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Author Interview: Heidi J. Hewett on The Curious Case of the Clockwork Doll

People rarely realize how short the Sherlock Holmes novels are.” James Bojacuik, CEO Dubois of 18thWall Productions said. “A Study in Scarlet and The Valley of Fear are short novellas (padded out by long passages about the Wild West), and The Sign of the Four is an ordinary novella. Only The Hound of the Baskervilles is, as they say, feature length–but even then it is a very short feature indeed. Yet when I look at my Sherlock Holmes shelves, it is overwhelmed with three-, four hundred page novels and dozens of short story collections. Something has been lost–a happy medium between brevity and Holmes’ “Data! Data! Data!”

We sought to restore this experience.

The Science of Deduction is a year-long celebration of the Sherlock Holmes novella. Every month on the 15th a new release will be available. The Curious Case of the Clockwork Doll is the first in this series.

This 18thWall Productions’ M.H. Norris, and we’re setting down with Heidi J. Hewett to talk about her book.

M.H. Norris: How did you discover Sir Arthur Conan Doyle and Sherlock Holmes?

Heidi J. Hewett: The Granada Television “Sherlock Holmes” with Jeremy Brett aired when I was a teenager–my hat’s off to Benedict Cumberbatch, but Brett is still the definitive Holmes for me–and I got deeply into the Doyle mysteries as a result. My parents gave me the William S. Baring-Gould Annotated Sherlock Holmes for Christmas one year, and I loved the wealth of information and detail there.

book cover the curious case of (1000 pixels high)

MHN: Is there a particular story of his that sticks out to you?

HJH: That’s a difficult question! I’ve always liked “The Sign of Four” best of the four novels. My story, in fact, originated in Watson’s whispered exclamation, “Holmes, a child has done this horrid thing.” I’m especially fond of “The Solitary Cyclist,” and “The Dancing Men,” out of the short stories, because of their heroines.

MHN: You write in an unusually brilliant imitation of Doyle’s style. How did you perfect that?

HJH: This was just fun. I started with the original cases and atomized them, tagging objects and key phrases. Then I built something, a homage to Doyle really, back up out of the component parts. Of course, there was also a lot of period research to flesh it out, but my hope is that fans of Sherlock Holmes will have fun spotting details from the real cases, like the bust of Athene in the study and Elsie Cubitt’s crocodile-skin hand-bag.

MHN: What inspired various aspects of your case?

HJH: Many of the Sherlock Holmes cases begin with Baker Street and a mysterious visitor, of course, and I got hooked by the idea of a veiled lady who turns out to be something else. The final motive came directly out of Watson’s line to Holmes in “The Sign of Four,” a child has done this deed, which has always haunted me. So that was my frame story, but it is a story about failure–there is a way in which Martha is a kind of blind spot for Holmes because they are so alike–and so I needed a mystery for Holmes to solve, using all his abilities, in between.

I used as many elements from the original cases as I could, with trains and bicycles, cigar ash and secret compartments. I also wanted to bring in old friends and enemies, and George Burnwell, the charming master con-man of “The Beryl Coronet,” is one of rare the villains who got away, so this case gives Sherlock a second chance at catching him.

I think Doyle does have a strong Gothic element, which is in tension with but also complements, his master detective’s fundamentally Rationalist worldview. Step outside of Baker Street, and there are pockets of darkness like Stoke Moran or the ancient farmhouse of “The Sussex Vampire.”

MHN: Was there any particular part of writing The Curious Case of the Clockwork Doll that you found particularly difficult?

HJH: I write in passes, so the very first draft might be mostly just dialogue with a lot of placeholders. Then I’ll go back and start adding layers of detail until it gets whittled down to the last, maximum-detail-requiring-the-most-research bits. The opening section, where Holmes ‘reads’ Watson’s mind, I remember as being particularly hard. I wanted to include something like this because Holmes does it twice, in “The Cardboard Box” and in “The Dancing Men,” but it was tricky to connect the dots while working in what might almost be a statement of theme: the use and misuse of invention to create new kinds of slavery and warfare.

One of the most fascinating things for me was doing research into domestic staff around the turn of the century, and you find the language of automation and industrialization: the division of labor into repeatable component parts, the ideal house which “runs like clockwork,” the ideal servant who does not speak, or listen, or have emotions.

MHN: What was your favorite part of writing a Sherlock Holmes mystery? Least favorite?

HJH: I adored immersing myself in Doyle’s world. I love these characters in all their iterations, and I love thought-puzzles and mysteries, so that was just a sheer joy. In trying to match Doyle’s style, I did miss writing in my own voice, although I would like to think there is a lot of me in Watson.

MHN: And lastly, any advice for other writers?

HJH: Writing is a solitary activity, and most writers I’ve met tend to have a strong introverted streak, but one of the best things I’ve found has been being part of a writer’s group, particularly one in which you feel you can share unpolished work. That perspective and early feedback from other writers is invaluable. You learn from reading other people’s work-in-progress. We all benefit from the support and encouragement of other writers during the process.

The Curious Case of the Clockwork Doll is available on Amazon. You can follow Heidi at her website, A Reading Diary.

If Walls Could Talk: Mysteries

M.H. Norris

Growing up, I loved mysteries. Some of my favorite books were the Boxcar Children mysteries. And of course, I went through the Mary Kate and Olsen stage (they did solve any crime by dinner time).

Though oddly enough, with this early influence, the idea that I’d write mysteries never came to mind. Not even when I made the decision to write for a living.

There’s something about mysteries—the ability to not only tell a story but solve a puzzle all within the confines of a book, and trying to not only figure out whodunit but how to best tell your characters the solution to the mystery.

I’ll admit, I love it and I still love reading good mysteries. In fact, a good chunk of the shows I watch on a regular basis are crime shows.

While working on All the Petty Myths I noticed differences between it and Badge City: Notches that I didn’t necessarily expect.

James and I were discussing my All the Petty Myths story. I’ll be honest with you, it’s been giving me grief. I’m blaming it on “second book syndrome” (shhhh, I know it’s just a novella). After three hours of Skype, I felt better. I think I know what I’m doing, and what I need to include.

What do you need to write a good mystery? Here are some things I’ve noticed. These aren’t everything, but they’re a start.

1) Good, solid characters

People will put down a book or stop watching a TV show because they can’t connect with the characters. Just recently someone recommended a show to me. It was supposed to have amazing writing, even though it only ran a single season. When I sat down to watch it, I couldn’t even make it through that one and only season.

I found out that I really didn’t care what happened to any of the characters. Yet the writing was good, witty, and fun. This a good example of what happens when you don’t get people invested in your characters.  (Not that that will necessary save your series. Terriers had everything, and it died a after one season)

Give them a quirk, give them struggles, give them hopes and dreams and fears. Make them relatable and it will make your story that much stronger.

Plus, it will make your story easier to write if your characters are coming alive. The more you know them the more they help you write the story.

(James says I’m wrong about what mystery characters need, but let’s ignore him.)

2) Motive

Oh motive, my old friend and occasional enemy.

This is a tricky one at times because sometimes, there could be many motives for committing a crime and sometimes there is no obvious motive. And sometimes you think it’s the later but then you come to discover that it’s the former.

You can’t not have a motive after all where’s the fun in that? But here’s one thing to consider; it is often said that it doesn’t always have to make sense to us why someone did a crime, it makes sense to them.

3) Research

There’s a reason I dedicated an entire post to it, in the past. Research separates the okay writers from the great. I wanted to be a great writer so I learned how to do research. You need it to make sure that stories work, make sense, and follow a fairly realistic world.

Google is your friend. Sometimes, I’ll pop on and check a random fact. In fact, I joke about being on a few watchlists (I really do think mystery writers are on a list) because of what I Google sometimes. (Pro-tip: if you’d like to make sure you haven’t slipped onto a watchlist, use duckduckgo for all your most suspicious questions.)

Thus is the curse of a writer.

But read books, and articles. I interview people. I study what’s been done and learn from others’ mistakes. All of this is important when writing a mystery.

Mysteries are fun to read and fun to write. They were my grandfather’s favorite kind of book to read. Even though he didn’t live to see me published, I like to think that he’s looking down and is incredibly proud of what I’ve accomplished so far. I do write with him in mind and ask myself, “What would Papa think of this?”

One last thing about writing, and this one doesn’t apply to just mysteries but to writing in general. You need to be prepared to just write and not think. Sometimes, the story just gets away from you and you get lost in the writing; when you allow yourself to do that, you get to experience something magical.

So whether you are writing mysteries, fantasy, science fiction, romance or whatever your passion is, let yourself write.

The rest will come.

If Walls Could Talk: Not-Writing with M.H. Norris and Nicole Petit

M.H. Norris

This week, a lot of writers I know were discussing not-writing, and the writing that happens when you’re far away from your keyboard. The kind of not-writing that separates successful stories from unsuccessful ones.

What are you talking about Mary Helen? Isn’t writing, well, writing?

Nicole Petit and I had a discussion about this last night. Some of you will know Nicole as the editor of The Dragon Lord’s Library anthology that we released last month. And I’m excited for her next book, The Dragon Lord’s Secretary which will release later this month.

One thing that is different between my writing and Nicole’s are our worlds. Nicole writes some wonderful fantasy, while I tend to stay in a more realistic world with my mysteries. Someday, I’d love to approach the challenge that Nicole has faced and create my own world. Good to know I’ll have a friend to ask for advice.

Dragon Lord's Library 2 Cover

Last night she and I fell into some role-play (much to James’ amusement), as her series character, Scarlet, bickered with mine, Dr. Rosella Tassoni. The Presidential Secret argued with the Forensic Mythologist over who was the most fit to handle a magical mystery. That’s an argument we’ll have to let them pick up at a later time.

As this went on, I was trying to finish a chapter in a book before I went to bed and I made a remark about how I was glaring at her and her fantasy world as I tried to read. Then she made a good point—even if a fantasy world doesn’t have a link to the real world (unlike her series), it requires just as much research as something set in the ordinary world.

And while it may look different, both of us have to do different types of prep in our work. I’m currently curled up with a book on forensics, refreshing my memory as I work on my All the Petty Myths story.

But for fantasy, Nicole has more to worry about. Species, invented history, the mythology and societies of her invented world. But then she goes beyond that, and needs to make sure that every time her world intersects with the real world nothing contradicts. Scarlet can’t go hunting with Teddy Roosevelt at a time he was indisposed; she can’t reference a song if it hasn’t been sung yet, or a movie if it hasn’t been released yet. Everything has to work together and nothing can contradict itself. Everything has to match real-world history.

“You need to know the culture, politics, and so on of the world that is your story’s background,” Nicole told me. “You need to keep track of all the world-building details. I had to keep track of all the species I referenced, make sure they lined up with established world-building. I had to work on the background politics involved in the world at large. That’s a massive thing for any genre, but especially fantasy.”

And I agree with her. Even in a more realistic world, I have to worry about culture, politics, and history. Where is my character’s home base, what are the politics of the world, how involved is she? There’s a lot to keep in mind as you bring a story to life.

“It won’t be immediately obvious to a reader, but it makes the difference between a good story and a bad.”

And I have to agree. There was some poor excuse of a detective movie I watched ages ago; it drove me nuts to watch it because the writers didn’t seem to bother to research. If you think “No-one will notice,” you’re quite wrong. They will. You owe it to yourself, and your characters, to put in the not-writing time to make your writing shine.

See y’all next week. I’m going to wander back to my book and my notes.

If Walls Could Talk: Auld Lang Syne

M.H. Norris

Should old acquaintance be forgot and never brought to mind? Should old acquaintance be forgot and days of auld lang syne…

Here, while you read my New Year’s Post, enjoy one of my favorite renditions of the song.

What a year 2015 has been. It seems like the last few years I’ve faced the end of a year and been surprised at some of the things that have happened. But I guess that’s half the fun sometimes, you don’t see everything that’s coming.

But auld lang syne. It’s a Scottish term and, roughly translated, it means days long past.

The Wall is talking–or rather James, Ben, Nicole, and I–are talking tonight. We’re talking about things that happened this year and things planned for next year and how we can improve and make 18thWall stronger.

It’s a process and I’m glad you’ve joined us for the journey.

Even as a writer, I wasn’t sure what 2015 would hold for me. I announced the first anthology that I was editing. I had my first book come out, I got handed a surprise project, I left a project I’d been involved with for ages, and found a couple of new ones. That and I graduated college.

What a year 2015 has been. And once again, it has left me excited to see where 2016 takes me. I’m sure this time next year, I’ll be surprised yet again by what happens.

So here I sit, cutting it close to my weekly deadline yet again and trying to figure out just what I want to say.

From all of us here at 18thWall Productions we wish you all a safe and happy New Year’s. We hope that your 2016 is full of books and writing.

And as we sit here and watch 2015 enter it’s last day, we can’t help but think about auld lang syne.

Happy New Year’s everyone! See you in 2016.

New Call for Stories: After Avalon

Anthology curated by Nicole Petit

King Arthur is dead. Camelot has fallen. Britain drowns in Saxons.

These are the stories of what come after.

After Avalon is seeking stories based on the premise, “What happened to these people and relics after Camelot fell?” What do the knights do when there is no more Brittan to defend? Did Sarras fall, or did the nation surviving knights built stand the test of time? Who wears the Green Knight’s girdle, now, and where does the Lady in the Lake reside? Is Merlin still trapped inside his tree? Who else has gone to Avalon?

Were Galahad, the Holy Grail, and the Spear of Destiny really assumed into Heaven? Or did bards invent that story, an easy solution to explain where Camelot’s greatest knight was on the day Camlann killed them all?

What’s become of the Questing Beast and the White Stag? Gawain’s mother and half-brother have destroyed Camelot, what does he do now? Does Pellinore still chase the Beast?

Has Arthur already returned?

Stories can take place anywhere between Arthur’s death and the present day. Stories set in the future may or may not prove to be a harder sell.

We encourage historically accurate stories set in a variety of times and places. Don’t be afraid to set your story during the crusades, or the Victorian era. Beware that the curator and her assistants are extreme history buffs, and they will notice anything inaccurate. Do your homework.

We’ll say no, thank you to excessively dark stories or stories that insult the Arthurian tradition.

If you’re looking for inspiration, we recommend: Neil Gaiman’s “Chivalry,” Indiana Jones and the Last Crusade, Marvel Comics’ Prince Valiant miniseries (1994), Simon R. Green’s Drinking Midnight Wine, the Justice League Unlimited episode “Patriot Act,” and “In the Deep, Deep Shallows” (issues #4-6 of Knights of the Living Dead; the preceding issues, which live up to the title, are the epitome of what we do not want).


Payment: 5% of the gross profit will be paid for each accepted story. These payments will be issued to you at quarterly intervals. Stories under 1,500 words will only receive 4% of the gross profit.

Rights: First World Digital and Print.

Deadline: April 2nd, 2016

Word Count: 1,000-15,000

How to Submit your Story:

  • All stories should be sent, as an attachment, to
  • The file must be formatted in .doc or .docx.
  • The interior of the document must be in double spaced Times New Roman (12 point font). Indents must be placed through your system’s Paragraph function; do not set indents by pressing tab or space. Please use full em dashes (—).
  • At the top of your document, please include William Shunn’s submission header.
  • Tell us a bit about yourself in the body of your email. Don’t stress this, it won’t make or break your submission.

Place your name, story title, and word count in the subject line of your email. For example, “After Avalon / Neil Gaiman / Chivalry.”

If Walls Could Talk: Leveraging the Public Domain

M.H. Norris

The Public Domain is a magical place full of fun shiny things begging to be used by writers, not only enhance their stories but to give them a little grounding in the real world.

Seriously, go take a second and look at songs, books, characters, and poems that are in the pubic domain.


And they aren’t the only things. One thing that I have found is technically in the Public Domain are Urban Legends. Have you ever actually gone and looked at the sheer number of myths that are out there?

As a special treat, with James’ permission of course, I’m going to give you guys a little piece of the short story I’m working on for All The Petty Myths.

“Since the beginning of time, man has told stories. When a letters came along, these were written down. Some would surpass their origins, over the years, becoming what we know to be legends. Today we call the study of those legends, mythology. Every culture has their own distinct system yet at the same time we all share a group of similar stories.”

Who’s talking—well, you’ll have to wait for the anthology to come out to find out who. But let me tell you, I’m looking forward to seeing how this story turns out.

But things come into the public domain all the time. And people don’t realize the sheer volume of things you can find. For example here, let’s look at my book Badge City: Notches. There’s a scene where I use a song that is in public domain. For me, it just added a little something extra to the scene (and honestly, it’s one of my favorite scenes that I’ve written).

Some things to note, different countries have different public domain laws so be sure to double check and make sure that what you are using is in fact in the public domain. Canada got James Bond in their public domain, this year. Meanwhile, the United States had a legal battle to affirm Sherlock Holmes is in the public domain—and there’s currently a legal war going on to prove Buck Rogers (and characters like him) are as well.

It’s easy to fact check though (and as a writer, you should be fact checking anyway). A simple Google search will point you in the right direction.

Its something I’ve enjoyed looking at and seeing what I can use to enhance and improve my scenes within my stories.

What are you going to find?


If Walls Could Talk: Reflecting on a Year Gone By

They say Hindsight is 20/20 and in most cases that’s true. But as I sit here and feel nostalgic, I wonder if that’s always the case.

What are you feeling nostalgic about, Mary Helen? Or, more to the point, what are you talking about?

Today is the third anniversary of my first short story being published. It’s the anniversary of the first time that M. H. Norris came into print.

And what a mix of ups and downs the last three years have been.

The old website was full of post of tips and tricks I’ve learned and it’s amazing to go back and see how far I’ve come in the first three years of my writing career.

So, here’s a vague overview of things I wonder if I knew then what I know now would I have done things differently.

1) You are always learning.

I’m actually a little embarrassed to admit this, but I thought my first short story was good when it came out. Now? I’ll admit that it was a start and it gave me a chance to get my name out there. It also gave me a confidence boost and let me know that maybe my writing dreams were possible.

But, now? I would not say that it’s good. I mean, it’s not awful but I was a very young, very inexperienced writer.

Writing is a craft that you have to continuously work to improve. There are always things to learn, things you can improve on, different ways to tell a story. But that’s part of the fun.

2) Sometimes, opportunities will surprise you.

I wasn’t expecting Notches. I wasn’t looking to write a whole book. But Pro Se handed the opportunity to me and I had to take it. Sometimes, you have to be open to the opportunities around you.

After all, by taking that chance, I now have a book out. That book was in the top 30K books on Amazon it’s debut week, which is incredible.

3) Keep a bucket list handy.

I have a list of things I want to write eventually and some of those things might show up in forms I didn’t originally intend. But you never know what opportunities will come.

4) Feel free to walk away.

Sometimes, you have to be willing to walk away from a writing project. It’s hard, especially if you’ve been involved for a while. But sometimes it’s for the best.

5) Be willing to juggle.

Sometimes you are going to have several jobs that you want to do. And sometimes you’re going to have to be willing to work on various stages of different projects at the same time.

Edit one piece, write another, research a third, talk about a fourth. Sometimes I do have multiple projects going at once and to me it helps to. If I have something else I can work on, it helps writer’s block to go away.

6) Always look to the future.

Always be looking to the future. Have your BHAG (that stands for Big Hairy Audacious Goal) and always be reaching for it.

I want to someday see the Bestseller’s List. And I plan to get there. I’ll go on the New York Times website and look at it and say “someday, I’ll be there.”

And then I go back to writing.

If Walls Could Talk: Dragon Libraries and Thanksgiving

M.H. Norris

If walls could talk this week, they’d be talking about one of three things this week. Or rather, the people around the wall would drown out whatever else it wanted to say with those three things.

First, happy 52nd birthday to Doctor Who.

Second, Thanksgiving is on all our minds. Visions of turkey and all the fixings dancing through our heads as we realize that we have so much to be thankful for this Thanksgiving.

From all of us here at 18thWall Productions, we want to wish you a very happy Thanksgiving. We hope that you have a fun day with family, food, friends, food–and did I mention food?

One thing we’re thankful for is actually the third thing that is occupying time at 18thWall’s watercooler. The digital release of From the Dragon Lord’s Library, curated by Nicole Petit. Out now, and available on this very site. Volume One & Volume Two are ready for your eager reading.

Did you ever wonder what a dragon keeps in his library?

You can tell a lot about a dragon by their hoard.

Not the shiny one, the other one. The one where they keep their favorite things. Some dragons keep a private stash of dwarven-wrought artifices, and others tapestries that run from wall-to-wall and corner-to-corner. The Dragon Lord himself has a library. A library that devours halls and caves, filling them with every kind of book and codex and scroll.

These are the stories that fill his favorite shelf. Of course they’re his favorites—they’re all about dragons. Pull these stories down. Breath in the vanilla scent that only comes from the oldest books. Savor the writing. Trace your fingers over the calligraphy.

Welcome to the finest library ever known.

Featuring stories by Jilly Paddock, Joanna Hoyt, Claire Davon, J. Patrick Allen, T. Fox Dunham, Dorian Graves, Denarose Fukushima, Kelly A. Harmon, E.A. Fow, Robert W. Caldwell, Jim Lee Patricia S. Bowne, Shawn Hossein Mansouri, Silas Green, Rose Taylor, Edward Ahern, Elizabeth Hopkinson, Gregg Chamberlain, Liam Hogan, Sylvia Downes, and Sue Pettit, this two part collection features the first volume for general audiences and the second volume for readers of all ages.

I’m thankful for the chance to get to come to the wall every week and give it a voice. I love the chance to get to sit down, type whatever is on my mind and hope that you enjoy it as well.

What are some things you are thankful for this Thanksgiving?

We can also be thankful for the idea of what’s to come in 2016. We’re heading into the last full month of stress and publishing and—finally—turkey. It’s a time where things are so magical (like dragons—couldn’t help that reference).

And we’re thankful for you all for coming to read our stories and for taking this journey with us.

Happy Thanksgiving, everyone.

From the Dragon Lord’s Library: Volume 1

From the Dragon Lord’s Library: Volume 2

If Walls Could Talk: Writing Every Day

M.H. Norris

I’ve written about this topic a few times, it’s a popular one amongst writers. But NaNoWriMo is great for one thing. It allows a writer to establish a daily writing habit.

1667 words a day is a lot and if you fall behind, it can seem overwhelming to try and catch up. And Friday you can start to win at NaNoWrioMo. And people are ready to go.


I’m sitting her smiling and nodding as I creep over 30K words. I don’t plan to see 50K until the very end.

But to each their own.

I do try and write around 1000 a day of one project or another. Sometimes, short stories are a good example, I write a little less.

Steven King, if I remember right (James has my copy of On Writing so I can’t look it up), writes for a set amount of time every day. I think he’s a morning writer.

I laugh at morning writers.

James laughs at morning writers.

Once again, to each their own.

My favorite time to write is the afternoon to early evening, though it isn’t entirely unusual to find me writing late at night. Usually, you won’t catch me writing a whole lot after midnight, because, like Cinderella, the clock strikes midnight and the magic is gone.

But I do see the value of writing every day.

I see the value of writing every day especially when you have several projects that need your attention.

Somewhere along the way, I got into the habit of working on several projects at once. There are weeks where I say, “this week I’m working on this this day, that another day, and so on and so forth.”

To me, that helps me to keep myself interested. Different stories, different characters, different chances to get to tell all these different stories.

Some people will argue that that means I can’t focus on any one particular project. But to me, too much focus on one single project is a sure fire way to give myself a nasty case of writer’s block.

And then I don’t write any day.

Which it isn’t the end of the world. You need a break now and then to allow yourself to relax and refresh (not according to Steven King, who says that you should write every day, including your birthday and Christmas).

So until I make it to the bestsellers list, you might just want to listen to him instead.

The Horror Crossover Encyclopedia: Total Drama

Join us each week as we share a new excerpt from Robert E. Wronski Jr.’s book, The Horror Crossover Encyclopedia, now available in print and digital editions!


Release Date: July 8, 2007 – present at time of writing (Contemporary Setting)

Series: Total Drama

The Story: A reality show recruits a group of young people to compete in challenges in an isolated location. Each season has a different themed setting, but each season sees the same celebrity wannabes returning for more drama and humiliation to recapture that 15 minutes of fame.

Notes: The cast were about 21 when the show started, and would be around 28 now. For now the show operating in real time still works for the Horror Universe concept. Another few seasons and they will be stretching the “young people” bit if they keep using the same characters.


Release Date: July 8, 2014 (Contemporary Setting)

Horror Crosses: Evil Dead

The Story: The second half of season 5 is Total Drama Pahkitew Island. In this season they do have new contestants joining the cast, while they phase out the old cast. Clearly they want to keep with the concept as I said above. The setting this time is Camp Pahkitew. This episode centers around a balloon competition. Plus love and hate, loyalty and betrayal. Reality show stuff.

Notes: One of the contestants, Max, is a hopeful evil genius. He has snuck contraband into the camp, including a copy of the Necronomicon ex Mortis.

If you’re dying for more, you can find The Horror Crossover Encyclopedia on Amazon, and more of Robert E. Wronski Jr.’s work on The Television Crossover Universe.