Five For Writing – Eddy Webb

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Welcome back to another edition of Five For Writing. This week’s interviewee is award-winning game designer and writer Eddy Webb. The maestro behind Pugmire, Eddy has worked on an insanely wide variety of properties and has the trophies to prove it. He’s also been a standard bearer for accessibility in games, and contributed an essay to Transgressive Horror, a new collection of essays on horror movies that broke the rules. Without further ado, here’s Five For Writing with Eddy:
 
1-What was the inspiration for Pugmire?
It was a combination of things. Like many tabletop gamers my age (i.e., someone who grew up on D&D in the 70s and 80s), I always had visions of writing my own sprawling epic fantasy world that I could run my friends through. The one big problem I kept running into was that I found a lot of fantasy settings more work than fun. It felt like I would have to read fifty pages of “and then king so-and-so defeated the army of blah-de-blah” before I could even make a character. As such, it sat in the back of my mind for a long time.
 
Then, one day around 2014 I was walking my two pugs Puck and Murray, and I noticed their different behaviors. Puck was very friendly with little fear, while Murray was more contemplative and reserved. So, being the geek I am, I started comparing them to D&D classes. My mind started spinning on the idea: how much of dog behavior could I map to Dungeons & Dragons? Turns out, it worked surprisingly well.
 
From there, I knew I had something. Early on I wanted it to be more science-fantasy instead of pure fantasy, as someone who was a fan of things like Gamma World, Thundarr the Barbarian, and Tom Baker’s era of Doctor Who. So, making the world of Pugmire the distant future instead of a mystical past was not only an easy decision, but something that helped the rest of the world snap into shape in my head. From there, it was the challenging work of making the thing!
 
2-You’ve carried the banner for accessibility in gaming. How are you carrying on that fight?
On a couple of different fronts. As someone with hearing loss, I find that it’s a disability that a lot of game companies don’t think to design for aside from “well, we’ve already added subtitles.” So when I’m able, I offer resources and consultation to help add accessibility tools to games. A lot of times, accessibility features are things that even abled gamers like to have too!
 
More commonly, though, I work by trying to include disabled folks in my stories as much as I can. And not in the “oh it’s so inspiring that they can overcome their challenge” kind of bullshit, either — people with hearing loss can be badasses, too! It’s why I was so excited with the inclusion of Amaya (a deaf warrior) in Netflix’s The Dragon Prince, and I’m excited that it seems like Hawkeye will have hearing aids in the upcoming Disney+ show. But I can only name a handful of cool, exciting protagonists that are deaf or hard of hearing — more often, they’re support characters or (even worse) the butt of jokes. So I try to naturally include disabled folks where I can.
 
Since I work in tabletop RPGs, I also work with other disabled writers and creators to helped abled folks authentically and respectfully portray disabled people. Giving advice and guidance on that front not only keeps abled folks from inadvertently being offensive, but also shows that we can be dramatic and interesting characters to portray, too!

3-You’ve won a fistful of gaming awards. How does it feel to be recognized at that level for your work?
Weirdly, it doesn’t really register. Most of the time I don’t even realize it’s happened — someone will point it out to me, and I’ll go “oh, neat! That’s cool” and move on. A lot of the time, winning an award doesn’t move the needle on my day-to-day life: I don’t get more money, I don’t sell more games, and I don’t get asked to talk at more conferences. But it’s something nice to put on my resume.
 
There’s one exception to that: The Robin D. Laws Innovation Award. That’s one where they flew me out to a nice dinner where I got the plaque, which I still have today. It was in recognition of my work in helping to push the tabletop RPG industry in terms of digital and print-on-demand production, something that’s a standard in the industry now. I still remember that award even ten years later.
4-Over the years, you’ve worked on a variety of properties. Which was your favorite, and why?
It’s hard to pick just one. A lot of them were fun to work on, and it seems like my answers change with each new opportunity. Right now, I’m excited to have worked on the official Transformers RPG, because not only has that property been a huge part of my life, but also, I’ve felt the lack of an official RPG was a huge gap — I even ran a homebrew game of it for my friends back in 1999!Similarly, it was a huge thrill to work on and then ultimately manage Vampire: The Masquerade, back when I was handling the 20th Anniversary Edition line. I’ve always had a fondness for the World of Darkness, going back to 1992, so having the opportunity to work on and shape such a property remains something I’m proud of. On the other hand, I really liked working on a Futurama mobile game, because I not only got to work directly with Patric Verrone who worked on the original show, but also with Dave Grossman of Monkey Island fame. I felt like a roadie in a room full of rock stars, but I learned so much about writing comedy from those two, and I’ll be eternally thankful to them for that, even if the game itself has sadly crossed over the rainbow bridge into “unprofitability.”
 
I dunno. Ask me again in a few months. I’ll probably have different answers for you!

5-You’re an avid Sherlockian. What’s the appeal of the Holmes mysteries for you?

It’s a couple of things. On the one hand, Sir Arthur Conan Doyle had an amazing gift for description — even though his stories were written over a century ago, the flavor and pace of the stories still resonate even today, and even a casual reader can still pick them up and enjoy them. So as a writer, I have a deep appreciation for how effortless his prose feels compared to his contemporaries.
 
But more than that, I love the relationship between Holmes and Watson. You don’t have many friendships in fiction between two men who just fully and completely respect each other. Granted, Holmes and Watson were curtailed by the social norms of Victorian society, but that didn’t stop them from caring about each other on a deep level. And since the stories are written from Watson’s perspective, his nature as an unreliable narrator gives you peeks and clues as to the real dynamic between them. It’s a lot of depth and texture — so much that Sherlockians like me are still picking it apart 125 years later.
 
And right now, there’s a veritable explosion of Sherlockian creativity. There are, of course, floods of new stories in the classic mode of Doyle’s prose, but there are also so many imaginative remixes on the concept. I often joke that one of my favorite takes is the cartoon Sherlock Holmes in the 22nd Century, because it’s just so audaciously gonzo, but there are also really compelling takes like a queer cyberpunk take in “A Study in Honor” by Claire O’Dell, or a modern spin featuring black men like “IQ” by Joe Ide. It all goes back to that relationship between two very different people who both want to do the right thing and drag horrible secrets into the light of day.
 
 
Big thanks to Eddy for his thoughtful answers! You can find him on Twitter at @pugsteady and at his site. You can find out more about Pugmire at RealmsofPugmire.com. Next week, I’ll be interviewing an up and comer on the horror scene, Bridgett Nelson. See you then!
 

Happy Halloween!

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Wishing all of you a deliciously spooky Halloween (or Samhain), and hoping you get to frighten small children (but not too much), frighten large children (ok, a bit more), and hand out giant gobs of candy!

Also, happy book birthday to The Jewish Book of Horror, which releases today! It contains my story “On Seas of Blood and Salt”, along with 21 other great stories. PW called it “a superior anthology”, and who are we to argue with them?

 

Five For Writing – Josh Schlossberg

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Joining me today is writer and editor Josh Schlossberg. A member and co-founder of the Denver Horror Collective, Josh is also the editor of The Jewish Book of Horror, which is out in time for Hanukkah this year. He was kind enough to take a moment to answer some questions, so without further ado, I give you Five For Writing with Josh Schlossberg:

1-What inspired you to create The Jewish Book of Horror?

Don’t worry, I’m not going to tell you that I heard a booming voice coming from some flaming piece of shrubbery or a cloud on top of a mountain. I was actually talking with my mom on the phone about how I wanted to push the envelope on horror fiction (without getting canceled), and so I said to her in jest, “I should just do a Jewish book of horror.” And then the menorah in my mind lit right up.

2-Putting the book together, did anything surprise you?

I was most surprised by the many flavors of Jewish horror we received in terms of author submissions. Many of the staples for sure, such as golems, dybbuks, and demons. But thanks to their creativity, THE JEWISH BOOK OF HORROR has redrawn the boundaries of this barely known subgenre.  

3-How does your Judaism intersect with your writing?

I’d say mostly through a sensitivity and awareness of the shadow throughout all dimensions of life. Part of that undoubtedly came from reading about the Holocaust from a young age. Yet the rest may have been genetically passed down through the generations, as in the past, an unwary Jew was often a dead Jew.   

4-Your website focuses on biological horror. How would you define that, and what’s the appeal of it to you?

The definition of biology is the study of “living creatures and vital processes,” so it’s basically that plus horror. Ever since I was a little boy looking for frogs on streambanks and inside sewer grates, I’ve felt very connected to the natural world. And the more you learn about how nature works—from ecosystems to microbes, from wildlife to the human body—the more fascinating and disturbing life becomes. 

5-You talk about “the gatekeeper’s burden.” Editing two anthologies, what have you learned about the gatekeeper role, and how has it influenced you as a writer?

That a gatekeeper has an obligation to treat authors with respect, whether it’s passing on a submission or buying a story, because without them, there is no book. 

In terms of gatekeeping influencing my writing, I now have more of an understanding of how an editor might pass on one of my own stories simply because it doesn’t fit into their idea for an anthology or meet their specific tastes, not because its lacking in story or craft. And that the behavior of editors that tends to peeve authors the most—ignoring emails, form rejections, no feedback—is probably more about poor time management than spite.  

 A big thank you to Josh for taking the time to answer the questions. You can find The Jewish Book of Horror, which contains my story “On Seas of Blood and Salt” for sale just in time for Hanukkah.

Next up is the master of Pugmire, Eddy Webb. Tune in next week for some very good dogs!

Five For Writing – Heidi McDonald

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It is a privilege to give you today’s Five For Writing with Heidi McDonald. One of the leading authorities on romance in games, Heidi is a Narrative Designer for Fire Hose Games. An author and speaker, she has received plenty of critical acclaim. That being said, I give you Five For Writing with Heidi McDonald:

1-You’ve staked out romance in games as territory you’re very comfortable in. How did that come to be?

In 2003, I played Knights of the Old Republic (KOTOR), which made me want to be a game writer, because it was the first game that ever made me FEEL. Then in 2009, Dragon Age: Origins hit, and sent the feels to a completely new level because of how deep the romance content was (which I found completely by accident). I was so determined to have my relationship with Alistair Theirin turn out the way I needed it to, that I completely re-played 80 hours of the game just so I could end up with him. I’d never been that emotionally invested in a game, ever. I went to school in 2010 to pursue my degrees, and while I was there, Dragon Age 2 came out. In that game, the companions were all “playersexual” (would respond to your romance efforts regardless of the gender of the player).
A professor assigned us to write a paper about “any aspect of any medium we enjoy,” so that meant I was going to write about video games. Right at that same time, there was a big kerfuffle on the BioWare Social Network where a guy who identified as “Straight White Male Gamer” took issue with the fact that there was non-heterosexual content in his game, saying that since he represents the majority demographic, he should be the one catered to. David Gaider (a narrative hero of mine and Narrative Director on Dragon Age at the time) actually came onto the forum and directly answered the guy (which was really SUPER rare) by saying look…that content is optional, you can not play it, or you can play a different game, because our games are for everyone. That’s what made me initially curious: is that how the majority of the players feel? How, why, and who are they romancing, and how does that compare to their romance practices in real life? I had my topic for my paper. I soon realized through an unfruitful search for sources that somehow, nobody had asked those questions yet. So, for my paper, I decided to conduct that research myself, and report the findings.
The paper became a lecture, the lecture became a GDC talk, the GDC talk got picked up in different places around the world; soon I was doing supplemental research that took my original questions further, I co-founded the Romance and Sexuality in Games SIG with the IGDA, and then in 2017 the book came out (Digital Love: Romance and Sexuality in Games). It kind of became my thing because I was the first to ask some of those questions. It’s been really rewarding to see other research sprouting from mine and a real industry genre and conversation spring up around it in the past 10 years. Oddly enough, I’d done plenty of work around player engagement and empathy, and plenty of talking and writing about player behavior relating to romance in single-player RPG’s…but I’d done very little actual game writing of romance content. When I went freelance in 2019, my research experience and my samples began to get me actual work doing that, and for the past three years, I’ve actually done a ton of the actual work. So, having “what the players need for it to be fulfilling” from my research equipped me to be better at writing in that genre, though I’ve also developed science fiction and historical fiction as additional specialties. Right now, as Narrative Designer for Fire Hose Games, I’m working on something that’s science fiction. I do expect to turn out more romance in the future, though!
2-As an experienced game developer, do you think there’s a responsibility to younger developers coming up?
Most definitely. When I was new to the industry, I was able to succeed because I had influential people like yourself holding the door open for me and reminding me that I belong. I try to pay that forward for others (particularly people in marginalized communities) in a number of ways, whether that’s teaching young writers at a university or helping with workshop and curriculum planning for friends who teach others, sharing my knowledge through lectures and chapters in how-to books, recommending a colleague, training more junior writers as a lead or senior in the workplace, helping people with portfolios and interview skills, talking shop with people who ask, whether that’s press people, friends who have cool websites, or talking to some high school student who has encountered my work and contacts me out of nowhere. Some folks might be opposed to giving away knowledge so freely because they feel a sense of competition, because in fairness, it has become way more competitive in recent years. Our discipline is pretty over-saturated right now, professionally speaking…hundreds of applications for every one job…but I am still a big believer in the idea that there’s enough opportunity out there for everyone. Also, game writing is a relatively small community, and you’ll quickly get a reputation if you are cool, or if you are a jerk. I’d rather be cool. Besides, you never know which one of these youngsters will write the next breakout game that sells millions of copies and they get millions of VC dollars, they found a studio, and you have to apply to them for your next job. 😉
3-What says good game writing to you?
If a story can emotionally engage me and offer choices that matter to the outcome, that’s a good story. I also really love it when a writer will take a trope and flip it on its head somehow, like, add an interesting twist nobody has seen before, or handle it in an unexpected way. One of the best screenwriting books I read in college (where I majored in Film and Digital Media, alongside a dual major of Communications) was all about how you have to understand genres and conventions in order to break them (I can’t remember the name of it), and for me, effective twisting and breaking of known tropes when done well is just (*chef’s kiss*) awesome and gratifying. I have tried to do that in my own writing, too. The best way I can explain it is writing for Star Trek Timelines...Star Trekis a 50+-year-old genre with established lore and fans who are very particular and passionate about that lore. What I was tasked with as a writer on that IP was both to give the players enough of what they DO expect, balanced with something believable that fits the lore but is NOT expected. That’s how I feel about writing, in general, as it relates to playing with tropes. You want the tropes to be recognizable enough to be accessible to people, but at the same time you want to bring something unexpected to it.
4-What’s the one game writing trope you hope never to see again?
This is endemic both to romance game writing and romance writing at large, but it irks me when a happy ever, the entire end goal, is heterosexual marriage. Not only do I think that doesn’t have to be true, but I think it propagates unhealthy expectations about marriage being the be-all and end-all, and honestly, it’s hard. Relationships are a lot of work. I’ve been married and divorced three times (yes, the romance writer who keeps getting divorced, it’s ironic, I know…it just means I’m really good at falling in love). Two of them were abusive, and one was a case where over 15 years we didn’t put enough work into US and just, over the course of jobs and children and life, grew apart. The relationship I’m in now is deeper, stronger, and better than any of those marriages were, and we have no plans to marry. We have all the ingredients that matter, we’re doing that important daily work, and don’t want to fix what isn’t broken. Marriage is important to some people, but that shouldn’t mean that it’s required for everyone, in every case. There are happy ways to be which are different from that. I tend to prefer payoffs that are in a very strong single moment of connection which shows that the couple has arrived at some very deep understanding together, rather than a “welp, better book the church, the end.”

Also, if “choice for choice’s sake with no real change or impact” could die in a fire, all of game writing would be better off.

5=Why the obsession with pirates? Is it a Pittsburgh thing?
Actually, no. I’m from Pittsburgh, but not a baseball fan. The only sport I follow is ice hockey (Let’s Go Pens!). The pirate thing started for me in 2003 with the original movie Pirates of the Caribbean: Curse of the Black Pearl. The ride at Disney World had always been my favorite, and when the movie came out, it was everything I thought a movie should be in a way that I hadn’t experienced since my favorite movie, Raiders of the Lost Ark. When the second Piratesmovie came along, I and the kids dressed as pirates to see it the first night. That movie had a lot more actual lore in it, and when I went to research how much of it was fictional and how much was not, I ended up learning a whole lot about actual Caribbean piracy and became an accidental expert because I was really interested in the stories. Right around this same time, I started going to GDC as a conference associate (CA), and the CA’s often wear quirky hats, so I wore a pirate hat. Someone dared me to wear the hat during my conference talk — anyone else, I’d have told them to get bent, but it was Jason Vandenberghe, and when the Dark Lorde dares you to do something, YOU DO IT. Then I ended up in all kinds of pictures with it on, and it became a Thing, like an expectation, the thing people came to expect from me. I would be completely in character at work during Talk Like  A Pirate Day, collecting pirate books and paraphernalia, even went so far as to join pirate guilds in Los Angeles, and I walked the red carpet at the Hollywood world premiere of Pirates 5, as the relative of a friend was the person who planned that premiere. (I’m not sure I can top that experience.) I went on to write a spicy pirate romance story for SANA: Interactive Stories, which became one of their most popular series (The Primrose), and I’m in the process of novelizing it now. The pirate love interest in those stories is based on my love interest in real life, with his permission and support.
I will say, though, that for a variety of reasons, not the least of which is the pandemic, I’ve been looking to change the whole pirate image a bit. Showboating that way was fun for a while, but I look back on it and find that it was pretty self-indulgent, and that’s ultimately different from how I would prefer to come across from now on. My new aspiration is to focus more on deeper things that matter to the present: helping and showing care toward others, concentrating more seriously on making work that I’m proud of, and being less of an attention seeker. I recently gave away most of my pirate cosplay stuff. I may want to dress like a pirate some other time, but I only need one outfit for that and not a whole closet and hat rack. I will always be interested in the whole pirate thing but I have other, more important focuses now.
Thank you to Heidi for her time answering these questions. You can find her here on Twitter.
Next week in the hot seat is Josh Schlossberg, the editor of The Jewish Book of Horror. See you then!

Transgressive Horror

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I’ve got an essay in the forthcoming book Transgressive Horror: Reflections on Scare Films That Broke the Rules. It’ll be out on Halloween if all goes well. My essay is on one of my personal favorite films, Night of the Demon, and it dives into some of the reasons I love it so.

Editor and Ghost Show Press maven Prof. Christopher McGlothlin, had this to say:

The Everyone’s Gone to the Movies series presents writers of diverse background and experience to share their knowledge, wit, smarts, fun, and passion about movies that stand out from the infinite digital choices; films that expand the boundaries of our minds and imagination. Cinema has an unmatched power to entertain and enlighten, and we invite our audience to join us: “Buy the ticket. Take the ride.”

Five For Writing – Jeff Strand

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Time for another Five For Writing. This time I interview the talented and prolific Jeff Strand. A Stoker nominee and the many-times MC of the Stoker Awards, Jeff has written over fifty novels, including Wolf Hunt, Dweller, and Clowns Vs. Spiders. (I won’t tell you who to root for in that one.) Several of his books are currently in development as motion pictures. It is with great pleasure that I give you this interview with one of the funniest people in horror, Jeff Strand.

1-Pressure is one of your signature novels. With Deathless, you’ve gone back to that world to write a sequel. What brought you back?
The time just felt right. I’d actually started writing a sequel shortly after the Leisure Books paperback edition came out in 2009 (three years after the Earthling Publications hardcover), and I even read the prologue at the World Horror Convention,but then scrapped that version and put the idea aside for about a decade. Every once in a while I’d think, “Maybe I should consider writing that Pressure sequel” and then I’d work on something else instead.

I’d started an original novel, which I abandoned after a couple of chapters (something I do fairly frequently) but there was the germ of an idea in there that I suddenly realized would be a perfect way to continue the Pressure story. I thought, well, I’ll keep this in mind and work on it in my spare time, then I got too excited and e-mailed Paul Miller at Earthling and said, “Hey, if I wrote a follow-up to Pressure, would you be interested?” He was, very much so, and then I was committed!

2-Do you prefer the horror or the humor aspect of your writing?
I don’t really have a preference. What tends to happen is that if I’m writing a really joke-heavy comedy, like my young adult novels, I’ll start to wish I was working on something more serious, where I didn’t have to sustain that joke-joke-joke pace. And when I’m working on something more serious, I’ll think, “Wouldn’t it be fun to be writing something really goofy?” From a marketing perspective, my books that are more straightforward horror/thriller have sold better than the more comedic stuff, so if I was forced to choose between horror or humor and wanted to keep being a full-time writer instead of crawling back to a day job, I’d choose horror. If everything sold equally well, I’d probably go with humor. Fortunately, I get to do both.

3-Clowns or spiders? Which are more frightening, and why?
I’m not sure if I should admit this, but I don’t find clowns the least bit scary. Don’t get me wrong—I love scary clowns! They’re one of my favorite monsters! But they don’t scare me at all. I just think they’re way cool. Spiders, on the other hand, are terrifying beasts. I don’t run screaming out of the room if I see a spider, but I flinch and let out a tiny yelp if one crawls on my arm. When I walk through a spiderweb, there's always that moment of horror of gaaaahhhh what if it’s scurrying through my hair??? If I woke up in the morning and a tarantula was on my chest, I’d let out a silent scream and then my heart would give out and that would be the end of me. I don’t know why. They’re just scary, okay? I don’t see YOU letting tarantulas crawl all over your bare skin.

4-You wrote a memoir of your writing career thus far called The Writing Life: Reflections, Recollections, And a Lot of Cursing. What inspired you to do that at this stage in your career?
Well, it’s been a long time since I was a newbie, and I’ve got a lot to say about the subject. I’d done a presentation at a few writers’ groups called “Stick With It: Sustaining Your Writing Passion in a Brutal Business” and I thought it might provide the framework for an interesting book.

In January 2020, I was on a socially distanced vacation in a cabin in Florida, and I thought, “I’m on vacation, I can write something fun without worrying about the commercial prospects!” and I wrote up a few of the anecdotes I wanted to include. May 2020 was going to be the 20 th anniversary of my first published novel, so I thought it would be nice to have the book out that month to celebrate this momentous occasion. I didn’t even come close to making that goal. I decided, instead, to time the book to my 50 th birthday, which was December 2020. Surely at fifty years of age I’d accumulated enough wisdom to justify writing the book. It’s emphatically not a book about the craft of writing—it’s called The Writing LIFE for a reason. I also wanted it to be funny and entertaining enough that people with no interest in becoming authors could still enjoy it.

5-You are one of the most prolific authors in the horror genre. How do you choose what to write next and keep it fresh?
I try to mix things up, so if I write a supernatural horror novel like Allison, I’ll follow it with a contemporary thriller like The Odds, and then a much more comedic novel like Cemetery Closing (Everything Must Go), and then a coming-of-age 1979-set thriller like Autumn Bleeds Into Winter. I definitely don’t want to write the same book over and over. Usually the process starts with me saying, “What horror trope haven’t I tackled yet?”  Then I try to come up with a twist. So with my upcoming book Creep Out, it was, okay, I haven’t done a scary ventriloquist dummy novel, and I’ve never seen one of those that was written in the “survival horror” genre. Then I try to write something that is different from my other books but still very clearly a Jeff Strand novel. Every once in a while I’ll veer away from the genre entirely with something like Kumquat or Bang Up, but that's always a one-off before I return to horror.

Many thanks to Jeff for taking the time to answer these questions! And tune in next week when I talk to noted video game scribe Heidi McDonald about romance in games and more!

Five For Writing – Nicholas Kaufmann

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Nicholas Kaufmann is a Stoker, Thriller and Shirley Jackson Award nominated writer. His works include General Slocum’s Gold, Dying Is My Business, and the bestselling 100 Fathoms Below (co-authored with Stephen L. Kent). His newest book, The Hungry Earth, is just out from Crossroad Press. Nicholas was kind enough to take some time to answer the five questions, so without further ado, here is Five For Writing with Nicholas Kaufmann:

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