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Archive for May, 2017

A View of the End of Los Angeles: Wallace Gets a Clue

May 19, 2017 1 comment

When Rob Wallace steps out of his house to pick up the morning paper one morning, this is the view he expects to see. Unfortunately, what he gets is totally different. From Dead in L.A.:

It wasn’t until Los Angeles itself became an infection vector in the fall that Wallace finally began paying attention. The studios were closing down, and even Norton’s production company was going on hiatus—Norton himself had suddenly disappeared for parts unknown without so much as a goodbye. But in Rancho Palos Verdes, it was easy to think nothing untoward was going on. Life was pretty much as it had always been in the Southland, and this far away from the city, change wasn’t readily apparent. But when Wallace emerged from the house one morning to pick up the newspaper—it wasn’t there—he looked out over the front lawn of the house across the street. The Pacific Ocean could be seen, blue and regal as always, framed by a great sweeping view of the Los Angeles coastline. Plumes of smoke rose into the air from several points, in Playa del Rey, Santa Monica, and even out toward the colony of Malibu. A line of Army Black Hawk helicopters thudded across the sky in a staggered formation. More worrisome, morning sunlight glinted off the flat canopies of their Apache escorts. Wallace recognized both helicopter types from working alongside Army National Guard during his time with the USBP. As he stood there, taking in the vista, he heard sirens from somewhere inside his own neighborhood. Not just a few. But many.

What the fuck?

It lands on May 30, folks!

“Remastering”, AKA Rewriting

May 16, 2017 3 comments

About two years ago or so, I released a co-authored work that frankly sucked balls. It was so bad that I unpublished it, deleted all references where it where I could, and downed many a bottle of Patrón silver in an attempt to purge the exercise from my mind. (The most fitting dénouement–being unable to remove it from my Amazon Author page. Damn me, cursed for all eternity!) To be honest, I’d created the basic storyline–man searches for son in zombie-filled Los Angeles–and after providing my co-writer with a copy of Left with the Dead and the sage advice to “make it like this,” I thought I was done.

Yeah, I was done all right: like “done in.” What was produced was such a steaming pile that I couldn’t save it in the short amount of time that I had to work on it. Golly, does James Patterson ever have this problem? But at least those folks who bought the paperback edition have something handy should emergency bowel issues arise. Hey, who said paper was dead?

This is hardly the way I open a post when hawking my latest ware, so bear with me a bit. Every now and then, a person can succumb to the most basic of deficiencies, most notably laziness and greed, so some mea culpa is probably prescribed. And laziness and greed are where my prior ill-fated partnership took me, pairing up with an author who, while talented, didn’t have the chops for what he was being tasked to do. I should have seen it, and should have stepped out of it right away. But, alas! Sometimes, stupid is as stupid does.

So flash forward a couple of years. Every now and then, I would pull this work out of the dustbin and do some body and fender work on it. Replacing a panel here, banging out a dent there, fabricating a whole new clip and fascia. What I began with was a quasi-comical story about a bumbling moron who, almost by magic, manages to find his son in the ruins of L.A. With some deliberate afterthought and the application of what meager writerly skill I possess, I managed to reimagine the work into what it always should have been: a tense story about a man slowly unraveling almost as quickly as the city around him as he searches for his kid. Along the way, he helps those he can, and turns his back on those he can’t. It’s sometimes callous, but for him, it’s all about his son. Like the stenches that pursue him existing only to feed, he lives only to find his boy.

As the father of a severely special needs kid, I at least can relate to that. And that’s the thing: I could never, ever, relate to the previously-described character in my titular co-author’s work.

I lined this up with the same timeline as The Last Town series, which also takes place (albeit partially) in Los Angeles. While there is no real-time interaction between the characters in this work and that one, they do actually lay eyes on each other. As Reese, Bates, and the others are fleeing the Hollywood Bowl, Wallace is skulking northward through Redondo Beach. And while the survivors of LAPD’s Hollywood Station make their way to eventual safety, Wallace has to contend with a metropolis that is filling with more and more ghouls every day.

In the first book, the lead character was a Hollywood stuntman. That was interesting; I know some stunt folks, and they’re pretty interesting men and women. But the character in the old book was nothing like them; no courage, no forethought, no ability to look at a gag and know it wasn’t going to work. In this work, Wallace is also involved in “the business”–he’s working on an incubating TV series for Gary Norton, a dramatic representation of Wallace’s time with the US Border Patrol–but that’s about it. More importantly, as a former USBP official, Wallace has some skills. Not the same type as, say, Dave Gartrell in The Gathering Dead, but enough to make his survival in the zompoc at least more credible. He doesn’t depend on luck and happenstance to get out of bad situations; he pulls himself through them, by his bootstraps if necessary. That was something in the original that made my clench my teeth in near anger; the original hero was so unworthy of surviving that it had me screaming into my hands.

So I changed that shit.

If you can manage it, look for Dead in L.A. at the end of the month. Hopefully, it’s about 40,000 times better than its ill-fated forerunner.

 

And if not? You know who to blame. No co-author to hide behind this time…it’s all on me. (Though if you want to blame WJ Lundy or Craig DiLouie, I’m all for it. Actually, no…blame Shawn Chesser. The guy doesn’t even drink, so how trustworthy is he, really?)

 

Cover Art: PLAGUE CITY

Just a quick drive by to show of some cover work by Jeroen ten Berge and Nicklas Gustaffson. Have some other work to get out before this one drops, but it’s on its way!