Category Archives: Pandora Zwieback

Enter: The Girl With the Cookie Name 2

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Back on August 24th, I introduced you to Pandora Zwieback 1.0: a pregnant teenage runaway who was the main character in a never-completed screenplay titled The Nightlife Ain’t No Good Life. And now the secret origin of Pandora Zwieback continues!

PANDORA ZWIEBACK

An unofficial member of the group, 16-year-old Pandora is Trent’s older sister and the group’s “guardian,” having been appointed as such by the kids’ parents.

Quick-tempered and a touch cynical, Pan resents having to “babysit” a bunch of nerdy kids. What especially annoys her is that Hector obviously has a crush on her, and she’s just not that interested in a “kid” as a boyfriend.

Pan is the member that gives the group their mobility, since she’s the only one old enough to drive a car, which she does with all the hypermobility and instincts of an Indianapolis Raceway driver. This sometimes makes her more of a danger to the kids than whatever threat they happen to be facing.

What you see above is the character description of Pandora Zwieback 2.0—no longer a pregnant teen runaway, but still not a Goth monster hunter; in fact, here she’s not even the lead, but a supporting character!

But what exactly is “here”? Who are Hector and Trent? And what’s with the “bunch of nerdy kids”?

In 1995, I was working as an assistant editor at Byron Preiss Visual Publications, a book-packaging company here in New York. My boss was Howard Zimmerman (who recently edited the first Pan novel, Blood Feud). One day Howard mentioned that a friend of his, Sandy Fritz, an editor at Popular Science Magazine. Seems the company had expressed an interest in publishing a version of the magazine aimed at younger readers, to be called PopSci for Kids.

About a week later I presented Sandy with a proposal for The Braintrust: a group of highly intelligent, science-oriented teens and tweens who’d have exciting adventures in each issue of the magazine. (Hector was Pan’s maybe-boyfriend; Trent was her younger brother.) Included were drawings of the characters by David C. Matthews, a small-press artist with whom I’d been working on the original run of my Lorelei comic. As you can see, there are no traces of gothiness in fact, this version of Pan. In fact, she seems to favor Banana Republic over Hot Topic for her outfits!

Capping off the proposal was the script for the first one-page segment. The story had the kids attending a science fair, where bad guys were in the process of stealing a special computer that was on display. With Pan behind the wheel of the family car, the Braintrust goes into high-speed pursuit—only for one of the bad guys to throw a hand grenade at them!

To be continued!

…or not. Unfortunately, Pop Sci was a little horrified that I’d put the kids in such over-the-top danger, and canceled the project. Throwing grenades at children—really?

Well, hey, you wanted an adventure strip, right? Didn’t anybody over there grow up watching old Johnny Quest cartoons on Saturday mornings?

Oh, well…

Looking back on the project, and Pan’s role as the grumpy older sister to a smarter younger sibling, I now realize that in 1995 I created the basic idea of Disney’s animated series Phineas and Ferb, with Pan as their older sister, Candace! If only I’d thought to include musical numbers and a secret-agent platypus…

Talking to Myself (Part 3)

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Wrapping up a previously unprinted interview that I did for another Web site…

What is the one book no writer should be without?

I’ll give you five (’cause I’m so generous!):

On Writing, by Stephen King: It’s not only a great guide to the craft, but it’s also a good look into the creative writing process and serves as the closest thing you’ll get to King’s autobiography. I’m always recommending it to writers, even though I ignore probably half of his rules.

Doctor Who: The Writer’s Tale—The Final Chapter, by Russell T Davies and Benjamin Cook: Basically, it’s a massive collection of e-mails between Davies (the writer/producer who, in 2005, successfully revived Doctor Who) and former Doctor Who Magazine editor Cook that intricately explores the writer’s mind-set when he’s trying to create. Davies is amazingly open about how he writes, and in how he fights through frequent bouts of procrastination. The Final Chapter covers the period between Davies’s third season on the show, all the way to the conclusion of the final David Tennant two-part episode “The End of Time.” It may not teach you new writing tricks, but it’s a fascinating exploration of the writing process.

The Chicago Manual of Style: It’s the bible of the publishing industry, used by every editor, copyeditor, and proofreader worth their salt. It makes all their jobs easier if writers familiarize themselves with how things are meant to be written, and not just guess at it. Yes, it’s an expensive book (about $45.00), but in the long run it’s worth the investment. I’m constantly making use of it.

Webster’s Dictionary (most up-to-date edition): This is the dictionary used by mainstream publishers for reference—they accept no substitutes.

The Elements of Style, by William Strunk Jr. and E. B. White: A great reference tool that will help you tighten your writing and guide you past common writing mistakes—for example, it’s “I couldn’t care less,” not “I could care less.”

What writing magazines or other resources do you find most helpful?

I think Writer’s Digest is a good place to start for beginners interested in improving their craft. Publishers Weekly and School Library Journal keep you up-to-date on what’s going on in the industry, but considering how expensive a subscription is, it’s best that writers check out the online versions instead, or subscribe to their free e-newsletters. And magazines like Rue Morgue and Gothic Beauty keep me informed about fashion and horror culture that pertain to Pan Zwieback’s world.

Are you working on anything now?

Sure! I’m busy working on Blood Reign, the second Pandora Zwieback novel, for next year. But considering the cliffhanger ending I wrote for the first novel, Blood Feud, I can’t really say anything about the new book, except it’s got another great cover painting by Bob Larkin.

I also have a graphic novel coming out later this year from my company, StarWarp Concepts. Lorelei: Sects and the City is about a succubus (a female demon who feeds on the souls of her victims) trying to stop a supernatural cult from destroying the world. It’s a “Mature Readers” title, which means you have to be older than 18 to buy it because of adult language and some nudity. It’s sort of a tribute to the horror comics I read and the horror movies I watched when I was a teenager.

What’s the best piece of advice you ever had on writing?

Back in college, the professor in a screenwriting course I was taking once told the class that if you want to be a writer, you should always have a pen and notepad with you in case an idea comes to mind, or if you see something in your travels that you think would make for a good scene. So I don’t go anywhere without a notepad.

Do you have any advice for young writers?

Write what you know, but don’t be afraid to research what you don’t. Research is critical if you want to add depth to your story, especially if it’s set in the real world.

Always be willing to listen to constructive criticism; you don’t have to accept all of it, but you should keep an open mind. I got some great feedback while I was writing Blood Feud, especially from my editor, Howard Zimmerman. Contrary to the belief of some writers, editors aren’t there to screw with your “vision”—certainly not the good ones. They’re there to help you improve it. It’s the bad editors you have to watch out for.

Oh! And always carry a notepad.  😀

Talking to Myself (Part 2)

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Continuing a previously unprinted interview that I did for another Web site. (Part 1 ran yesterday.)

What was your big break?

As much as I hate this kind of thing, it really was a case of “it’s not what you know, it’s who you know.”

In the late nineties I was an editor for a publisher/book packager named Byron Preiss, who had a license from Marvel Comics to publish original novels based on their characters. Having edited some of the books, and written short stories for a couple of anthologies (Untold Tales of Spider-Man and The Ultimate Hulk), I was offered the chance to take over a YA novel titled Spider-Man Super Thriller: Warrior’s Revenge—Marvel had rejected the manuscript delivered by a mystery and fantasy writer named Neal Barrett Jr. Basically, I was in Byron’s office when news of the rejection came in and he turned to me and said, “So, you want to write it?” Of course I said yes!

The only problem was, the cover for the book had already been printed for advance sales purposes, so I wound up ghostwriting the book for Neal, who was amazingly gracious about the whole thing.

So, if you ever come across a copy of Warrior’s Revenge, just remember: it might have Neal’s name on it, but it’s actually my first novel!

A couple of years later, a similar situation happened: two established writers were supposed to do an original X-Men novel trilogy, except Marvel rejected their proposal. And again Byron asked if I’d be interested in taking it over. Well, who was I to say no?

The result was X-Men: The Chaos Engine Trilogy, in which the X-Men fight their archenemy Magneto, Doctor Doom (from the Fantastic Four), and the Red Skull (from Captain America) for control of the Cosmic Cube, a device that allows them to alter reality. All three books sold really well—helped in no small part by the fact that Book 1, X-Men/Dr. Doom, came out in time for the first X-movie. I think that’s when people really started to recognize my byline.

What authors have influenced you the most?

Well, Stephen King is probably my biggest influence. There’s comics guru Stan Lee (with whom I got to collaborate on a comics project!) and H. P. Lovecraft—an early twentieth century pulp-magazine horror writer who influenced guys like King. And there are some others who’ve influenced me: comic writer Alan Moore, mystery writer Robert B. Parker, Harlan Ellison, and Ray Bradbury. (I’m sure there’s somebody I’ve forgotten.)

The trick, though, is finding a way to blend all those influences into something that eventually becomes your own, unique writing style.

What are some of your hobbies?

I used to be a major comic book fan, but over the years I got tired with all the superhero stuff—which is kinda funny, considering my professional writing career started with me writing short stories and novels about Spider-Man, the X-Men, and the Incredible Hulk. Now I just spend all my money on Doctor Who merchandise! I’ve been a Who fan—Whovian?—since high school. I even got to write a story for an official Doctor Who anthology!

What’s your favorite movie?

When I was a teen it was the original, un-messed-with Star Wars. (The one where Han shot first.) Somewhere along the way it became The Blues Brothers. Must’ve been all that great blues music—well, that and the insane car stunts…

If your book, Blood Feud: The Saga of Pandora Zwieback, Book 1, was turned into a movie, who would you like to play the main characters?

At conventions I often describe the Pandora Zwieback series to folks as “Ellen Page and Salma Hayek in a Hellboy movie.” They’re a little too old at this point to play Pan and Annie, but when I was trying to land the series with a publisher back in 2005/6, I thought they’d be perfect.

For me, Salma Hayek had been Sebastienne Mazarin since 1995, when her big-screen debut in Desperado coincided with Annie starring in the Heartstopper comic series I was writing. And when Ellen Page was running around in X-Men: The Last Stand, dressed in leather and calling Vinnie Jones’s Juggernaut character a dickhead, I thought, That’s Pan!

Oh, and Bruce Campbell for Pan’s dad!

Tomorrow: Advice for writers, and suggested reading. Be here for the thrilling conclusion!  😉

The Secret Origin of Sebastienne Mazarin (Part 1)

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Back on August 24th you were introduced to Pandora Zwieback 1.0—the original, non-Goth version of Pan that I created for an unfinished screenplay in 1984. But how about her mentor, Sebastienne “Annie” Mazarin, 400-year-old shape-shifter and professional monster hunter—where did she come from?

Would you believe from comic books? Yes, indeedy.

The project began in 1993, with a comment made to me by artist Louis Small Jr., who at the time was being heaped with praise for his work on Harris Comics’ new Vampirella series (recently reprinted in Dynamite Entertainment’s Vampirella: Masters Series, Vol. 5). Although comic fans loved his art, he wasn’t feeling much of that love from his bosses at Harris—in fact, they’d already started promoting the artist scheduled for the next story arc! Understandably annoyed, Louis wished he could create his own Vampirella-type character, to show Harris what they were missing out on by ignoring him.

A few days later, I presented him with Heartstopper, a proposed series about a shape-shifting monster hunter named Sebastienne Mazarin: half French, half Brazilian, all badass.

As I explained to Louis, having Annie as a shape-shifter instead of a vampire would deflect any negative comments about how he was just trying to rip off Vampirella by drawing another female bloodsucker. And making Annie a Latina would help her stand out from the multitudes of white superhero women that dominated the market. Louis agreed, and got to work sketching.

The first thing you probably noticed is Annie’s wearing a lot less than today’s version. Such was the state of the industry in the 1990s—a decade when having a half-naked female character in your comic practically guaranteed it would get published. And sell phenomenally well. It’s a period now known as “the bad girl era.”

(Bad-girl comics—for those of you unfamiliar with the term—starred heroines who possessed a lot of attitude but very little clothing; a bikini and thigh-high boots with stiletto heels were the basic uniform. Vampirella, Catwoman, Lady Death, Shi, Flare, Witchblade—the list was endless. And the one thing they had in common was that they sold insane amounts of copies—because fanboys DO luv their scantily clad fantasy women…)

True to form, the bad-girl approach worked. Louis and I had gotten a bit chummy with Joseph Monks, co-creator (along with artist Joseph Linsner) and former writer/publisher of the horror comic Cry For Dawn. After a creative-differences split with Linsner, Monks planned to continue publishing and was looking for projects. When I pitched Heartstopper he said it was definitely something that would make for a good series, and wanted it to be one of CFD Productions’ new titles. (I’m pretty sure it was Louis’s sketches that sold him.)

First, though, he wanted to tease the series in the first issue of his anthology series NightCry.

That sounded like a good plan, so Louis and I got started. I wrote the first-issue script, and Louis…ran into scheduling problems. Apparently those Vampirella issues he drew proved to be more popular than expected, and now he was being flooded with art commissions and offers to draw comics for other, larger publishers. And when you’re a freelance artist trying to make a living from drawing comic books, you’ve gotta go where the money is. (Being a freelancer myself these days, I understand that logic all too well.) It was easy to see that Louis would never have the time to focus on Heartstopper.

That didn’t stop him from trying, though. He managed to complete eight penciled pages as the deadline for NightCry #1’s trip to the printer drew ever closer. Then Monks—realizing he had room for only four of those pages (one of the other stories ran long)—handed them off to an inker to make that deadline, rather than give Louis time to ink them himself.

The problem was, the new guy was a rookie inker. Never been published. Never really inked anybody before, either. The results were…pretty ugly.

In the end, between the bad art job and Louis being unavailable to work on the series, it was decided that Heartstopper was not going to be one of CFD’s new titles. In retrospect that was just as well—the company folded two years later—but I was still disappointed.

But, I thought, maybe if I can find another artist who’s as good with the bad-girl stuff as Louis is, I can try and place the series with another publisher.

And that was when an equally talented artist named Uriel Caton entered the picture…

We’ve Got E-books!

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That’s right! Available for purchase right now from DriveThru Horror is the PDF edition of Blood Feud: The Saga of Pandora Zwieback, Book 1!

Well, no, you can’t buy it for a dollar, but the low, low price of $4.99 is just as good, isn’t it? Of course it is!

Also available is J. Sheridan Le Fanu’s vampire classic Carmilla ($3.99!), which features six beautiful illustrations by resident Pandora Zwieback artist Eliseu Gouveia.

It’s a baby step into the 21st century for StarWarp Concepts, but we are working on other platform editions (Kindle, Nook, Kobo, etc.); I’ll have news on each one as they become available. For now, just click on the DriveThru logo above to check out the first two SWC releases!

I Think I’m Seeing a Pattern, Here…

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The good news keeps on coming for Blood Feud: The Saga of Pandora Zwieback, Book 1! If I’m not careful, I might actually start thinking I’m some amazing, big-time writer!  😉

Lady Kell of the UK’s BCF Book Reviews has posted a rave review:

“Attention all monster maniacs, vampire victims, Goths, fans of the macabre and all-out urban fantasy, paranormal and supernatural snapper-uppers—there’s a new series on the market and you’re gonna love it!”

Read the entire review here.

Enter: The Girl With the Cookie Name

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So now that we’ve wrapped up “The 13 Days of Pan-demonium,” I think it’s safe to say you’re familiar enough with our resident Goth girl to know what she’s about—especially if you’ve bought a copy of BLOOD FEUD: THE SAGA OF PANDORA ZWIEBACK, Book 1. You have, haven’t you? (No, the book plugging never ends around here—we got books to sell!)

But where did the girl with the unusual name really come from…?

 FADE IN:
1. EXT: NEW JERSEY TURNPIKE – NIGHT
The hour is late on this warm summer evening, and traffic along the
New Jersey Turnpike is light and brisk. A light rain spatters down on
the asphalt, the droplets blurring approaching headlights, transforming
them into multipointed blobs of light.
Through the lines of traffic moves a Greyhound bus, the sign above its
large windshield proclaiming “NEW YORK” as its destination.
2. INT. GREYHOUND BUS – TRAVELING – NIGHT
Within the cramped confines of the bus sit no more than ten PASSENGERS,
all but two of them dozing in their seats. In the rear left-hand corner
of the bus sits PANDORA ZWIEBACK, an attractive, auburn-haired,
sixteen-year-old girl. Dressed in colorful, baggy clothing, a bright
green beret perched on her head at a rakish angle, Pan has the look of
a free spirit about her.
Pan gazes out the window and stares at the skyline of Manhattan, ablaze
with the lights of the towering buildings. Pan’s eyes seemingly light
up as she smiles broadly.
3. EXT: NEW JERSEY TURNPIKE – NIGHT
The bus continues on its way, entering the Lincoln Tunnel.

And that was how the original—and very different—version of Pan was introduced, in a screenplay called The Nightlife Ain’t No Good Life that I started writing in 1984 but never completed. (The title, BTW, comes from the song “Night Life,” written by Willie Nelson. I didn’t know that at the time; all I knew was that blues legend B. B. King sang the hell out of a cover version of it—look it up on YouTube.)

Inspired by the viewing of perhaps one too many movies by director John Sayles (Eight Men Out, The Brother From Another Planet), Nightlife was the story of a pregnant, teenage runaway who winds up at New York’s notorious Port Authority Bus Terminal, and the people she meets—no supernatural elements, just the character-driven tale of a troubled girl trying to make sense of her life.

“A troubled girl trying to make sense of her life.” Okay, so maybe not all that different from the Pan Zwieback of today… Well, except for the red hair and the unplanned pregnancy, of course.

So, why didn’t I finish the screenplay? I can’t remember; in fact, I’d forgotten all about it until I was cleaning up the basement a few years back and stumbled across the original typewritten pages and handwritten plot notes. Imagine my surprise when I realized just how long ago I’d come up with Pan’s name! 1984? Wow.

As for why “Pandora Zwieback”…

“Pandora” because the idea was that at the end of the screenplay, after all the troubles she’d been through, she’d still be hopeful about her future. “Zwieback” because…well, because I’d flipped open the dictionary toward the back and looked for a word that I thought would sound good when combined with Pandora. And I did like how “Pandora Zwieback” sounded.

So there you have it. Greek mythology + hard cookie = weird name for an odd but lovable girl who over the years evolved from pregnant runaway to Goth monster hunter—mainly because the name kept popping into my head as I’d work on various projects and I’d think, “Yeah, I should do something with that…” And then one day I finally did do something with it.

Not exactly the earth-shattering origin story you were expecting, is it?  😉

And this doesn’t even cover the brief time there was a second version of Pan, who was meant to appear in an adventure comic strip for the magazine Popular Science for Kids. But that, as the saying goes, is a story for another time…

13 Days of Pan-demonium: Werewolf Café

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And so we reach the end of “The 13 Days of Pan-demonium,” our artistic celebration of the release of BLOOD FEUD: THE SAGA OF PANDORA ZWIEBACK, Book 1 (on sale now!).

Our final artist is: CIARAN LUCAS!

Now that’s what I call a magnificent digital painting! “Werewolf Café” shows Pan discovering that not even her favorite coffee house is a safe haven from the horrors that constantly haunt her. I mean, a werewolf—drinking tea! Tea! In a coffee house! How horrific is that?

Here’s a true tale of artistic mistaken identity: I discovered Ciaran’s work through DeviantArt, where he’d posted a cartoony Doctor Who drawing in his gallery. I liked the illustration so much I added to my own page’s Favourites, then asked him if he’d like to be part of the 13 Days because I enjoyed his art so much.

Unfortunately, it turned out he didn’t draw that Doctor Who piece—he only colored it! (Oops.) Embarrassed, I went back through his gallery to check out his own work and saw that he was an amazing digital painter—so I invited him again! He said yes (thankfully), and the fantastic results are here for all to enjoy.

These days, Ciaran is busy working as a colorist for such projects as Bluewater Production’s Vincent Price Presents, and Image Comics’ upcoming MacGyver miniseries (yup, based on the old Richard Dean Anderson TV show). Click Ciaran’s name up top to stop by his DeviantArt page and see his other work. You can thank me later.

*          *          *

So, what do you think? Has the art we’ve showcased during the “13 Days” promotion been as jaw-droppingly amazing as I think it is? Lemme know, you Pan-atics. (No, the 13 Days may be over, but the awful puns will never stop!)

13 Days of Pan-demonium: Subtlety? Not Really Her Strong Suit

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The Pan-demonium reaches its penultimate moment as we continue celebrating the publication of my novel BLOOD FEUD: THE SAGA OF PANDORA ZWIEBACK, Book 1, on sale right now from StarWarp Concepts and all fine online bookstores.

Say hello to…ME!

That’s right, on rare occasions I actually will pick up a pencil and draw something, although not as often as I used to. (Hey, somebody’s gotta write these Pan novels!) Back in the day, I did my share of convention sketches, usually involving superheroines and cartoon characters—or a combination of both. Once I even crossed Ariel, the Little Mermaid, with Catwoman and created…CATFISH-WOMAN!

These days, however, I tend to focus on my writing and let the professionals do the art. In fact, the only reason I did this particular Pan drawing was because I realized I was one artist short for the 13 Days promotion. Still, it was fun to try my hand at drawing Pan and Annie; maybe I do it again one day!

In the meantime—look! I have my own DeviantArt page, where I post some of my drawings, along with sample pieces by other artists that tie into my various projects. So, feel free to take a look at the gallery I set up—after you buy Blood Feud, that is!

Tomorrow, the “13 Days of Pan-demonium” reach their senses-shattering conclusion! Be there, effendi! Excelsior!

(Hey, who let Stan Lee in here…?)

13 Days of Pan-demonium: Hey, You Mind? I’m Trying To Read!

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The Pan-demonium continues as we celebrate the publication of my novel BLOOD FEUD: THE SAGA OF PANDORA ZWIEBACK, Book 1, on sale right now from StarWarp Concepts and all fine online bookstores.

Stupid ghost—get your own book! Today’s illustration is a special treat, because it’s by none other than Pan’s co-creator and designer: URIEL CATON!

I first met Uriel back in the early ’90s, through a mutual friend (and comics artist) named Delfin Barral. At the time, I needed an artist for a “bad girl” comic project I was working on, so Del opened up the copy of the Comics Buyer’s Guide that I had with me, and pointed to a full-page ad for a comic titled The Outer Space Babes. The first-issue cover art and interior pencils were by his friend, Uriel Caton.

Holy Moses! Sexy women—in spaaaace? And before that he’d been drawing sexy women for b&w publisher Eternity Comics’ flagship title Ex-Mutants? Now I had to meet the guy! (What? I did say it was the 1990s, didn’t I? It was the decade of the bad-girl comic!)

Not long after, Uriel signed on as co-creator and penciller of the bad-girl project, titled Heartstopper, which introduced readers to Sebastienne “Annie” Mazarin, sexy monster hunter and all-around badass. (Now sexy monster hunter and fully clothed mentor to our Goth adventuress.) The comic made its debut in 1994, through Millennium Publications—and quickly died, unfortunately.

(For the story of what ultimately happened with Heartstopper, and how it morphed into The Saga of Pandora Zwieback…well, that’s a blog post for another day.)

After Heartstopper, Uriel went on to do work for other publishers, including DC Comics’ JSA Annual #1. Did you know he’s listed as co-creator of the female assassin Nemesis, along with now-big-time Hollywood screenwriter David Goyer of Blade, Batman Begins, and The Dark Knight fame? It’s true!

These days, Uriel works as the Senior Minimate (2D) Artist for Diamond Select Toys, a division of Diamond Distribution (the folks through which your local comic shop gets its weekly funny-book shipments). But even though a lot of his time is spent designing blocky figures based on movie and comic book licenses, it’s apparent from today’s “Ghostreader” art that he still knows how to draw the cutest girls around.

The “13 Days of Pan-demonium” keep rolling on! Tune in tomorrow for (or hide in fear from) my contribution to this event!