One day in the early spring of 2018 I traveled to a rural part of southern Indiana to attend to some family matters. (I live in Ohio, but I’m half Hoosier. My dad grew up in nearby Lawrenceburg.)
I spent most of that day in Switzerland County. You’ve probably never been there. Switzerland County, Indiana looks nothing like Switzerland. In early spring, that part of Indiana, along the Ohio River, can look a little bleak.
(Portions of the 1988 Molly Ringwald/Andrew McCarthy movie, Fresh Horses, were filmed in Switzerland County. McCarthy said of the area, “There’s the whole starkness up there; it helped the mood of the movie.” )
Southern, rural Indiana is home to several large casinos. I ordinarily have no interest in gambling venues. I ate lunch at the nearby Belterra Casino that day, though, because…there weren’t many other dining options in the vicinity.
My visit to the casino got me thinking: What if a young couple in debt visited the casino in a make-or-break effort to get ahead financially? What if they were lured there by a special offer? $300 worth of ‘free’ gaming chips?
What if their beginner’s foray into gambling went horribly wrong, and they fell further in the hole? Then suppose that a narcotics kingpin offers them an alternative plan…another way to get ahead.
All they have to do is run an errand for him. What could possibly go wrong?
That’s the premise behind my 2020 casino novel, Venetian Springs. Set in a fictional version of Belterra Casino, Venetian Springs is a story of two down-on-their-luck high school teachers who succumb to the lure of easy money. They soon discover that easy money doesn’t exist. But this is a lesson that may cost them both their lives.
How I wrote a horror novel called Revolutionary Ghosts
Or…
Can an ordinary teenager defeat the Headless Horseman, and a host of other vengeful spirits from America’s revolutionary past?
The big idea
I love history, and I love supernatural horror tales.“The Legend of Sleepy Hollow” was therefore always one of my favorite short stories. This classic tale by Washington Irving describes how a Hessian artillery officer terrorized the young American republic several decades after his death.
The Hessian was decapitated by a Continental Army cannonball at the Battle of White Plains, New York, on October 28, 1776. According to some historical accounts, a Hessian artillery officer really did meet such an end at the Battle of White Plains. I’ve read several books about warfare in the 1700s and through the Age of Napoleon. Armies in those days obviously did not have access to machine guns, flamethrowers, and the like. But those 18th-century cannons could inflict some horrific forms of death, decapitation among them.
I was first exposed to the “The Legend of Sleepy Hollow” via the 1949 Disney film of the same name. The Disney adaptation was already close to 30 years old, but still popular, when I saw it as a kid sometime during the 1970s.
Headless Horsemen from around the world
While doing a bit of research for Revolutionary Ghosts, I discovered that the Headless Horseman is a folklore motif that reappears in various cultures throughout the world.
In Irish folklore, the dullahan or dulachán (“dark man”) is a headless, demonic fairy that rides a horse through the countryside at night. The dullahan carries his head under his arm. When the dullahan stops riding, someone dies.
Scottish folklore includes a tale about a headless horseman named Ewen. Ewen wasbeheaded when he lost a clan battle at Glen Cainnir on the Isle of Mull. His death prevented him from becoming a chieftain. He roams the hills at night, seeking to reclaim his right to rule.
Finally, in English folklore, there is the 14th century epic poem, “Sir Gawain and the Green Knight”. After Gawain kills the green knight in living form (by beheading him) the knight lifts his head, rides off, and challenges Gawain to a rematch the following year.
But Revolutionary Ghosts is focused on the Headless Horseman of American lore: the headless horseman who chased Ichabod Crane through the New York countryside in the mid-1790s.
The Headless Horseman isn’t the only historical spirit to stir up trouble in the novel. John André, the executed British spy, makes an appearance, too. (John André was a real historical figure.)
I also created the character of Marie Trumbull, a Loyalist whom the Continental Army sentenced to death for betraying her country’s secrets to the British. But Marie managed to slit her own throat while still in her cell, thereby cheating the hangman. Marie Trumbull was a dark-haired beauty in life. In death, she appears as a desiccated, reanimated corpse. She carries the blade that she used to take her own life, all those years ago.
Oh, and Revolutionary Ghosts also has an army of spectral Hessian soldiers. I had a lot of fun with them!
The Spirit of ’76
Most of the novel is set in the summer of 1976. An Ohio teenager, Steve Wagner, begins to sense that something strange is going on near his home. There are slime-covered hoofprints in the grass. There are unusual sounds on the road at night. People are disappearing.
Steve gradually comes to an awareness of what is going on….But can he convince anyone else, and stop the Headless Horseman, before it’s too late?
I decided to set the novel in 1976 for a number of reasons. First of all, this was the year of the American Bicentennial. The “Spirit of ’76 was everywhere in 1976. That created an obvious tie-in with the American Revolution.
Nineteen seventy-six was also a year in which Vietnam, Watergate, and the turmoil of the 1960s were all recent memories. The mid-1970s were a time of national anxiety and pessimism (kind of like now). The economy was not good. This was the era of energy crises and stagflation.
Reading the reader reviews of Revolutionary Ghosts, I am flattered to get appreciative remarks from people who were themselves about the same age as the main character in 1976:
“…I am 62 years old now and 1976 being the year I graduated high school, I remember it pretty well. Everything the main character mentions (except the ghostly stuff), I lived through and remember. So that was an added bonus for me.”
“I’m 2 years younger than the main character so I could really relate to almost every thing about him.”
I’m actually a bit younger than the main character. In 1976 I was eight years old. But as regular readers of this blog will know, I’m nostalgic by nature. I haven’t forgotten the 1970s or the 1980s, because I still spend a lot of time in those decades.
If you like the 1970s, you’ll find plenty of nostalgic nuggets in Revolutionary Ghosts, like Bicentennial Quarters, and the McDonald’s Arctic Orange Shakes of 1976.
***
Also, there’s something spooky about the past, just because it is the past. As L.P. Hartley said, “The past is a foreign country; they do things differently there.”
For me, 1976 is a year I can clearly remember. And yet—it is shrouded in a certain haziness. There wasn’t nearly as much technology. Many aspects of daily life were more “primitive” then.
It isn’t at all difficult to believe that during that long-ago summer, the Headless Horseman might have come back from the dead to terrorize the American heartland…
Some mystery and thriller series feature heroes with almost superhuman capabilities: Doc Savage, Dirk Pitt, James Bond, Jack Reacher, etc.
Such characters provide escapism, but there is a notable downside here. Clive Cussler’s Dirk Pitt and Ian Fleming’s James Bond may be fun to read about, but they are difficult for most of us to relate to. In fact, it is hard to imagine Dirk Pitt or James Bond even existing, as real people.
This is why competent but fallible heroes like Michael Connelly’s Harry Bosch are far more common in commercial fiction. We can imagine Harry Bosch actually existing, even if we can’t imagine such mastery in ourselves.
As many of you will know, I recently wrapped upThe Cairo Deception, my 5-book World War II series.
One of the final chapters of the book depicts the Beatles performing in Hamburg, West Germany in December 1962. (I won’t go into more story detail than that, so as to avoid spoilers.)
This is actually true. When I discovered this lesser known piece of rock music history, I just couldn’t resist putting it in the book, as an Easter egg for Beatles fans.
The Beatles both resided and performed in Hamburg from August 1960 to December 1962. The Beatles’ Hamburg residence took place shortly before they became a global phenomenon. The band also performed at a music venue in Hamburg called The Star-Club, as described in Postwar: Book 5 of The Cairo Deception.
The Beatles of the Hamburg period involved a slightly different lineup of the band: John Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe and Pete Best. After the group returned to England at the end of 1962, Sutcliffe and Best left the band, and Ringo Starr was hired on as the new drummer.
How egg-throwing teenage boys ruined my last trick-or-treat
My novel 12 HOURS OF HALLOWEEN is a supernatural coming-of-age tale about three young friends who endure the trials of a 12-hour curse on Halloween night, 1980. To survive the night, they must battle vampires, animated trees, and the horrific creature known as the “head collector”.
12 HOURS OF HALLOWEEN is one of the most autobiographical novels I’ve ever written. Like the characters in the novel, I was 12 years old in October 1980. The suburban Cincinnati, Ohio setting is very similar to the one in which I spent my formative years.
That said, the main character of the story, Jeff Schaeffer, doesn’t have much in common with me, or with the boy I was more than 40 years ago. And while I had a group of friends, neither Leah nor Bobby is an exact representation of anyone I knew back then.
Oh, and I never did battle with any of the supernatural creatures that appear in the book.
Here is another point of fabrication: I went on my last trick-or-treat in 1979, not in 1980.
I set 12 HOURS OF HALLOWEEN in 1980 because some of the themes I wanted to explore required an adolescent perspective; and I was twelve in 1980, not in 1979.
But like the characters in the novel, I was somewhat torn (as were the adults around me) about the appropriate age for giving up the trick-or-treat ritual.
In the culture of those times, you were generally okay for trick-or-treating up to age ten or eleven. But once you reached junior high, well, people would give you funny looks if you showed up at their door on October 31st, asking for candy. And once you reached high school, you were definitely too old.
***
In 1979, therefore, my friend Ken and I decided to go out for “one last Halloween”, kind of like the characters in the novel. (Ken, being a year older than me, actually did turn twelve that year.)
I wore a prefabbed costume from Kmart. I don’t even remember what it was. (I seem to recall a green skeleton, but I can’t be sure.) Ken, however, had one of the coolest Halloween costumes I’ve ever seen—before or since.
This was the early Star Wars era, and every kid was a fan. Ken was no exception. His mother made for him a very elaborate imperial stormtrooper costume. This was not something store-bought. She made the whole thing from scratch. It was amazing.
Halloween 1979 in the Cincinnati area provided a clear, pleasantly cool autumn night. We set out a little after 6 p.m., and everything went fine…at first. Then we crossed paths with a group of teenage boys, a hot rod, and some eggs.
***
One thing I’ve noticed about the 21st-century: suburban teenagers are less mischievous than they used to be.
This could be because of helicopter parenting. How much trouble can you get into when your parents are tracking your movements on a smart phone app? Kids today are also very absorbed in virtual worlds of different kinds.
In the late 1970s, however, adolescent entertainment consisted of whatever was on network television (cable TV didn’t become common until about 1982), books, and other young people.
And since there were no parental tracking apps, your parents typically had only a vague sense of your whereabouts at any given moment.
In this atmosphere of fewer ready-made distractions and much less supervision, there were more motives and opportunities for getting into trouble. And plenty of teenage boys jumped at the chance.
***
This particular group of teenage boys, riding around on Halloween night 1979, had decided that it would be fun to throw eggs at the kids who were still young enough to go trick-or-treating.
They were obviously selecting their victims at random. I will retroactively blame Ken for our being singled out. His solid white stormtrooper outfit really did make him a target.
The car—it must have been a Dodge Charger or a Trans Am—slowed down as it approached. Ken and I had no time to assess the situation, let alone take evasive action. Then someone in the passenger seat threw some white objects at us via their rolled-down window.
The car roared away before we realized what had happened: they had pelted us with eggs.
Ken had been walking closest to the road, and he was a mess. The stormtrooper outfit his mother had so painstakingly crafted was now smeared with dripping yellow egg yolk.
Some of the eggs had splattered on me, too…though not very much.
After that, we decided to call it an early night. Neither one of us wanted to walk around dressed like an omelette.
At least the boys didn’t throw rotten eggs at us, I would think later.
***
My guess is that the egg-throwing foray was a spur-of-the-moment thing for the boys.
Speaking of the teenage boys: I never learned their identities. Whoever they were, though, they would all be pushing sixty in 2021.
***
So that was how my last Halloween went, in 1979 and not in 1980. By Halloween 1980, I decided for myself that I had had enough of Halloween and trick-or-treat. It was time to let that childhood ritual go.
Halloween, nevertheless, retains a strong grip on my imagination. 12 HOURS OF HALLOWEEN was therefore a very fun book to write as an adult.
Those of you who know my full history know that I spent about twenty years working in and around the Japanese automotive industry.
I am definitely a Japanophile. The history, culture, and language of Japan have long fascinated me. Japan has never been my permanent place of residence, but I’ve traveled there more times than I can count.
I learned the Japanese language in the late 1980s/early 1990s. I spent some time working as a translator/interpreter. My Japanese is a little rusty nowadays, compared to what it was in 1995 or 2000, when I was doing simultaneous interpretations at business meetings. But I can still manage an adult-level text or a news broadcast in Japanese.
I’m working on a new fiction series, set in Japan in the early 1990s. It will feature young Gen X protagonists. (Generation X was young in the early 1990s.)
Like all my books, this series will be available on Amazon, in both Kindle and paperback. But I may experiment with some other forms of distribution as well. (I’ve been wanting to try audio-first releases, possibly serialized here on Edward Trimnell Books, for example.)
I’m a packrat by nature. You should therefore not be surprised to learn that although I graduated from college in 1990, I still have many of my college textbooks.
I purchased the above text in 1986 for an English class (obviously).
The above textbook cost $25 when I bought it. If that sounds cheap to you, I’ll point out that this would be $65.58 in 2022 dollars. So perhaps college textbooks have always been overpriced. Also, minimum wage was $3.35 per hour in 1986, and $4 to $5 was considered a “typical” hourly wage for a student-level job.
I haven’t written or read much poetry since I took that class.
Why? While I’m more than willing to tilt at windmills, even I have my limits. The market for poetry in the English-speaking has never been great…at least in modern times. The editor of the above text, X.J. Alexander, points this out in an essay near the end of the book. He describes a “poetry glut”. And keep in mind: the above textbook was published a decade before the Internet or Windows 95, back when people who wanted to write had to actually use typewriters or pens. Now we can write entire books on our cellphones.
Like most overly introspective teenagers through the ages, I wrote my share of bad poetry between the ages of 15 and 17, or 1983 and 1985. Teenage crushes, feelings of being misunderstood, and generalized adolescent angst all tend to produce bad poetry, like May weather produces dandelions.
No—you will never see any of those old poems of mine here. All of those old pages disappeared in the chaos of a move in 1988. This was no great loss, neither to me, nor to the American literary canon.
Another nice thing about the pre-Internet era: the potentially embarrassing things we wrote, said, or did tended to disappear with the passage of time. As they should.
This is what springtime typically looks like in Southern Ohio: coolish and overcast, with rain, or the threat of rain.
Today I plan to finish editing the last few chapters of Book 5 (the final book) of The Cairo Deception series. Book 5 is available for preorder now, and you should see it on Amazon in early May.
I also hope to mow both my lawn and my dad’s lawn. Because the grass is growing like gangbusters here, even though the weather is still less than summerlike. In April in this part of the country, a suburban lawn has to be cut every five to six days.
The latter title, of course, is a nonfiction book about postwar Japan. I have long had an interest in Japan, its language, and its history.
Also, this is partly research. I’m planning a historical series set in postwar Japan, beginning in the year 1945. (I’ll provide more information about that in the future.)
Anyway, I hope you have a happy and productive day, dear reader, wherever you are, and whatever you are doing.
To be clear about the title of this post: no, I do not have firsthand childhood memories of World War II. I was born in 1968, twenty-three years after the war ended. By the time I became aware of names like Pearl Harbor, Hitler, and Hirohito, the war was at least thirty years in the past.
My grandfather, however (pictured above) was a WWII combat veteran. He served in the Atlantic in the US Navy. His experiences were roughly similar to those depicted in the 2020 Tom Hanks movie, Greyhound.
From a very young age, I was captivated by history. And what better way to learn about history, than by listening to the stories of a relative who actually took part in it?
My grandfather regaled me with his accounts of Egypt, Russia, the United Kingdom, and Syria. He also told me stories about fighting the German U-boats and Messerschmidts.
My grandfather was, in many ways, my first “action hero”. His experiences, though, were very common among men of that generation, who have been called (for good reason) the Greatest Generation.
I don’t remember a thing about World War II. But some of my fondest childhood memories involve listening, with rapt attention, while my grandfather told me about it. He has been gone for decades now, but I still miss him, and I miss his stories. He gave me an enduring interest in World War II, and it isn’t surprising that the war should show up in some of my stories.
The other day, one of you emailed me to get my take on an age-old debate in writing, filmmaking, and storytelling circles:
Which matters more…the big, highly original idea, or the execution of the story, regardless of its originality?
Many writers fret constantly about people “stealing their ideas”. They put off writing because they “don’t have any original ideas”. They worry about forgetting ideas.
So which is more important? There is evidence for both.
Star Wars took off in 1977 partly because it was such an original idea. Here we had the rough equivalents of cowboys and samurai warriors in space. There had never been anything like that before.
In 2013, I first read about The Americans in the television and movie review section of a magazine. The highly original premise of The Americans— deep undercover Russian spies in Reagan-era America—instantly intrigued me.
The Americans intrigued a lot of people. The Americans ran from 2013 to 2018. During that time, the Cold War period drama received high marks from reviewers and viewers alike. The series has a 96% positive rating on Rotten Tomatoes. The Google composite review score is 4.8 out of 5. That’s pretty close to unanimity, at a time when people widely disagree about almost everything.
Nevertheless, it is easy to imagine The Americans having become nothing more than a Tom Clancy-esque knock-off for cable television. Why didn’t that happen?
The Americans is, indeed, based on a highly innovative “big idea”, what movie and fiction folks like to call “high concept”. But it is in the execution that The Americans really shines: the depth and arc of the characters, the nuts and bolts of each episode.
Plenty of stories succeed in the world of books and film without being very “high concept” at all. Consider the success of Downton Abbey. There is no high concept in Downton Abbey. It is little more than a soap opera set in Edwardian England, in fact.
When I watched the first episode of Downton Abbey, I didn’t know what I was going to think of it. But I was blown away. Not because of the “big idea” (there was none), but because of the execution: characters and individual episodes. The success of Downton Abbey is all in the execution.
An example in the book world would be Jonathan Franzen’s The Corrections. Jonathan Franzen is inconsistent as a writer. (He takes an average of about 6 years to write each book.) He is eccentric as an individual. But he scored a home run with The Corrections in 2001.
I remember getting my hands on this book over the Christmas holiday of 2001. I sat down and read it cover-to-cover, over a period of about 48 hours.
There is no high concept in The Corrections, either. A highly autobiographical novel, The Corrections is a fictionalized adaptation of people and events from the author’s life. But the world that Franzen creates in this book, while mundane, pulls you in. It pulled me in, and it pulled in millions of other readers, too.
***
On the opposite side of this coin are the high concept stories that fall flat because of poor execution.
We have all been bored by stories with incredibly high stakes: literally the end of humanity, in some cases. They bore us because of flaws in characterization, pacing, or depth.
This shows up in a lot of 2- and 3-three star Amazon reviews, that begin with phrases like, “I really wanted to like this book, but…”. Others outright say, “Great idea, but poor execution.”
For me, The Expanse fell into this category. This was true of both the book(s) and the Syfy series.
The premise of The Expanse did intrigue me: neither a near-future alien encounter tale, nor a space opera set in deep space, The Expanse is set a few centuries from the present, within our solar system.
But when I actually dug into the first book, it left me cold. The characters were flat, and there were too many of them. The narrative was unfocused. I had the same reaction a few years later, when I tried the Syfy series. I just couldn’t get into it.
Some of you will disagree with me, of course, but I’m not the only one who found the execution of The Expanse lacking. And I am not someone who dislikes science fiction. I loved the original version of Battlestar Galactica in the 1970s, as well as the “reimagined version” in the 2000s (though with some reservations).
Battlestar Galactica, whether in the hands of Glen A. Larson in the 1970s, or SyFy in the 00s, featured good execution.
But was Battlestar Galactica high concept? Highly original?
20th Century Fox certainly didn’t think so. In 1978, 20th Century Fox sued Universal Studios for allegedly ripping off Star Wars. The lawsuit claimed that Battlestar Galactica had filched more than thirty distinct ideas from Star Wars.
Whether you accept this notion or not, there is no doubt that the original BSG rode the coattails of Star Wars, which was then a monolithic phenomenon of popular culture.
And the rebooted BSG wasn’t original at all. It was based on the 1978 series, which owed much to Star Wars.
***
I’m therefore going to come down on the side of execution over big, original idea.
There are so many stories that we’ve all seen time and time again:
The rough-edged police detective who chafes against “the brass”, but will go to any length to catch a criminal…
The star-crossed lovers…
The ex-green beret whose daughter has been kidnapped…
Bosch is based on Michael Connelly’s Harry Bosch novels. The Harry Bosch novels are about a big-city homicide detective, Hieronymus “Harry” Bosch.
I don’t think that Michael Connelly would mind me saying: that’s a very old idea. Nothing original at all in the “concept”! But the Harry Bosch novels represent some of the best genre fiction out there.
Why? Because Michael Connelly’s execution of the character of Harry Bosch, of the murder cases, is so darn good.
Originality, in other words, might be overrated. To be sure, there is a place for it. (It is also a bad idea to jump on literary bandwagons; but that’s a separate topic for another day).
It is probably better to focus on the superlative execution of a “good” story idea—even if it’s been done before—versus waiting around for one superlative idea to come the writer’s way.
Book 3 of The Rockland Horror saga is now live on Amazon. There will also be a Book 4. (I already have the basic story mapped out, in fact.)At present, though, I’m working on a sequel to Eleven Miles of Night.
Eleven Miles of Night is set in 2013, and was published in that year. The next book in what will become the Jason Kelley series will take place eight years later, in 2021. It will involve Jason’s re-entry into the world of paranormal research.
(You may recall that Jason swore off paranormal research at the end of Eleven Miles of Night, because he was so shaken by what he encountered on the Shaman’s Highway.)
In the next book, Jason’s challenge will be not a haunted road, but a haunted office building.
Why an office building? Oh, trust me, office buildings can be very creepy after-hours. And I have a very creepy one planned for Book 2 in the Jason Kelley series.
If you haven’t yet read Eleven Miles of Night, now might be a good time to do so!
I’ve closed both my author and personal accounts on Goodreads. My books will still be listed there, of course; but I’ll no longer maintain an active presence there.
Since its launch in 2006, Goodreads has inspired both enthusiastic fans and detractors. There are controversies about the outdated design of the site, and whether or not Goodreads has declined since it was acquired by Amazon in 2013. I’ll leave those debates to others.
Since I first dabbled with Goodreads almost a decade ago, I have found it to be neither a uniformly good nor bad experience. Goodreads is social media. And all social media is a mixture of good and bad, best encapsulated in the acronym, YMMV.
Most of the people I interacted with on Goodreads were pleasant. I also ran across a few yahoos, of course. Once again: social media.
But it’s important to remember that Goodreads is for readers, not writers. I don’t want to be the author on Goodreads who is shouting “buy my book!” Nor is anyone served by the writer who hovers over reader-reviewers.
Nor does a Goodreads account really serve me as a reader-reviewer at this point, because I mostly don’t do that anymore. Once I started seriously publishing my own fiction, I became hesitant to review other people’s books on Amazon, etc. That’s a bit like Ford Motor Company reviewing the latest Toyota Camry, right? If I really want to say something about another author’s book (and that isn’t often), I generally say it here, on my own website.
Finally, throughout this past year I’ve been reassessing my relationship with social media. Since the whole social media thing began about fifteen years ago, I’ve been on Pinterest, Tumblr, Facebook, Twitter, YouTube, Reddit, and the now defunct Google+. At least I never had a MySpace page.
I’ve really gained very little from social media, either spiritually or monetarily. (YouTube, though, is useful if you want to know how to fix a leaky toilet.)
And so it goes with Goodreads. I don’t exactly hate Goodreads, but nor do I particularly like it or need it. This is not a personal boycott or a blanket condemnation of Goodreads. If the site works for you, then by all means continue to use it. But it no longer works for me.
The big item here is The Rockland Horror 3, which is presently in the editing/final revision stage.
The Rockland Horror 3 will be somewhat longer than the previous two books in the series. Both The Rockland Horror and The Rockland Horror 2 were around 72K words. The third book will be closer to 90K words.
This is one reason why it’s taking a bit longer to complete. But I think you’ll like the final result.
I’m working on some other projects as well, including a World War II epic. More details to come.
I’m presently reading The New Breed, the 7th book in W.E.B. Griffin’s Brotherhood of War series. This novel follows the lives and adventures of several U.S. Army personnel involved in covert operations warfare during the 1960s, particularly in Vietnam and the Congo.
Like most W.E.B. Griffin novels, The New Breed is not simply a series of combat scenes strung together. Nor is this a novel in which the Fate of the World rests on one man’s shoulders.
The New Breed is more a slice-of-life look at fighting men and their wives, girlfriends, and children. The entire series is like that. What Griffin wrote was not so much military fiction, but fiction about people who are in the military. Griffin’s novels are light on action, as novels set in global conflicts go. There are, in fact, quite a few W.E.B. Griffin novels in which not much seems to happen.
But when he was at his best, Griffin wrote engaging characters that drew you in to the story. I’m working my way eagerly through the Brotherhood of War books. Many readers have gone before me, and many more are sure to follow.
When he was not at his best, Griffin’s books tended to ramble. Griffin was most on-point when he wrote stories set narrowly within the US military. When he strayed beyond that, he sometimes seemed to lose the plot.
Speaking of plot: I may be wrong, but I would be willing to bet that Griffin was a discovery writer—that is, he did not compose from an outline, but simply wrote down the story as it came to him. This kind of writing makes for memorable characters, but occasionally ersatz and meandering plots.
The consumption of alcohol is a big part of Griffin’s stories and characters. I’m not talking about drunken bacchanals here, but simply the demonstrated conviction that a grown man must be properly lubricated with spirits at all hours of the day and night. This was no doubt a real part of the postwar military culture in which Griffin came of age.
Also, it’s very clear that Griffin never bothered with what are now called “sensitivity readers”. There is a scene in the The New Breed in which one of the characters actually describes a woman’s breasts as “knockers”. Regular readers of this blog will know that I loathe political correctness; but even I would think twice before using this word in an unironic manner.
W.E.B. Griffin’s work largely avoids the ever-vigilant gaze of the culture nannies, though, because the culture nannies don’t read much military fiction. (So please, don’t link to this blog post on Twitter. Okay?)
W. E. B. Griffin (1929 – 2019) lived to within a few months of his ninetieth birthday. This is probably a wonder, as most photos of the author show him to be rather rotund, and smoking a big stogie.
After a childhood split between New York and Philadelphia, Griffin joined the U.S. Army in 1946. He therefore missed World War II; but he was involved in the military occupation of Germany. He also served in the Korean War.
Griffin was modest about his own military career, however. He once told an interviewer, “My own military background is wholly undistinguished. I was a sergeant. What happened was that I was incredibly lucky in getting to be around some truly distinguished senior officers, sergeants, and spooks.”
Nevertheless, the level of detail in Griffin’s military novels could only come from an author who has actually served in uniform. These books are extremely popular with veterans, as well as less qualified readers like me—who never served, and sometimes regret their failure to do so.
Most of the Brotherhood of War series was written during the 1980s (with the exception of the final installment, Special Ops, which came out in 2001). All of these books are still in print, however, and available on Amazon in multiple formats. Highly recommended to the veteran and nonveteran reader alike.
Kindle Vella is Amazon’s newest subscription e-reading program. Several of you have asked me via email if I plan to write new stories for it.
I might start with the basic question: What the heck is Vella? Vella is a serial fiction platform. The best analogy I can think of for US readers is Wattpad, which seems to be mostly oriented toward teenage girls (given the prevalence of YA romance stories there). Online serial fiction is not especially popular among adult readers in the United States (yet), though it is popular with adult readers in Asia, especially those in China.
At least one major Chinese web novel publisher is now actively targeting the US market. Wattpad, moreover, has become a major online publisher within the YA romance niche.
I suspect that Vella is Amazon’s way of trying to eat the lunch of Wattpad and the Chinese web novel publishers. The creation of a paid platform for web fiction has some complicated aspects, of course; but it would be easy enough for Amazon.
You can’t read stories on Kindle Vella just yet. Kindle Vella has yet to be unveiled to readers, though Amazon is encouraging publishers to create content for it in advance of the launch.
Michael Kozlowski of Good E-Reader has done a detailed write-up of the fine print. There are some positive points: Vella will allow readers to get the first few chapters free, and the “pay as you go” system should discourage many of the scams that have plagued Kindle Unlimited.
On the downside, Vella content must be exclusive not just to Amazon, but to the Vella program itself. If a writer wants to republish a serialized story as a complete book, she will have to take it out of Vella.
Then there is the question (which Kozlowski raises) of whether or not Vella is likely to be a hit with readers. As Kozlowski notes, Amazon’s 2012 Kindle Serials program languished in obscurity and was eventually discontinued. But that was almost a decade ago. That’s a long, long time inpublishing.
I have mixed feelings about all this. My writing dream was born in the 1980s, when “writing” meant writing a book that would (hopefully) find its way to a shelf at Waldenbooks. Nowadays, most of my readers get my books on Amazon Kindle (though I do sell quite a few paperbacks some months).
I’m not opposed to the idea of digital serials, but I’m going to take a wait-and-see approach to Kindle Vella. I want to see how Amazon rolls it out and promotes it first.
I have also flirted with the idea of serializing a few long-form stories here on my site. Don’t get me wrong: I love Amazon, as a reader, writer, and general consumer. (I just ordered some vitamins for my dad from Amazon.) But I don’t want all of my content to be exclusive to one company and one website. That would be a bad business strategy. And exclusivity tends to be the first rule of play with all of these Amazon programs.
