Programming Update

So, I said I’d be back in the start of December, and, well, I sort of am? But only to say that this is it for the year.

I did get the short story finished up for the new Henlo Press anthology. It’s called “OOPS Is In Effect” and is, as they say in Hollywood, very loosely inspired by real events. It’s a fun one and I’ll let y’all know when and where you can read it.

As for books, I decided that rather than start another project I would double back up on The Fall. I’ve gotten some very useful feedback on it which has made me rethink an important part of it. Essentially, I’m retooling the first several chapters to setup the conflict better and deepen the main character’s connection to the titular event.

As a result, I’ve decided to keep my nose to that grindstone for the rest of the year. So, Happy Holidays and all that jazz and I’ll see you in January (seriously!) with my annual favorites of the year posts.

Blog Hiatus

It’s that time of the year again. Even though National Novel Writing Month is officially dead, I still think of November as a month to lay other things aside and focus on writing, so that’s what I’m going to do. Things will be silent for a while around here as I, hopefully, make some progress on a couple of projects.


First will be a short story for the third volume of Old Bones, the journal of the Henlo Press. The inspiration is worms. I think I’ve got a fun angle on it.

Then I’m planning to dive into my next novel (The Fall is still percolating through the editing process, don’t worry!). At this point it will probably be the sequel to The Triplets of Tennerton, as the prep work for it is largely done. That said, who knows if something else might catch my fancy in the next couple of weeks before November starts?

Tune back in around the start of December to find out!

Fall Events (Come See Me!)

Since I haven’t had anything new come out this year I’ve been taking a pass on most events during the year, but there are a couple coming up that I’m part of and should be a lot of fun.

First, on September 16, Cicada Books & Coffee in Huntington, WV, are having their second (?) annual (??) “Spooky Storytelling” open-mike night.

Last year was really fun, with several folks reading or telling scary stories (I did this one), capped off by the folks from Eerie Travels, who will also be in attendance this year. What will I be reading this year? Good question! See if I wind up with a good answer. Come on by (check Cicada’s Facebook page for details) and join in the fun.

Second, on October 11, the fine folks at Henlo Press are hosting the Writer’s Block 2025 Indie Author & Artist Festival (also the second annual) in Hurricane, WV.

I’ll be there with books for sale, as will numerous other authors (check the Facebook page for upcoming announcements), and I’m sure the Henlo folks will sell you a copy of either volume of their Old Bones anthologies, which are jam packed with nifty short fiction (and a couple of my things). Things kick off at 11am.

See you then(s)!

A Statement About AI

Just before I went on hiatus courts in two separate lawsuits by creatives against generative AI companies handed down similar decisions indicating that AI isn’t going anywhere anytime soon. Both concluded that using existing copyright-protected works to train AI engines falls under the doctrine of “fair use.” As one article explained:

The doctrine of fair use allows the use of copyrighted works without the copyright owner’s permission in some circumstances.

Fair use is a key legal defense for the tech companies, and Alsup’s decision is the first to address it in the context of generative AI.

AI companies argue their systems make fair use of copyrighted material to create new, transformative content, and that being forced to pay copyright holders for their work could hamstring the burgeoning AI industry.

Anthropic told the court that it made fair use of the books and that U.S. copyright law “not only allows, but encourages” its AI training because it promotes human creativity. The company said its system copied the books to “study Plaintiffs’ writing, extract uncopyrightable information from it, and use what it learned to create revolutionary technology.”

Copyright owners say that AI companies are unlawfully copying their work to generate competing content that threatens their livelihoods.

Alsup agreed with Anthropic on Monday that its training was “exceedingly transformative.”

You can read more about the nuances of the various cases here. And this column points out how restrictive copyright can be when a real human being wants to use something that’s currently protected.

While I’m not a party to either suit, I do know that some of my books (likely scraped from pirate sites) are included in at least one collection that’s used for AI training, so I do have some skin in the game. In light of that, I wanted to say a few more words about AI and make some public promises about it.

Part of the trouble we’re having with AI is down to the fact that the law has never really grappled with the nature of computer power in the 21st Century. The pro-AI argument for training on existing works is that it’s the same thing that humans do – all artists and creators are building their own work on whatever they’ve read or seen or heard before. Nobody could seriously argue that a young would-be writer who borrows a bunch of books from friends or families and then writes their own story was fucking with anybody’s copyright. The problem with AI is that it can do that on a massive scale that the law can’t quite fathom.

It’s somewhat similar to what’s happened with criminal records and arrest reports over the past few decades. Those things were always (for the most part) public and accessible to anyone who had the time and desire to go to the courthouse and wade through files to find them. But who actually did, outside of people doing it for a living? Now it’s just a matter of a quick Web search to see if your neighbor was arrested for DUI over the weekend. The law is mostly concerned with the public/private dichotomy, without factoring in accessibility.

Years ago, the Supreme Court was confronted with how to deal with GPS trackers placed on cars and whether they implicated the Fourth Amendment. Generally speaking, to assert a Fourth Amendment violation you have to have a “reasonable expectation of privacy” in the place that was searched. By definition, there’s no such expectation when you’re out in public, so there’s never been a problem with the police following people who they suspect of something (but lack the probable cause necessary to arrest them). GPS trackers take that and multiply the amount of data available exponentially in a way that flesh-and-blood cops could never handle. Rather than confront this head-on in the case, the Court took a step back and concluded that the actual placement of the tracker was the problem. We’re still trying to figure out what mass data means when it comes to the Fourth Amendment.

It’s the same with AI and it’s doubtful the law is going to get itself in gear anytime soon.  With that said, I have a few promises I’ll make to readers when it comes to AI:

I will not knowingly allow my work to be used for AI training. A good chunk of the AI discourse when it comes to creators is the copyright angle, but even if the AI companies came up with arrangements to compensate creators for the use of their work in training there are still huge issues with generative AI. It’s horrible for the environment. Its products are the worst kind of unimaginative slop. It’s bad for the soul – creativity is a large part of what makes us human and we best not be willing to outsource it to machines. Count me out, regardless of potential reward.

I will not knowingly use generative AI in my writing or music. This should come as no surprise, particularly in light of my NaNoWriMo post linked above, but I won’t knowingly use generative AI in my work. There are other AI variants that are much more common and less problematic (like spell check) that I have always used and will continue to use, but every idea that gets put on a page or in a song is only going to come from my own head – for better or worse! Otherwise, what’s the point?

I will not knowingly work with others who use generative AI. I am happy to say that Deranged Doctor Designs, who have done the (current) covers for all my books, are committed to going forward without resorting to generative AI in their work. I will strive to ensure the same with anybody else I work with in the production process.

All this may be pointless, standing on the tracks of “progress” while the train inevitably barrels over me. I may be shouting into the void (I did use to have a blog called Feeding the Silence so it wouldn’t be the first time). As one snappy commenter put it:

Gone Writin’ – Back In A Bit

Y’all may have noticed that I haven’t had a lot to say about actually writing here recently. There’s a good reason for that. My final NaNo project, The Fall, is continuing through the editing process – slowly but surely. That leaves me trying to figure out what to do next, with several interesting options in the aether. So I’m going to take a summer siesta from blogging and try and dig into my next book.

Talk again in a month or so when I have some idea what I’m doing – stay cool!

New Short Story (from Me and Many Others)!

I’m happy to announce the release of Volume Two of Old Bones, the literary journal of Henlo Press.

Inside that cool cover you’ll find a bunch of stories (and other stuff) from writers from my neck of the woods – including me!

The story is called “Chord Change” and it’s based on an idea that’s been hanging around my brain for a while – what if someone’s solemn duty was to listen to the everlasting chord generated by the universe or the gods or whatever and the chord suddenly changed. The key to turning it into a story was to not make the listener the main character. Rather, it’s the guy she ropes into trying to help her talk back.

Here’s a snip:

Over the years, Kluvier had built up a repertoire of dozens of songs, from folk songs to cult hymns and chants. He would never be able to play with Andra’s finesse, but he had the ability to hear a song a few times, play it once, and then forever be able to retrieve it.

His first hour was always the same, a way to warm himself up and to gauge his audience. Some days the more modern, popular music was what people wanted. Other times the long, slow chords of cult hymns that had soaked into wider culture of the years provided the perfect background. Once that was out of the way, and Braax had his first break of the day, Kluvier would let his fingers wander, dipping in and out of known songs while taking tangents of variations on themes. During another break he heard a woman pass by whistling an odd-metered tune he’d never heard before. He worked on it, and several variations, for most of the next hour.

The predicted rain held off, which kept the traffic consistent. The coins dropping into the box were few and far between, but as the sun started fall behind the Great Library they at least started to clink against each other nicely when a new one was thrown in.

Kluvier let Braax off his turnwheel to attack a small bowl of water while he knelt and started counting the coin. He hoped to get everything counted and packed away before Valnu showed up to take his cut again. Kluvier was just about done when a human-shaped shadow fell across the box. Kluvier cursed under his breath, then a bag of coin thudded to the ground beside the box. He looked up.

“Is that enough?” It was Shyana. She was breathing hard and her robes, which had been so well put together yesterday, were dirty and mussed. There was a bruise starting to blossom under her left eye.

“What happened to you?” Kluvier grabbed the bag and stood.

“I did what I had to,” she said. “Is that enough?”

For more of that, as well lots of other great stuff, get your copy of Old Bones Volume Two here or here.

See Me! Hear Me! Feel . . . What, Exactly?

A couple of weeks ago, after some weather-related fits and starts (fuck winter, seriously!), I got a chance to sit down with the fine folks at the Reading Room Ruffians podcast. We talked about writing in general and specifically about Moore Hollow, since they’d all just read it. It was a fun hour that I’ll think you’ll enjoy. I was really pleased they liked my twist on the zombie story.

Watch here:

Or click here to get links to their pod on all sorts of different platforms.

And here if you don’t get the reference in the post title.

The Obligatory Holiday Post

So, 2024 has been a year. It began with on a serious down note, produced its share of highs along the way, and then slouched towards . . . well, whatever we’re doing now. Oy.

Without a doubt, my personal high point was the release of The Triplets of Tennerton, the second book in the newly refashioned Paranormal Appalachian series.

On the back of that release I got to do lots of in-person events and talk to lots of people about it all over the state. It’s the most fun I’ve had with a book launch and came at a very good time for me. Even won an award!

If you’re interested in Triplets you can read excerpts from it here and here and a little about the real world inspiration for the murder mystery at its heart here. I even did an interview of my own self about the book that you can check out here.

In fact, if you’re still doing some Xmas shopping, or maybe you’re looking for a present for yourself (you deserve it!), both Triplets and the original Ben Potter story, Moore Hollow, are on sale in eBook form for 99 cents for the rest of the year. Get Triplets here (Kindle) or here (other formats) and Moore Hollow here (Kindle) or here (other formats). There’s paperback versions of each book, too, available here and here or locally at Cicada Books & Coffee in Huntington and Plot Twist Books in South Charleston.

So, I hope you get some time to read or hang out with friends and loved ones over the next few weeks, regardless of what holidays you celebrate (if any!).

I’ll be back in 2025. Until then, have some seasonally appropriate tunes.