rules - three

Sundog Rising!

Reflections on living the life literary by the Urban Sundog

Twenty-Eight Hot Tips of Practical Advice! From the Masters!

1.     Virginia Woolf — Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.

2.     G.K. Chesterton — I owe my success to having listened respectfully to the very best advice, and then going away and doing the exact opposite.

3.     Neil Gaiman — Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

4.     Enid Bagnold — Who wants to become a writer? And why? Because it’s the answer to everything. … It’s the streaming reason for living. To note, to pin down, to build up, to create, to be astonished at nothing, to cherish the oddities, to let nothing go down the drain, to make something, to make a great flower out of life, even if it’s a cactus.

5.     William Stafford — Every day I get up and look out the window, and something occurs to me. Something always occurs to me. And if it doesn’t, I just lower my standards.

6.     Ray Bradbury — Quantity produces quality. If you only write a few things, you’re doomed.

7.     Margaret Atwood — If I waited for perfection, I would never write a word.

8.     Octavia Butler — You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.

9.     Rose Tremain — Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.

10.     Anton Chekhov — Don’t tell me the moon is shining; show me the glint of light on broken glass.

11.     Michael Moorcock — Carrot and stick – have protagonists pursued (by an obsession or a villain) and pursuing (idea, object, person, mystery).

12.     Gore Vidal — Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. … I have 10 or so, and that’s a lot. As you get older, you become more skillful at casting them.

13.     Rose Tremain — Respect the way characters may change once they’ve got 50 pages of life in them. Revisit your plan at this stage and see whether certain things have to be altered to take account of these changes.

14.     Toni Morrison — You rely on a sentence to say more than the denotation and the connotation; you revel in the smoke that the words send up.

15.     Saul Bellow — You never have to change anything you got up in the middle of the night to write.

16.     William Burroughs — Cheat your landlord if you can and must, but do not try to shortchange the Muse. It cannot be done. You can’t fake quality any more than you can fake a good meal.

17.     Tom Clancy — I do not over-intellectualize the production process. I try to keep it simple: Tell the damned story.

18.     James Patterson — I’m always pretending that I’m sitting across from somebody. I’m telling them a story, and I don’t want them to get up until it’s finished.

19.     Ernest Hemingway — There is nothing to writing. All you do is sit down at a typewriter and bleed.

20.     Annie Dillard — spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place.

21.     E.L. Doctorow — Writing a novel is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.

22.     John Steinbeck — Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day

23.     T.S. Eliot — Immature poets imitate. Mature poets steal.

24.     Doris Lessing — There are no laws for the novel. There never have been, nor can there ever be.

25.     Gertrude Stein — To write is to write is to write is to write is to write is to write is to write is to write.

26.     Larry King — Write. Rewrite. When not writing or rewriting, read. I know of no shortcuts.

27.     Annie Dillard — It is no less difficult to write sentences in a recipe than sentences in Moby-Dick. So you might as well write Moby-Dick.

28.     Carl Sandburg — Beware of advice—even this.

Next Week: A Last Look at Rules

***************

REALITY FICTION AND BEYOND!

This week:

Theda Bara’s winning novelletta comes to life! Read Chapter One and Chapter Two of Thirty-One Across this Friday at:

http://realficone.blogspot.ca/

And just for the record, the Reality Fiction Too! finale drew the largest one week audience to the Reality Fiction blog in its year and a half history. Thank you to everyone who made it an actual event!

rules - two

Sundog Rising!

Reflections on living the life literary by the Urban Sundog

Other Writers’ Rules …

I swear I’ve been in at least four different writing seminars where the person conducting the session told us “Elmore Leonard’s first rule of writing is never use adjectives!”

But did Elmore really say that?

Let’s take a look at Elmore Leonard’s genuine list of rules for writing:

      Never open a book with weather.

     Avoid prologues.

     Never use a verb other than "said" to carry dialogue.

     Never use an adverb to modify the verb "said”…he admonished gravely.

     Keep your exclamation points under control. You are allowed no more than two or 

               three per 100,000 words of prose. 

     Never use the words "suddenly" or "all hell broke loose."

     Use regional dialect, patois, sparingly.

     Avoid detailed descriptions of characters.

     Don't go into great detail describing places and things.

     Try to leave out the part that readers tend to skip.

and above all …

     If it sounds like writing, rewrite it.

Well! He certainly says to avoid “detailed” descriptions, and never to use adverbs to modify the particular verb “said”. But nowhere does he say never to use adjectives. Just use them intelligently in a way that won’t bore readers.

And how about that final and most important rule? If it sounds like writing, rewrite it.

Yeah!

What does writing sound like?

Maybe George Orwell has the answer, in his list of rules:

      Never use a metaphor, simile or other figure of speech which you are used to seeing 

                in print.

     Never use a long word where a short one will do.

     If it is possible to cut a word out, always cut it out.

     Never use the passive where you can use the active.

     Never use a foreign phrase, a scientific word or a jargon word if you can think of an 

               everyday English equivalent.

and above all …

     Break any of these rules sooner than say anything outright barbarous.

I’m hearing a lot of common sense in both these sets of rules. Be spare, stick to the point, respect your reader, don’t indulge yourself, and if your writing is full of clichés, then it probably sounds like writing. And you don’t want that.

Although what writing sounds like when it doesn’t sound like writing is still a bit of a mystery to me … Does writing that doesn’t sound like writing sound like Elmore Leonard? Or are there a few other hats we might toss into the ring here yet? How about …

Oh, I don’t know, maybe Kurt Vonnegut! One time icon of my generation! Here’s Kurt’s list:

     Use the time of a total stranger in such a way that he or she will not feel the time 

               was wasted.

     Give the reader at least one character he or she can root for.

     Every character should want something, even if it is only a glass of water.

     Every sentence must do one of two things — reveal character or advance the action.

     Start as close to the end as possible.

     Be a sadist. No matter how sweet and innocent your leading characters, make awful 

               things happen to them — in order that the reader may see what they are made 

               of.

     Write to please just one person. If you open a window and make love to the world, so 

               to speak, your story will get pneumonia.

     Give your readers as much information as possible as soon as possible. To heck with 

               suspense. Readers should have such complete understanding of what is going 

               on, where and why, that they could finish the story themselves, should 

               cockroaches eat the last few pages.

All right …

Once again, some excellent advice. Much respect for the reader, I couldn’t agree more. But don’t try to please everyone. Have characters that are worth cheering for. Give them desires and problems people can see them test themselves against, I like that bit.

But … give up suspense? Entirely? Tell them the whole story in the first chapter, if you can?

Then why would they want to read the rest of the book!

To be honest, I’m not that worried about cockroaches eating the last pages. Especially if people are reading my stuff on the computer. So let’s see if I can sum up what I’ve learned here.

Your writing shouldn’t sound like writing. It should sound like Elmore Leonard.

Break every rule you’ve read if using them means you’re going to end up saying something ridiculous. Hence, why rules I wonder?

Throw everything at the reader as soon as possible, so they can fill in the rest of the blanks without necessarily having to read the rest of the book.

I can’t tell if these guys are losing themselves in the details or really providing something that might work. If they really followed these rules, then the lists did work for them personally no doubt. But is there, I don’t know, a somewhat more holistic approach that might be beneficial to everyone? Let’s try one more. As holistic a writer in his approach as you’re going to get.

Jack Kerouac:

     Scribbled secret notebooks, and wild typewritten pages, for yr own joy

     Submissive to everything, open, listening

     Try never get drunk outside yr own house

     Be in love with yr life

     Something that you feel will find its own form

     Be crazy dumbsaint of the mind

     Blow as deep as you want to blow

     Write what you want bottomless from bottom of the mind

     The unspeakable visions of the individual

     No time for poetry but exactly what is

     Visionary tics shivering in the chest

     In tranced fixation dreaming upon object before you

     Remove literary, grammatical and syntactical inhibition

     Like Proust be an old teahead of time

     Telling the true story of the world in interior monolog

     The jewel center of interest is the eye within the eye

     Write in recollection and amazement for yourself

     Work from pithy middle eye out, swimming in language sea

     Accept loss forever

     Believe in the holy contour of life

     Struggle to sketch the flow that already exists intact in mind

     Don’t think of words when you stop but to see picture better

     Keep track of every day the date emblazoned in yr morning

     No fear or shame in the dignity of yr experience, language & knowledge

     Write for the world to read and see yr exact pictures of it

     Bookmovie is the movie in words, the visual American form

     In praise of Character in the Bleak inhuman Loneliness

     Composing wild, undisciplined, pure, coming in from under, crazier the better

     You’re a Genius all the time

     Writer-Director of Earthly movies Sponsored & Angeled in Heaven

Hey. It doesn’t sound like writing.

Next Week: Even More Rules

**********

REALITY FICTION!

What comes next?

That’s the question to be answered this Friday at:

http://realficone.blogspot.ca/

Reality Fiction and Reality Fiction Too! have come to an end. So does the winner of Reality Fiction Too! actually get her prize? A full length story with that character at the centre of it? And what finally did happen with the winner of Reality Fiction One, for that matter?

Rules - One

Sundog Rising!

Reflections on living the life literary by the Urban Sundog

Revisiting My Seven Rules of Writing …

Way back in what feels like another lifetime and was certainly a different century, I sat down one day and established what I immodestly announced to be “A Declaration of Principles”. Nothing to do with ethics, I wasn’t that full of myself. No, these were what I decided were going to be my Seven Primary Rules of Writing, from now on. Directions to inform and keep my creative mindset where I thought it needed to be to produce some really good work. In my own unique voice.

How unique were these principles? How often did I apply them? Did they work? Some twenty-five years later, after enough life crises to put the memory of ever having created such a declaration out of my mind, and writing more than ever, the fact that I had once made a list of such things did fleetingly flit through my memory. Cool, I thought. I wonder what I said?

I might not have remembered what was on the list, but at least I did recall enough to know where to find the list. To my pleasure, I was able to print out a copy within minutes of conceiving the idea of checking them out. Now here’s the chance to see how they’ve actually worked for me. And whether or not I still consider any such principles to continue to be worth basing my art upon.

In all its possibly misconceived glory — because anyone who’s really done it will tell you there are no rules to writing — here’s my earlier conception of what should work best in my own writing, compiled at a time when I felt I had learned my craft and was ready to start being truly serious about the whole thing …

A Declaration of Principles (circa 1988-1989)

1.    Write with the certainty that you will be read.

2.     Write with sufficient craft that what you write will always read well.

3.     Within the contexts of points 1 and 2, always write to please yourself.

4.     As much as possible, do not write from motivations of inadequacy and disillusionment.

5.     Make certain point 4 is reflected in your characters.

6.     Never take your writing or yourself too seriously.

7.     Stylistically, aim for an infusion of conviction, shape and energy in every line you write.

Whoo …

Let’s take a look at these one by one to see where they came from and where they got me.

1.   Write with the certainty that you will be read.

Totally agree with that one. While there is no better therapy than writing to work out what’s wrong with your life, a lot of that sort of thing really is just for yourself. If you decide to take on writing as an art, a discipline requiring craft as well as meaning, you have to start writing always with the thought that there is an audience larger than just you out there for whatever you put pen to paper for. That doesn’t mean you stop writing about yourself. You just start finding a vocabulary for your emotions, instead of using your emotions as your vocabulary. One that you can shape with other facets of the writer’s trade into work that will appeal to other sensibilities than your own. I’ve stuck with this one.

2.     Write with sufficient craft that what you write will always read well.

I’m not sure that sentence actually reads well, but I get the gist. And I still agree. When you’re only writing for yourself, you’re only really enjoying the buzz, the thrill of the story pouring out of you. Contrary to what you like to think in that state, not every sentence spills out perfectly. Once you decide you want other people to read what you write, you have to start taking editing seriously. Other people need grammar and proper spelling at the very least for your message to get across. Not to mention every other aspect of the craft a good writer employs to make her or his work enjoyable.

3.     Within the contexts of points 1 and 2, always write to please yourself.

Let’s interpret this. Write with an audience other than yourself in mind, write well so that audience will enjoy what you write for them, but please yourself first.

Yup. I definitely still agree with that.

I tried bending where people wanted me to go, writing what others were directing the flow of. It was always bad. So I realized at some point, that if I don’t like what I’m writing first myself, it’s not likely to appeal to anyone else either, is it? From that moment on I adjusted how I approached the material I had to write for directed assignments, and the results were always more enjoyable for all involved. If the job hasn’t been done right to satisfy me first, it’s not going out.

4.     As much as possible, do not write from motivations of inadequacy and disillusionment.

I remember where this one came from. I spent a morning going through the fiction section of Burton Lysecki’s used book store, and it struck me that ninety-five percent of all novels were about totally miserable losers. Obviously not written by happy people. Not much of a leap from what I was trying to get away from in Point Number One, actually. People still writing primarily for themselves.

So I still think this is a good point to keep in mind, but I wouldn’t be so whole heartedly restrictive about it anymore. Miserable things do happen to people. If you don’t reflect that in your writing, you’re not being realistic about the world.

But I still think you’re making a big mistake if all you do is wallow in it. Sharing your pain isn’t always the same thing as sharing your art.

5.     Make certain point 4 is reflected in your characters.

Again, I wouldn’t be so restrictive. I think people would prefer to read about characters who aren’t constantly plagued by feelings of inadequacy and disillusionment. But you’ve got to have a few of them in there, just to balance things out. Don’t let them dominate the book though. Even your positive central characters have to go through some misery and doubt for there to be much of a plot, but be careful how you choose to have everything play out. Again, the no wallowing rule still stands.

6.     Never take your writing or yourself too seriously.

Says the guy writing “A Declaration of Principles”. There’s always room to make fun of yourself and what you’re doing. And I’ll like you and what you’re doing better for it.

7.     Stylistically, aim for an infusion of conviction, shape and energy in every line you write.

Oh, I stand by this one. And it’s the most bloody difficult one to carry off too. I got it from something George Balanchine said, actually. He was talking about ballet choreography, but I think the three principles apply to any art form. If you can carry out those aims in what you’re crafting, you are accomplishing a lot.

So in quick review, I would have to say not only do I essentially stand by these principles as a whole, I think I’ve actually managed to apply their essence, even without the list in so many words hung on the wall staring me in the face the whole time. That’s good. These sort of things are most effective when internalized.

Would I add anything, twenty-five years later? Yup.

Don’t lose your sense of humour. Ever.

Never be discouraged if you don’t find your audience right away.

Never be afraid to say what you want to say. You might never have the chance again.

And most importantly of all, never hold back when it comes to creativity. Go wherever your imagination takes you. Keep your mind open to sheer invention and experimentation at all times. Because as I said at the beginning — There, are, no, rules.

Next Week: More Rules

*******

REALITY FICTION UPDATE!

And what is Reality Fiction, you may well ask?

Simple. The concept of the Reality Television Series translated to the printed page. 40 characters from my backlog of generally unpublished material are gathered together to compete in a different theme each Episode, with one or two characters being eliminated each sequence until there are only two left to fight it out in the final. The winner gets a short novel of their own as the grand prize.

But somehow, things always seem to go horribly wrong ...

What’s happening now? 

THE END IS HERE!

The First Instalment of Reality Fiction Too! went up Friday, June 7th, 2013, and now, almost one year later, the Last Instalment will post on Tuesday, May 20th of 2014!

The final two Contestants have been named! Natalie Von Boehm, the shapeshifting Intruder has connived her way into the last Episode! And the three of them will battle it out to see who gets to be the star of the next feature posted on the Reality Fiction blog!

Live to tell your grandchildren you read it first! The preliminaries start on Friday, at:

http://realficone.blogspot.ca/

REALITY FICTION TOO! THE FULL EPISODES

EPISODE THIRTY:     BAILLIE

“You Wear A Bowtie, So I’ll Know You”

EPISODE TWENTY-NINE:     SWASHBUCKLER

“The Crimson Buckle”

EPISODE TWENTY-EIGHT:     LOVECRAFT

“The Small Paned Window”

EPISODE TWENTY-SEVEN:     GIANT INSECT

“That Was No Lady Bug! That Was My Wife!”

EPISODE TWENTY-SIX:     SUPERHERO

“The Professor Evil Sessions”

EPISODE TWENTY-FIVE:     JUNGLE ADVENTURE

“The Third Eye of the Many Legged Python”

EPISODE TWENTY-FOUR:     PULP FICTION

“The Red Moon of Pango Pango”

EPISODE TWENTY-THREE:     STREAM OF CONSCIOUSNESS

“The Imp of the Reverse”

EPISODE TWENTY-TWO:     FAIRY TALE

“Princess NoName”

EPISODE TWENTY-ONE:     THE WEDDING

“Dearly, Beloved”

EPISODE TWENTY:     EXISTENTIALISM

“Face the Hangman”

EPISODE NINETEEN:     ABDUCTION

“Abduction/Apperception”

EPISODE EIGHTEEN:     MELODRAMA

“Terror in Tarnation! A Thrilling Narrative in Three Acts”

EPISODE SEVENTEEN:     POETRY

“landescapes”

EPISODE SIXTEEN:     SILLY EUROPEAN SPY SPOOF (DUBBED)

“Diet Ray of the Stars!”

EPISODE FIFTEEN:     EROTIC SUPERNATURAL ROMANCE     

“The Shadow of Her Passion”

EPISODE FOURTEEN:     FLYING:

“Sky Calling”

EPISODE THIRTEEN:     SLAPSTICK:

“The Phantom of the Werewolf”

EPISODE TWELVE:     DAIRY FARMING:

“Early One Morning”

EPISODE ELEVEN:     BURROUGHS:

“Chapter Nine”

EPISODE TEN:     WEREWOLVES:

“The Silver Solution”

EPISODE NINE:     WRESTLING:

“Suckerslam XIV”

EPISODE EIGHT:     JANE AUSTEN ROMANCE:

“The Proud and the Senseless”

EPISODE SEVEN:     THE JAZZ AGE:

“The Bucky-Dusky-Ruby Red Hop!”

EPISODE SIX:     SUBMISSION:

“Re-Org”

EPISODE FIVE:     MASQUERADE:

“The Eyes Behind the Mask”

EPISODE FOUR:     SELF HELP:

“Sausage Stew for the Slightly Overweight Presents:

Some Several Suggestions Guaranteeing Success for the Mildly Neurotic”

EPISODE THREE:     NUDIST:

“If You Have To Ask ...”

EPISODE TWO:     FRENCH BEDROOM FARCE:

“Un Nuit a Fifi’s!”

EPISODE ONE:     STEAMPUNK:

“The Chase of the Purple Squid!”

A J.H.B. Original!

best judge

Sundog Rising!

Reflections on living the life literary by the Urban Sundog

Can You Be the Judge of Your Own Best Work?

Let’s face it. It’s all bloody wonderful when you’re in the process of writing it.

But what do you think of it reading it out loud a year after it’s finished?

Suddenly the problems with the general flow of the piece are so much more apparent, your word choice — or lack of — sticks out like a hitchhikers’ convention of sore thumbs, errors in grammar that slipped right by you the first four times you edited the story are abruptly obvious to the world, and you begin to wonder what was the point of this plot again anyway?

That’s a bit harsh, but not unreal. Things actually go two ways. I reread two years later a Jason Midnight novel I wrote at a time I desperately needed to write something, anything!, and discovered there was no suspense to speak of and the ending sequence was completely improbable. But then another time I discovered a file full of poems on the computer I had forgotten about and couldn’t believe how good they were, wondering who wrote them and why I couldn’t be bothered to put the writer’s name with such accomplished pieces. Until something finally twigged and I remembered I wrote them.

Judging anybody’s piece of writing is an extremely subjective process. Trying to evaluate your own stuff when all the surging waters of creativity are still running full in your mind obscuring the final product, can be next to impossible. Your expectations are shall we say … skewed?

As a rule, I try not to judge my own writing until enough time has passed for me to read it without remembering everything that comes next before I get to it. On the whole, I’m satisfied. The complete disasters and forgotten masterpieces are equally rare. I’m usually just pleased to discover hey, maybe it can use a little tightening or rephrasing here or there, but on the whole it tells a good story, with a little bit of style and genuine humour as well.

On the other hand, there are undeniably times when you’re still in the process of writing something and you just know it’s good. A step up from your usual efforts. Something that obsesses you so completely, it inhabits your every thought and breath until you get it down. Incredibly hard work and equally fulfilling from one end of the storytelling process to the other.

So it’s a bitch when other people read the piece finally and don’t react to it one way or the other. They’re not entirely in tune with the development of your writing process, they don’t know that you’ve magically taken a step forward. All they’re doing is deciding whether they like the story or not. At that particular moment in their lives.

This sort of experience seems to invariably occur at the same time you discover a call for a piece with a very specific theme for some anthology or other, that you do just happen to have an example of in the work you’ve done in the recent past. Except you were convinced from the first that that was one of your more mediocre pieces. Nothing to compare to this piece you’ve just finished that you know is good. But it matches what’s being asked for so well you send it off anyway. And damned if the mediocre story doesn’t get published, while your self acknowledged masterpiece dwindles away into obscurity.

Maybe it’s not the piece you’d prefer to have out there, but you are still being read, and that’s always a good thing. So you’ve got nothing to complain about. Except … damn it, that latest story really is good!

But is it your best? Can you ever tell for sure, only on your own?

Deep Purple apparently thought “Never Before” was going to be the big hit off of Machine Head. Not “Smoke on the Water”. Lou Reed thought “Walk on the Wild Side” was just another track. Thomas Hardy remained convinced until the day he died that his real talent lay in poetry, not in writing novels.

I believe there has to come a day in your development as a writer when you can step back and become an objective enough judge of your own work to know when the story is being crafted correctly, there is a style apparent, and a point is being made. And what’s more it’s your point and you have every right to stand up for it even if other people are having difficulty with it. You should be able to work with an intelligent reader to clarify your expression of what you’re meaning to say if necessary, but hold firm to what you know you mean. If you don’t satisfy yourself first, you’ll never satisfy any other reader.

Then you’ll just have to learn to live with the stuff you know is really good not finding its proper audience immediately. But never let it drop in your own good opinion in the meantime.

And if something you thought was just another piece of writing turns out to find popular acclaim with a wider audience than you ever imagined something like that reaching? Ride it for all its worth! We should all be so lucky.

Doo doo doo doo doo doo doo doo doo doo doo doo

*******

REALITY FICTION UPDATE!

And what is Reality Fiction, you may well ask?

Simple. The concept of the Reality Television Series translated to the printed page. 40 characters from my backlog of generally unpublished material are gathered together to compete in a different theme each Episode, with one or two characters being eliminated each sequence until there are only two left to fight it out in the final. The winner gets a short novel of their own as the grand prize.

But somehow, things always seem to go horribly wrong ...

What’s happening now? 

There’s only one qualifying Episode left … Episode Twenty-Nine: Swashbuckler. With four Contestants still in the running, but only two will advance to the finale, fast approaching. Who will it be? Scintillisha Evans-Holyrood, the Steampunk adventuress and tea shoppe owner has got her sight back and is at the top of the pack. Shadewulf, the Green and Black Warrior is coming in off a win in Episode Twenty-Eight, and looks more fearsome than ever. The long-lasting Theda Bara is still there, the original Reality Fiction Contestant who was the first to appear way back in Episode One of Reality Fiction One. And finally, there is John T. Longhorn, the original JHB character, created when the author was in Grade Five and probably his most eternal hero. But with his mind blasted by an experience of too much Lovecraft last time out. Who will survive? Find out starting Friday, at:

http://realficone.blogspot.ca/

REALITY FICTION TOO! EPISODES TO DATE

EPISODE TWENTY-EIGHT:     LOVECRAFT

“The Small Paned Window”

EPISODE TWENTY-SEVEN:     GIANT INSECT

“That Was No Lady Bug! That Was My Wife!”

EPISODE TWENTY-SIX:     SUPERHERO

“The Professor Evil Sessions”

EPISODE TWENTY-FIVE:     JUNGLE ADVENTURE

“The Third Eye of the Many Legged Python”

EPISODE TWENTY-FOUR:     PULP FICTION

“The Red Moon of Pango Pango”

EPISODE TWENTY-THREE:     STREAM OF CONSCIOUSNESS

The Imp of the Reverse

EPISODE TWENTY-TWO:     FAIRY TALE

Princess NoName

EPISODE TWENTY-ONE:     THE WEDDING

Dearly, Beloved

EPISODE TWENTY:     EXISTENTIALISM

Face the Hangman

EPISODE NINETEEN:     ABDUCTION

Abduction/Apperception

EPISODE EIGHTEEN:     MELODRAMA

“Terror in Tarnation! A Thrilling Narrative in Three Acts”

EPISODE SEVENTEEN:     POETRY

“landescapes”

EPISODE SIXTEEN:     SILLY EUROPEAN SPY SPOOF (DUBBED)

“Diet Ray of the Stars!”

EPISODE FIFTEEN:     EROTIC SUPERNATURAL ROMANCE     

“The Shadow of Her Passion”

EPISODE FOURTEEN:     FLYING:

“Sky Calling”

EPISODE THIRTEEN:     SLAPSTICK:

“The Phantom of the Werewolf”

EPISODE TWELVE:     DAIRY FARMING:

“Early One Morning”

EPISODE ELEVEN:     BURROUGHS:

“Chapter Nine”

EPISODE TEN:     WEREWOLVES:

“The Silver Solution”

EPISODE NINE:     WRESTLING:

“Suckerslam XIV”

EPISODE EIGHT:     JANE AUSTEN ROMANCE:

“The Proud and the Senseless”

EPISODE SEVEN:     THE JAZZ AGE:

“The Bucky-Dusky-Ruby Red Hop!”

EPISODE SIX:     SUBMISSION:

“Re-Org”

EPISODE FIVE:     MASQUERADE:

“The Eyes Behind the Mask”

EPISODE FOUR:     SELF HELP:

“Sausage Stew for the Slightly Overweight Presents:

Some Several Suggestions Guaranteeing Success for the Mildly Neurotic”

EPISODE THREE:     NUDIST:

“If You Have To Ask ...”

EPISODE TWO:     FRENCH BEDROOM FARCE:

“Un Nuit a Fifi’s!”

EPISODE ONE:     STEAMPUNK:

“The Chase of the Purple Squid!”

A J.H.B. Original!