The Next Big Thing

I have been tagged by author/editor A.C. Wise to participate in The Next Big Thing, which is growing so exponentially that soon no one will remember where it began…which I already don’t. But on to the Q&A portion of the program.

Ten Interview Questions for The Next Big Thing

1. What is the title of your Work in Progress?  

DARK HOUSE.

2. Where did the idea come from for the book? 

A conversation with screenwriter Joe Gangemi, which in turn came from a conversation he had with two producers at Lionsgate. They were interested in doing a film about a haunted White House. He asked me if I would be interested in writing such a book–at that point no particular presidency had been selected. (Joe and I had both rejected Lincoln.) So I started researching, and found the perfect White House situation.

3. What genre does your book fall under?

Historical thriller.

4. Which actors would you choose to play your characters in a movie rendition?

This is always fun to think about.  David Strathairn would be my choice for President John Tyler; there’s a physical resemblance there, and I had him in mind throughout. Omari Hardwick or Laz Alonzo perhaps for the main character, James Christian. His is going to be a tough slot to fill. Colin Farrell was who I thought of while writing Martin Renehan, a “Frogtown” fireman who becomes one of the president’s bodyguards. I’d love to get Idris Elba and Keith David in there somewhere, too.  Keith David’s also my top choice for reader if there’s to be an audiobook.

5. What is a one-sentence synopsis of the book? 

Historical thriller set in the White House of 1841, where one president dies in office, and the next moves into a house haunted by ghosts and by something far more sinister. (the image is of my notebook cover for the project–don’t go looking for this in the bookstores…)

"Dark House"

6. Will your book be self-published or represented by an agency?

I’m not planning to self-publish anytime soon.

7. How long did it take you to write the first draft of the manuscript? 

Quite awhile. Initially there was a lot of researching to be done. Then I started out attempting it in an omniscient POV in order to fold in the true historical events; but after about 100 pages, I found that these historical episodes spiked out of the narrative rather than incorporating as they should. They were stopping the story dead every time they turned up. So I came at it again as a first person narration.  Overall, I guess the first draft probably took me a year.

8. What other books would you compare this story to in your genre?

One of my own, FITCHER’S BRIDES, which is set in 1848 in the Fingerlakes district of New York, and is a retelling of the Bluebeard fairy tale. And novels by Dan Simmons, Matthew Pearl, and maybe even a bit of Tim Powers, whom I greatly admire.

9. Who or what inspired you to write this book?

As I said, this gets laid on Joe Gangemi entirely.  I was minding my own business, working on a contemporary supernatural mystery series, kind of “The Thin Man meets Topper,” when this came along, derailing that pretty effectively.

10. What else about your book might pique the reader’s interest?

A lot of what’s in the book is true: the president was horribly unpopular with the Congress, and mobs attacked the White House, which forced him to create a team of “doormen”–becoming the first iteration of the Secret Service. The house itself was in the state of a Halloween exhibit. Charles Dickens (who plays a small but critical part in the book) described it in fairly horrific detail when he arrived there in 1842.

Include the link of who tagged you and this explanation for the people you have tagged.

A.C. Wise is entirely responsible, although I gather the “game” of the Next Big Thing has come through some other luminaries–writers like: Donna Galanti and Lucas Mangum.

Starship Sofa Presents “The Seals of New R’lyeh

That’s right, I’ve been tricked into narrating one of my own stories. Can you believe it?  Here’s the full rundown on the Starship Sofa edition:

StarShipSofa No 255 Gregory Frost Benjamin Rosenbaum

September 12, 2012 by Tony C. Smith
 

Coming Up

Short Story: Angry Child by Benjamin Rosenbaum 03:00

Main Fiction: The Seals of New R’lyeh by Gregory Frost 10:00

Promo: Cheapskates Host 40:00

Fact: Poetry Planet by Diane Severson 45:00

First Chapters: The Mechanikals, Book 1: The Apprentice by John Dodds

Narrators: Bob Hoe, Gregory Frost

Daily Science Fiction

Podcast: Play in new window | Download

DEAD CAN STILL DANCE

If I must find an adjective for Sunday night’s concert by the reformed Dead Can Dance at the Kimmel Center in Philadelphia, it is “rapturous.”  A hall that ended up packed (some people obviously thought the opening act by David Kuckhermann, a member of the troupe who specializes in the percussive Swiss instrument, the Hang, would last at least 45 minutes or an hour instead of 20 minutes). 

Brendan Perry and Lisa Gerrard were in fine, fine voice, and the other four musicians nailed every single moment, hit every note, thundered through Middle Eastern, African, Greek, and who knows how many other rhythms and flows of sound.  They performed their new album, Anastasis, in its entirety. (The word is Greek for “resurrection,” which seems most fitting for this incarnation of DCD.) Afterwards they slid through everything from Perry’s definitive “The Ubiquitous Mr. Lovegrove” to Gerrard’s transcendant theme from the film Gladiator.

As well as Kuckhermann’s versatile percussion, there was Astrid Williamson on keyboards and backing vocals, who did stellar work deserving a lot of praise. She’s working in the shadow of the artistry of Gerrard, so I want to give her a lot of praise for her contributions. Likewise James Maxwell and Dan Gresson (keyboards and percussion respectively) made the stage explode behind Lisa Gerrard and Brendan Perry.

Perry has a vaguely sinister humor, at one point in the darkness and silence simply saying, “Boo!” to the crowd.  Gerrard, dressed if anything like Eleanor of Aquitaine, did not speak a single word outside of her remarkable glossolalia until the very last moment of the concert–after the third encore.  And that should tell you just how much the entire hall was in thrall to Dead Can Dance.

Me, too.

Image