Latest Blog Posts

Those Magnificent Writers on Their Writing Machines #1 (8/3/2016)

James Bojaciuk

Welcome to the newest feature on the 18thWall Productions site, “Those Magnificent Writers on their Writing Machines.” Each week, we’ll see what our writers are up to, tease you on upcoming 18thWall releases, and sometimes give you other exclusive previews and treats.

What have our authors been up to?

Nicole Petit

Nicole Petit’s Just So Stories has released, featuring nine all-new Just So Stories in the immortal tradition of Rudyard Kipling. Even better, it includes a rare Just So Story from Kipling’s own pen, often left out of collected editions, and a rare introduction to his tales that only appeared once previously.

Watch this space for more news about Just So Stories.

Just So Stories Ebook Cover

Nicole Petit’s interview has become the most listened to episode on the popular Television Crossover Universe Podcast. Robert E. Wronski Jr. had this to say. “As a rule, I don’t discuss the podcast stats publicly because I don’t want our guests to feel that their numbers are any reflection on them. However, this is worth mentioning. Simon R. Green’s episode, our first episode, has held the # 1 spot since the show’s beginning… until today. Episode # 11, featuring Nicole Petit, has climbed up to our number one spot. I hope this is also reflective in sales of her books. Nicole, you just surpassed a New York Times Best Seller.”

Listen to her interview here!

After Avalon, Nicole’s upcoming collection, will be appearing in a matter of days. Watch this space for news.

M.H. Norris

M.H. Norris’ installment in The Science of Deduction, The Whole Art of Detection, recently released. Be sure to check it out!

More enticingly, The Whole Art of Detection teases characters and elements from her upcoming series. This is your chance to get in on the series before everyone’s reading it.

book cover the whole art of

Lisa and Gina Gomez

Two of our newest writers, the detective duo Lisa and Gina Gomez, recently attended Nerd HQ 2016, where they had a chance to chat with the crew of the BBC’s Sherlock. You can watch the interview here. Skip to 5:38 to hear Steven Moffatt and Mark Gatiss threaten to sue Lisa and Gina for infringement.

You should certainly look into Lisa and Gina’s debut novella, Moriarty’s Final Problem.

book cover Moriary's final problem

Hannah Lackoff

Hannah Lackoff’s After the World Ended is now available from Innisfree Poetry Bookstore & Cafe! If you’re in Boulder CO., be sure to stop by and pick up a copy.

Innisfree_Hannah Lackoff

Josh Reynolds

Josh made it onto Ellen Datlow’s honorable mentions for Horror of the Year: Volume 8. He narrowly missed the cut with his excellent “Seeking Whom He May Devour,” from The Lovecraft ezine #35 (you can read it here). We wish him the best of luck in making into Datlow’s collection next year; it’s an overdue honor.

Carnacki_The New Adventures

You can find one of Josh Reynold’s latest stories, “The Delphic Bee,” in Ulthar Press’ Carnacki: The Lost Cases.

Additionally, you can get two of Reynold’s previous stories–“Incident at the Plateau of Tsang” and “The Fates of Dr. Fell”–on sale from April Moon Books, in the collections Ill-Considered Expeditions and Spawn of the Ripper.

Short Sharp Shocks

John Linwood Grant

Science of Deduction writers strike again, scoring a second, third, and fourth story in Ulthar Press’ Carnacki: The Lost Cases. Mr. Grant, who should not be confused with J. Linseed Grant, also recently appeared in Martian Migraine Press’ Cthulhusattva: Tales of the Black Gnosis.


You can find Mr. Grant at at greydogtales, where long dogs and readers eagerly await the next adventure of Mr. Dry.

James Bojaciuk

Making the collection something of a Science of Deduction reunion, James also has a story in Carnacki: The Lost Stories. He promises that it’s not the worst story in the collection.

J. Patrick Allen

In Dead West news, J. Patrick Allen has a sign. Admire it.


Watch this space for upcoming Dead West news, including a special event regarding the first book, West of Pale, and announcements on the series’ future.

Robert E. Wronski Jr.


Rob’s podcast, The Television Crossover Universe Podcast, continues to be a smash success. In the last 30 days, as of June 29th, 2016, the podcast had 4,496 listeners. Every week, the audience grows. Why not join the cool kids and listen in?

Recently, Rob and the TVCU Crew have interviewed John Linwood Grant, Guy Adams, Jim Beard, Godzilla (okay, it’s a discussion episode about Godzilla), and Micah S. Harris.

Elizabeth Hopkinson

Elizabeth, who has been featured in The Dragon Lord’s Library: Volume 2 and Those Who Live Long Forgotten II,was recently featured as r/Fantasy’s author of the day.

Be sure to check it out! It’s an excellent feature.

Editorial Staff

Staff Editor Tali is hard at work cataloguing our recent releases.


If Walls Could Talk: Said Tags

M.H. Norris

Often times, when reading newer authors’ writing, I find one common problem. Their dialogue is accompanied by a said tag.

What are said tags? Why are they so bad?

“Said tags are when you leave a character’s name and ‘said’ at the end of dialogue,” Mary Helen said.

As I said above, tags are when they are put after dialogue, before dialogue, or in the middle to break it up.

Don’t think you can get away with responded, whispered, acknowledged, pointed out, asked, requested, sighed (though occasionally I’m guilty of that one, to James’ chagrin) or things like that just because they aren’t “said.” They’re worse. No matter what you tell yourself, they’re worse. No matter what author uses them, they’re worse.

Delete them all now and your book will be stronger for it.

This is a common problems writers face. It can be done. In fact, every so often, you need said tags or one of their friends to help you in a scene with multiple characters.

But that doesn’t excuse you from going “he said” “she said” every other piece of dialogue. I have read articles that argue against substitute tags and say that “said” will suffice, and while they might have a point, I don’t think any of them are necessary.

After all, instead of using a said tag, you can use that space to do one of several things.


What’s going on in the scene? What is your character observing? Use the five senses and take time to paint us a picture.

Also, keep in mind that both of these will help you build up that word count (something to keep in mind in a few months when NaNoWriMo comes around again).

Not only that, but these things can help you build-up your story and create the world your characters inhabit.

Like I said earlier, go back through your latest piece and circle every time you used the word “said.” Then go and see if you substituted it for something “creative.” Then go and see if you can add an insight from the POV character or some description in its place (hint: you can). Make that change.

Doing that, you’ll find your story is much stronger.

Here, let me give you an example. I got permission to use this piece.

“We have been watching you.” The man suddenly said ending the stare down.

“No kidding” Harry said with sarcasm in his voice. It hadn’t been hard for him to spot them.

“You are very observant, but I don’t think you were seeing us with your eyes. (2)” The man responded.

“How else could I see you?” Harry responded curiously.

“That is one of many things we have to teach you.”

There are several things wrong, here. Let’s focus on the said tags.  Instead of giving us a picture of the person—said is used as a crutch. Even with description, we see the said tag used here.

We see the two main problems with said tags. First, it tells us rather than shows. We’re told something is said “suddenly,” we’re told Harry is sarcastic, we’re told Harry is either curious or he spoke oddly (context is unclear). It’s already clear from the context that Harry is sarcastic, and being told he’s speaking “curiously” doesn’t add anything. A sudden burst of speech could be indicated by leaving the preceding paragraph off, unfinished, with a dash.

Second, the telling doesn’t advance character, story, or setting. We don’t learn anything about the characters. We don’t know anything more about the story. We don’t know where they are, or how the characters are placed in the world. It gives the excerpt an empty, displaced quality.

Additionally, I feel like said tags and substitute tags bog down your story, giving them weight they don’t need. The excerpt would be much quicker, and easier to read without the tags.

Let’s take a look at one of my older pieces and see the difference.

“What will help is to know where Zack and Aaron were taken.” Angie looked at the plans. “There’s two stories above ground and three below. That’s a lot of ground.”

“Which is why we had a team of 40 people make their way through it. Divide that building into half two teams of 20 four to each half of each floor. Supposed to be a quick in and out.”

Angie looked up to see Nathan Adams standing in the doorway of the room, hands in his pockets and a rifle strapped across his back.

He brought his hand to his head and grabbed the earpiece in his ear, slipping it into his pocket before walking over to the group. Turning the chair across from Angie around, he sat down and held out his hand. “So you’re the new girl that crashed the party. Nathan Adams.”

“Angie Thompson.” She shook his hand. “And you’re the one who has managed to lie to the world.”

“That’s one way to word it.”

“How do you word it to sleep at night?”

“Not telling the whole truth.”

While the dialogue helped to set the mood the lack of said tags helped the flow a bit more. The closest I came was perhaps mentioning them shaking their hands, something to break up that dialogue, but even then it helps to move along the story.

Never put anything in your story that doesn’t help it move along. That’s a lesson I’m still learning myself.

Do not use said tags after every piece of dialogue.

From now on, if you do, you will get the mental picture of me giving you the death glare.

If Walls Could Talk: Suffering Through Synopses

M.H. Norris

Most people know that, as a writer, I tend to be rather spontaneous. At the same time, I like to have a plan when I’m being spontaneous.

Sounds like I’m contradicting myself? Well, perhaps I am.

I’m working on an entry for a contest and, as part of the entry, I have to have a synopsis. This isn’t my first time dealing with synopses, in fact I’ve done several. But over time it doesn’t seem to get any easier. In fact, my inner writer seems to rebel at the idea.

Why should I have to know, before I even begin to write, every single thing that’s going to happen?

I change my mind all the time.

Potentially, you can change your story from what you submit. I always worry, since the publisher accepted that idea—but changing the story might change that.

I hate synopses. I feel like they limit me as a writer. I know, I know that there are people who swear by them, and cannot begin a project without either that or an outline (or both). But me? I love the idea of going in with an idea and no outline and being surprised at what happens. And hopefully, my readers will be surprised alongside me.

That’s not to say I have no idea what I’m doing when I start a story. Remember the contradicting thoughts? I like to have a vague idea of where I’m going, but I don’t necessarily want a map to tell me how to get there.

But for the sake of being practical and because James likes for me to include advice here, let’s talk synopses for a bit.

Synopsis are not query letters

When you first venture into the world of writing you quickly discover that we have a language of our own. Terms like query letter, synopsis, CV, credits, and bios quickly become apparent.

And often, when you’re submitting a short story for an anthology, you find they want a synopsis, a query letter, and/or a sample of your work.

In a query letter you often out a summary in but it is nowhere near as comprehensive as a synopsis.

A synopsis helps publishers see your passion

I have to give it to synopses. They are useful for seeing if someone thought an idea through. You’ll know going in that the problem is indeed solvable.

I’ve had some trouble with figuring out where to go with a story and I have to grudgingly admit that maybe with a synopsis I wouldn’t have been stuck. That doesn’t mean I like them though…

But if you are passionate and creative with your synopsis, publishers are going to notice. Don’t write something you’re not interested in for the sake of a publishing credit—it’s not worth it.

Know you can change it

Publishers, generally, are buying the idea—not the general execution. You have room to expand and play.

The synopsis is a chance for you to sell your story and as a result it should not be taken lightly. Take your time, put in the effort, and give your story its best chance.

Synopses have their place in the writing world. And speaking of, I need to get back to mine…

The Horror Crossovers Encyclopedia: Star Trek: Assignment: Eternity

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!


Assignment Eternity

Release Date: 1998 (Setting is 2269 A.D.)

Series: Star Trek

Horror Crosses: Kolchak the Night Stalker

Non-Horror Crosses: The Avengers (television); The Girl from U.N.C.L.E. The Questor Tapes; Mission Impossible; James Bond; The Prisoner; The Andromeda Strain

The Story: Gary Seven and his partner Roberta Lincoln travel from the year 1969 to the 23rd century and once more encounter the crew of the Enterprise, commanded by Captain James T. Kirk.

Notes: This novel is a sequel to the Star Trek episode Assignment Earth, which introduced Gary Seven in what was meant to be a pilot for his own series. Gary and his assistant mention having knowledge of the people or events from all of the above listed crosses.

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. You can listen to Robert’s crossover podcast right here.

New Call for Stories: Speakeasies and Spiritualists

Anthology curated by Nicole Petit

“Most mediums, with their spurious and specious methods, with their ghostly trumpets and spectral hands, hold few secrets—and fewer terrors.”~Rose Mackenberg, “Exposing the Weird Secrets of ‘Mediums’ and ‘Spirits’”

Rose Mackenberg_Supernatural Sleuth

Original illustration from Rose Mackenberg’s newspaper articles.


By Annabelle Lovelace

Chicago’s Daily Star, September 28th, 1928

War is boom time for the frauds. Concentrated human misery is a sure-fire way for charlatans of every stripe to find easy marks among bereaved mothers, fathers, brothers, sisters, and wives. As we have recently survived the war to end all wars, today is a gold rush for fraud.

Women rapping tables with their toes convince the bereaved that husbands and wives have found peace in the higher realms, and men with collapsible trumpets are all the evidence some need that departed children are not so departed. Every cause has a trick, all performed with the finest materials your corner store has to offer: painted balloons for spirits, corn flour for otherworldly smoke, or tambourines hoisted on black poles.

Despite the petroleum jelly ectoplasm, and haunted hands piloted by a man under the table, and all the tricks of the false spiritualist–there are stranger cases.

For example, I’ve been called in on three such cases in the last month:

The upper crust is beset by fads. A fad for speakeasies and a fad for séances. One enterprising hostess set out to combine them all–inviting her guests down to their favorite speakeasy for a night of summoning. In one of the back booths things progressed a bit further than normal, spirits coming up and running free among the spirits. It’s quite a thing for cowed gangsters to show up at your door, begging for help.

While lecturing in England, I came across the strangest case. We’re used to bootleggers transporting spirits across state lines. But one enterprising medium began smuggling spirits, corked in bottles she sealed with holy water and wax. She intended to smuggle them across the Irish border, and sell them to a sect of latter-day druids. Perhaps she should have gone into business with Chicago’s royalty instead.

You have a favorite radio show. We all do. But what do you do when you stop receiving Amos ‘n’ Andy, and start receiving transmissions from, ah, what my editors would prefer me to call “warmer climes”? Moreover, what do you do when these transmissions are detailed in-the-moment troop movements in an invisible war–and they’re all converging on your home?

These tax the abilities of the spook-buster.

But keep in mind most spooks are scams and you’ll come out alive.

What We Want

Supernatural stories set in the 1920s. Not horror stories, necessarily, but stories that use the 1920s and its spook culture (and spook-busting culture) in an engaging way. Bring us supernatural adventures, supernatural mysteries, supernatural fantasy, or supernatural pulp.

You want things other than horror? Yes. While we will happily accept horror, and our collection would be remiss without horror, we’re also looking for a wide-range of genres. Mystery, fantasy, pulp, adventure. Science fiction and Romance are harder sells, but we’ve been surprised by submissions in styles we’d never have thought to expect. When it doubt, submit.

We’re looking for supernatural fantasy stories, supernatural mystery stories, supernatural pulp stories, supernatural adventure stories, supernatural horror stories and any other kind of story so long as they make use of the 1920s supernatural world.

Should my ghosts be real, or fake? I have no preference. Focus on telling a good story, whether your spooks are ectoplasm or petroleum jelly.

Can I use the Cthulhu Mythos? Yes, but I strongly encourage, and prefer, fresh takes. Show us something new. The more it feels like a copy/paste of Lovecraft, the less interested I’ll be.

Do you take reprints? Yes. Just let us know in the submission (this will not count against you).

In the end, really, it comes down to this: Gather us around the rattling table, and give us a taste of the otherworldly.

What should I read for inspiration? We’re particularly looking for stories in the tone or style of Josh Reynolds’ The Royal Occultist series (The Royal Occultist’s website, and the first novel in the series), Big Finish’s Doctor Who audio The Chimes of Midnight, Rose Mackenberg’s life and articles (“Exposing the Weird Secrets of ‘Mediums’ and ‘Psychics’” and “The Art and Crime of Illusion”), Jim Beard’s Sgt. Janus, Libba Bray’s The Diviners, Charles William’s War in Heaven, and the graphic novel Small Town Witch.

Do Spirits Return_Houdini Says No and Proves It

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: September 2nd, 2016

Word Count: 1,000-16,000

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. If you already have tabbed or spaced indents, please remove them first.
  • 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, “Speakeasies and Spiritualists / Rose Mackenberg / So You Want to Attend a Séance?”


Nicole Petit writes because no other job lets her sleep until noon. Fantasy is her forte, a sliver of genre right between urban fantasy and fairy tales. She writes the Magic Realm Manuscripts series and curated the collections Just So Stories, After Avalon, and the award-winning series From the Dragon Lord’s Library.

If Walls Could Talk: Two Sides, Same Coins

M.H. Norris

Writing a mystery is a lot like playing with both sides of the same coin. You have to play both sides of the field in a sense in order to have the protagonist come out on top. That is, if that’s what you decide to do. After all, even Sherlock Holmes didn’t solve all of his cases.

Either way, you’ve got to play the field. Who is your unsub? Why did they do what they did? How did they do it? Was it spur of the moment or did they plan it out? What did they leave behind, intentionally or accidentally?

You might be thinking that these are questions your protagonist needs to answer and you would be correct. But in order for the crime to be there, you have to be in ahead of your unsub.

After all, they are the ones who did the crime that you now have to solve. And trust me when I say not knowing everything they’re up to is a pain—when it comes to leading your protagonist to them.


Motive. Books and articles have been written on this subject (hey, look how many of those articles are mine!). And each and every time I start a mystery I spend hours—days—agonizing over why my unsub did it.

Criminal Minds has said motive doesn’t have to make sense to us, it only has to make sense to the killer.

Badge City: Notches is a good example of this, in my opinion. When figuring out my unsub’s motive, I spent a lot of time agonizing over why they were driven to eight little girls. At the end of the day, I realized that it might not make sense to everyone, my readers and protagonist included, but it made sense to them.

But the why can lend itself to some clues that your unsub might purposely or accidentally leave for your protagonist to find.

Leaving clues intentionally might tell you a bit about your unsub. Maybe they want to play a game with the protagonist and their organization. Or they honestly think they are smarter than them. Or that they are being witty. Either way, it’s a way to profile.

There were a lot of ORs or MAYBEs in that last paragraph. Because there are an almost infinite number of possibilities for you to discover and perhaps use.

Knowing who is also helpful. I’ll confess something to you. On the mystery I’m writing right now, I actually didn’t figure it out until I was halfway through and I’m actually still ironing out some of the details.

I do not recommend that route.

There is the well-known rule that you have to introduce your readers to the unsub at some early point. Some people do it in odd ways. They introduce them outright as a suspect or a bystander.

Both routes have their merits and it is up to you to decide which one you want to choose. But seriously, have your readers meet them. Because whether or not they want to admit it, they want to play the guessing game—and doing without introducing your killer reduces him or her to a deus ex machine.

One coin, two sides, and a whole lot of questions. But in the end, life is full of mysteries that can be fun to figure out as they come.

If Walls Could Talk: You’re So Vain You Think This Blog Is About You

M.H. Norris

Let’s face it: our characters are vain.

They want their stories told and perhaps have kept you up at night with rounds of “then this happened” or “what if this happened” and you just wished they’d shut up and let you sleep.

I’m working on one of The Science of Detection novellas and, being so close to James, I knew when he approached me about doing one that I couldn’t (or maybe wouldn’t is the right word) write a Holmes centric story. I didn’t trust myself to write The Master Detective to his standards.

So instead I had to create my own sleuth and I’ve found that she tweaks my writing style to suit her story, something I’ve never experienced before with a character.

When James sends a draft back to me, one of his notes usually tells me he think I should put more details into my story, give you more description. And I’ll admit that that is my weakest writing link. But Dr. Adelaide Baynes doesn’t let me have that weakness. Adelaide’s hero is Sherlock Holmes. She strives to be like him. Her dream is to solve cases. She has spent ten years developing the skills needed and building a reputation to rival his. She’s detail oriented. Everything needs to be written on notepads—and while she’s willing to admit she has a problem she’s not going to do anything about that. It’s safe to say she’s unlike any character I’ve written.

I’ll admit, my various leading ladies tend to take odd traits from me because it gives me a gateway of sorts into their heads. Rosella and Adelaide both have this ability to read people, something they got from me.  There are other traits, this and that and some things get exaggerated, and it’s fun to see a little piece of me in them.

I’ve talked a lot about characters and as I’ve said many times, if you do not put time and effort into your characters, your story will fall short. Also, not talking the time to figure out not only what they look like and bits of their personality but their aspirations, their motivations, their hopes, dreams, fears, goals makes them fall flat.

And I’ll admit sometimes it takes a while to get into their heads. Sometimes you have to write a bit of the story to help you find them, find their voice.

Don’t give up.

Your story will improve greatly if your characters are well-developed. Characters who are flat, boring, and/or don’t grow tend to have people pointing this out and finding all the holes, or taking to fanfiction to give the characters the attention they think they deserved.

Maybe that’s a bit extreme, but you get my point. There are reasons there are entire websites who talk about characters, books, articles, shoot even several posts here.

We all need a hero, someone to root for. We need people to love, people to trust and believe in.  Reading can be a form of escape and people find friends inside the pages of books. We want to come back time and time again to visit our friends and learn something new about them.

The best characters are the ones where the author let’s the character run the show a bit.

One of my favorite experiences as a writer is when I get so in touch with my characters that they start to help me tell their stories. Sometimes, I get so involved with a scene that my characters start to take it directions I wouldn’t expect but help to make it a stronger story.

Not only is the character allowed to come alive, they can help you get past a hurdle in a story and sometimes, especially with mysteries, they might help lead you to your next lead.

The World of the Wall

  • Hannah Lackoff’s collection, After the World Ended, has just come out. Watch out for my interview with her, coming soon! You can get her book here on 18thWall Productions, and also on Amazon.

The world is a museum of fragile, curious things.

In this collection of eighteen of her very best stories, Hannah Lackoff takes you on a guided tour of the marvelous: a ranch which held out, for years, believing the apocalypse had consumed the world (and the man who discovered them); twin sisters inseparable by eye or death; the life of a queen and the many lives of a mirror, mirror on the wall; wrong numbers on the restaurant wall and a small cabin in the woods, near your home, where the dead never dare to stay dead.

Hannah Lackoff, like so many great authors before her, settles in with the bones with old stories, clichéd tales, and urban legends and builds them into her exhibits. They are alive again, and demand your attention.

Step into her museum, won’t you?

After the World Ended_Kindle

The Horror Crossover Encyclopedia: This Island Earth

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!

This Island Earth


Release Date: June 1, 1955 (Contemporary Setting)

Series: This Island Earth

Horror Crosses: Mihmiverse; The Works of Robert Rankin

Non-Horror Crosses: Doctor Who; UHF; Borderlands; Mystery Science Theater 3000; ReBoot; Looney Tunes; A Great Moon Hoax; Arena

The Story: Aliens from Metaluna are abducting scientists to aid in their battle against another world.

Notes: As with most public alien invasions or giant monster attacks, the government and private concerns are able to cover up the events. It helps that in the Horror Universe, people seem almost intentionally oblivious in the face of anything beyond their normal expectations of their world. This is more of a sci-fi film, but the Metaluna Mutant from this film was considered to be part of the Universal monsters combat series in Scary Monsters Magazine. In fact, it was that series that brought this film in. Though this is a Universal film, I still consider the Gill-Man to be the last of the famous Universal Monsters to be introduced. The Metaluna Mutant isn’t so famous, though this is still a fun film if you’re into 1950s sci-fi films. This film (and the written story it was based on) also introduces the interocitor (sometimes spelled interositer). It is an alien communication device that will appear again in Doctor Who, UHF, Borderlands 2, Mystery Science Theater 3000: The Movie, ReBoot, Looney Tunes: Back in Action, A Great Moon Hoax, Arena, Attack of the Moon Zombies, The Suburban Book of the Dead (Armageddon III: The Remake), and others. Later on, I will explain more about Doctor Who in the Horror Universe. UHF is a comedy that can still fit realistically in the Horror Universe. Borderlands is a game series that takes place on another planet. Mystery Science Theater takes place in the not too distant future of one possible alternate future. ReBoot takes place within a video game reality that is attached to the Horror Universe. See the entry on Looney Tunes: Back in Action for how I explain the Looney Tunes characters in the Horror Universe. Looney Tunes: Back in Action also has the Metaluna Mutant. A Great Moon Hoax is a short humorous sci-fi story by Ben Bova. Arena takes place in space in one possible future timeline. Attack of the Moon Zombies is part of a series of 1950s B style movies that are part of Christopher R. Mihm’s Mihmiverse, and now the Horror Universe as well. Robert Rankin is an author who uses the device in many of his works, including The Suburban Book of the Dead. Since the device is a recurring item in his works, it brings in all of his works. This film has been referenced and spoofed many times in other films and television.

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. You can listen to Robert’s crossover podcast right here.

If Walls Could Talk: Time Travel

M.H. Norris

There’s a lot of talk about time travel this week. It seems to be becoming a theme, and, as we know things, themes tend to come in threes. I decided to make this week’s blog post the third in the set.

What are the other two, you might ask?

  1. The TVCU crew interviewed the authors of So You Created a Wormhole. I even made a cameo as the guest host of the week. Let me take a second and brag on these guys. They spend a lot of time getting the show ready and talking things through. It was an honor to get to work with them for a week to get things ready and to talk time travel with people who enjoy it. You can listen to it here.
  2. Kairos Kore, a new podcast that focuses on time travel, aired its first episode yesterday. Hosted by yours truly, week to week I’ll be discussing various aspects of time travel from mechanics, to its place in popular media, to anything and everything temporal. You can listen to it here.

A few weeks ago, I mentioned the fact that I have a writing bucket list. Writing about time travel in it is high on the list. And, eventually, I plan to get to it.

But what are some things to look for when writing time travel?

We all have our story of when we fell in love with it. When I was young, I don’t think I realized just how in love with the subject I would fall. I was too young to notice paradoxes or inconsistencies, but the story of Marty McFly and Doc Brown is one I fell in love with.

When writing time travel, here are something things you need to consider.

Define Your Terms

This might seem obvious, but when writing your own time travel universe (or writing in someone else’s) you need to have your terms defined. Such as:

  • Paradox
  • Alternate Universe
  • Parallel World
  • Multiverse
  • Time

Some of these may seem obvious, but I know of people who spend a lot of time trying to determine these (myself included).  Knowing you have set meanings to these terms will help you when you are writing. Otherwise, you might find a paradox the size of Belgium in your book.

Know Your Method

Also may seem obvious but how are you getting to your temporal destination. DeLorean? Transdimensional Police Box? Hot Tub? Space Ship? Magic Stones in Scotland?

This method is yours for the choosing and you might not reveal everything, but you need to know all of the details. Knowing your stuff helps you to write.

Should your book blow up and be a best seller, nerds like me will come out of the woodwork and question your every temporal move. Make sure you can outsmart us (within the confines of your own universe, at least).

Know Your Rules

Can time be changed, or are travelers just observers? Can the same person have two versions in the same spacetime coordinates? How flexible is time? Are there fixed points?

All these things, and more, need to be figured out. They will come up (either in your book or when the nerds come with their crazy amount of questions).

After all, this is your universe and you should take great care in worldbuilding while working on your story. And, if you are breaking one of your rules, make sure you have a reason.

Be creative

I’ll admit, it’s this one that’s holding me up from cranking out a time travel epic. I’m trying to find a fun, unique concept that uses time travel and hasn’t been beaten to death. And trust me, that’s easier said than done.

Be creative when coming up with your premise. Cliches and Tropes are like landmines when it comes to time travel and you should take caution lest you step on one.

Don’t Let Anything Else Slide

Don’t let your characters, plot, writing quality, or any other element of craft fall through. Because you may think you can fall back on “Oh, look, I’m writing about time travel,” but Iit won’t work.

Make sure you have great writing, good characters, a solid world for them to live in, and a plot for your readers to love.

That being said, good luck and see you down the time line.

The World of the Wall:

  • 18thWall Productions has two podcasts currently out and running along. Stuff and Nonsense: Beyond Wonderland and Kairos Kore. Keep your eyes peeled here and on iTunes–more will be coming in the near future, and our podcast homepage will be launching soon.

If Walls Could Talk: The Pulp Ark New Pulp Awards

James Bojaciuk

M.H. was given a break this week. In my head, I fancied I’d know exactly what to write. Instead, I have paused over this blog post for days, stunned. Words resist me.

Thanks to you~thanks to each and every one of you~18thWall Productions had an excellent showing at the Pulp Ark New Pulp Awards. You didn’t just vote for us, you voted for us with enough force that we won, and won in significant categories. Thanks to you, J Patrick Allen and From the Dragon Lord’s Library: Volume 1 were chosen for best short story, and thanks to you Morgan Fitzsimons’ cover for From the Dragon Lord’s Library: Volume 2 was named best cover.

As much as I could climb on my soapbox and crow about how great Nicole is at curating collections (and she is), and how great J Patrick is at writing (and he is), and how great Morgan is at her art (and she is), and how great a publisher I am (I flatter myself to think so)…that approach doesn’t feel right.

We didn’t give these awards to ourselves. You saw something in our work, and you remembered it until voting started~months later. You gave us these awards. This was your work, and your effort.

Thank you, on behalf of myself, Ben, and all of 18thWall Productions. We’ll do our best to make this year even more rich in reading pleasure~all for you.

If you’re new to 18thWall Productions, and you want to get a taste of what we do here and why people chose to give us an award, we’re running a special Get Acquainted with 18thWall sale.

Until May 2nd, From the Dragon Lord’s Library: Volume 1 and Volume 2 will be available at 50% off. Our big winners will also be represented in another way–Nicole Petit’s The Dragon Lord’s Secretary (featuring a cover by Morgan) will be 25% off, and J. Patrick Allen’s novel Dead West: West of Pale will be 25% as well. If you liked their award-winning work, be sure to pick up these novels. Both novels spin directly or indirectly out of From the Dragon Lord’s Library.

While you’re at it, feel free to pick up a copy of The Return: A Novella of Sherlock Holmes, which is permanently free for your enjoyment.

If you’d like even more of our award-winners, you can find Nicole Petit on the web here (and listen to an interview with her here), find J. Patrick Allen here, and Morgan Fitzsimons here.

[Please note that this sale is exclusive to 18thWall Productions’ online store, and that our online store can only serve customers in North America.]