All posts by Paul Kupperberg

Books for the Holidays

51Gn70L5MALIt’s beginning to look a lot like Christmas.

By which I mean, crass commercialism and holiday insanity (pagan cup of Christmas-hating Starbucks Christmas Blend coffee anyone?) are in full bloom, making life, shopping, and social media things to be, if not feared, at least avoided.

And, seeing as I’m at a point in my life where I’ve been trying to divest myself of the endless cartons of stuff I’ve accumulated and have been schlepping around with me for almost fifty years, the thought that this time of year could bring new stuff to replace it is sort of disturbing. (My need to shed that useless tonnage of paper et al found voice, albeit in the extreme, in a short story “Unburdened,” found here.)

But never let it be said I was a holiday…I’m sorry, Christmas (‘cause I don’t want to be accused of waging a war against Christmas in this, a nation that’s about 85% Christian) buzzkill, and, c’mon, seriously, who doesn’t like getting presents? Especially books.

51oqzCTobLSo, in that spirit, and ‘cause that’s the theme of these holiday season posts, here are some books I think readers who have enjoyed my work (which you can check out here…y’know, just to refresh your memory…but, hey, come to think of it, any of ’em would make fine holiday gifts in their own right!) might be pleased to find under their trees, menorahs, or kwanzaa candles:

 

CainI love a mystery, especially the classics of the genre. I can’t recommend highly enough any or all of the works of James M. Cain, author of such classics as The Postman Always Rings Twice, Double Indemnity, and Mildred Pierce (although the last, a fine novel in its own right, was turned into a murder mystery by the studio when it was filmed in 1945 starring Joan Crawford). A great introduction to this masterful writer can be had for about $20.00, The Postman Always Rings Twice, Double Indemnity, Mildred Pierce, and Selected Stories (Everyman’s Library Classic, 2003).

StoutAnother favorite is Rex Stout, author of thirty-three novels and forty novellas starring that rotund epicurean detective, Nero Wolfe and his sidekick, Archie Goodwin. Beautifully written, meticulously plotted, and often hilariously charactered, the Wolfe novels hold up even eighty years after they first began to appear. Get a great big serving of Wolfe and Goodwin in Seven Complete Nero Wolfe Novels (The Silent Speaker / Might as Well Be Dead / If Death Ever Slept / Three at Wolfe’s Door / Gambit / Please Pass the Guilt / A Family Affair), or try them out one at a time, beginning with 1934’s Fer-de-Lance.

EisnerWhen it comes to the comic book side of me, there’s a veritable stack of tomes that I’d like to unwrap on any one of the eight days of Chanukah. Most recently published as I write this is my old friend Paul Levitz’s Will Eisner: Champion of the Graphic Novel, a biography that focuses on The Spirit creator’s contributions to the birth and popularity of the graphic novel form and his impact on creators like Jules Feiffer, Art Spiegelman, Scott McCloud, Denis Kitchen, Neil Gaiman, and others. And while you’re looking, you might also want to check out Paul’s, 75 Years of DC Comics: The Art of Modern Mythmaking (Taschen America, 2010), a massive 720-page coffee table book (actually, buy some table legs at the hardware and you can make into a coffee table!). Or, if you can’t handle wrestling this 16.9 pound behemoth (let’s talk “weighty tomes,” wot?), Taschen has also broken 75 Years up into several smaller books, including The Golden Age of DC Comics, The Silver Age of DC Comics, and The Bronze Age of DC Comics.

WellsTwoMorrows has been publishing the American Comic Book Chronicles for a couple of years now, breaking down the history of the art form decade by decade. The first I read was John Wells’ two-volume American Comic Book Chronicles: 1960-1964 and American Comic Book Chronicles: 1965-1969, an exhaustive look at my comic book decade. John’s also a pal (he supplied the introduction to my The Unpublished Comic Book Scripts of Paul Kupperberg…a book worth having for John’s fine intro alone!), but he’s also one of the most knowledgeable and readable comic historians working today.

I’d be remiss if I didn’t also point you towards the American Comic Book Chronicles: The 1970s, written by Jason Sacks. Jason knows the comics of the 1970s like the back of his hand and takes us all on an enjoyable look at one of the industry’s most explosive decades.

The_Great_Comic_Book_HeroesBut if its comics history you want, the absolute greatest book on the subject ever published is, in my not so humble opinion, Jules Feiffer’s The Great Comic Book Heroes: The Origins and Early Adventures of the Classic Super-Heroes of the Comic Book (The Dial Press, 1965). It’s almost impossible to overstate the importance of this one 189-page hardcover, which consisted mostly of reprints of 1940s comic book stories surrounded by Feiffer’s brilliant essays on growing up with and entering the nascent field during the 40s, considered among the very first critical analysis of the form. Those reprints (at a time when such stories were never reprinted and the internet was still about thirty years in the future) and Feiffer’s personal creative journey through the four color fields awakened the creative instincts and inspired an entire generation of wannabe creators to pursue comics as a career. Between me and a couple of friends, we had it on almost continuous loan from the Utica Avenue branch of the New York Public Library for about two years until we could afford copies of our own. The Great Comic Book Heroes is long out of print, but I still have my original mid-1960s copy as well as a paperback reprint of just the Feiffer essays published by Fantagraphic Books in 2003.

Read on, people! And Happy Whatever!

Pangaea! We Build Worlds So You Don’t Have To!

Pangaea Cover V2 (Large)

According to canon, the world was made in six days. In retrospect, the work does come off as kind of rushed, but seeing as it was the first time anyone had tried creating a whole new world from scratch, any defects can be excused. Well, some of them. But that’s neither here nor there.

In the span of the relatively small sliver of time that we’ve been around, many others have gone on to create universes of their own, sub-realities to real reality—Homer’s Iliad and Odyssey, Milton’s Paradise Lost/Paradise Regained, Burroughs’ jungles and hollow Earth, Howard’s Hyborian Age, Asimov’s Foundation, George R.R.R.R.R.R.R. Martin’s Game of Thrones—to name a few. In my own humble way, I’ve patched together a few worlds myself over the years, most extensively in the early to mid-‘80s in the Arion, Lord of Atlantis comic book series for DC Comics (which I’ve extended into a pair of short stories and a novella in the works—with names and incidents suitably altered to protect myself from any corporately copyrighted reprisal—to be published in 2016 by Crazy 8 Press as Three Tales of Atlantis) and Crazy 8’s own ReDeus trilogy, whose deity infested world was built by Bob Greenberger, Aaron Rosenberg, and myself (long before Crazy 8, in fact, back when we were calling ourselves 3 Mountains or something like that…’cause (Fun Fact®) the “berg” in all our names is German for “mountain.”

I also had a hand in building the world of Pangaea. Well, maybe it was more like a finger…a part of a finger, really. A fingernail. Okay, it was all Mike Friedman’s idea and I kibitzed a bissel (that’s Yiddish for “I put in my 2¢”), reading a few drafts and tossing out a few suggestions, comments, and ideas. This wasn’t my and Mike’s first collaborative effort; I’d been his editor for several years at DC Comics on Darkstars and other titles so we’re comfortable working together.

The strange thing about world building is that even as its creator, you never know everything about it. In my ReDeus stories (available by clicking here…I’ll wait while you go order them), set in a world in which every pantheon that ever existed returns at the same time and forces the world into worshipping them again as they had in the days of old while the Judeo-Christian deity remains silent and removed from the proceedings. There came a point in one of my stories where my protagonist, a Jewish-by-culture but otherwise atheist middle-age FBI agent is investigating a Catholic relic and, as he goes about his business, I realized I didn’t know what had happened to the Catholic Church, the institution if not the religion itself. I had to sit back and, within the parameters of the ReDeus bible and in consultation with my fellow world builders, come up with a plausible back story and resultant church structure. (It’s easier if you just read the stories for yourself, honest, so just click here…)

Kibitzing aside, I was a guest in Mike’s world of Pangaea, so I tried very hard not to spill anything on the rugs or break the furniture, sequestering myself to a single corporate farm somewhere out in the vast plains of Earth’s single mega-continent…with a side trip to the other side of the world. Even there, I found one hundred and one little details of everyday life that I had to invent on the spot, from what to call things, the slang used by the migrant farm workers, the politics of company and workers, as well as the politics of a most literal form of corporate warfare. Since no one else had beat me to the punch on establishing some of these details, Mike awarded me dibs and let them stand; other things, like the slang term used by the Homo sapien majority for Neanderthals were already set so the one I dreamed up was changed. On the other hand, my term for Homo sapiens used by my Neanderthal character was left as I wrote it.

(Oh, and Mike also chopped about fifteen hundred or two thousand words from my draft that really tightened the story up something fierce. Thank you, doctor!)

So, just six days to create a whole world? Not nearly enough time to do the job right. But it does explain the Kardashians.

Pangaea is now available in digital and print editions.

Have You Heard the One About…? It’s THE SAME OLD STORY

The following is meant strictly for entertainment purposes…well, entertaining to me anyway. I managed to work a favorite joke into The Same Old Story, my murder mystery set in the world of the comic book industry in 1951 (and available just by clicking here!). Fun fact: The character of Robert Konigsberg was loosely based (though greatly exaggerated) on prolific DC Comics writer Robert Kanigher, one of my favorite real life characters. And no real world comic book creators were harmed in the writing of this story…

51oqzCTobLDeciding that being only half-drunk after receiving the news from Murray was worse than being sober, Guy was desperate for coffee. We stopped at the Automat on 44th Street, feeding enough nickels into the slots for a couple of cups of joe and a matching set of doughnuts.

Guy was lighting a cigarette when Robert Konigsberg sauntered up to the table. Tall and handsome in a rugged Robert Taylor sort of way, Bob had been an editor at National before leaving to write freelance. He was, for all intents and purposes, the top writer at the top company, responsible for a large chunk of their super-hero and romance lines. And he knew exactly where he stood in the pecking order. In a brushed camelhair coat and always freshly blocked Homburg, a bright and natty ascot as a dashing alternative to a tie, Bob was a fashion-plate, a teller of self-aggrandizing tall tales, a playboy, an often surprisingly good and creative writer, and a certified lunatic. There were too many Bob Konigsberg stories to tell, but the least bizarre of his traits included his habit, while writing during his lunch hours while still an editor, of suddenly leaping up on his desk, brandishing an umbrella or cane as a sword and sprouting ersatz Shakespearean dialogue at the top of his lungs, then calmly climbing back down to his seat and resuming his typing. His office mates thought he was eccentric. The headshrinkers at a psychiatric facility in Valley Stream thought he was a danger to himself or others. Twice. Once for sixty days, then again a year later for five months.

He was, by all reports, not currently crazy, making me wonder how crazy you had to be to qualify for certification. I thought the guy was a fruitcake, but at least he was nuts in a way that made him interesting.

“Gentlemen,” he sniffed at us in his bored, affected nasal tone. “What’s the good word?”

“Down here on earth,” said Dooley, ”or up there on Olympus where you reside?”

“Jealousy of his betters aside,” Bob said, directing his question to me, “what’s his problem?”

“Pincus,” said Dooley, “was the best ribbon salesman in New York. You ever hear this one, Bob? About Pincus, the ribbon salesman?”

Bob sighed theatrically. Konigsberg had several talents, but humor wasn’t one of them. The man was incapable of understanding funny in any form other than the dry, smile provoking bon mot, which only he thought was humorous to begin with. Laughter was unknown to that sad, dark heart of his. So Guy liked to tell him jokes, the longer and more drawn out the better.

“He sold to every notions store in the city, he sold to Woolworth’s, B. Altman’s, everywhere. But he could never sell to Macy’s. The ribbon buyer refused to change ribbon suppliers, but Pincus kept badgering him. Finally, one day, the buyer says, ‘Pincus, I’m in a bind. I have a special order for a piece of ribbon exactly two and six-sixteenths inches wide, of the exact red of a perfect sunset, with a texture like a baby’s behind, and as long as from the tip of your nose to the tip of your penis. I need it tomorrow by noon. Find it for me and from now on, I’ll buy all my ribbon from you.’ Pincus agrees to the terms and off he goes.”

Bob tapped his foot on the Automat’s scarred linoleum, waiting with undisguised impatience.

“The next day, at exactly noon, the phone in the buyer’s office rings and it’s Pincus. ‘I got your ribbon,’ he says. ‘Meet me outside.’ So outside the buyer goes and there’s Pincus. . .with ten enormous trucks full of ribbon! ‘Pincus,’ the buyer says, ‘the width is perfect, the color is absolutely dead on, the texture so soft you could cry. But, Pincus, I said I wanted a piece only as long as from the tip of your nose to the tip of your penis!’

“’So?’ says Pincus. ‘The tip of my penis is back in Poland!’”

I laughed. Bob didn’t.

“You were saying?” Bob prompted me, as though Guy hadn’t spoken.

“Worldwide Distribution’s gone down the tubes and they’re taking Blue Chip and Feature, that we know of, with them,” I said.

Bob blinked. He stepped back. “When,” he said, “when did this happen?”

“Today. This afternoon,” I said. “You okay, Bob?”

I don’t think he heard me, just nodded out of reflex.

“Don’t set sail for Cloud Cuckoo-land on us now, Bob,” Guy said. “Remember, the guys you work for have their own distribution company. They’re the only ones don’t have to worry.”

“Were you writing for either of them?” I knew Konigsberg drew a nice salary writing exclusively for National, but I’d also heard the rumors that he wrote secretly, under a variety of pseudonyms, for other publishers.

“Hmm?” Bob shook his head and focused his gaze on me once again. He managed a smile, but it never quite reached his eyes. “Actually, between you, me, and the lamppost,” he said, nodding in Guy’s direction, “I did provide some unsigned material on the side for some of their adventure and romance titles. Adventures Beneath the Earth, My Strangest Journey, Young and in Love, First Dates and so forth.” He waved his hand. “Strictly for income my wife was unaware of, a little extra cash to keep a certain someone in the style to which I’ve made her accustomed.”

Guy drained his coffee and rose to go after a refill. “Oh, Bob, you dog,” he said, deadpan, and left.

Bob shot his cuff and checked his wristwatch, making sure I got a gander at the gold band and jeweled face. “Well,” he said. “Speaking of which, I’d best be off. Don’t want to keep the lady waiting.”

I didn’t ask if he meant his wife or his girlfriend. I just said good-bye and returned to my doughnut.

Knowing that guys like Konigsberg would sail right through the current troubles with little more than an interruption in the quality of their adultery made me feel even worse for guys like me and Dooley. His kids could go hungry, I might have to live off my widowed mother or get a real job. . .but Bob Konigsberg might not be able to pay the rent on his floozy’s apartment.

At the moment, I couldn’t imagine a reason I could ever feel sorry for either Konigsberg or his floozy.

That would change soon enough.

© Paul Kupperberg

You’re invited to get In My Shorts

In My ShortsI’ll try and keep this short.

“Brevity,” as someone once said, “is the soul of wit.” But brevity takes times. As someone else said, “I have made this longer than usual because I have not had time to make it shorter.” And still someone else said, “The only kind of writing is rewriting.”

Which brings us to that venerated literary form, the short story. Some of the best writers in their respective languages and genres have labored in this form. I have too, on and off, over the last twenty years or so of my career. Many of the short stories I’ve been asked to write have been about licensed characters (Batman, Doctor Who, The Lone Ranger, The Green Hornet, etc.), with some originals thrown in along the way.

It’s only in the last few years that I really started to pay more serious attention to the short story, although the short stories I was writing were getting, paradoxically, longer and longer. Five thousand words to seven or eight thousand to twelve or thirteen thousand words…granted, some of the stories were part of shared universes (Latchkeys, ReDeus, Pangaea, all published by Crazy 8 Press), but even my own Leo Persky stories (appearing in R. Allen Leider’s Hellfire Lounge anthologies, published by Bold Venture Press) were getting longer, although a lot of that was due to how much fun I was having writing Leo’s (i.e. my) snarky observations on the world.

PK-Shorts-TanghalBut several years back, I submitted a piece to an anthology of flash fiction (five hundred words or less). It didn’t make the final cut, but it did get me thinking about keeping it short, say, under two thousand words. I got to fool around with that in a couple of fifteen hundred word stories for a still-to-be-realized Charlton Neo project and several stories I wrote based on sculptures made by my grandmother in the 1970s. In the first of those Charlton Neo stories, I probably wrote about three thousand words before I finally got to the start of the fifteen hundred words that I ended up using; it was a case of both having the time to make it shorter and finding the story in the rewriting, as well as a reminder of a vital dramaturgical dictum: Always enter the action as late as possible.

In My Shorts: Hitler’s Bellhop and Other Stories is a collection of sixteen of my short stories of various lengths, from the first original I ever sold to the latest piece I wrote, finished a couple of weeks before the book went to press.

Order now from Amazon!

And that’s the long and the short of it.

 

Why Did the Chicken Cross the Information Highway?

By Paul Kupperberg

ENT-chickenBob Greenberger asked us to write about recent obstacles we’ve faced in our writing, which seemed a fairly easy topic to approach. In writing, as in any creative endeavor, you’re constantly facing obstacles and challenges on every level: Coming up with that fresh approach to an old idea. Creating characters that will be interesting both to you as the writer as well as to your readers. Working out that terrific, wonderful, perfect plot idea. Later on fixing the gaping holes in your terrific, wonderful, perfect plot idea. Shoehorning the story into the allotted page and/or word count. Stretching the story to fill the allotted page and/or word count. Finding a market for your work, preferably one that pays. Finding an editor who answers their phone and replies to emails.

But in the final analysis, none of those are so much problems as “the job.” It’s process stuff. And as everybody’s process is different, and everybody else’s process makes everyone shudder and wonder how the hell the other guy can work that way, my process isn’t going to work for you and vice versa. It’s also boring.

Charlton NeoThough nowhere near as boring as the biggest challenge I think is faced by the majority of independent creators–certainly those of us who have hitched our wagons to Crazy 8 (as well as my comic book indie publishing endeavor, Charlton Neo Comics): Promoting our creative endeavors. That’s the process of all processes and it feels as though creators spend more time talking among themselves about how to sell our work than why and how we do it in the first place.

Do we use Facebook? Twitter? Pinterest? Tumblr? Instagram? Google+? (Okay, just joshing with that one.) Everybody claims theirs is the best way to reach their fans and readers…but are their fans and readers the same as mine? (Looking at the demographics of my followers, I should probably stick to AOL chat rooms.) Whichever of the social medium you go with includes posting, reposting, responding, liking, poking, grinning, pointing, and other time consuming maintenance; often I’ll look up and more than an hour will have gone by with what started as a simple Tweet or Facebook post.

I love my fans, each and every one. Without you, I’m just a creepy guy writing faan fiction in a Cheetos stained t-shirt in someone’s basement. Social media brings writer and reader closer than I ever could have dreamed being with the creators I admired when I was a fan. I never mind answering questions or chatting online with anyone, but keep in mind that the internet is like everyone in the world knows your address and can come knocking at your door at any time. And they often do, most just to say hi, others to request interviews or blurbs (even as I was working on this piece, a friend PM’ed me to ask if I would write an intro to his book) or ask about favorite past projects of mine. It’s both part of the job and a personal pleasure, but it’s often a challenge to balance the relationships and the time spent nurturing them. And, let’s face it, as someone who sits locked away in a room by himself most of the day, the cyber-human contact is often the only thing between me and cabin fever madness.

While I’ve done any number of jobs in publishing on everything from tabloid newspapers to comic books to books, I’ve always considered myself a writer first and foremost. And, keeping in mind that I began my writing career at a time when all we had were typewriters and telephones, the internet and social media are something of a blessing and a curse to me…not to mention as baffling as a battery powered beard trimmer would be to a caveman, who not only wouldn’t understand how it worked but why such a thing was even needed.

But like that chicken crossing the road, all I want to do is get to the other side.

Of the obstacle, not the road.

Retweet this or poke me or whatever if you get what I’m saying.

What I’m Working On: Paul Kupperberg

DivineTalesCover 600dpiWhat am I working on?

A better question is: What aren’t I working on!

The life of a freelance writer is cyclical to say the least. Sometimes we’re the ones chasing after the editors for work…and sometimes the editors are the ones chasing us for the work we’ve promised to deliver. If you had asked me what I was working on a few months back, I would have answered, “Perfecting my thumb twiddling technique.” But the new year has brought with it new prospects and, huzzah huzzah!, new projects.

Crazy 8 Press-wise, the big news is Pangaea, an anthology featuring all-new stories some of science fiction’s most inventive writers (and me), including Michael Burstein, Adam-Troy Castro, Russ Colchamiro, Peter David, Michael Jan Friedman, Robert Greenberger, Glenn Hauman, Kelly Meding, Aaron Rosenberg, Lawrence M. Schoen, Geoffrey Thorne, Dayton Ward, and Kevin Dilmore. After a successful Kickstater campaign (thank you, everybody!), it’s time to get down to writing out stories.

paulheadshot1Following that, fellow co-creators Bob Greenberger and Aaron Rosenberg and I are about to embark on a series of solo novels set in the world of ReDeus, the Earth where the gods of all the pantheons of all the world have returned and are demanding worship. Bob’s working on the outline for his, the first of the books, and things are shaping up nicely. And, of course, I continue to try and make time to work on an original mystery novel that I’ve got started. But between now and then, I’m putting the finishing touches on a Crazy 8 collection of my short stories for (just one or two more short-shorts to complete) that will be out by this summer. And I’m preparing a book to print a bunch of my old unpublished comic book scripts

Elsewhere, I’m contributing to yet another prose anthology, this one featuring a major motion picture franchise. The proposal is making its way through publisher and movie studio, but look for an announcement soon. I’ve also got a couple of original Young Adult novels floating around with editors…but see my earlier “chasing after the editors” comment, above, for where those currently stand.

SecRom_1-Print-CoverI’ve also started working with Joe Books on graphic novel adaptations of Disney movies, including (so far) 101 Dalmatians, Aladdin, and The Little Mermaid. Zippity-doo-dah!

In the comic book world, not only do I still pen the occasional short story for Archie Comics (while talking to them about possible new ongoing projects), but I’ve got my hands full with my duties as executive editor of and writer for the new Charlton Neo Press, a really small indie comics publishing concern with Roger McKenzie and Mort Todd. We’ve got a few books up and running, including The Charlton Arrow (#4 is in production!), Charlton Wild Frontier, and the first issue of my two-issue Paul Kupperberg’s Secret Romances, with several more titles in the works. In addition to a bunch of one-off anthology stories, I’m also writing several series: “Digger” Graves: Paranormal Investigator with artist Andrew Mitchell, Blank with artist Rick Burchett, and The Scarry Squad with Dev Madden. We also have the new subscription Pix-C Weekly Web Comics website, which features new episodes of new (and a few reprinted) comic strips, including my own N.E.O. with P.D. Angel Gabriele, and the upcoming Gorillas & Dinosaurs, with an artist to be determined.

11047110_792793870800312_1993970007_nBeyond the world of entertainment, I’ve been discussing a variety of jobs over the last few months with an array of clients in assorted fields (marketing, promotion, advertising). And, in the general philosophy of “it never rains but it pours,” several of these little buggers are threatening to become real as well.

So. What am I working on?

Everything. Just not fast enough.

Isn’t it great?