Monday, April 25, 2016

WHAT THE EXPERTS SAY: Jeff Musillo, Author, Visual Artist, Actor, and Director

Jeff Murillo, Author
Reviewers describe Jeff Musillo as a “prolific and eclectic author, who has the ability to surprise his audience with something completely new every time.” His latest novel, THE ETERNAL ECHO, is about a boy raised strictly with technology who turns into a “murderous monster—” a story without humor, because, Musillo says, he couldn’t fit any in. He both likes and dislikes technology.

In addition to writing novels, Musillo is also a visual artist, actor, and director. His paintings have been exhibited at more than twenty shows in NY and presented in a number of publications. His various films have premiered at several film festivals. He takes advantage of the benefits of each art form to express what he’s feeling. He’s currently working on a new story about the return of Jesus who no one knows is Jesus, resulting in his being treated as if he’s a homeless person. Musillo lives in Broklyn with his wife and family.

Q: Your latest novel, THE ETERNAL ECHO, described by reviewers as “both chilling and eye opening”, tells the story of a boy raised strictly by technology with disturbing results. How did you conceive of such a plot? Do you dislike and/or distrust technology?

Jeff Musillo: I have moments where I both like and dislike technology. I suppose I sometimes distrust it too. I usually find myself liking it though. There are plenty of positives with technology. Technology can be used to help spread the word on small businesses and artistic projects. It can help connect people from all over. It can also help shed light on areas that are contending with terrible struggles and deserve more attention. But then there are moments when I’m walking down the street and I keep getting bumped into people who can’t stop playing candy crush or something. Those are the times when I hate technology.

But with this book, at first, I wanted to make a story that was a bit more lighthearted. It just didn’t stay on that course. The more the protagonist developed the more he took control and guided the story to where it was supposed to go, which is into darkness and horror. It just so happened that the darkness and horror were connected with the misuse of technology by a complete madman.

Q: A reviewer says THE ETERNAL ECHO is “perfect balance between fiction/story telling and realism.” How do you assure readers that your story is credible, or believable? Does it matter?

Jeff Musillo: Believability is important to me. It’s what gives the reader something to truly clutch. With writing, the most important thing to me is making the characters recognizable and convincing, which in turn makes the entire story authentic. I think that starts with the language. It might be occasionally difficult, but it’s always best for a writer to dump their ego when they’re working on a story and do what’s best/normal/exciting not for themselves but for the actual character(s). By doing so, a writer might be taking themselves into unfamiliar and sometimes startling places, but it will be a place of genuineness.
Q: “Both main characters in this story are deeply flawed, and in them I see a lot of myself, especially with my own up bringing.” What makes your characters relatable in THE ETERNAL ECHO?

Jeff Musillo: Making relatable characters is all about how a writer approaches his or her story. I once heard Bryan Cranston in an interview talk about Walter White and, when asked about dealing with the sometimes contemptible nature of that character, Cranston said something about how it’s not his job to judge Walter White, but that it is his job to bring the character to life and maintain his existence in a way that Walter White would actually exist. It’s the same thing with creating and writing literary characters. The writer shouldn’t judge. The writer should ask, What would this character do next and why would this character do such a thing? By doing so, characters become fuller and more human.

Q: When you write, are you intending to strictly entertain your readers or do you want to deliver a message or two? Similarly, is your visual art intended to say something?

Jeff Musillo: It’s a little of both. When I write and when I paint I am the first audience member for the particular project. So I start writing and painting things I’d like to visualize. And then the story or the painting takes itself where it wants to go and I just follow. But I do believe someone who works in an artistic way is usually trying to say something – sometimes they’re saying something silly, sometimes they’re saying something significant. And sometimes, when everything is clicking, delivering a message and entertaining a reader can go hand in hand.

Q: THE ETERNAL ECHO is your fourth published novel, and you are also a visual artist, actor, and director. Do you prefer any of these creative outlets more than the other? Or does each of them produce a different sense of satisfaction?

Jeff Musillo: I boil everything down to Storytelling. There are of course different ways to tell a story. Through literature. Through film. Through visual arts. But I still look at it all simply as storytelling.

I view the brain as a cabinet. Somedays I want work on the novel, so I open that cabinet drawer. Other days I want to paint, and on those days I open the necessary drawer. This way it’s pretty much all part of the same thing, but it’s still separated and situated neatly.

Q: Your other novels fall into different genres. How do you select what stories you’ll write?

Jeff Musillo: It’s all about mood. This too I try to keep as simple as possible. If I feel like working the poem then I make a point to do so. If that’s not happening, maybe the short story will. I just try to keep my mind open to whatever mood might pop up. This way it always keeps the actual act of writing fresh and amusing.

Q: How valuable is humor to telling your stories and/or creating your characters?

Jeff Musillo: It’s funny, if you asked me that before I wrote THE ETERNAL ECHO I’d say that humor, even in trace amounts, is always essential to a story. I still believe that, for most stories, finding something funny to work with is not only enjoyable but also provides a major advantage to the story as a whole. While I was writing my other novel – THE EASE OF ACCESS – I found it important and entertaining to locate humorous moments. However, there is absolutely no levity in THE ETERNAL ECHO. I just couldn’t find any opening for a laugh. I don’t believe the story called for it. I suppose each story calls for its own thing. If a story should be dark, make it dark. If it should be funny, make it funny. But never force anything because that push will be obvious to the reader.

Q: Adjectives such as “unique,” “different,” “surprise,” “new” are used to describe your written works. What makes you look at the world askew and off center?

Jeff Musillo: See that’s the weird thing. I honestly believe I look at things in a normal way. And in conversations with others, I often feel like I’m the boring person. But when it’s all said and done, ever since I was kid, I’ve known what really interests me and all I can do is pursue those interests. I’ve never really thought about whether those interests are unique or typical. I’ve always just pursued what felt right.

Q: What’s next?

Jeff Musillo: I’m currently writing a story about the return of Jesus, but in this story no one knows he’s actually Jesus, so he’s treated almost as if he’s homeless as opposed to supernatural. I’m not sure yet if it’ll be a novel or a novella, but I’ve been having a good time working on it.

Q: Tell us about Jeff Musillo. What do you like to do when you’re not writing, painting, acting, or directing? I mean, what do you like to do for fun (assuming you have time)?

Jeff Musillo: That’s honestly it for me. That’s who I am. When I’m not doing those things I’m working a day job so I can eventually do those things. If you add hanging out with my wife and my family members to writing, painting, acting, directing, then you’ll get the whole picture. That’s everything there is to know about me.

About Jeff Musillo

Jeff Musillo is a writer, visual artist, actor, and director. He is the author of THE EASE OF ACCESS (2013), CAN YOU SEE THAT SOUND (The Operating System, 2014), SNAPSHOT AMERICANA (Roundfire Books, 2014) and THE ETERNAL ECHO (Strawberry Books, 2016). His paintings have been exhibited in over twenty shows around New York, and have been showcased in magazines in both the U.S. and Europe, including The Menteur in France, Arrow Magazine, and Aesthetics Magazine. His paintings were also in the feature film, In Case of Emergency. His work in film, as a screenwriter, director, and actor, has premiered at The Hoboken International Film Festival, The Jersey Shore Film Festival, and The Katra Film Series. His screenplay, In The Ring, is currently in pre-production and will be directed by Aaron Latham, who wrote Urban Cowboy and The Program. And he was recently cast in the HULU pilot, Shelter. He currently resides in Brooklyn, New York.

THE ETERNAL ECHO is a terrifying story, equal parts literary and horror. Doctor David Ravensdale is a madman who conducts an experiment by adopting a baby and raising him from infancy to adulthood, strictly by use of technology. The Good Doctor believes he is attempting to discover the key to the human psyche, and conducting one of the most significant experiments known to man. In actuality, he’s raising a murderous monster. THE ETERNAL ECHO is a millennial mix of Frankenstein and American Psycho. You will never look at your computer the same way again.


Monday, April 11, 2016

WHAT THE EXPERTS SAY: K. E. Mullins, Author

K.E. Mullins, Author
K. E. Mullins brings us the second book in her Team Ice series, featuring DEA Agent Anita Johnson, IN THE COMPANY OF STRANGERS. Mullins writes her characters to engage readers by making them people they can “relate to.” In addition to creating an entertaining story, Mullins remarks that she does intend to deliver a message, “You never truly know those around you.”

Retired from the Navy, Mullins currently lives in Gainesville, FL, where she works as a Navy Junior Reserve Officer Training Corps (NJROTC) instructor. In addition to IN THE COMPANY OF STRANGERS, she has also published a book of poetry THINKING ALOUD: DIMENSIONS OF FREE-VERSE and the first Agent Anita Johnson novel, THE FRIENDS AND FAMILY CONNECTION: GET UNPLUGGED. When she’s not writing, she is passionate about running and has completed two marathons. Her current goal is a triathlon, and she is working on the swimming. She expects to publish the third book in her trilogy in late 2016.

Q: IN THE COMPANY OF STRANGERS is your second book in the Team Ice series. What inspired you to create your protagonist, DEA Agent Anita Johnson, and her partner and boss? Do you have experience with the DEA?

K. E. Mullins: Yes, Joyce this is the second in the series. I was inspired by my first job after retiring from the Navy. It was a property management firm, privately owned and it had a lot of interesting people in the company. So, after I left working there, I decided they would make a good story. Anita was inspired by a good friend of mine that worked there, but she wasn’t a DEA agent. Chloe is my alter ego and her boss, well let’s say he’s just a combination of good looking intelligent guys I’ve come across over the years.

Q: How do your characters engage your readers? What will make readers care about your characters?

K. E. Mullins: My characters engage the readers because they are people they can relate to in some way or another. Anita is a type A personality. She never rests and is always thinking of ways to catch Gabrielle and the crew. She can be better described as the girl who’s first in the office and last to leave.  Elle on the other hand is ruthless and is all about her.

Q: Does the concept of hero versus villain apply to your story? Is your DEA agent a hero? What makes a hero? What makes a villain?

K. E. Mullins: My story does have heroes and villains, but not in the sense Anita is the good guy and Elle and Gabrielle are the bad guys. Although, Anita is the detective or good girl. Ellen plays a part in here and she is bad, but she in essence is good by eliminating a person in Chloe’s life. I don’t want to give it away. You’ll have to read the book to see what I’m referring to. So, to answer your question a hero can save the day and be viewed as good or bad. It depends on how you interpret their actions.

Q: Did you write IN THE COMPANY OF STRANGERS strictly to entertain, or did you embed some key messages in it for your readers?

K. E. Mullins: It was written to engage the readers and send a message. We are always in the company of strangers. You never truly know those around you.

Q: Were you able to use the setting in Washington, D.C. to help tell your story? Would it have been a different story if set in a different city?

K. E. Mullins: D.C. helped because it is fast paced and a lot going on. So, it helped the reader see the movement. As opposed to Gainesville, Fl or a smaller city. It wouldn’t propel the story or show the action as much.

Q: How helpful is humor to tell your story or create your characters?

K. E. Mullins: Humor helps lighten the mood and take the reader away from stressful situations taking place.

Q: What makes your story credible? How important is plausibility to engaging readers? What will make a reader stop reading a detective story?

K. E. Mullins: My story is fiction, however, there are a lot of facts that do take place in the story. It’s a combination of stories or events that have taken place in some setting or place. I do extensive research on subjects that are not my expertise such as drug rings. Additionally, most places that are in the stories I’ve lived in, which helps in the plausibility of the story.

I believe a reader will stop reading a story if they’ve been to a place and they find the areas described in a story incorrect or the actions taken by characters unbelievable.

Q: You have written and published poetry as well as your novels. Do you prefer one over the other? Are you able express yourself in different ways with the two approaches?

K. E. Mullins: I have written a book of poetry also. I prefer writing novels, but poetry is easier. But…I have to be in the mood to write poetry. I can’t sit down and write poetry for hours like I can do a fiction novel. For poetry, I have to have an event or mood to inspire me. In writing fiction…I become the characters. So, it’s easier to get them on paper.

Q:  What’s next?

K. E. Mullins: The final book in the Ice series.  I plan to complete it this month. I’m still stuck at the computer with Chloe.

Q: Tell us about K. E. Mullins. What do you like to do when you’re not writing?

K. E. Mullins: K.E. Mullins is an avid runner. I love doing races, my favorites are half marathons. I’ve done 2 marathons (the Marine Corps marathons), but I have no desire to do another. My ultimate goal is a Triathlon now, but I’m still working on the swim. Other than running…I’m busy with my Navy ROTC kids at school. They keep me busy throughout the year.

About K. E. Mullins

K.E. Mullins is retired from the Navy and currently works as a Navy Junior Reserve Officer Training Corps (NJROTC) Instructor in Gainesville, FL. She graduated from National University with an MBA in Finance and University of Central Florida with a Major in Marketing. Ms. Mullins is a Jacksonville, Florida native and has enjoyed reading and writing since her early childhood. She began her writing career while in the Navy by venturing into poetry.

 Her first poetry piece, “My One Last Cent,” was published in a literary journal, “Amistad,” in 2007 at Howard University. Currently, Ms. Mullins has published a book of poetry, THINKING ALOUD: DIMENSIONS OF FREE-VERSE; and two novels, THE FRIENDSAND FAMILY CONNECTION: GET UNPLUGGED and IN THE COMPANY OF STRANGERS (TEAM ICE Book 2) available on Amazon in paperback or Kindle.  She is currently finishing the last book in her fiction trilogy and expects the third novel, “Another Name for Revenge,” to be released by late 2016. Ms. Mullins was a winner of the NanoWrimo 2015 completing just over 50,000 words in 30 days. In addition to writing poetry, she has done spoken word venues in Urban Grind, Atlanta, GA, Busboys and Poets in Washington, D.C., and the Thomas Center, Gainesville, FL.

Detective Anita Johnson, the DEA agent from THE FRIENDS AND FAMILY CONNECTION: GET UNPLUGGED, is back—along with her partner Chloe and boss, Tseudo. Anita is close to capturing the suspects in question, Gabrielle, the alleged mastermind of the criminal operation, along with her team of ruthless prospects. They will have you in for the ride of your life as they weave in and out of scenarios avoiding the DEA, the local police and the FBI.





Twitter:  @jazypoet

Monday, April 4, 2016

WHAT THE EXPERTS SAY: Sarah K. Stephens, Author

Sarah K. Stephens, Author
"Boys" in Five on the Fifth
A Flash of Red
Sarah K. Stephens, a developmental psychologist and university lecturer, recently published her short story, Boys, in Five on the Fifth Literary Magazine. Stephens describes her story as a “commentary” on the lack of effectiveness of university “reporting systems” for campus sexual assaults.  She plans to release her first novel in the winter of 2016. A Flash of Red is a literary psychological thriller that concerns the effect on intimate relationships of the inability to separate what we want versus the reality of our lives.
She is currently working on her second novel, Dear Heart, set in the suburbs of northern Pennsylvania and Riga, Latvia in Eastern Europe. She also has several short stories underway, and values both novel and short story media.

When she’s not writing, Stephens enjoys spending time with her husband, playing cards with her children, traveling and baking cakes. She also is “addicted” to podcasts.

Don't miss the excerpt of Flash of Red following the interview.

Q: What caused you to write your short story, Boys, recently published in Five on the Fifth Literary Magazine?

Sarah K. Stephens: The beginning idea for this story came in response to students sharing their experiences of sexual victimization. As I was encountering more and more cases in my professional life as a university lecturer of young people describing their inability to complete coursework or function on campus as they coped with the effects of a rape or sexual assault, universities around the US were coming under scrutiny for their failures to adequately address these issues as part of remedying an unbalanced and, too often, unsafe campus culture. Boys was written in direct reaction to what I saw on my own university campus, along with those across the country. 

Many universities, including my own, have instituted an emergency alert system where all subscribers receive messages of emergencies on campus.  I signed up assuming it would be used in the case of campus threats, but from 2012 on it primarily became a medium for the university to notify subscribers that a sexual assault had occurred on campus. Rather than being a mechanism for addressing sexual violence on campus, it appeared to function solely as a reporting tool. As the messages piled up in my inbox, I started to worry, first, about the victims and what was being done to prevent sexual assault and to help survivors, but also about the potential for these messages to desensitize subscribers to the issue of sexual violence.  It felt like a superficial attempt to address a very serious issue of safety for students.

My story is a commentary on this reporting system and its potential for harming the cause of ending rape on campus. It examines three young men who proceed to kidnap a woman walking home from the university. They believe this woman witnessed them committing a minor traffic crime, and the plot proceeds from there, the alert system playing a major role throughout the story.

Q: You plan to release your first novel, A Flash of Red, in the winter 2016.  What can you tell us about it?  In what genre is it?

Sarah K. Stephens:  A Flash of Red is a literary psychological thriller.  It examines how our intimate relationships are affected when we lose the ability to discriminate the reality of our circumstances from what we desire our lives to be.  A Flash of Red revolves around three main characters: Anna and Sean, who are young married professionals, and Bard, who is a university student in one of Anna’s courses. Each of them struggles with their own personal disconnections from reality—Anna’s and Bard’s stem potentially from mental health issues, whereas Sean’s is a coping tool to deal with his crumbling marriage to Anna.  Throughout the book, these characters become further intertwined until all three must face the truth of what their lives have become, and the part they each played in destroying what they once had.

Q: Do you prefer writing short stories or novels? Do you see an advantage to both?

Sarah K. Stephens: I enjoy writing both.  Often, after working on a novel manuscript for a while my mind needs a break from the extended threads of characters and plot that are necessary for writing an engaging novel. I have a notebook where I write down ideas that come to me, and many of these are small observations about human connection or the complexities of navigating our social world.  These ideas might not lend themselves well to a full novel, but are approachable in the shorter format of a story. Short stories offer a way for me to express an idea without the commitment necessary for a novel. It’s a joy to be able to switch between both modes, depending on what is inspiring me that particular day.     

Q: How relevant is your career as a development psychologist to your stories?  Is fiction a helpful method to explain psychological issues or problems that you see?

Sarah K. Stephens: I feel as though my training in psychology plays a foundational role in all of my writing.  Not necessarily in regards to mental health, although that is certainly a strong current in A Flashof Red, but also just in the powers of observing human behavior.  I am a behaviorist by training, which means that my skills are focused on examining reinforcement and punishment experiences and how those shape our interactions with each other and our environments. Being able to step back and see how our relational history can shape our future behaviors certainly helps me in creating whole and rich characters, along with a driving plot. Humans are the products of our developmental pasts, and I enjoy using my writing to examine how what happened yesterday, or a year ago, or in our childhood even, shapes our future choices, both as individuals and as relationship partners.  

Q: Do you use humor either in your short story or novel to help develop your characters or tell your story?  How helpful is it?

Sarah K. Stephens: As a writer, I think the humor I use is subtle and rather dry. There is definitely a sardonic atmosphere to Anna’s character, who has strong opinions about her own achievements and how they compare to those of her colleagues, her husband, and her friends.  Within my short stories, so far at least, the humor I offer is more often one that shares an alternate side with sadness.  Some of my characters seem to use humor as a way to distance themselves from the discomfort they’ve created in their own lives—it becomes a protective technique, rather than one of celebration. 

Q: Why will readers engage with your characters? Does the concept of heroes vs villains apply to your stories? Does a villain have to be a person or can mental illness itself be classified as a villain?

Sarah K. Stephens: Throughout A Flash of Red, all three characters fluctuate between ethical and unethical behavior in their interactions with each other and with others.  I think Anna, Sean, and Bard all represent the complexity of human nature—how we can be empathetic one moment and then flip into an entirely selfish repertoire the next.  Anna in particular prides herself on her ability to care for and be considerate of others, but often this compassion is fueled by self-interest.  I feel this pressure to reconcile our self-focus with our love for others is a conflict most human beings struggle with. Within my field of developmental psychology, there is a long-running debate about whether humans can ever engage in a truly altruistic act—that our actions are always seated in some form of self-preservation. In that sense, we all function as heroes and villains at different points in our daily lives. 

As for mental illness, I wouldn’t classify it as a villain any more than I would classify a more traditional physiological ailment as villainous.  Mental disorders are a fact of our neurology and are often grounded in our genetics and/or the physical functioning of our brains. I suppose I am most interested, not in the villainous tendencies of ill individuals, but rather in how our state of mental health (or lack thereof) can shade our interpretations of our daily lives, and ultimately contribute to poor and sometimes dangerous judgments in our actions.       

Q:  You have described A Flash of Red as a literary thriller. How do you create the suspense to deliver a thriller? 

Sarah K. Stephens: I think one of the main facets of a compelling thriller is to give the reader enough information to make predictions about what is going to happen in your story, but not enough that they can solve the puzzle too early on.  I’m a huge fan of P.D. James and, although she wrote mysteries and not thrillers, her ability to pepper her decadent prose with hints for the reader made her novels feel like a treasure hunt.  Every time I began one of her mysteries, I told myself I would figure out the ending before she revealed it.  And I never did!

The other important rule to keep in mind is to never underestimate your reader by using clich├ęs and common tropes in your writing.  Thriller audiences are going to feel belittled if you don’t present a fresh and unique plotline—so much of writing a thriller is knowing how you are going to captivate the readers with something unexpected and, although dark, also delightful in its unpredictability.  

Q:  What makes your stories plausible and credible? Did you need to do any research?

Sarah K. Stephens: Being a development psychologist, I feel many parts of this story emerged out of my professional training.  I have long been fascinated with the human mind and the complexity of our social relationships—which is undoubtedly why I chose a career devoted to these topics—and so it isn’t surprising that my creative writing often examines how our connections to each other can go wrong.

For A Flash of Red, I reviewed scientific publications related to the symptomatology, prognosis, and treatment of schizophrenia.  It’s a complex and multifaceted disorder, with a great deal of variety in its expression from one individual to another, and I wanted to make sure my representation in the novel was as accurate as possible. Reading Elyn Saks’s memoir, The Center Cannot Hold, provided a window into the personal experience of schizophrenia and the system of treatment many patients encounter.

My interest in de Clerambault’s syndrome began, not from my training, but upon reading Ian McEwan’s novel, Enduring Love. From there, I read the scientific literature that is available on this somewhat obscure disorder in order to incorporate facets of it into my own writing. It’s a great fit, given my interests--the syndrome is truly an archetype for love gone terribly wrong.

My research for my short story, Boys, revolved more around understanding the system of reporting Sexual Assault established at my campus and at universities across the country, along with organizing my knowledge of the Title IX investigation of over 50 universities and resulting responses to these investigations.

Q:  You plan to release A Flash of Red later this year. Do you plan to continue writing? If so, what are you considering next?

Sarah K. Stephens: Definitely.  I have several short stories in the works or in a state of seeking publication, along with a finished draft of my next novel, Dear Heart.  This novel alternates between the suburbs of northern Pennsylvania and Riga, Latvia, in Eastern Europe.  It focuses on a Russian Orthodox family who is seeking to adopt an older child, and the family secrets that are revealed during that process.   

Q: Tell us about Sarah K. Stephens. What do you like to do when you’re not writing or teaching?

Sarah K. Stephens: I enjoy good food, healthy exercise, and travel.  An ideal day-off for me would involve a nice long run in the morning, baking a cake in the afternoon, and playing cards with my children and husband in the evening.  I’m addicted to podcasts (Serial, This American Life, and TED Radio Hour being some of my favorites) and can often be found with a good book and a glass of wine curled up by the fireplace.  

About Sarah K. Stephens

Sarah K. Stephens earned her Doctorate in Developmental Psychology in 2007 and teaches a variety of courses in human development as a university lecturer. Although Fall and Spring find her in the classroom, she remains a writer year-round. Her debut novel, A Flash of Red, will be released in Winter 2016 by Pandamoon Publishing.  Stephens’s short story, Boys, was recently published in the March 2016 issue of the literary journal, Five on the Fifth 

Excerpt: A Flash of Red (to be published winter 2016)
Anna’s heart skipped a beat in a wave of involuntary fear. There were only two eggs in the refrigerator.
Five minutes before, Anna came down the stairs, perfumed and fully dressed, ready to begin her day. She would make pancakes for her husband, who was still asleep in their bedroom. She would wash fresh raspberries to put on top. She would lay the table with care. All of this to set a pattern of comfortable predictability for Anna, ensuring the day would unfold in a way she could control. But now, everything was skewed by yet another ordinary situation somehow turned inexplicable in Anna’s life. Or at least she preferred to see these blips in her daily horizon as having no reasonable explanation, because the most reasonable explanation of all was unacceptable.    
She’d checked last night before going to bed--everything she needed was there. A full carton of eggs, their twelve white orbs nestled neatly in the divots on the side of the refrigerator door. Anna always took them out of their cardboard container after returning from the grocery store and moved them lovingly to their designated place. So where had they gone?
And that’s when it rushed over her. Standing in front of the pristine refrigerator, its clean angles and cool air pouring over her chest and thighs through the thin satin and crepe of her dress, Anna thought again about the dark spot inside her head. The one we all share. The one where our brain oversteps the rules of generosity and creates reality for us. She learned this small biological fact with indifference in college. Now, when it shoved its way into her conscious thought, like it had just now, the sheer density of it warped her mind like a black hole, devouring everything around it. How else do our minds betray us? How will mine? Anna knew only part of the answer.
Anna blinked rapidly in an attempt to clear the blurry sights in front of her.  She could fix this. Everything could be put back in order. Ignoring the skittering thoughts inside her head, Anna amended her plans. She had two eggs. She would make them sunny-side up for Sean with two slices of her homemade bread and strawberry jam she canned herself last summer. The fresh raspberries she would put on the side for him in a bowl. She would eat cereal afterwards while Sean did his assigned chores.
Anna took a deep breath. And another one. Then she shut the door to the refrigerator and placed the eggs on the counter by the stove, careful not to crack their fragile shells. Putting her favorite cast iron pan onto heat with a bit of Portuguese olive oil drizzled inside, Anna wrapped her slim fingers around the first egg, feeling the tensile strength of the shell shift slightly under the pressure. In one swift and practiced movement, Anna split the shell against the edge of the skillet and poured the viscous contents out, the yolk centered perfectly within the white that emerged from the sizzling heat. Yes, that was better.            

Facebook Page Sarah K. Stephens
Short Story  Boys featured in Five on the Fifth literary magazine March 2016 Issue
Publisher’s Announcement of A Flash of Red

Wednesday, March 30, 2016

WHAT THE EXPERTS SAY: Max E. Stone, Author

Max E. Stone has just released THE BLEEDING in audio format narrated by Noah Michael Levine. Reviewers describe the novel, which is the second in his New England series, as a “psychological thriller with more than a touch of horror” and "well drawn" characters. Stone claims that he pens the characters and stories that are “already in his head.”

Stone, who’s been writing since he was nine, is currently working on a new novel, Black Roses, which is his fifth book but the fourth story in the series. When he’s not writing, he likes to spend time with family and friends, do yoga, and watch the funniest shows he can on TV – to help relax.

Don’t miss the excerpt from THE BLEEDING following his interview.

Q: Reviewers claim that THE BLEEDING “is a whole new level of horror!” about “how evil begets evil.” What drives you to write in this genre? Would you compare your books to those of Stephen King?

Max E. Stone:  I’m always so honored to hear things like that. I honestly didn’t even know that what I was writing was a whole new level of anything, horror or otherwise. The characters and stories already in my head drive me to write and I just keep the pen and paper handy. And, though I love his books, I wouldn’t compare myself to the amazing Stephen King. He has his lane and level and I have mine and I think I’m pretty good for where I am. I’m still growing. But I do hope to get there.

Q: “Plot was brilliant,” says a reviewer. How did you conceive of your plot?

Max E. Stone:  This plot was something that started when I was 9 years old with my first book, August to Life. It started as a story about a family. Then, over the course of about a few more years or so, I added more characters. Suddenly, there were three families in total. But there was one character that both intrigued and frightened me and others who I let read pieces of the work. His name was Derek Warren. Absolutely the most heinous character I’d ever put together. So I asked myself “why does this person do what they do?” and “what will they do next?” That was how THE BLEEDING came about. I just thought of how bad he could possibly be in addition to how bad he already was as well as the reasons why.

Q: How do you create a “full cast of strange and wonderful characters” that will engage readers? Do you base your characters on people you know, or are they entirely drawn from your imagination? Are they heroes or villains?

Max E. Stone:  I combine the two processes. The characters’ names and a few characteristics start out solely from my imagination while the rest of their profiles are combinations of different people that I know, good and bad.  In that way, I try my best to make them as human as possible. For example, Derek Warren has some of the traits of the most loveable people in my life. Yet, he’s been warped and, in turn, has warped those good things about himself into hurting those around him.

Q: What makes a “thriller?” How do you create “one hell of a thrill ride,” as one reviewer describes THE BLEEDING?

Max E. Stone:  The mind games that happen all throughout the story. You’ll think it’s going one way and then you’ll end up on a totally different path of exploration toward the end.  

Q: What makes your story credible? How important is plausibility to engaging readers? What will make a reader stop reading thriller fiction?

Max E. Stone:  Despite the thrills and craziness that go on, at its core, THE BLEEDING is a story of normal characters and how they cope with the worst of times in their pasts, how they live life, how they fall in love, etc. That’s everyone, no matter where they come from. That is what, I believe, makes the story credible.

As far as engaging readers, it is absolutely important to do so. In thriller fiction, even with the on-the-edge-of-your-seat moments that make up the genre, I think it’s most important for a reader to have a character or situation within the book that they can identify with. Otherwise, they’ll stop reading. 

Q: Do you use setting to help tell your story? Are your characters a product of their surroundings?

Max E. Stone:  I do look up settings and I’ll use the characteristics of those settings in a given place. And, for the most part, the characters aren’t products of their surroundings. For some of them, it’s upbringing that they have to push past in order to be better and do better. Some of them do that, some of them don’t.  

Q: How helpful is humor to creating your characters? Is humor useful in a horror thriller?

Max E. Stone:  Extremely helpful. Humor makes them more real because people make jokes especially in horrible situations. That’s what makes them human and, for some, that’s what helps them cope with the situation.

You have to have some relief from the horrible; some humor despite the horror to truly grasp that horror and appreciate the relief for however long it may be.

Q: Did you write THE BLEEDING to entertain your readers or did you embed a few messages along the way?

Max E. Stone:  I think the point of any story, movie, or artistic creation should be to draw the reader, listener, or viewer into a world that they may not be aware of. That’s what art does. I would like to think that I did embed a few messages along the way as that was definitely my attempt.

Q: What’s next?

Max E. Stone:  I’m working on Black Roses, which is the fifth book I’ve written but the fourth story in the series. The synopsis is still in the works, but much of the characters will be the same with a new case for Detective Bennett that will be be absolutely a shake-up.  

Q:  Tell us about Max E. Stone. What do you like to do when you’re not writing or working?

Max E. Stone:  I like to hang out with my friends and family and also do yoga. It’s very relaxing and does the brain very well. Also, I like to watch the funniest things I can find on TV or in the movies. Writing serious situations takes a lot out of me so periodically I like to just laugh and get all of that out of my system for a bit.

About Max E. Stone

Max doesn’t remember ever not creating a story, pen or no pen.

A writer and lover of books since the age of nine, Max first set pen to page as a hobby, constructing stories that were anything but fit for children. Entertaining classmates while simultaneously concerning surrounding adults with blood-ridden tales of gory mysteries and heavy suspense that “just came to mind,” Max, with the help of family and the encouraging words of an inspiring fifth grade teacher, continue to develop this gift.

Little was it known at the time, but said gift would become a lifeline.
From horrific trauma in Max’s teen years, writing played an instrumental part in the difficult recovery and the Warrens, Bennetts, and Johnsons, three interconnected families all with issues, mysteries, and secrets that threaten their livelihood and lives, were born.

Max reads everything and everyone and relishes the journey, learning something new each day.

How does a maximum-security inmate commit a murder on the outside? The answer is more terrifying than you think.
Mark my words....
Derek Warren is smooth, charming, and a master manipulator.
But is he a killer?
I swear....
If so, how is the former businessman committing murder from a maximum-security prison cell?
And what, if anything, does he have planned next?
You'll never see it coming....
Detective Stephen Bennett is sure he has the answers to these questions.
But the path of dead bodies leads him to a truth far more disturbing than he suspected....
You will bleed....


     "Mom...Mommy?" the trembling boy whimpered in jagged breaths.

     His blonde head popped to the surface of blue bed sheets at the tormented wails that broke through his fitful rest on a freezing October night.

    And then, silence.

He swallowed hard.

"Mommy?" he bawled this time, pushing covers aside and preparing to leave his bed to investigate the noise.

Again, the deafening and disturbing quiet.

The youngster eased toward his room's door, turned the knob, and inched the opening wider until he beheld the source of the racket.

"Mommy!" he screamed.
Supported by the wall facing her son's room, his mother attempted to straighten her body and a mane of matted blonde curls with unstable hands.

Tender blue eyes, warm as a spring evening, waxed ice cold when she saw him watching her.

"Derek!" she fired, tremulous, from lips that swelled and seeped blood.

At the tears in her boy's baby blues, she softened.

"Daddy and I got a little loud. That's all. We're sorry we woke you. Go on back to bed, sweetie."

Without question, the child obeyed and feigned belief of her lie.
The scar above his own left eye reminded him of the consequences if he didn't.

Barreling footsteps rocked the floorboards and Derek stopped in his tracks. The red tint in his plump cheeks faded to a sick pale.

"Kim, baby?" a man drawled in a wicked singsong. "Where are you?"
"Derek, shut the damn door!" the mother howled, fear setting her ablaze. "Do it

In seconds, with the end of a brownish gold mullet clinging to the back of his damp neck and venomous blue-­‐gray eyes, David Warren appeared and overtook Kim in three strides of his powerful legs.

He snatched a handful of her hair and shoved her into the wall face-­‐first.

She slid to the floor when he unhanded her.

Blood dripped in the crack where her face landed and followed her body to the ground.

"Daddy, stop!" Derek cried.
"Honey, please!" Kim begged David, crawling while covering an eye. "Not in front of Derek!"

Dark red liquid wept through her fingers.
She cowered to a fetal position, not knowing when, where, or how he would strike next.

Wait for the blow...

Be somewhere else...

Dealt as predicted, strike one landed at her nose; the bone's split audible.

"This is my house," David told her in all sincerity, catching Kim's wounded face in his hands and thumbing the deep red juices that oozed from her nose and eye. 

 "You are my wife and you must do as you're told. If you continue to disobey, this will keep happening. Understand?"

He didn't wait for her classic quivering nod.

They had this talk before.

It took years for her to get the message.

But, nonetheless, she got it.

She knew her place.
He freed her, straightened, and turned to the eight-­‐year-­‐old who made no move to leave the scene.

"Go to bed, sport," the father ordered then directed a playful smirk to the boy's mother; the same masculine grin that won her heart at a church picnic years ago.

The one that had later been accompanied by a large diamond ring and a heartwarming marriage proposal.

"Mom and I need some time alone."
With those calm words, David lifted his wife from the floor, dragged her to himself, and crashed his mouth down on hers; his tongue lapping up her blood.

When he finished the unwilling invasion of her mouth, she shuddered and addressed a crippled "I'm fine, sweetie" to her son before both parents vanished around a corner, leaving Derek alone and frightened in a puddle of his own urine.

Nothing out of the ordinary for a night at the Warren house.

His mother spent years asking for help.
She beseeched relatives, friends, and the church.
The kids in Sunday School loved David Warren and wished to God they'd had the same stroke of good fortune in managing "the coolest pastor in the world" for a dad.

The women at the church talked of his mom's "luck" in having landed the minister for a husband.

The police rendered no help either.
Most of them knew David from his work in the community.
But Derek knew the truth.

And eight years of age would not stop him from saving the life of the woman who gave him his.

Purchase Links
Audible site for THE BLEEDING 

Author Links
Twitter @maxestone