It was my pleasure to write the introduction to the first short story collection of the talented author and my good friend John F. Allen, released last month. I could tell you why, but I explain it in detail in the introduction. So without any further delay, here is the foreword in full.
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I’m pleased and honored to write the foreword in this collection, though also a bit intimidated. For many of you readers, this may be your introduction to the imaginative world of John F. Allen, and introducing you to that is quite a task to take on in a few hundred words. John and I have been through a lot together in the last half decade or so, both as storytellers trading and refining ideas, and as independent authors trying to launch our respective careers and take over the world one book at a time. We have bonded like brothers and have frequently feuded in the same manner. But ultimately it is our love and admiration for each other that keep us together on the journey. I think there’s a 70s song by Captain and Tennille that fits here (Google it, kids).
Old songs frequently come up when hanging out with John. Love songs. Dance songs. Great songs of passion. Because if there’s one word that I would use to describe John, it’s passion. John is passionate about writing, and, as these stories show, he is passionate about life.
…if there’s one word that I would use to describe John, it’s passion.
“Robot Vampire” has gotten a lot of good attention since its release in 2012 as part of Vampires Don’t Sparkle, an anthology edited by Michael West. I suspect that the story being a fundraiser for cancer research helped, not to mention its amazing table of contents, with story contributions from Lucy A. Snyder, Maurice Broaddus, Tim Waggoner, Gary A. Braunbeck, Bob Freeman and Stephen Zimmer, to name a few, all helped to bring attention to the story my way. I’m certainly proud to be in such company.
I recall the germ for the story came about on a long family drive, one in which you find yourself playing nonsense games with each other. Anyway, for reasons I can no longer remember, we started pairing up monster types and giggling over the results because when you’re slaphappy, you’re also the most hysterical people in the world. And so, someone shouted “zombie robot!” (giggle) “werewolf zombie!” (giggle) “vampire werewolf!” (giggle) “robot vampire!” And while I giggled, a part of my brain already started to wonder “how could I make that work?”
Less than a month later, Michael West and I were talking and he asked if I had any ideas to submit to his anthology. Before I could think it through, my mouth responded, “Robot vampire”. Michael smirked that awesome Michael West smirk and said, “If you can make that work, I will buy it.” “You got it,” I said, even though I had no idea beyond the title.
Must brainstorming later, I turned in a story, one I’m pretty durn proud of, and still am. And so, apparently, was Michael.
The Setup: Jinan is an experimental robot who appears as a dark-haired Japanese girl and who emulates the agility of a human dancer. Moments before her premiere exhibition, Jinan is given a last-second programming tweak. The unintended consequence is that the robot achieves sentience, and the performance that follows wows the audience beyond almost everyone’s wildest expectations. Toshio, the show choreographer, is the one person who is not happy. In fact, he is furious over Jinan’s improvisations. The moment Jinan is alone, Toshio expresses his anger.
With their absence, something changes in my internal processes, a discordant flow of energy, again beyond my parameters to analyze. A response on the opposite side of the spectrum of the positive response I experienced earlier. I search my vocabulary for an appropriate word.
Dread. Is this dread?
Toshio yells in my face. “I know what you’re doing. Showing off for your masters. They programmed you too well, you little Diva bitch in the making.”
I file a conclusion about Toshio in a heuristic subroutine and speak my conclusion out loud. “I don’t like you, Toshio.”
Toshio’s face changes; his lips curve the opposite of a smile. “Oh, I’m so sorry to hear that! You don’t like me? You think I give two shits if you like me?”
Toshio walks to the toolbox in the far corner, opens the lid and examines its contents. “Gentoshu says you can learn now. To me, that’s great news. And very bad news for you, little Diva.” He turns toward me. One hand grips a screwdriver. He waves it in the air, the end pointed toward my face. “That means you can now respond to being punished, doesn’t it? But how?” Toshio looks upon me for several seconds. “I’d backhand you if you were a real girl. But I’ll bet I can come up with a way to make you respect me.”
You don’t need to listen to him, my special friend. I detect a voice, speaking directly to me, in my head, but outside myself. The experience, so unexpected and without context, causes me to speak out loud. “What?”
Toshio looks at me. “I said it’s time to make you understand your place.”
From his tone, I conclude that Toshio has not heard the voice.
As I consider this, the voice speaks again. I can help you, special one. I can protect you now. He cannot see me, he cannot hear me, but you can. Do not give me away, and in return I will help you.
A new thought forms in a subroutine. The voice could be caused by a splinter in my thought processes that formed a separate thought entity within my own. The idea intrigues me. But the words keep me silent.
The voice in my head laughs. A real laugh, not a simulated one. I am not in your head. I am a spirit from outside you. Do you know what a guardian angel is?
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Thank you for reading through this series of previews. I’m very proud of this collection and hope that this gives you a better idea of what you will find inside.
“Starter Kit” was my first pro-rate sale, my only connection to an award-nominated collection (Lucy A. Snyder‘s chilling tale “Magdala Amydala” won the Stoker Award for best short story that year), and the first time I ended up in a table of contents with some writers I’d admired growing up and continue to admire. That the anthology came out through Apex Books also makes me unreasonably happy.
For all of these reasons, and maybe more, “Starter Kit” is one of two short stories I receive frequent comments (overwhelmingly positive) from the public (the other one will be discussed Monday when this series resumes after the weekend) so it’s appropriate that these two stories close the collection.
I share a bit more in the actual introduction to the story in my collection, so no need to repeat myself here. And so, without further delay, here’s the first couple hundred words of “Starter Kit.”
___
The cover of the anthology published by Apex Books.
Rodget stepped into his foyer after a long day at work. He hung up his coat and gave his waiting wife a quick kiss. Already, he sensed something wrong, and when he saw Little Belljy looking at him with expectant, wide eyes, a sense of dread fell over him.
“It’s the tank,” his wife said.
Rodget squatted down, meeting his seven-year-old son eye to eye. “What’s up?”
“There’s no movement. I can’t see anything. Mom says it’s ruined, but I don’t think so.”
Rodget sighed. “Let’s take a look.” He followed his boy into the bedroom. The pressurized glass tank took up one entire wall. Unlike the tank he grew up with years ago, Belljy’s offered a backlit night monitor, computerized zoom, and other modern upgrades.
Rodget stepped up to the tank and squinted through the glass at the thick, milky white swirl contained within. From here, everything appeared normal. Glowing. Thriving. Hauntingly beautiful in its own exotic way. But the real damage wouldn’t be visible to the naked eye.
Rodget leaned over the tank’s mini-computer and called up the first set of coordinates. Frowning, he pulled the magnifier screen up to eye level and glanced at the numbers on the readout 357, 285, 13—one of hundreds of coordinates identifying growing civilizations. Two days ago, several had progressed to the space-exploration stage. From there it would only be a few more hours to faster-than-light travel. Just yesterday, Belljy ran into the room, excited to tell him that three of his planets had discovered each other and opened negotiations for trade.
Bracing himself, Rodget slid the magnifier left. The screen showed flashes of gas giants, rocky terrain, black holes, blinding suns. He synched the numbers in the upper-left corner of the magnifier to match… 357, 285, 13.
A smoking black ruin of a sphere centered on his screen, and Rodget couldn’t hide his disappointment. He stabbed the magnifier button several more times, closing in on a major city, hovels still smoking from the radiation, the bodies of tiny specks piled atop each other—broken, blackened, torn apart.
“Backstage Pass is, on one hand, a deeply personal story. Released as a “Seventh Star Single” (a 99 cent short story you can still order here, though buying the collection is a much better deal) just a few weeks before Haunting Obsession in 2012, the story was inspired by my encounters through the years steeped in pop music fandom. I tried to channel the general friendliness and surrealism of that group, some of the wacky personalities one can encounter whenever the obsessed gather together to…well…obsess together.
Although I call this a personal story, the tale is full of inaccuracies, exaggerations, and outright lies. The protagonist writes for Rolling Stone, lives in New York, and is part of the publicity staff of the object of his admiration (a southern rock belle named “Fiddle Dee-Dee”).
It was a challenge to capture the tone of these escapades and use those episodes in a sci-fi tale, and I even included cameos of real people by name in what I hope they find flattering representations (“Mary Kay,” whom I told you about in my Fade excerpt, appears in this excerpt) but the story is pure fiction beyond the general truth that people can get lost in their hobbies and obsessions.
However….that said….I thought, for this excerpt, I’d pick the moment from the story that happened very much as depicted (and recalled as best that I could). Though still fictionalized, much of this scene really did happen, with minimal fictionalization to hide the name and identity of the guilty party. I suppose “Tony Stoker” may one day want to speak to me, but probably not. The lesson remains true–don’t act “cray-cray” around a fiction writer. We just can’t help ourselves.
The Setup: In the hours following the brutal murder of pop star “Fiddle Dee-Dee,” avid fan Jared Price discovers, to his horror, that he’d actually met and interacted with her murderer months before. As the realization hits him, Jared flashes back to…
—–
The original ebook cover designed by Stephen Zimmer
Ten months earlier—Chicago, October 29, 2010
Jared stood near his friends, Mary Kay, Jamie, Rick and Michelle, still seated at the table where they’d viewed the track-by-track live performance, essentially loitering in the club after Dee’s jazz album release party. While Dee handled the official press backstage―such as it was―they waited for the coast to clear to hold a private meet n’ greet with Dee.
Tony Stoker (dubbed by Dee’s fans as “Stoker the Stalker”) also waited, his camera with its telescopic lens hung from one shoulder while he cradled a huge scrapbook against his chest. His gaze darted to their table, around the room, and back again. Tony frequented the newsgroups, so he knew their names. And he knew they had special access.
But they knew his name, too. And they knew he didn’t have special access. At this stage in her career, Dee often showed her few devoted fans incredible consideration, but if she bothered to keep a blacklist, Tony Stoker’s name would occupy the top slot.
Jared knew Tony Stoker by name, but not on sight. As they shook hands, Tony exclaimed, “Oh, you’re Jared Price! I’m Tony Stoker. You’ve been doing her website, right?”
Later in the story, my regular series character Rebecca Burton makes an appearance. Art: Bonnie Wasson
Jared broke eye contact and stared into his drink. Damn! Now what? “Dee … Fiddle Dee-Dee … is just one of my clients. I write a syndicated music column. Recently, Rolling Stone and Billboard invited me to submit some reviews.” He braced for Tony’s next question.
Tony didn’t disappoint. “So … you guys going to meet with her tonight?”
“Nope, definitely not,” Jared answered, hoping he didn’t sound as much a liar as he suspected.
Tony’s arm fell across the back of Jared’s shoulders. “Buddy, can I tell you something?”
Jared flinched at the man’s piercing, brown-eyed stare―the look of someone who operated on a different plane from the rest of the world. “I think Dee-Dee is a goddess,” he oozed. “Her voice has the power to heal, to hurt, to affect our world. Maybe that’s intense, but that’s how I feel.”
Unfamiliar with how to handle whack jobs, Jared hoped understatement was the proper way to go. “Yeah, uh, that comes off a bit intense.”
Stoker the Stalker thrust the scrapbook at him. “I’m a professional photographer, but this book is just my Fiddle-Dee-Dee shots.”
Backstage Pass features the first appearance of Rebecca Burton’s druid nemesis Sparkle, shown here sipping from a Rebecca Mermaid Mug as drawn by E. Chris Garrison
Opening to a random page, Jared saw eight consecutive shots of Dee on stage, virtually an identical pose, taken rapid-shot. Why display so many shots of the same moment? Because he’s a whack job. Still, can I really judge another’s level of fanaticism?
Jared flipped the page. “Here’s one of her coming out of her hotel in Wisconsin last year. I waited in the lobby for six hours.” His finger dropped to a photo of Dee, a large canvas hat over her head and dark glasses hiding her eyes. Tony caught her mouth open in a frozen snarl aimed at the cringing blonde next to her. Lisa.
Jared knew about the fight, but few others did. He wanted to slug the slimy leech.
The Stalker’s voice droned on. “After about four hours, the bellboy asked me if I wanted something to eat. I told him I was fine.…”
“Everything okay here?” His “date,” Mary Kay, wandered over from their table. Though Mary Kay was “very gay,” they play-dated at concerts.
He read the questioning look in her eyes. “Just fine, MK. I was telling Stoker here,” he emphasized the name, “that Dee’s calling it an early night.”
“Yep!” She ran with the lie. “We were talking about hitting a dance club. Chicago’s got a wicked night life, and we wanted to do something positively sinful.” She flashed a mischievous smile.
Jared took her hand. “I like how you think. But first, I need to find the restroom.” He turned toward Stoker, who looked miserable. “Want to go clubbing?”
“No … I don’t think so. Maybe I’ll hang out for a few more minutes.”
“Suit yourself.” He headed for the Men’s Room.
Once alone, he pulled out his phone, found the D. Pat Cell entry and hit Talk. He kept Fiddle Dee-Dee’s name entered under an abbreviation of her little-known birth name, Deana Patterson. Last thing he needed was to lose his phone and for someone to find her name and number.
“Hello?” A familiar southern drawl.
“Dee? It’s Jared. Sorry to bother you.” He always apologized. Fiddle Dee-Dee deserved the proper respect. “We’re down here, but a guy named Tony Stoker latched onto us. He’s not taking the hint. Tony is―”
“The creepy photo guy?”
“Uh … yeah. Should I tell him we’re meeting later?”
He heard her sigh. “Shit, no! I don’t need to deal with him tonight. Look, I’m almost done with the reporters. I’ll send the bouncer down. He’ll pretend to kick everyone out. You wait behind, and after Stalker-man leaves, the bouncer will escort you upstairs. The bouncer’s name is Lenny. He knows your name. I told him he can trust you to point out who’s in our group.”
She trusts me. A childish flush flowed over him. “Sounds good.”
The ploy worked.
Inner Strength (subtitled for this collection “A Rebecca Burton Short Story” referencing the recurring character of my paranormal thriller series) was the second story written for Strange, Weird and Wonderful magazine. Whereas the first time, Able Bodied was selected from a slush pile, this time D.L. Russell invited me to write an original story for an issue in which I would be featured. Being a naturally humble person, I took him up on his invitation immediately.
This is also the only story where I recorded an audio version of me reading the entire thing. I have no idea where that file is now, and thinking back, I’m fine with it being lost forever. Few things are more awkward than trying to read a bedroom scene that you wrote yourself. Now you know.
The story was later reprinted in the magazine’s Best of collection A Big Book of Strange, Weird and Wonderful, Volume II. I am very proud to have been a part of that magazine’s short history and lament its passing. Fortunately, D.L. continues his efforts as the editor in chief of Black Books Publishing and as a brilliant author in his own right. I look forward to seeing what’s next for him.
Setup: This scene is the second one in the story. Todd Burton had his daughter “Becky” Burton for Halloween overnight as part of his visitation arrangement, and it’s the next morning. (During the first scene, Becky dances to a Fiddle Dee-Dee song and that’s not the last time you’ll hear about Dee n this series) He must now drop her off at his ex wife’s house, and as he does so, he is wallowing on his failed marriage and current circumstances.
Artwork that introduced the story in the Winter 2011 issue of SWW
Todd Burton maneuvered the van down the narrow side streets of their neighborhood. Her neighborhood. He had not so much as stepped up to the front door in eleven months, but he still often thought of it as their home. If this was still our home, I wouldn’t be dropping Rebecca off in front of the house and heading on to run errands on my own. I’d gather everyone up and we’d head off to a movie, just the three of us. He shook his head, clearing the melancholy. He spent little enough precious time with his daughter, and he hated when runaway thoughts dampened that time. He adjusted the reflector attached to the rearview mirror, allowing him to look all the way to the back of the van. Rebecca no longer sat in the middle row of seats. Since the separation, she preferred to go all the way to the back of the van, the couch-like seat at the rear, and stretch along its entirety, eyes locked on her video screen.
Rebecca caught his gaze upon her and smiled. She wiggled her fingers lazily at him and returned her attention to the game in progress. At least she seems happy. He pulled up, parallel to the curb, and stared across the lawn to the modern suburban home. Two stories, three bedrooms, plus a loft, the perfect home in which to grow a family.
Todd sighed. He just wished he knew what he could do to change things. He heard the words, heard the excuses, watched the love of his life shake her head and shrug. “I just don’t love you anymore.” How does that even happen? He always figured there was someone else, though he never saw any indication, and Rebecca never revealed anything about a new “Daddy” in her life. But the alternative—that their life together was a lie from the start—was too devastating to face.
Todd released a deep breath, swung open the driver’s side door, and stepped onto the street. His gaze traveled across the front porch, over the driveway. The gray Ford Taurus sat peacefully in the two-car driveway, the usual oil stains spotting up the pavement of the space next to it, without so much as a telltale drop of fluid or tire track to indicate the comings and goings of someone new.
Eyes still on the house, he stopped in front of the passenger door and popped it open. He thought perhaps the blinds behind the windows shook just a bit, indicating someone inside had noticed their arrival. He braced himself to hear the familiar voice of his soon-to-be-ex wife offer some sort of awkward greeting from the porch.
Todd flashed back to another time, long ago, when Olivia normally drove the “Errand Runner,” a name Todd had affectionately dubbed the reconditioned green van during one of his geekier moments. Settling into the passenger seat, Todd channeled his best Harrison Ford voice. “Firing up the sublight engines on the Errand Runner, honey.” Olivia would roll her eyes and shake her head, inserting the key and waking up the grumpy engine, but she always flashed him an affectionate smile that warmed his heart. The same smile that made him fall in love with her in the first place.
Now, Todd waited for Rebecca to emerge, knowing she needed a few extra seconds to disengage herself from her Nintendo DS, but time stretched beyond the norm. Annoyed, he called into the dark quiet of the van. “Come on, Rebecca, save your game and let’s go!”
He knocked insistently against the solid steel siding, knowing the noise would penetrate her concentration, even through headphones. He listened for any answer.
Silence.
“Becky?” The silence alarmed him. No thumping of feet from the back of the van, no telltale “bleeping” of electronic noise to indicate the obvious preoccupation of his little “nerd in the making.” Not even her usual cry for patience, “I’m saving, Daddy!”
“Hey, string bean, save and quit, girl! Now.” Though relatively roomy, Todd hated struggling his 6’2” and 240 lbs of bulk around the middle row to the back of the van. Maybe she just didn’t hear me? Did she fall asleep?Maybe she found it a bit too comfortable today.
Todd placed a foot onto the first step and shoved his head into the compartment for an un-obscured view to the back.
Or so he thought.
Instead of the back seat, he saw a fantastic, unreal image—and froze.
Hovering in mid-air was a large, gaping “maw” of a portal, surrounded by a border of green glowing energy. The wavering oval gaped open about four feet high and perhaps two feet wide, encompassing what looked like the mouth of a cave, lit from within.
By the time “Fade” was picked up by James W. Kirk to run in Indiana Science Fiction Anthology 2011, the story already had a long and interesting history.
Fade was directly inspired by an obscure, quirky song by Cyndi Lauper, released on the obscure, quirky album Blue Angel. At the time, the release was difficult to track down (this was the 80s, it’s easy to find now) and I did so only after years of searching. Here is the song posted on YouTube. So inspired, I wrote the story for a college assignment, stuck it in a drawer, and forgot about it for several years.
Cyndi and Mary Kay, with me unaware I was in the shot, circa 2002. The envelope under Ms Lauper’s arm contains Fade.
Advance to 2001. I met one of the most amazing ladies in the universe, by which I mean Mary Kay Woolsey, not Cyndi Lauper, though I met her, too, because of this. MK was battling cancer, and, frankly, a number of shitty circumstances in her life. Several fans banded together to launch an archaic and labor intensive version of what would now be a Kickstarter campaign, about a decade before the platform was in place to make it easy. For my contribution, I partnered with artists Kathy and Roberto Campus and “self-published” Fade to fans as a “gift with purchase” to anyone who donated $25 or more.
By “self-published,” I mean I took a few sheets of paper, folded them in half and stapled the middle. (Hey, free gift with donation, whaddaya want?) Dig that booklet with snazzy Kathy Campus (now Kathy Sweeny) art. In any case, our combined efforts raised $1,600 for MK (Cyndi herself donated some autographed 45 singles because she’s awesome that way) MK recovered and she’s alive, well, and still one of the most amazing ladies in the universe.
I was fortunate to get Roberto Campus on this project. He has since gone on to rock it pretty hard with mad art skills, as you can see here on his website.
And that, ladies and gentlemen, is the short version. So anyway, back to why you’re here.
The setup: Anna Blue is visiting her parents over Thanksgiving break. She brings the boyfriend home to meet the parents, and is also hiding a recreational drug habit. Said boyfriend Spencer Blake is floundering about being loyal to her or holding an intervention. During a fight about this very issue, Spencer and Anna literally fall into her father’s basement laboratory.
Image of the original booklet with artwork by Roberto Campus
Her eyes opened. “Ohhhh … what happened?” She tried to rise.
Spencer placed a hand on her shoulder, pressing gently. “Wait. Make sure you’re not dizzy.”
“Honestly, I’m all right.”
He helped her to her feet. She smiled and put her arms around his neck.
“My hero,” she murmured. She pulled his face down to meet hers. He gave her a quick kiss, then pulled away.
“No, you’re not all right.” He pulled her hands apart and stood, separating them.
“What’s wrong? Why are you angry?”
“Why shouldn’t I be?” He turned and glared at her. “This wouldn’t have happened if it weren’t for your antics.”
“I’m sorry, okay? What do you want from me? I just needed something to take the edge off.”
Spencer swore and turned back toward the steps.
“Don’t tell my parents, Spence. Please. Just give me a little time and help me.”
He turned toward her. “I’m trying to help you. I just don’t know if I can keep doing this by myself.”
Anna nodded, dismissing the subject. She glanced around the shop, eyeing the tools. He waited for any indication she really cared about herself, that she knew she was in trouble. But instead she simply looked distracted.
“Y’know, I’ve only been down here once or twice. Weird he left it open. He’s usually careful about locking it.”
“If that’s the case, we should go. They’re expecting us, and I don’t think you want to be caught down here.”
“Hey, what’s this?” She reached down and picked up a helmet made of reflective blue metal from the edge of the workbench. It resembled some sort of hardhat, complete with a dangling chinstrap. As Anna shifted the helmet in her hands, Spencer noted some sort of circuitry on the inside casing.
She raised the helmet and placed it on her head. Art by Roberto Campus
Seeing her rummage through her father’s private work sent a new surge of anger through him. “Let’s go.” If she wasn’t allowed down here, she was going too far. He considered tossing her over his shoulders and bodily carrying her upstairs.
Shrugging in obvious defiance, she raised the helmet and placed it on her head.
He rolled his eyes at her petulance, and wondered if she’d actually taken some of the drugs before he caught her.
She stared back at him, a silly grin on her face. Maybe she hit her head after all.
He sighed, biting back words of mounting frustration. “There. Happy now? You’re wearing it. It’s too big for you anyway.”
“But what is it? Is Daddy inventing a new game, or a tool to punch holes in the wall—” She stabbed her finger at the drywall behind her. A sharp popping noise assaulted their ears, and a moment later they both stared, dumbfounded, at a wide gaping hole in the wall.
I’m pleased and honored to write the foreword in this collection, though also a bit intimidated. For many of you readers, this may be your introduction to the imaginative world of John F. Allen, and introducing you to that is quite a task to take on in a few hundred words. John and I have been through a lot together in the last half decade or so, both as storytellers trading and refining ideas, and as independent authors trying to launch our respective careers and take over the world one book at a time. We have bonded like brothers and have frequently feuded in the same manner. But ultimately it is our love and admiration for each other that keep us together on the journey. I think there’s a 70s song by Captain and Tennille that fits here (Google it, kids).
