The first part of my short story “Hypnotica” is up on the Fantasy Hive here! The next three parts will be posted over the next three Mondays, ending on January 29th.
My column on magic, “Magic & Mayhem,” is also debuting tomorrow, January 12th. The first column is titled “A World of Pure Imagination.”
“The Yoshira is a dream city, and there are breeds of magicians here that only exist between sunset and sunrise. The most famous ones, the ones only the Yoshira can make, are the dreamwrights, who play their music for the ghosts and the dreamers, carrying their tools in their bones…”
Almost a year since the first draft was completed, my short story “Hypnotica” is going to be serialized on The Fantasy Hive! It’s one of my crazier, fantastic story, and I’m glad I finally get to share it. Here’s the description:
“Hypnotica” revolves around dreamwrights, mages who use music to shape dreams into surreal raves, and the Yoshira, a ghost-city that exists at the boundaries of waking and sleeping. In “Hypnotica,” two dreamwrights are left picking up the pieces of their lives after one of their shows in the Yoshira turns into a nightmare.
The two main characters, GRIN and NO-FOOT, were based off of different electronic artists, while the Yoshira was based on the Yoshiwara, the famous pleasure district in Japan. I wanted an image that conveyed the wonder, mystery, and danger of the story (as well as incorporate triangles), so one of the editors at the Hive, A.Z. Anthony, created this:
Since the story is so heavily rooted in music, I’ve made a list of the songs that inspired it to celebrate!
As I said in my previous post, the idea of the story originally came from the Alive 2007 concert and the 2014 Rolling Stone interview with Daft Punk, the masked electronica artists whose crazy, elaborate light shows turned concerts into dream-like, surround-sound experiences. This was one of my favorite songs in the Alive 2007 set, showing the two of them rocking out atop their pyramid.
Aphex Twin was the inspiration for GRIN, the virtuoso composer partner to NO-FOOT. In the story, GRIN wears something akin to a hannya mask, which mimics Aphex’s famously creepy grin. “Come to Daddy” is one of the songs I have on constant repeat, and the signature scream at 2:36 became the inspiration for a key moment in the story.
When I needed calming, lullaby-like songs while writing, “I Remember” kept coming up. It lulls me into a trance, and its echoes and synthesizers brought to mind pictures of the dreamscapes and slow-motion dances in the Yoshira.
At one point in the story, GRIN composes something called a “death waltz,” a piece of music that’s so complicated it’s considered physically impossible to actually play. The original inspiration was a piece of music called “Fairie’s Aire and Death Waltz,” but the Black Midi series helped me visualize what it would sound like.
Besides being one of the most disturbing, sexually charged videos I’ve ever seen, the song is an ultra-catchy mix of something like Vocaloid singing, J-Pop, hardcore EDM, and glitch music. I wanted to capture the energy, vividness, and pure insanity of it all in the dream sequences of the story, especially the final one.
Besides Daft Punk’s Alive 2007 show, the UKF set Knife Party played a few years ago became one of the main soundtracks I listened to while I was sketching out the mechanics of narcomancy and trying to visualize what NO-FOOT and GRIN’s shows would look and sound like.
I wanted the story to be a bit melancholy, something that touched on both the freedom of dreams and the knowledge that you have to wake up and leave it all behind. At heart, though, this song is about transcendence, and as I went through seven drafts, I found that transcendence was at the heart of the story, too.
Anyone who’s seen Paprika remembers the insane parade scene. This song seemed to sum up the chaos, madness and bursting imagination of the Yoshiwara.
After seven years and a lot of rejections, I’ve made my first professional short story sale to Beneath Ceaseless Skies, my favorite fantasy magazine!
Two of the major reasons BCS is my favorite is because they focus on worldbuilding and “literary adventure fantasy,” the latter of which encourages strong characters and well-crafted prose. That’s what I go for when I write, so BCS has quietly sat at the top of my list of places I’d like to be published for a while.
“Old No-Eyes” tells the story of a hermit-like scholar named Yute, who gets a letter from an old colleague that backstabbed him out of their shared tutelage in the art of immortality years ago. His old colleague needs Yute’s help to decipher a little black book that claims to undermine everything they learned about life, death, and immortality, but Yute has his own plans. The story has some elements of horror and suspense, and gives a good idea of what necromancy looks like in my world.
The “little black book” in the story is The Nokizi, which I actually wrote up in five parts (the full text is up on Medium, starting here). It’s a necromantic manifesto that draws on Zen, mathematics, and the occult, and fleshes out my world almost as much as the story.
For those keeping track at home, all of my stories take place in the same world, meaning that references to characters, places, and events in past or future stories will pop up.
It’s really exciting to finally get a story of mine published. I don’t do this for the cash, money, or fame. I write stories so I can share them with people. On that note, thanks to all the people that read early drafts of Old No-Eyes (including the folks at Brooklyn Science Fiction Writers), thanks to Scott Andrews for working with me on revisions, and thanks to everyone who gave me encouragement over the years.
Old No-Eyes does not have an official release date yet, but BCS is tentatively shooting for next summer.
I recently saw an exercise online where authors wrote up lists of real-life books that they thought their characters would like to read if they were brought into our world. I thought it’d be fun to write up lists for two of my characters: Yute, a psychopathic immortality-seeker who disarms people with his wit and charm, and Samal, a sea-wizard and vagabond who has devoted his life to becoming a selfless, benevolent survivor.
Yute, as I’ve explained in detail in a previous post, is meant to be a charismatic psychopath. He’s charming, worldly, well-read, self-reflective, inquisitive, intelligent, and deeply egocentric. As I was building his list, I realized that it was really a syllabus for a bizarre kind of self-education: Yute doesn’t read for pleasure, he reads to learn things, hence the large amount of non-fiction titles. His choices in Western philosophy reveal a strong interest into the nature of being and self, which connects to his obsession with the soul and immortality.
The 48 Laws of Power would be one of his bibles. Because Yute is an inherently manipulative and egocentric person, he views others as tools for his own advancement. He has a strong desire to control others, and he accomplishes this through his glib charm and charisma. Everything he does around other people is part of a performance, meant to advance his own ends, and 48 Laws reflects this mindset. The handbook on interrogations characterizes his intent when it comes to conversations and manipulation–instead of reading a book on clear communication, he goes instead for a book on how to provoke confessions and guide discussion through deception and coercion.
With his need of a ‘mask of sanity’ to hide his intentions, I realized Yute would be drawn to Montaigne and David Sedaris in order to familiarize himself with popular commentators’ wide-ranging views on daily life and experience–as a hermit and scholar, he needs to fill gaps in his knowledge of the world outside scholarship and be able to relate to more common folk. At the same time, he’s interested in the extreme ends of human experience, from enlightenment (there are two Zen titles, by Alan Watts and Lin Chi respectively) to absolute depravity and cruelty (120 Days of Sodom).
I was surprised when I composed this list–I didn’t expect Samal, a sea-wizard, to lean so heavily towards tales of survival, but the more I thought about his interests and aspirations, I realized that what draws him towards books like Into Thin Air and Endurance is the idea of individuals overcoming death through sheer force of will (or being conquered themselves). Samal is influenced heavily by his belief that a wizard is meant to be a pillar that holds up the rest of the world, and as such, must be able to survive anything. Despite his well-developed sense of humor and tendency toward being an extrovert, I found that his personal reading would reflect his constant quest to become a bona-fide sea-wizard.
I added two books related to martial arts: The Art of Peace, which informs Samal’s approach toward conflict and his interest in a fighting style that is benevolent and effective, and Vagabond, which parallels his journey to understand what it means to be a bona-fide wizard. Like Samal, Inoue’s Miyamoto Musashi meets old masters and struggles to understand them. One of the most relevant parts of Vagabond is probably the scene where I’nei and Sekishusai meet Ise No Kami, who tells them that “his sword is one with heaven and earth.” Embedded in this scene is the essence of Samal’s quest to understand the true meaning of being a wizard, just as Musashi searches for the meaning of invincibility.
Samal’s choice of fiction reflects his interest in sea tales and adventure (Robinson Crusoe and Monte Cristo), but Ficciones speaks to his sense of imagination and wonder. As a sailor, his travels take him to unimaginable and exotic places that expand his mind, and I thought he would be interested in Borges’ explorations of the bizarre and wondrous. Lord of the Flies, on the other hand, speaks to Samal’s deepest fears: the betrayal of one’s own humanity and one’s inherent kinship with other human beings. The fact that it takes place on a deserted island makes it even more relatable to him, as a sailor. I imagine Samal having nightmares of his own pig-head, telling him to despair and abandon his desire to save others.
Since college, I’ve wanted to write a story using hypertext, partly because of Serial Experiments: Lain. The show weaves together a bunch of different references to conspiracy theories and cyberpunk elements, including references to Xanadu, the life-long work of Ted Nelson. Xanadu was one the first hypertext projects, and was meant to lay the groundwork for “a global community united by perfect information.” There’s a great article in Wired about it, which includes a profile and interview of Nelson. Here’s the clip from Lain:
Fittingly, there’s another fantastic article in Wired about why hypertext fiction is a defunct format. In short, it’s generally considered too difficult to write and too hard to read, all without bringing substantial advantages over traditional, linear fiction. Print versions of hypertext literature, like House of Leaves or Choose Your Own Adventure, are either messes or lacking in depth.
As I’ve said before, any kind of ergodic literature should be intuitive and feature a narrative that matches the format. That’s what I’m shooting for in this new story, which is about time and dopplegangers.
The story has a working title of “Dream-Eater.” It takes place in an underground city that’s divided into two caverns, which have opposite day and night schedules. The story begins with a narcomancer, a dream-mage, waking up and realizing that his sleep schedule has been broken and he’s been sleeping for the past 24 hours. To compound that, he can’t remember what parts of the previous day were real, and which parts were just his dreams. In that 24-hour period, though, someone that looks like him has been carrying on his routine: cleaning clothes, talking to his friends, etc. The story is about him trying to reconstruct what happened before he went to sleep and what his doppleganger did while he was sleeping. It’s also about his slipping grip on reality.
To chart out the flow of the story and divide it into nodes, I started writing notes:
The arrows on the left represent links to other nodes, which in this story lead to memories (which are fragmented and need to be pieced together), dreams, thoughts, or texts, like books or sheet music that don’t need to be included in the main text. The idea is to have the surface level of the story in the main nodes, but the deeper layers that reveal the truth, like thoughts and memories, hidden in a series of lower nodes that branch off the main narrative at strategic points. This way, the mystery isn’t just exploring the world and reality, it’s exploring the inner space of the protagonist.
Despite working my full-time job at Outer Places (which included an interview with P. Craig Russell, who’s scripting the new American Gods comic), I’ve been doing a lot of writing. I’ve got two stories on deck this month, one out for submission and one in the late stages of revision. At this point, I’m offering copies for people to read and let me know what they think. Here are the descriptions:
When I took the draft of “The Crownless King” to a monthly Brooklyn Sci-Fi Writers workshop back in November, I was blown away by the feedback: people said it was “strange, eclectic”, “original,” “gruesome”, “fantastic,” and “fucking spectacular.” It was super encouraging, especially considering that I’d been working on the story for about seven months and eight drafts. You can read an excerpt and check out some of the sketches from the early draft, back in January 2016, here.
“The Crownless King” revolves around a wizard and his student holed up in a frozen tower buried under snow in the aftermath of the end of the world. While they’re preparing to head up to the surface, the wizard (named Samal) decides to teach his student (named Iz) a very old, dangerous piece of magic, which is ‘the crownless king’: the ability to remove one’s head.
People loved the lore and history woven into the story, as well as the parts dealing with self-surgery and magical flesh-work. It’s one of the first stories where I get to showcase my world’s take on wizards, magic, and ghosts. Here’s are some notes/sketches I did around the magic of ‘the crownless king’:
This is another one I brought to the BSFW writing group, this time in December. “Old No-Eyes” came from a much bigger and more complicated story involving Yute, the subject of my post on psychopaths and madness, and the Nokizi, the book of necromancy and mathematics that I ended up writing especially for that story. I wanted to focus on those two elements, so I cut it all down and wrote a new story, which is “Old No-Eyes.”
“Old No-Eyes” deals with Yute, an eccentric, ruthless necromancer with a talent for mathematics, and his former, backstabbing colleague named Tenza, who needs Yute’s help decoding a bizarre occult book written by an anonymous madman who calls himself “Old No-Eyes,” who claims that the text will teach the road to immortality to anyone who can decode it.
I’ve been passing around this one since December, and again, the response has been overwhelmingly positive: despite being a psychopath, people love Yute and his twisted sense of humor. People also liked the way mathematics was worked into the story and the depth of the worldbuilding. It’s the first of my stories to dive into the world of necromancy and introduce Yute, who’s one of my favorite characters. Here’s a sketch my friend Joel Clapp made of him:
If you’re interested in receiving a copy of these stories, I can send you a link to the private postings on Medium or a PDF via email. Shoot me a message at christophmahon [at] gmail [dot] com or hit me up on Twitter @DeadmanMu.
