Shaw Bros. Films with Philip Kwok, Lo Mang, and Lu Feng, The Ringu series, The 3 Mothers Trilogy, Devilman Crybaby…

I watch movies and read books constantly, so the list is nearly endless.

 

Finally, what’s on the horizon after Let Loose the Falcon?

I finished the 2nd book in the series, and I’m almost finished with a short story in the series called “The Dancing Falcon”. I’m writing the 3rd book in the Atlantis trilogy as well as a samurai era slow building cosmic horror series. After they’re done, I’ll do either a 3rd Falcon, a 2nd Hargreaves, or start a Fantomas novel. There’s also some non-fiction I might do, so I’ll keep busy.

 

The Kickstarter for Let Loose the Falcon ENDS TODAY (as of when I’m posting this). You can find Frank’s Ceasar Now Be Still and other titles published by Belanger Books on their website. The Atlantis series Frank mentioned, along with his Frankenstein and Napoleon’s Vampire Hunters series can be found on the website for Black Coat Press.

Interview: JIM BEARD

I have my first new publishing credit in quite a few years in Jack of All Comics!, an anthology of essays about Jack “King” Kirby’s work for both Marvel and DC Comics in the 1960s-70s. My essay is about Kirby’s work on the woefully short-lived DC ‘70s series The Sandman. Rather than just blog about having a new book out, I thought I’d chat with the book’s editor/publisher Jim Beard about how it all came together.

IMAGE: Jack Kirby’s head and arms bursting out of an art table, from which an ink bottle is falling. He’s holding a paint brush in one hand, a lead pencil in the other, and the flame from his cigar looks like the Human Torch. He is surrounded by art pages. Cover art by Ron Hill.

First, a little about Jim:

Jim Beard is a writer, editor, and publisher of adventure fiction and pop-culture non-fiction. He is the co-founder of Flinch Books and the founder of Becky Books (which published Jack of All Comics!). His licensed works include Star Wars and Ghostbusters comics, a Spider-Man novel, and Green Hornet and Kolchak the Night-Stalker novellas. Jim’s original fiction creations include the Edwardian ghost-hunter Sgt. Janus and the 1970s globetrotters D.C. Jones and Adventure Command International. He lives in Northwest Ohio with absolutely no pets whatsoever.

 

Hi Jim! First of all, thank you for inviting me to be a part of Jack of All Comics!. It's both a pleasure and an honor to be a part of not just a book about Jack Kirby, but also a book in a really wonderful series of books on "Comic Book Culture." Can you talk first a little bit about the inspiration for the series?

Pleasure’s all mine. Always a good feeling to give a struggling young writer a chance at the big time 😉

“Comic Book Culture” is inspired by my own comic interests primarily, but also by the drive to inspire readers to pick up each volume. That means going places they might not expect, while at the same time appealing to their own interests and passions within the medium.

What inspired you to make this latest volume about Jack Kirby, and in particular his 1960s-1970s work at both DC and Marvel?

A Jack Kirby book needs no other inspiration beyond “Jack Kirby.” The length, width, and breadth of the King’s work is banquet enough for a thousand-thousand books, and I had always wanted to add my own to that stack. The key, as with all my non-fiction books, was to “do it my way,” i.e. come up with something that hasn’t already been said and done a million times over—and with Jack, that ain’t exactly easy, given that’s he’s arguably the most discussed comic book creator ever.

Part of that encompasses just what you say: the parameters of 1961-1978. It always helps me to set a framework down to fill up with thoughts about whatever subject I’m addressing, and the three eras of Jack’s work during that timespan worked perfectly for what I wanted to do, which was have a different writer talk about each one of the series Jack worked on at Marvel and DC during those years.

When putting together a book of essays like this, how do you as an editor decide which writers get which assignments?

Sometimes it’s the easiest thing in the world. Writers say, “Ooh! I want THAT!” and you know you’re gonna get magic. Other times, it’s the most challenging thing because you always have the essays no one really wants to write…but I’ve been lucky because when I’ve thrown down a gauntlet to a writer to challenge themselves on one of those topics, they always find they’re the right person for the job. And then you still get magic.

In particular with this book, was there anyone you immediately thought, “That person HAS to write about THIS series”? Conversely, was there anyone whose interest in writing about a particular series took you by surprise?

A few. Cliff Biggers had to write about Fantastic Four. Van Allen Plexico had to write about The Avengers. That said, many of the other topics just fell into place and in the end, nearly everybody got their first choices. This book in particular was so great in that way for me. It was almost an editor’s dream. The excitement was high across the board.

I surprised myself by being the exact right guy to talk about First Issue Special 😉

Your own essay in the book is about Kirby’s issues of DC’s First Issue Special series, and I won’t spoil here which of his FIS issues was your favorite. But what enquiring minds really want to know is: what is YOUR favorite Kirby series of all time, and why?

Hate to be so mundane, but it has to be the obvious choice: Fantastic Four. Stan and Jack just rocked it out on that one, and over a huge amount of time and issues. It still stands as one of the greatest achievements of a creative duo in comic books to this day. And there’s two reasons why: Stan and Jack. Say what you will, and many of you have, but that was some kind of perfection going on there.

Finally (for now, at least), is there anything upcoming from either Becky Books or Flinch! Books (which you co-run with John C. Bruening) that you’d like people to know about?

It’s Flinch Books’ tenth anniversary this year and we’re releasing the fourth volumes in our signature series, me with Sgt. Janus and John with The Midnight Guardian. Frankly, I’m more excited to return to Union City than Mount Airy….

Both settings, and both characters, are great, in this interviewer’s not-so-humble opinion! I’m looking forward to chatting with you more about Sgt. Janus in August, and with John when the new Midnight Guardian book bows in the fall. Meantime, Thanks again Jim!

PRIDE 2020 INTERVIEW: Sam Lant

This year’s final official Pride Month (EXTRA!) interview is with actor/writer/director (and my nephew) Sam Lant:

Sam Lant photo.jpg

Hi, Sam! I hope you’re staying safe and healthy during current events. What are you doing to stay creatively motivated in these unusual times?

Mostly I’ve taken things slow and allowed myself to use the time as a break. When the pandemic started, I saw a post that said something along the lines of don’t pressure yourself to make the next great work of art during the lock downs and honestly that was really freeing. Taking the time to just take care of my plants, hang out with my dog, and watch some movies has renewed my creative motivation and changed my perspective of what impact I want to have on the world.

 

You now identify as non-binary, but you’ve had quite a journey from confused kid to accepting who you are. Instead of a specific question, I’m going to just ask you to talk about that journey a bit.

I grew up very self-conscious about my body and my sexuality. Coming from a small town I didn’t get the exposure to the amazing LGBTQ+ community in Los Angeles my late teen years.  I had no clue that there was more to sexuality and gender than Lesbian, Gay or Straight. As I grew up, and I expressed more interest in things that fell out of the stereotypical norm for straight boys, I started realizing that I wasn’t a straight male. Without understanding gender and having a very limited knowledge on sexuality I just assumed well I must be gay. The older I got though the more I realized that that assumption I made was ridiculous because I never once had been romantically attracted to a guy. At that point, I thought I was broken. I wasn’t gay, but I didn’t feel like I was a straight male either. For a long time I was constantly at battle with myself hating my body, hating myself for wanting to wear make-up like my female friends, and feeling like I had to hide from the world. It wasn’t until I was a teenager that I was exposed a more well-rounded LGBTQ+ community and I realized that all the self-conscious feelings about my body and discomfort around it was due to gender and what I was experiencing was dysphoria. I learned about the transgender community, read about trans people’s experiences, and realized so much of my life made sense. I felt like I had figured out what had been haunting me my whole life; but was still terrified about the idea of telling friends or family. So, I still hid from the world. I did my make-up in secret and snuck my female identity into small accessories like rocking hot pink sunglasses. Eventually I got more confident and I came out to a few people but always would immediately go back into hiding myself again. It wasn’t until I was 18 or 19 that I found a great group of friends that were confident in their sexualities and genders which gave me the confidence to start wearing makeup and feminine clothing around them. The uncomfortable feelings I felt whenever I looked in the mirror started to fade away, the more confident I got the more traditionally female clothing and makeup I wore. After a while though, again, I started to feel discomfort and like I was still missing a big part of myself.  I couldn’t understand it and I felt awful. It was like a was a kid again just lost and confused about who I was. I fell back into depression and self-hate. I thought I was a fraud for a while.  Eventually I just had to say “fuck it.” I’m myself, I’m who I want to be. I don’t fall into any category perfectly, I don’t perfectly fit the ideal male image and I don’t perfectly fit the ideal female image, but that’s perfectly okay. For the longest time I was basing myself on what society deemed to be masculine and feminine and letting my personal identity be determined by how I dressed. For the first time I felt completely free of dysphoria and any self-hate. Instead of dressing a certain way because society deemed those clothes more female or male, I started dressing in clothes that I deemed an expression of who I am. For some people gender and sexuality fall into categories perfectly, but for me sexuality and gender are nonbinary. I fall into multiple categories and am full of wonderful contradictions that make me uniquely myself.

 

Of course, since June is Pride Month, I have to ask: how has being non-binary influenced or informed your acting and your interest in writing/directing? And is it at all different from when you started acting?

When I was younger, I was scared that if I let people know I was LGBTQ+ that I would limit myself to the roles I could play. I didn’t want people to see me and think he can only play the nonbinary characters or the trans characters. Now I realize that I don’t want to work with people who are going to cast me based on gender, so I’m much more open about who I am. I’ve also realized that I’m very critical of myself and would love to start letting myself be uninhibited by my criticisms when acting much like I had to stop over criticizing my identity.  With directing, writing and acting I’d like to start making films that have characters as unique and wonderful as my friends I’ve made. My friends all have wonderful identities that showcase the beauty of gender and sexuality that if I could make characters even half as well rounded and amazing as them, I’d be happy.

 

What inspires you?

My mom’s work ethic, she works so hard despite having so much struggle in her life. My friends confidence and attitude toward life even when things got tough during the pandemic. My dog’s ability to be happy and wag her tail over the smallest things in life. Film wise I’m a huge fan of Kevin Smith, I think Chasing Amy is an amazing film. I also love Tarantino. For TV/Film... I’m a huge fan of Stranger Things, Scream, The Rocky Horror Picture Show, and The Graduate.

 

What does your creative process look like?

 Oh gosh, controlled chaos? I don’t necessarily have a set process, I have a lot of tools for acting, writing, and directing but not every project calls for every tool so there isn’t really a set in stone way I do things. Its more about letting things come naturally to what make sense within a scene.

 

What are you working on now? Do you have anything coming out that you’re allowed to announce yet?

Right now, I’m mostly working on not catching covid-19, I have asthma and my lungs are just trash so staying home and staying healthy is my main focus. I have a few projects filmed before lockdown that I can’t announce yet, but as soon as they get finished and I get the okay to talk about them I’ll let you know.

 

And finally, where can people find you and your work online?

I am currently not really using social media. I don’t feel it is being used for the greater good. I don’t believe it is being used as intended and it is having negative impacts on our lives.  So, I guess you can check out to my IMDB ... all the projects are updated as I am able to announce them.  https://www.imdb.com/name/nm3137618/ 

 

Sam Lant is actor/screenwriter/director living in Burbank, CA.   Most known for his role of Dave the teenage party crasher in the cult classic Project X, he can also be seen in various independent films and on Fox’s Last Man Standing.  He is currently attending college to earn a degree in directing with hopes to make thought provoking artistic films.  He loves food, flying squirrel onesies, unplanned adventures, playing video games, and his dog Harmony. 

PRIDE 2020 INTERVIEWS: John "Jack" Curtin

Today’s Pride Month (Extra!) Interview is with theatrical and television/film hair and make-up artist John “Jack” Curtin:

Jack Curtin photo.jpg

Hi, Jack! I hope you’re staying safe and healthy during current events. What are you doing to stay creatively motivated in these unusual times?

When the COVID-19 Pandemic shut down the entertainment industry in March and closed the Make-up Artists & Hairstylists Local 798, IATSE office, I started feeling anxious. I started making masks in an attempt to do something to calm those feelings. It actually worked to up my mood and reignited my creativity for sewing. I sent a bunch of masks to our mutual friend Karen Toth Seymour for her and the nurses she works with. I made them for my staff and Executive Board. Then I had a conversation with a friend who participates in Krew de Pink, a breast cancer charity in New Orleans. They have an annual Art Corset auction to raise money. So I pulled out my patterns and books from college and started making a corset to be auctioned. Now I plan to work through my fabric stock making things!

 

Since June is Pride Month, I have to ask: how has being gay influenced or informed your work in the theatre?

Being gay while working in theatre has been a mixed experience. While homosexuality is common in the arts and theatre, there have been issues.

I started out touring the country in the early 1990s as a wardrobe supervisor and truck loader. The touring company was a family where we could all be who we are; when we entered the theatre, we had to gauge how out we could be. In some places it was best not to be ‘found out’, in others we were ‘gay ambassadors’ educating people that we are all the same, no matter who we are attracted to. I have been cursed out, spit on and even been on the receiving end of a gun. Conversely, I had people thank me for being an “out gay man” as it helped them on their journey to come out.

When I started working on Broadway in the late 1990s, I thought I had left all that behind. Sadly, while it was ok to be gay, there were still people who would voice their negative opinion openly. I actually had a stage hand beg me not to let on we knew each other as he was seeing my roommate and we worked on the same show with his father.

Thankfully, we have evolved! The International Alliance of Theatrical Stage Employees (IATSE), which Local 798 is a charted member of, created the IATSE Pride Committee. Discrimination based on sexual orientation will not be tolerated. At last year’s Pride March, all Locals of IATSE marched as one as LBGTQIA+ people.

I am the Local 798 Pride Committee Coordinator, overseeing the NY and GA Local 798 Pride Committees, and looking to create committees in every state in our jurisdiction. We need to keep informing people about the LGBTQIA+ community, and win the protections we need to insure our rights.

 

I would love to hear a bit about your history doing hair and make-up for live theater and for television.

As I mentioned, I started out in Wardrobe as I studied Costume Design & Construction in college. While on tour, I started taking care of the show’s wigs, and started developing an interest in hair styling. I took the time to go back to school and received my Cosmetology License from New York State. I have been fortunate during my career to meet great mentors and found great opportunities. My tenacious attitude and strong work ethic helped as well. Broadway Wig Designer David Lawrence gave me my first break on a Christmas show in Chicago, and then Dream, the Johnny Mercer musical. While working with David at Bob Kelly studio I met many other Broadway designers, and was introduced to Michael Ward. Michael asked me to supervise a little show called The Lion King. It was the pinnacle of my Broadway career.

As you know, it is still running some 20 years later. My experience with work prior was a six to nine month run, then move to a new project. At the end of year two, I should have moved on as there was no creativity for me. At that time I became an Educator for Paul Mitchell as a creative outlet. I worked hard and became a Color Specialist and finally a Senior National Educator. After 5 year on The Lion King I chose to go back to salon work and take a break from theatre.

Theater and the Arts had a different plan for me. I did not take well to salon work, and after about a year was back swinging (filling in) on Broadway shows. I found a home at 42nd Street for the last 3 years of its run. During that time, I studied and took the Journeyman Upgrade test Local 798 offered. After 42nd Street closed, I started working in film and television, “day- playing” as needed. I was working with film legend Colleen Callaghan on a low budget film called Joshua. She recommended me to Department Head Kidnapped, which I had to leave early to again assist Colleen on The Curious Case of Benjamin Button (on the Louisiana location) which won the Oscar for Make-up and Hair. This is what sparked my love of working on period shows.

Thankfully, earlier in my career I met Jerry DeCarlo who became my mentor and good friend. I assisted him on Carol and The Knick, both garnered various nominations; Make-up Artists and Hair Stylists Guild Awards, Emmy Awards and BAFTA. I also assisted Jerry when he ran background on Bridge of Spies and Vinyl.  If you would like to see all of the work I have done go to https://www.imdb.com/name/nm2226766/.

 

Which leads me to ask: what’s the process like for developing a character’s look? How much say/lee-way do you have? And is it different for live theatre versus working on a television show?

The process to develop a character’s look is a long and involved one. After reading the script at a table read with everyone involved, there are discussions with the Director, Costume Designer, Actors and Production. We all bring our research to the table and discuss the direction the character will go. We then have wigs made, hair colored and cut as agreed upon. Then the look is screen tested and any alterations are done to finally reach the final look/s.

Hair/Wig Designers have a good deal of input as we do the research and present it. That said, compromises have to be available to allow all visions room to exist.

 

What inspires you?

Love and Life are my prime inspirations.

I look back on my life and am happy with the majority of it. I regret we were not able to be our true selves in our youth, and that we were taught the wrong messages regarding LGTBQIA+ people. That said, I am so proud of how far we have come, and having been a voice for change. The beauty of life and its ability to endure and blossom is awe inspiring.

I have celebrated Love in my life, and am grateful and humbled by it. I celebrated New York Marriage Equality while working on Priscilla, Queen of the Desert and by getting married the following November in my home state of New York. The Love my husband and I share is the warm comfort in happy times and the steel needed to endure the hardships. As Whitney Huston said “Learning to love yourself is the greatest gift of all”. That self-love has been my sword and shield against the adversity of life, and has helped me grow into my true self.

 

What are you working on now?

I am working for all working people who have been marginalized by reversals of Workers Rights by the current administrations National Labor Relation Board. Specifically, Make-up Artists & Hair Stylists in the Entertainment Industry. 

In 2014 I became the Sergeant at Arms of my Local and became more involved. I also was the Education Director and worked hard to create a Membership Orientation Class for new members. In 2016 I made the choice to step away from working at my craft and to run for the office of Secretary Treasurer. It was a hard decision to make, but I saw a need to work for my Local and the membership. I won my election and took office in December of 2016. I am currently in my second term.

I was fortunate to join Local 798 in 1996, and work under Collective Bargaining Agreements which provide good wages, health, annuity and pension benefit so I will be able to live well now and retire with dignity. It was time for me to step up and insure that what was created by those who came before me to be available to those who will come after me.

Also, as I mentioned previously I have returned to creating through sewing. I’m starting with this Art Corset which I will post on my social media platforms (currently Facebook and Twitter, I have to get back to Instagram). After that I am researching male corsets and may create a second for the Krew de Pink auction. From there who know what else I will create!

 

And finally, where can people find you and your work online?

Most of my film and television work can be found on many of the streaming platforms currently available. For a complete filmography you can visit https://www.imdb.com/name/nm2226766/.

 

John “Jack” Curtin is currently the Secretary-Treasurer of Make-up Artists & Hair Stylists Local 798, IATSE. Jack is an Emmy and MUHS Guild Award Nominee and worked on The Curious Case of Benjamin Button which won the Academy Award for Outstanding Make-up and Hair. Film Credits include Wonderstruck, Bridge of Spies, Carol, Deliver us from Evil, Almost Perfect, A Little Help, Make Yourself at Home, Spinning into Butter and Joshua. Television Credits include The Path, Vinyl, The Knick, The Americans, America’s Got Talent (guests), Kidnapped and Law & Order. Broadway Credits Include  Pricilla, Queen of the Desert, La Cage aux Folle, Grease (2008), Coram Boy, 42nd street, The Lion King, and Dream.


PRIDE 2020 INTERVIEW: Bernadette Gambino

Today’s Pride Month (EXTRA!) Interview is with former police officer and current private investigator Bernadette Gambino:

Bernadette Gambino (left) and business partner AnGèle Cade

Bernadette Gambino (left) and business partner AnGèle Cade

Hi, Bernadette! I hope you’re staying safe and healthy during current events. What are you doing to stay creatively motivated in these unusual times?

Wow, that is tough! I have been working on a few projects. One is a musical, where I am Executive Producer. It is called Empty Hands, which is the English translation of Karate. It is about bullying. A sort of cross between High School Musical meets Karate Kid.

Retired police officer, actor, business owner, CEO, athlete, parent, grandparent, life coach and private investigator. Since June is Pride Month, I have to ask: how has being lesbian influenced or informed your very varied career path?

I came out late in life. I was about 25 years old in 1990 when it hit me that I was gay. When I say hit, I mean jumping off a cliff about a thousand feet high and hitting the ground. I was suicidal. Picture this… I just graduated from the Sheriff’s academy and would sit on my couch with my revolver and my 18 month old daughter asleep in the next room.  It was a very traumatic time not to mention my counselor said not to come out at work because the Sheriff’s department was still firing people up until 1988. Also, my very Catholic parents did not react very well.

As I grew older and through meeting my late wife, I grew to love all of me and recognized that God chose this path for me and now I honor that! For me, it’s not about being a lesbian that defines me but learning to love me who happens to be gay…if that makes sense.

 

It wasn’t that long ago that it was difficult to be openly gay or lesbian and be a police officer. I’d be interested in hearing your experiences while on the force.

I stayed in the closet a long time. Even when I got together with my late wife in 2002 and wore this beautiful diamond ring she gave me, I still pretended it was from a guy. It took a long while for me to love me enough to be in a position that I didn’t care what others though of me.

I know there were those who spoke behind my back or said things that were homophobic. I came to realize it was their problem not mine. My late wife, Mona Miller, showed me and taught me about loving all of who I am without judgement or shame. It took some time, but eventually I came out and embraced that part of my life without fear of who I was or fear of other’ judgement of me.

 

I’d also be remiss, given everything that’s going on recently, if I didn’t ask for your take as a retired officer on the nationwide systemic problems when it comes to police and minority populations.

 I believe some of the issues we face as a nation and the issues Law Enforcement faces with the general public and people of color is self- induced. Yes, there are very racist Police Officers who take advantage of the power coupled with their own egos to prey on minority communities, but we also have to be careful not to dismiss the Law Enforcement Officers, of all races and colors, who are an example to the profession and to the communities they serve.  A knee jerk reaction to the current climate is like throwing the baby out with the bath water.

If Law Enforcement agencies took a more proactive approach to community policing….. if the good citizens of the various communities worked in conjunction with their local law enforcement…if problem officers were held accountable sooner… and I can go on.  We are facing a multi-faceted problem that requires a multi-faceted solution. It cannot be a one size fits all solution because most of the time there are too many variables.

 

You’ve recently started up a private investigations firm. What inspired you to move into that sphere?

After I retired, I was asked so many times to conduct or assist in a variety of investigations. I finally decided to open my own firm. In addition, I am a full-service private security firm as well. We have some very interesting specialties. You can check out my website: eipainc.com

 

You’re a mother and grandmother. Kids today are facing possibly more pressure socially, academically, and in the virtual online world, than ever before. Teen and pre-teen suicide seems to continually be on the rise. What advice do you have for coping with those stresses, and especially those dealing with the added stress of being LGBTQIA in a world that professes acceptance but often acts just the opposite?

Having been in that queue I know that self love without judgement played a significant role in my survival. Learning to love one’s self in spite of the damaging world around us is a journey filled with lots of peaks and valleys but when truth becomes the paramount goal it can change everything.  BELIEF IS STRONGER THAN TRUTH UNLESS YOU BELIEVE IN THE TRUTH. We will create from that which we believe…..what we believe about ourselves.  We can only change ourselves and when we search for self love we find empowerment. It is in that empowerment that we can combat the judgement and hate from others. A miracle is a change of perception. When we work on ourselves from the inside out, find our own self love, leave judgement and fear at the door, others can’t hurt us. Is it an easy task….HELL NO! But definitely a worthwhile one!

In my life coaching business, it is issues such as these that are my specialty. I help people get out of their own way so they can find the person they were intended to be, not the circumstances of their life that made them!


And finally, where can people find you and your work online?

My life coaching website is:  Communicationartscompany.com  or they can email me at:

bernadettegambinocomart@aol.com

My private investigation and security business website is:  eipainc.com  or they can email me at

bernadette@eipainc.com

 

Executive coach Bernadette Gambino of Communication Arts Company and business consultant AnGèle Cade of Executive On the Go joined forces this year to create Empowering the Business of YOU—presenting conferences and one-on-one coaching to help women who feel stuck, frustrated and unfulfilled. Bernadette has more than 25 years of experience in mentoring, coaching and counseling individuals to help them achieve their goals. For nearly 20 years, AnGèle Cade has counseled more than 15,000 entrepreneurs across the country on starting or fixing their businesses.