Tagged: Writing

New Pulp’s Table Talk – Chatting About Character

Welcome back to Table Talk, a discussion between New Pulp authors Barry Reese, Bobby Nash, and Mike Bullock. This week, the guys tackle issues of character and character creation.

New Pulp’s Table Talk – Chatting About Character is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2012/02/table-talk-chatting-about-character.html

Join the conversation. Leave us a comment on the blog and let us know your thoughts on this topic. We’d love to hear your thoughts and questions.

Have a question you want the Table Talk Trio to answer? Send it to newpulpfiction@gmail.com with “Table Talk Question” in the subject line. Also, let us know if you want attribution for the question, or you’d rather remain anonymous. Please, keep the questions pertinent to the creation of New Pulp and/or writing speculative fiction in general. We’ll get the questions worked into future columns ASAP.

Follow the Table Talk Trio on Twitter. @BarryReesePulp @BobbyNash @MikeABullock


ALL PULP: Nancy, share some background with our readers, both personal and professionally.

NANCY HANSEN: I’ve been an avid reader since a very young age. Writing was always something I was good at; I was that lone kid in the classroom who actually looked forward to the essay questions on the test. When my sons were young and I was a stay-at-home mom, I took that opportunity to explore a lot of creative endeavors in arts and crafts areas. I eventually settled on writing because it worked the best with my busy home life. Once I knew what I wanted to do when I grew up, I never looked back.

I took a couple of writing correspondence courses over those years, and put the insight and instructions to good use. Along the way, I taught myself to use a computer, and once we finally got internet (we’re rural) I started looking for like-minded souls. I spent the better part of 5 years as a volunteer moderator for first a big software company’s gardening and landscaping forums, and then Prodigy Internet’s Books and Writing Bulletin Board. In the first forum set I learned quickly how to explain complex ideas and instructions within the context of a limited space, and with the second position honed my writing skills while learning from the pros and helping a lot of new writers get started. From that latter experience came some long lasting friendships with other writers that remain to this day, as well as a lot of the story material I am mining now. I wrote a lot of poetry back then also, and managed to win a couple of local awards. So I was living the writing life, though the mainstream publishing field was always a dead end for me.

I have a very diverse household with three generations under one roof, and it gets hectic. Now that my sons are adults, I have more time to pursue writing. Because of that, most of my professionally published work has happened in the last couple of years. I’m another one of those overnight success stories that only took 20+ years in the making…
AP: THE TALES OF THE VAGABOND BARDS, your latest release, is a short story collection.  What can you share about the characters and tales found within its pages?

NH: The initial story, The Arcane Codex, was the first and it was based on a vivid dream I had. My dreams tend to be in color and very cinematic, like movie trailers, and they even have background music. I did what you’re supposed to do if you’re a serious writer; I sat up in bed, and jotted it all down. It was just the very beginning of a tale, but it was enough to build upon. Later on, I decided to set it in that familiar sword & sorcery fantasy world I had created years ago where many of my stories—including my novel FORTUNE’S PAWN—take place. Since music was part of the dream, the idea of roving bards as teachers and keepers of the history of their land became appealing, and I just ran with it. Little by little I’ve been fleshing our their part of the overarching world, giving each bard a tale of his or her own, with a common thread binding them all. That’s what this book is, an introduction to the world of these restlessly footloose musicians, poets, singers, and keepers of the lore. Within those pages you will find three distinct stories about the adventures of three different bards.

AP: This is also the debut of your own author based imprint via Pro Se-Hansen’s Way.  First, tell us how it feels to have such a body of work that you’ve been given your own imprint?

NH: There are times when it is mindboggling, and I’m surprised I can keep the details straight. I keep wondering if the well will run dry, but I never seem to run out of ideas. It does help to have some series diversity amongst the stories so that if X doesn’t seem appealing, or I’m stuck for an idea, I can go write something for Y or Z.

Over the years I have kept writing down story concepts and shoving them in files, with the idea I would sit down someday and flesh them all out. Some were actually finished tales, others no more than a few sentences. I remember when I first hooked up with Pro Se back in the spring of 2010, I told Tommy Hancock I had lot of mothballed stories I could write up and send him, and he said bring it on! I don’t think he was expecting 21 short stories from me that year! LOL He was a very good sport about it, and encouraged me to keep sending them in. Many of them were set in that same world, just different places and characters.

When I was approached about having my own imprint—which is an honor for someone who previous to 2010 was an unknown writer—I immediately thought about all those Terran World short stories, and bringing them in under one banner. I have 5 different series amongst those right now; each series with its own unique setting and recurring characters, and there have been some crossover characters and settings between them. It just makes more sense to keep them under one flagship imprint than scattering them hither and yon in other publications. I have other series that I write outside this world setting that will still be appearing elsewhere, as well as full length novels and other projects. So I’m going to be quite busy!

AP: What is the direction or guiding mission of Hansen’s Way?  What do you hope to do with the imprint?
NH: The main thing for now is getting these 5 story lines off the ground and establishing characters and settings, and hopefully a loyal following of readers. What I hope to do down the road is interest other authors in contributing stories that fit within the concepts of each separate series title and the overall Terran World. For the present time I have enough backlog of work that I can fill anthologies fairly easily. When the time comes that I can’t keep up, and I feel enough reading material is out there that interested writers should have a good grasp of how to handle these series, I’ll send out the call for submissions. It’ll be a while though! I have not yet plumbed the depths of my files.
AP:   You’re fairly a newcomer to Pulp.  What about Pulp appeals to you, a fantasy writer.
NH: I am relatively new to both pulp writing and the published work, though I have been a big Robert E. Howard fan for many years. I didn’t really know anything about pulp per se, just that I loved Howard’s breathless pacing and direct approach to getting a story told. I’ve always been an avid fan of the epic/heroic swashbuckling adventure fantasy—could never get enough of that. It’s the kind of thing that works so well for pulp, which is big on action and heroes. If it’s got magic and swordplay, mythological creatures and a big otherworldly backdrop, I’m in!

Now that I’ve written on both sides of the line, I can say that the fundamental difference between mainstream fantasy and pulp fantasy is that pacing. The mainstream books tend to be very long, with convoluted plots and some sort of hero’s quest involved. Pulp is generally shorter, more straightforward, and a simpler plot that is easily satisfied in 200 pages or less. Both share a tendency for recurring characters in series stories, and that ‘larger than life’ hero opposing some arch villainous force over the course of the story.

Now that I’ve had a chance to write to a pulp audience, I find I prefer that quick pacing with shorter intervals between action scenes. Even reading mainstream fantasy now, I get impatient when the story plods through some long introspective moments. I don’t mind those sections as long as the action doesn’t bog down while our heroine is discovering her destiny. Keep that bow twanging during the breathless chase across the tundra while you’re soul searching and it makes for a far more exciting read, and you still get the point across.

AP:  Readers of Fantasy and/or Pulp, what will they find that they love in TALES OF THE VAGABOND BARDS?
NH: In all my fantasy writing these days, I tread a tightrope between what I know the mainstream fantasy readers are looking for and what the pulp world expects. I don’t want to alienate either camp, because at the end of the day, all I want to do is tell a good story well. With the Vagabond Bards, which are not necessarily a fighting group, it’s been a real test of skill to make the stories appeal to the mainstream fantasy reader, who will have certain expectation; and yet maintain that headlong excitement throughout that pulp fans crave. Mainstream fans want a complex world setting with plenty of details and characters they can relate to and cheer along. Pulp readers want a wild ride with lots of action and adventure. So since I already have that big world behind all this, it comes down to characters and plot.

What this book has is three unique and separate tales of three different bards doing what they do best—using their talents and knowledge to help and educate the folks around them. I think what really shines in these is the characters themselves, and their dedication to what they do, and to each other. Each bard has a distinct personality, some claim to fame, and a background history, and yet they are brought together by a common cause. The three adventures are very different and not at all tame: a desperate attempt to secure a handwritten book of history before it is confiscated, a frantic search for a talented young boy before something happens to him that will alter his life forever, and a rather comical and poignant ‘rescue’ attempt for a local thief by the man who loves her and the bard who gets dragged into the whole sordid mess. If you love good old fashioned adventures in a world where magic and religion are often at odds, you’re not going to want to miss this book.
AP: What are your future plans for the Bards?
NH: Definitely more tales! I’ve barely begun to plumb their depths yet. I’ve brought in some new bard characters along the way that are begging for their own stories. What works well about these is that because they are not your typical fantasy action hero out swinging a sword or flinging spells, there is room for all ages and abilities to have a starring role. For instance, within this book, I have mentioned both a senior female bard and a young boy who will be joining them in the not distant future, and both could easily be featured in their own adventure stories. I see no reason why I can’t use a blind or disabled character, someone with a checkered past (done that once already in fact), bards with varying ethnic or gender identities, or addiction issues (ditto, though it’s outlined in another series). That’s one thing that is fun about these characters; they open a lot of possibilities.

I’ve already mentioned the idea of bringing in other writers to the imprint at some point, and it’s very likely that the Vagabond Bards series is going to be the first place that happens. I think the whole nature of having a rotating cast works very well for that. This is the one series under the imprint where other writers would have a good opportunity to create a brand new character. I’m really looking forward to seeing what others can come up with when we get that far.
AP:  If you had to point out one thing about your writing that you hope readers take away from reading one of your books, what would that be?
NH: Actually, I have a couple of goals…

First of all, I like to make the point that everyday people can still do extraordinary things. Throughout my writing, many of my heroic characters don’t fit the mold of ‘superb physical specimen’ that you see quite often in pulp. Some of them have nagging emotional issues, less than ideal appearance, there are various vices mentioned—and a few are downright flawed. I do that on purpose, because I want these characters to resonate with readers, so that instead of seeing someone whose looks and personality are superhuman and unattainable, they remind you of someone you know, and can feel comfortable with. So when the character does rise to the occasion, you’re right there with them, wrapped up in that situation, cheering her or him on.

I want my villains to have real motivation, something that while it might be skewed thinking, is understandable. That’s how it is in the real world. We’re judged on our deeds today, but our background plays a long way into what we’ve become. Don’t worry, these scoundrels are nasty and you’re going to want to see them get their due, but it’s understood there is more reason to their madness than this is someone who is pure evil incarnate.

Most important of all, I want to tell some rousing good tales. While a story can uplift, enlighten, and make you think, it should also be entertaining. That’s the most important part of fiction writing as far as I’m concerned. I want you to shut that cover at the end of a book feeling good about what you read, and a little sad that it’s over. If I can accomplish that, then I’ve done what I set out to do: write the kind of stories I love to read.

New Pulp’s Table Talk – Reader Questions 3.0

Reader questions continue to enter arrive at the Table Talk offices. So, this week, Barry Reese, Bobby Nash and Mike Bullock take some time to respond to two readers and their great questions. This week’s questions come from Mark Holmes and C William Russette. Thanks for writing, guys.

New Pulp’s Table Talk – Reader Questions 3.0 is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2012/01/table-talk-reader-questions-30.html

Join the conversation. Leave us a comment on the blog and let us know your thoughts on this topic. We’d love to hear your thoughts and questions.

Have a question you want the Table Talk Trio to answer? Send it to newpulpfiction@gmail.com with “Table Talk Question” in the subject line. Also, let us know if you want attribution for the question, or you’d rather remain anonymous. Please, keep the questions pertinent to the creation of New Pulp and/or writing speculative fiction in general. We’ll get the questions worked into future columns ASAP.

Follow the Table Talk Trio on Twitter. @BarryReesePulp @BobbyNash @MikeABullock

MINDY NEWELL: Meeting Deadlines

First off, to paraphrase John Ostrander:

God Bless Mike Gold.

Okay. Now….

One thing about being a writer.


If you want to be considered a professional, you need to understand that deadlines are part of the job.

There have been a few times in my writing life where I have missed my deadline. It doesn’t engender good feelings on anyone’s part.

Missing a deadline is like being Aaron Rodgers in yesterday’s Giants/Packers game. It’s throwing one too many turnover. It’s getting sacked one too many times. It’s knowing that you’re letting down your teammates who are depending on you. In the comics world, it’s not just your editor, who will have to answer to his or her boss. It’s letting down the artist, the penciller, the inker, the colorist, the letterer. It’s letting down the production department. The scheduling department. The printers. The distributors.  It’s letting down the comic shop owner is dependent on monthly arrivals of books on a monthly schedule to help meet their monthly budget, including expenses and net profit.

Most importantly, it’s letting down your readers.

Remember 24? Each week the hour ended with a terrific cliffhanger, and the next seven days were murder. You haunted all the spoiler boards. You got into heated discussions on your favorite 24 message board about what could be next, how Jack was going to get out of this one. You twisted your brain trying to outwit the terrorists that are about to set off a nuclear bomb in Port Newark.

It’s the same with comics. Think about the last time you were heavily involved in some storyline that ended each month in a terrific cliffhanger. You can’t wait for the next issue.

And like any good comic geek, you talk about it all day and all night, surf the web looking for information on what’s coming up next, write the next chapter in your imagination.

And then you walk into the your friendly neighborhood comic shop and the proprietor tells you that the issue is delayed.

How many times has that happened?

What was your reaction?

Lots of cursing, I bet. Lots of swearing that you’ll never read an issue of fill-in-your-favorite-book-title-here again. And then you go home and log on to your favorite fan site and let everybody know what a dick the writer is, and not only will you never buy an issue of that comic again, you’ll never read anything by that dick again, you’ll never even buy a comic from that dick company again!!!!!

And then sales go down, and the comic is cancelled. The writer loses his or her job, the artist moves on to the next thing if he or she can, the editor is hauled into his or her boss’s office, and the domino effect continues. All the way down the line.

And just maybe because a deadline was missed once too often, your neighborhood comic book shop closes. And now someone else is out of work.

And most likely the penciller, the inker, the colorist, the letterer will get more work. The production department will move one. So will scheduling, and the printer, and the distributor. Even the editor will move on.

But the writer, the one who came up with the brilliant idea, the one who made the story come alive in the first place?

You’ll have the Mark of Cain on you. Oh, yes, word gets around.

And the only writing you’ll do is the weekly shopping list.

Oh, and writing out the checks.

If you can afford it.


There’s a reason why they’re called DEADlines.

TUESDAY: Michael Davis


New Pulp’s Table Talk – Readers Questions, Take II

After the success of the first Table Talk with questions from readers, Barry Reese, Bobby Nash, and Mike Bullock decided to continue taking questions “from the audience” every now and again. This week, the guys tackle the topic of archetypes and working with different characters.

New Pulp’s Table Talk – Readers Questions, Take II is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2011/12/table-talk-readers-questions-take-ii.html

Join the conversation. Leave us a comment on the blog and let us know your thoughts on this topic. We’d love to hear your thoughts and questions.

Have a question you want the guys to answer? Send it to newpulpfiction@gmail.com with “Table Talk Question” in the subject line. Also, let us know if you want attribution for the question, or you’d rather remain anonymous. Please, keep the questions pertinent to the creation of New Pulp and/or writing speculative fiction in general. We’ll get the questions worked into future columns ASAP.

New Pulp Fiction.com

Table Talk – Counting Words and Runaway Tales

The wonderful thing about creating stories is the often limitless nature of creating things. There are no boundaries, nothing a creator cannot do in the name of making up a great tale. However, this can often lead to pitfalls and unforeseen circumstances. This week, we check in on Barry Reese, Bobby Nash and Mike Bullock as they discuss applying some structure and what to do when the story bleeds over the lines.

New Pulp’s Table Talk – Counting Words and Runaway Tales 0 is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2011/12/table-talk-counting-words-and-runaway.html

Join the conversation. Leave us a comment on the blog and let us know your thoughts on this topic. We’d love to hear your thoughts and questions.

Have a question you want the guys to answer? Send it to newpulpfiction@gmail.com with “Table Talk Question” in the subject line. Also, let us know if you want attribution for the question, or you’d rather remain anonymous. Please, keep the questions pertinent to the creation of New Pulp and/or writing speculative fiction in general. We’ll get the questions worked into future columns.

JOHN OSTRANDER: Completing The Circuit

I love reading. Central to my being a writer is the fact that I love reading. I’ve always wanted to give back the pleasure I’ve gotten from it. I love when a writer pulls me into the world that they’ve created. It’s a magic act; words are used like spells to stimulate the senses. I see, I hear, I feel, I can even taste or smell depending on how adept the writer is and the words they use.

I love television and movies and other media as well but, for me, reading demands an active level of participation on my part. My imagination gets engaged, I think and I feel, heart and mind are involved. I feel I am in a conversation with the writer when the work is good.

Think of a toggle light switch. In the off position, the current doesn’t flow and the lights are not on. Flip it and the connection is completed and the light shines. Writing and reading are like that. The work exists but it is only when it is picked up and read that the circuit is completed.

The reader brings him or herself to the work, just as the writer does. What the readers take out of it depends on who they are. I have people write to me about the stories I’ve written and I always find it interesting; sometimes they find things here that I didn’t know was there myself. More often, they tell me things about themselves and that’s fascinating.

There is something alive in the work. Shakespeare is performed all over the world every day; Someone once said somewhere in the world he’s performed every hour of every day. The key is that his words still resonate on topics that are vital to our daily experience. They impact and influence people, change the way life is perceived. Shakespeare’s mind reaches us through the centuries and talks to us. The circuit is completed.

It’s not just Shakespeare. Charles Dickens lives as well and never more so than in this season. Don’t just watch A Christmas Carol – read it. I have yet to see any version – film, television, or stage – that captures the social commentary within the written work. It’s almost contemporary in its question of wealth, class, and our responsibility to our fellow human beings. One of the most powerful yet least used portions in the story is how young Scrooge, stuck at school for the holidays, finds comfort in books and how they come alive for him.

It’s not only with the writers who are dead. Think of contemporary living writers that you know, that you love. You may never meet them in person and yet you feel there is a bond between you and that writer, that you know them. When you read a good book, when it swallows you in, there is a now that you experience, that you create with the writer. The connection is complete; the current flows.

Make your life richer. Go read.

MONDAY: Mindy Newell

New Pulp’s Table Talk – Researching the Voices in our Heads

This week, Barry Reese, Bobby Nash, and Mike Bullock discuss working on obscure characters, particularly for the upcoming Pulp Obscura anthology line and then toss out their bucket list anthology dreams for everyone to share.

New Pulp’s Table Talk – Researching the Voices in our Heads is now available at http://www.newpulpfiction.com/ or at the direct link: http://www.newpulpfiction.com/2011/11/table-talk-researching-voices-in-our.html

Join the conversation. Leave us a comment on the blog and let us know your thoughts on this topic. We’d love to hear your thoughts and questions.

JOHN OSTRANDER: The Joy of Writing

I love writing. Most days.

There are days when it’s a job – and it is my job. It’s how I make my living. It’s how I pay my bills. Most days.

Sometimes it’s a grind. It’s not working for some reason. I stare at the blank screen or the empty page and wonder why I ever thought I could do this. Creative constipation. It’s affected every writer I have ever heard of.

Some days, however, it’s a joy. A lot of days.

I most enjoy it when I’m working in my journal. I have a bound book of lined pages and that’s where I go, black ballpoint in hand, to figure out the story or the characters. My thoughts seem to flow into the pen and the ink flows onto the paper carrying my thoughts and they take a form. It’s a physical, sensual thing.

That’s something I teach in my classes. Everyone has ideas but it doesn’t mean anything until they write them down. You incarnate the thoughts and feelings. Putting them into words gives the ideas and feelings a form and then you can do something with them.

If you want to do something with it, you have to write the idea down. You can’t just tell it to someone; that releases the energy. It lets the steam out of the engine. You’ve already told the story so you don’t need to write it down. You have nothing.

It doesn’t matter that what you’ve written is imperfect. It’s always going to be imperfect. I know people who can’t write because it’s never as perfect when they write it down as it was in their head. For them it has to be perfect. For me, that gets in the way. Incarnation is messy. I like that. I like that it takes on a life of its own.

The work in my journal especially is going to be imperfect but that’s all right because I’m the only one who is going to see it. Given my handwriting, even if you did see it, odds are you wouldn’t be able to read it. I myself rarely go back and look at what’s written. It’s the act of writing that’s important. It clarifies what’s in my head and then I can proceed.

I was working in the journal a little earlier on a plot for a series I’m doing. As I wrote, the ending of the arc revealed itself to me. Having a resolution is so important when you’re developing the story; it allows you to focus it and the characters towards that end.

It felt right. That’s how I know it’s going to work. I still have to do all the structural stuff and then I have to hope that the editor likes it as well as I do. Right now, the story has a heartbeat. It’s not fully realized yet but there’s something there.

That’s when it’s a joy. Today, tonight, I love being a writer.

MONDAY: Mindy Newell


Page 10 of the Special Issue 0 “Generational Glory”
Debra Clay watches in awe and excitement as FLYING GLORY arrives to rescue her concert and the school reunion. This story is nearly over as we get ready to celebrate the comic’s tenth anniversary starting in June. http://www.flying-glory.com

June 1, 2011 (Fullerton, CA) – The fourteenth issue of the webcomic “Flying Glory and the Hounds of Glory,” located at http://www.flying-glory.com, will celebrate the ten year anniversary of the storyline in an expanded 36-page issue.   The story, entitled “Reverberations,” will show readers more of the past of Flying Glory as well as provide glimpses into what lies ahead. A mini-comic prequel Issue 0, entitled “Generational Glory,” launched at the start of the year in anticipation of this major event and shows the cast during the summer right before the series opens.
“Flying Glory and the Hounds of Glory” is a webcomic featuring the adventures of super powered teen Debra Clay, known as Flying Glory, and her backing band the Hounds of Glory. The webcomic launched in the summer of 2001 with a four page short, soon followed by a twenty-nine page first issue. Artwork is drawn by Kevin Paul Shaw Broden, who co-writes the adventures with Shannon Muir, she also pens the poetic lyrics sung by the band. Currently, each issue is twenty-four pages in length and generally posted as one page weekly in black and white, though the original few issues were later reposted in color. As of June 2011, the website features roughly 350 comic story pages. In addition, “Flying Glory and the Hounds of Glory” appeared in print for the first time this year as part of a charity cookbook by TGT Media (http://www.tgtmedia.com) entitled “Webcomics: What’s Cooking?” that raises funds to feed the hungry.
“What originally drew us into doing this webcomic was the idea of superhero as celebrity, and I think we are still true to that,” webcomic co-writer and lyric writer Muir says. “Teens look at those who are successful and want to emulate them. Our main heroine, Debra Clay, has now spent a lot of time trying to learn from her grandmother Elsie Carmichael Stokes, the previous Flying Glory. Like many teens, it gets easy to be impatient, and to think you know it all.  Sometimes that comes with consequences, and you realize the value of experience. She’s also needed to struggle with finding her identity as a growing woman, independent of the powers, which only brings added depth to the adventure. There’s also a wealth of stories to be told about the Hounds of Glory, most of who were Debra’s friends before the whole superpower factor came into play, and how she relates to them when they have struggles.”
Flying Glory came out of Broden’s love for the ‘Golden Age’ of comic book mystery men of the 1930’s and 1940’s. “I developed an idea of such a heroine and wrote a script for the book based on her adventures.” He was surprised by how many people liked the story, including professionals in the comic book industry. There were also positive responses from publishers, but nothing ever came from that. So Broden and Muir developed a second comic book series about the heroine’s granddaughter taking up the mantel and the mask.
For artist and co-writer Kevin Paul Shaw Broden, “Flying Glory and the Hounds of Glory” has been a magnificent way to express his creativity while continuing to pursue his career. Broden began his professional career as an art assistant for Brian Murray, where he worked on early issues of “Supreme” for Image Comics. Before that, he storyboarded the video for BiGod20’s “One,” as well as videos for John Wesley Harding and Kristin Hersch as part of the Summer Arts program in Humboldt, California. More recently, he’s been contracted to do illustrations for commercials and television series pitches, and his work is featured in Muir’s two textbooks on the animation business – “Gardner’s Guide to Writing and Producing Animation” and “Gardner’s Guide to Pitching and Selling Animation”. He also has a successful New Pulp online serial, “Revenge of the Masked Ghost” (http://revengeofthemaskedghost.blogspot.com/). Broden and Muir also have shared writing credits on several episodes of the Japanese animated series “Midnight Horror School”.
In addition to her work with Broden and the previously mentioned textbooks, Muir’s worked in production on several animated television series for such major studios as Sony, Nickelodeon, and SD Entertainment. Muir also recently began self-publishing fiction work such as her recent release “Touch the Stars” currently available on Amazon and through Lulu.com (http://www.lulu.com).
Issue 14, “Reverberations,” is scheduled to begin on June 26, 2011.
MEDIA CONTACT E-MAIL:  kevinpsb@sbcglobal.net
FLYING GLORY AND THE HOUNDS OF GLORY Copyright 1997-2011 Kevin Paul Shaw Broden and Shannon Muir. All rights reserved.