Horror Movie Conspiracies: The Scream Franchise By Kenzie Kordic

Horror Movie Conspiracies: The Scream Franchise  By Kenzie Kordic

Horror movies have always had conspiracy theories attached to them, explanations on what motivated characters, and much more. The conspiracy theories in the horror universe is mostly fan theories, some have concrete foundations, while others have no basis in facts. Scream is one of the most popular horror franchises. The casting, sequels and fan base have helped the Scream franchise grow to what it is today: a classic. Everyone thinks that they understand what is at play and what the movies are all about, but do they really? This article is going to highlight the hidden agenda of some characters.

The main theory is that Dewey has assisted with the murders in every movie. Now, this is hinted at in almost every movie. Dewey is Sidney’s best friends older brother. He is a cop, and is also portrayed to be stupid. So much so, in fact, that the town doesn’t trust him at all or have any faith in him as a police officer. This works in Dewey’s favor because since everyone believes him to be stupid, he can break the mold and become a respected man of the law.

Now, how does he assist with the murders? Well, in the original Scream movie, Sidney’s boyfriend, Billy, was originally arrested for the murders of the students in the high school. When they arrested him, he did have the costume on him as well as the phone that made the calls to the victims. With all that evidence against him, he was released the next day. How? Dewey let him go.

The next piece of evidence is that he is always there. With every crime scene, he is there. Now, you’re thinking that he is a cop, so he should be, but that isn’t true at all. He wasn’t a good cop at all so what would him even being at the scene of the crimes help at all? Also, in every single movie, he is never attacked alone. Every time he is attacked, it is in full view of someone else. For example, Sidney was attacked on numerous occasions when she was by herself, so was Gale, and other characters. Why was Dewey never attacked alone? Also, how come every time there is the big showdown at the end of the movies, Dewey is always hurt. He is rarely there to help, he is always incapacitated.

In conclusion, Dewey has assisted with the murders of every killer in the Scream franchise to help himself get more recognition by helping to “solve” the cases. He has always known who the killers are and has helped them escape the law on a few different occasions. Like Gale, Dewey was using the murders and the killers to further his own career and infamy. Unlike Gale, Dewey was at least knowledgeable of who the killers were and what was going on. This is the first of many different horror conspiracies that will be discussed and I hope to see you guys next time.

 

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Kenzie Kordic is a young author who strives to create truly scary stories.  Kenzie has been obsessed with the horror genre for as long as she’s been able to read. She has written numerous short stories as well as working on a novel.  She can be found watching horror movies with her pup.

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Disheveled Dreams : Guest Blog : Slither by Valarie Savage Kinney

 

Excerpt:

Something was wrong.

Zari knew it, even as she fought against the nightmare that had engulfed her. Thrashing about in her mind as well as in the bed, she pushed herself to awaken. She was trapped in that gauzy middle ground between hard sleep and clarity.

And she was suffocating.

The snake was everywhere: over her, inside of her, shoving itself into her eyes, her mouth, her belly. A serpent bigger than she was, it filled most of the room. Couldn’t Emmett see it? Didn’t he hear the hissing, the horrible echoing of it that was hammering her ears? The air was heavy, tangible, too thick to breathe in and she struggled for air, arching her back in a desperate attempt to suck in oxygen. The gigantic serpent slid over her, releasing a sickening slurping sound with each movement. Zari could feel the slime dripping off of her. She shuddered, squeezing her eyes shut. It was melting into her, sealing its revolting body to hers with a scalding heat that made her cry out in agony. “No!” she cried out. “No, no, no!” The snake laughed, a hideous, wheezing sound that left goose bumps on her skin.

“Zari! You are one of us! You are one with us!”

“No!”

“We are Slither! We are bound together!”

“I won’t! I won’t do this!”

Horrendous cackling filled the room, permeating the air, sticking to her skin like a layer of filth.slitherdreams

Zari’s eyes snapped open and watched in terror as the face of the serpent dissolved into the face of the little girl, Kayde, smiling prettily. The face stretched and changed again, this time to a face once dear to Zari, one she hadn’t seen in many years. Chocolate brown hair buzzed short enough to show skin peeking through it. Short enough that it felt soft as the first sweet locks of an infant. Narrow violet eyes set in deep sockets with puffy dark pockets of flesh sitting immediately below them. A wide red mouth with deep, puckered lines about the lips. Impossibly straight, white teeth. Square chin. Nan’s features were older and seemed to have softened in some ways and in others looked harsh and wrinkled.

“N—Nan?” It couldn’t be possible. Could it?

“Child. You’ve been gone so long. You’ve got to come home now. It’s time for you to accept your gift,” Nan said, warm and inviting.

“I don’t want it. I won’t be like you, like Mama. I want to be normal,” Zari said, insistent.

“Normal? What, like this poor excuse of a man you’ve chosen to bed?”

“Leave Emmett out of this. I love him. I’m happy. He doesn’t know about… this, and he isn’t going to. Isn’t there any way I can get out of it?” Her voice was desperate, pleading.

“Get out of it? Renounce your bloodline? How do you propose to do that?” A harsh, barking laugh escaped Nan’s lips.

“I don’t know! Just… get it out of me!” Zari cried.

Suddenly, Nan was human again. Sitting atop Zari’s chest, she set about her grim task—wrapping a transparent film about Zari’s head. Horrified, Zari attempted to reach up to stop her, only to find her arms were cuffed to the bed. Digging the back of her head into the pillow, Zari screamed.

Nan wrapped the film tightly around Zari’s face, pulling hard as she stretched the film to wrap around her head one more time. Nan grinned broadly as she worked.

Emmett, Emmett, Emmett! Help me!

She was suffocating. There was no air, no air…

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Valarie Savage Kinney is a writer and Ren fest junkie. She resides in Michigan with her husband, four children, and two insane little dogs. She is the author of Just Hold On, Slither, Heckled, and short stories in various anthologies.

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Crafting Horror: Theatre of the Mind by H.R. Boldwood

Crafting Horror: Theatre of the Mind

by H.R. Boldwood

How do you define theatre of the mind? In its broadest sense, theatre of the mind uses sensation to evoke a person’s perception and imagination.

Some folks might think of the old-time radio programs of the 30’s and 40’s when fascinating stories played over the airwaves and transported people to another place and time. In 1938, Orson Well’s radio broadcast of War of the Worlds managed to spawn national panic by convincing us the Earth was under attack by Martians!

And he did it using primitive sound effects that pandered to the listener’s ear.

Baby boomers might picture a more high-tech version of the theatre of the mind. Take, for example, the ExtraTERRORestrial Alien Encounter attraction at Disney World (circa 1995 -2003). In an effort to entertain and heighten the anticipation of the line-weary crowd, Disney broadcast a brilliantly crafted preshow infomercial from the intergalactic company, XS Tech, which boasted, “If something can’t be done with XS, it shouldn’t be done at all.”

The crowd chuckled. Surely, disaster awaited.

Once the program began, the Chairman of XS Tech, an alien named L.C. Clench, announced that he would travel to Earth via the teleportation tube in the center of the auditorium.

But something went horribly wrong. Suddenly, lights strobed, steam hissed, and alarms sounded. The audience saw just enough to know that it wasn’t L.C. Clench who had arrived in the teleportation tube, but a hideous winged alien instead. Oh no!

The tube slowly cracked, then burst wide open. The alien escaped! And just when it seemed like it couldn’t get any worse, the power in the auditorium went out. The audience was thrust into darkness. A technician rushed to fix the problem, but by the sound of it, he’d been savagely killed by the extraterrestrial beast. The audience was trapped, harnessed into their seats in the pitch-black auditorium with a vicious alien on the loose!

The floor shook as the alien tromped around the room. The audience heard his tortured breathing, felt his hot breath down the backs of their necks. They twitched as his tail skittered across the backs of their calves and screamed as saliva dripped down on them from above.

Miraculously, the power was restored, the lights came back on, and the monster was captured just in the nick of time.

Whew! That was a close one! And what a delight to the senses.

Both War of the Worlds and Alien Encounter are perfect examples of theatre of the mind.

But what about what we do — we horror writers? Aren’t we providing our readers with theatre of the mind?

We should be.

We ask our readers to suspend their disbelief hoping we can take them on a ride just long enough to tell them our tales. If we have any hope of achieving that goal, it’s going to be by making those readers actually live our stories.

We’ve been lectured to death to ‘show not tell.’ In essence, we are being told to engage our reader’s senses.

I read a David Farland writing tip recently wherein he quoted the words of the poet, Leslie Norris. “When it rains in your story, your readers should get wet.”

It’s that simple.

Perceptions and imagination are evoked through the senses. Ergo, if we manage our readers’ perceptions and awaken their imaginations, we can create an alternate reality for them.

We can put them in the jungles of Viet Nam, the furthest reaches of space, a haunted house, or even the bowels of Hell. And we do it by evoking their senses – sight, hearing, taste, smell, and touch.

Here’s another outstanding nugget I’ve gleaned from David Farland’s tips: Not all people experience the world in the same way — much like we all don’t learn the same way. Some people learn by doing, others by watching, still others by listening.

It’s similar to the way people process what they’ve read. A person who learns by doing leans heavily on their sense of touch. That individual might prefer reading descriptions that are very tactile in nature. A person who prefers to watch and learn might prefer highly visual descriptions, while the person that learns by listening might prefer reading about the sounds of a setting.

That makes perfect sense – no pun intended. It also suggests that we need to incorporate all the senses into our stories, as often as possible. Including the senses artfully and in tandem helps create settings that transport our readers to the worlds we’ve created.

While we’re at it, are we letting our readers know what’s going on inside our characters’ heads? How they’re feeling? Internal dialog is a useful tool in this regard. My good friend, Killion Slade, introduced me to another dynamite tool, the Emotion Thesaurus, written by Angela Ackerman and Becca Puglisi. This book lists common emotions and their physical signals, internal sensations, mental responses, as well as cues of their acute or long term duration and cues of their being suppressed. It’s become one of my favorite resources and it makes it easier than ever to create three-dimensional characters to star in my theatre of the mind productions.

No, there isn’t anything new and groundbreaking about writing descriptors, whether they’re painting a vivid setting or our characters’ emotions. This stuff has been drilled into us for years.

But if it’s really all that rudimentary, why don’t we each look back at one of our stories to see how frequently we actually do it. According to Farland and other successful writers, we should be hitting all of the senses on just about every page. That’s a whole lot of seeing, tasting, hearing, smelling, and touching going on. I don’t know about you, but I’m going to start focusing on this a bit more.

I wonder how my characters will feel about that.

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  • David Farland is an award-winning, bestselling international fantasy author, widely known for his New York Times bestselling fantasy series, The Runelords. Interested people can sign up to receive David’s e-mailed writing tips at www.davidfarland.com.

 

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H.R. Boldwood is a writer of horror and speculative fiction. In another incarnation, Boldwood is a Pushcart Prize nominee and was awarded the 2009 Bilbo Award for creative writing by Thomas More College. Publication credits include, “Killing it Softly”, “Short Story America”, “Bete Noir”, “Everyday Fiction”, “Toys in the Attic”, “Floppy Shoes Apocalypse II”, “Pilcrow and Dagger”, “Quickfic”, and “Sirens Call”. Boldwood’s story, ‘In the Shadow of Fire’ will be appearing in the anthology “Saturalia,” published by Hyperion and Theia in late 2017.

Boldwood’s characters are often disreputable and not to be trusted. They are kicked to the curb at every conceivable opportunity. No responsibility is taken by this author for the dastardly and sometimes criminal acts committed by this ragtag group of miscreants.

H.R. Boldwood can sometimes be found writing as Mary Ann Back, whose collection of short stories “Dead Reckoning”, published by Grey Wolfe Publishing, is available at www.amazon.com.

Amazon Author Central address: https://www.amazon.com/-/e/B01LWY22MD

Guest Blog : Black Zombie: Hollywood and the 80’s Voodoo Revival by J. Malcom Stewart

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Black Zombie: Hollywood and the 80’s Voodoo Revival

In the beginning, there was the Zoumbie.

What began as a mixture of the ancient spirituality, chemical sciences and social control practices of West and Central Africa ended up stranded in the former home of the Arawak and the Carib by way of the Transatlantic Slave Trade. Just as water wears down stone, what started as historical reality became whittled into mythology. And where there were deep roots, the stalk that grew from that dark, fertile soil became forever altered by the gaze of the European Other.

The legendary flesh-and-blood inspiration for the modern cinematic motif arose and walked through the jungles of Haiti and other Caribbean islands in those days, allegedly bringing terror and destruction to those not wise enough to avoid the paths of voodoo, the false cognate for the misunderstood, syncretic systems of religion alternatively called Vodou, Vodun, Vaudou or Santeria.

So, naturally, someone had to make a movie about it.

In 1932, Hollywood came a’ knocking and our beloved Zoumbie left his sun kissed isle to star alongside Bela Lugosi in the black-and-white Golden Age horror classic, White Zombie. A title truly intentional in its contradiction as Lugosi plays a white Haitian landowner who discovers from his black peonage the secret of Zoumbie creation through a process of hypnosis and drugs.

Lugosi then, of course, uses his powers to cement his control over the black populace while subsequently terrorizing his white neighbors, kidnapping a visiting American co-ed and daring her beau to brave the terrors of his plantation to save her.

The strange, occult powers of his character are almost of secondary concern to our heroes given his over-familiarity with the way of “natives,” causing the boyfriend character to exclaim that if the damsel-in-distress were to accidentally fall into the hands of the black workers “it would be a fate worse than could be imagined!” His comrade-in-arms admonishes him strongly not to even consider such a horror.

Never fear… The movie going audience of 1932 was spared the threat of racial miscegenation when the aforementioned boyfriend confronts Lugosi and breaks the spell of the Zombie. All was again right in the world. Except it started a bit of a craze for more cinematic distortion of the Zoumbie tradition, the biggest of which was the mispronounced cultural appropriation of the Zoumbie name.

For a while, our hero held sway in the imagination of filmmakers wanting to explore the field of culturally incorrect exotica. He had regular work in those days, showing up in such forgotten gems as I Walked with a Zombie (1943) Voodoo Man (1944) and the Plague of the Zombies (1966).

Then came George Romero. And like a lot things in the 60’s, there was a changing of the guard.

With Night of the Living Dead, the (pseudo) Scientific Zombie became the king of the block and our hero was forced back into semi-obscurity, through perhaps Romero gave a slight nod of sympathy by casting Duane Jones as a protagonist who shared some heritage with our ancient hero. But mostly, the original item ended sitting around the house, downing bottle-after-bottle of Red Stripe, waiting for his next close up.

Thankfully for him, the 80’s came along. And with it, a “real-life” novel length account from Harvard researcher Wade Davis called The Serpent and the Rainbow. Davis’ book, presented as his actual experiences with so-called “zombie masters” in Haiti during the final years of the Duvalier dictatorship. And with its publication came the most pointed scholarly disagreement among anthropologists since Carlos Castaneda’s “Don Juan” thesis that stole the 70’s.

How could it not help but start a new, focused sensation about the Zoumbie and the Voodoo system?

First up in March of 1987 was Angel Heart. The all-star cast of Mickey Rourke, Robert De Niro and Lisa Bonet was steeped in both anticipation and controversy. It brought together two of the most respected “Method” actors of the era, one of whom (DeNiro) had already won his Oscar and the other (Rourke) was an odds-on favorite to be the next “great American actor.” It also was greeted with tabloid buzz as Bonet was on thin ice with her TV dad and employer, Bill Cosby, due to the erotic nature of the film. Angel Heart was nearly slapped with the emerging NC-17 rating before some compromising cuts were made.

The film itself was an atmospheric exploration of the “Hoodoo” belief system, a American near cousin to Voudon and Santeria. The Hoodoo concept and practice, prevalent in Louisiana, Mississippi and Arkansas, sets the background for the New Orleans location for Angel Heart, as Rourke is a noir-cut detective tasked with finding a semi-famous singer who doesn’t want to be found. The set up, while simple sounding, is a complete misdirection for twists and turns, including bizarre symbolism, weird sex and DeNiro as a Brill Cream infused version of the Devil.

The film, which got a fairly favorable critical reception, was less than a box office sensation, perhaps weighed down by all the expectations of fireworks between Rourke and DeNiro and the gossipy infighting over Bonet’s role. Angel Heart has grown in prominence in the decades since, with many fans citing it as a conversation piece for unconventional horror. However, the really frightening thing maybe what happened to Rourke and Bonet’s careers after the film.

Hot on the heels of Angel Heart came The Believers. The May 1987 Martin Sheen vehicle attempted to explore the dangerous side of Santeria, the Spanish Speaking cousin of Vodun, as Sheen plays a skeptical psychologist who is drawn into the world of Caribbean mysticism when his son is threatened by a group of evil Santeru.

While The Believers brought some big budget production values to the subject, the script and direction fell back into some dominant culture stereotypes as the ultimate group of villains revealed had only a flimsy link to the actual Santeria tradition. Apparently, Hollywood hadn’t found much new material for practitioners of African traditional spiritualism in the intervening 55 years between it and White Zombie.

Fortunately for traditional zombie fans, the next year of 1988 contained a much more positive development as one of the decade’s legendary “Three C’s” took on adapting Wade Davis’ book. Wes Craven’s The Serpent and the Rainbow brought the spotlight back to the place where it all began for our beloved friend, Haiti

Released in Feb. 1988, Serpent took advantage of Hollywood’s renewed interest in voodoo. Craven, then at the height of his powers and popularity, dove into the trend by giving us the most “naturalistic” Hollywood zombie movie to that date.
Set on the island in the early 1980’s, our hero (played by Bill Pullman) is a biologist/ anthropologist /chemist (the script is never sure which) who comes to the island nation in order to find the ancient, narcotic powder used by voodoo masters to put their victims into a state of living death.

For Pullman’s trouble, he is kicked, beaten, buried alive and has a nail driven through his scrotum. But for his tribulations, he manages to do something thought impossible. Bring the undead back to life a second time.

Shot on location around Hispaniola in both Haiti and the Dominican Republic, Serpent still stands as a glorious, although slower-paced, exploration of the Haitian “voodoo” culture. The film takes considerable time to explain the theology and worldview of the Zombie Makers while also delving into the culture and politics of the proud yet troubled nation.

Freaky undead doings abound, making for some killer scenes. Zombie hands in pea soup, crazy chicks eating glass, a corpse-bride with a python tongue The topper of an undead Paul Garfield pulling off his own head to throw it at a freshly returned Bill Pullman was one of my personal favorite horror moments of the 80’ . And while it wasn’t a big hit for Craven, it’s remembered fondly by many fans as one of his most unique films, despite its over-the-top ending.

Despite the flurry of interest at the end of the Reagan years, Hollywood quickly returned to the modern Zombie model, pushing out the Romero clones with frightening efficiency during  the last 30 years. There haven’t been a ton of films Hollywood exploring the flavors of the voodoo belief (2005’s The Skeleton Key comes to mind), but that’s not to say our hero’s time won’t come again.

In 2017, you can’t go anywhere in the horror genre without finding a Romero style cliche showing it.

 

Guest Blog: The Occult World of Phillippa Schuyler by James Goodridge

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The Occult World of Phillippa Schuyler  by James Goodridge

The circumstance was the visit of my son and his girlfriend visiting for the holidays Christmas 2016 a brutal year in the world of music that made me do what I did.

  “Hey, pop can I play with this ?” Ruth asks (name changed for this story)  

   Smiling at my OUIJA board sitting all by its lonesome self on a shelf among CDs,DVDs, VHS tapes (don’t judge me I keep them because among the tapes I have left to view is a classic home recorded Plan 9 From Outer Space I taped off of the old WOR channel 9) and books. I myself have never used the board having bought the glow in the dark, hours of fun item at a thrift shop for a dollar. But after hearing way too many stories on late night radio advising against its use, being that it could be a portal for unnamed evil unknowns, in other words, you think you’re talking to Grandma, but in fact, you’re chatting with the Demon Box of Ebril.ps

  I give into her innocent pleading, but I warn her sounding like Peter Cushing in an old Hammer film what she may be in for trying to contact her aunt, but Ruth being a millennial doesn’t pay me no mind. A lone red candle helps us see the OUIJA board in the living room darkness, my son Monte I can see doesn’t what to do this but he’s a trooper. We get a message from her aunt more like a warning that who or whatever is NOT her aunt. The planchette moves back and forth. Then I can’t help it ” Phillippa are you here ?” I yell out.

  African American classical pianist, a right-wing journalist, feminist in her later years along with parleying with Stokley Carmicheal and devout Catholic, Phillippa Schuyler was a woman of paradoxical life flows. A child prodigy with an IQ said to be 185, the biracial daughter of George Schuyler a figure in the Harlem Renaissance Movement and Josephine Cogdell Schuyler a member of a prominent rich Texas family, Phillippa would be compared to Mozart early in her career (for a haunting rendition of Ravel’s “Alborada del Gracioso “) i as a composer. I first came across Ms. Schuyler”s life story while doing research 

  Initially, I came across Ms. Schuyler’s life story while doing research on lesser known black historical figures to be included in a series of occult detective stories. I was fascinated by the contradictions in her life. A role model to the Black community yet, at one point she tried to pass herself off as white using the name “Monterro” in the classical music world which had its biases.  ” Compositions in Black and White” by Kathryn Talalay (Oxford Press 1995) is a well-written biography of Schuyler’s life, the racial dynamic, and conflict during the pianist’s life, I credit her book with helping my research. But it seems whether intended or not Schuyler’s occult leanings were left out. ps2

  By chance, while online looking for a book on dream divination, I came across a title : Kingdom of Dreams by Josephine and Phillippa Duke Schuyler,  (1966 Award books) and then reprinted in 1968, a year after her death and around the time of her mothers suicide. I ordered it. While this book is not mentioned in Talalay’s book (another mystery is the middle maiden name Duke) she does let on that Schuyler’s interest started in 1952 while on tour in Curacao. This was a failed kidnapping attempt, she met a mysterious Herr van Kleed who introduced her to the reading of TAROT cards and a crystal ball reading, which among other visions predicted a plane crash. Kingdom of Dreams seems to me having read her style of writing in snippets was written by Phillippa in the majority. A book that speaks to us in symbolic terms about dreams (as a child she would sleep for ten plus hours dreaming) and their meanings and self-help, it stretches into a defense of alchemy and its heroes the immortal St. Germain, Paracelsus and Robert Fludd. Schuyler also felt a connection between Karl Jungs theories and the alchemists work within the natural world was the key to life along with dream divination and numerology.

The unseen realm of demons, vampires, goblins, werewolves, leprechauns, gnomes, pidwidgeons, mermans/maids, trolls succubi, incubi etc.. included. And while she admits it is a fake Schuyler has a defensive interest in theWheelof Pythagoras representing: God, microcosm/man, and macrocosm/world. Schuyler believed that science was not infallible and that there was a “theory of analogy or the magic association of ideas” led by the signs of the zodiac. Phillippa Schuyler drowned off the coast of Vietnam in the Da nang sector when a U.S. Army helicopter crashed, she was riding in with Catholic orphans she was taking to a safer haven crashed into the ocean in 1967. After a funeral in St. Patrick Cathedral she was cremated.

My temples feel as if someone is pressing books or something hard on both sides, the planchette moves under Ruth, my son Monte and I hands across the board giving Phillippa’s or I hope Phillippa’s answer: N V 3 . N V 3 ?

Kidnapped Week! Guest Blog: “Characters Come in All Shapes and Sizes” by Maynard Blackoak

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Characters Come in All Shapes and Sizes

Maynard Blackoak

Modeling characters is one of the most enjoyable aspects of writing for me. There are many interesting characters, both real and fictional, which can translate well into literature. As a writer, it is my job to search my database of people to select just the right person to fit the characters in a story.

Eerie Trails of the Wild Weird West is filled with characters modeled after some of my favorite people from history and film. As a fan of history, classic literature, and cinema, I had many models from which to choose. Sometimes, the vast array of choices made selecting the right person for a character a difficult task. Other times, it was a no-brainer.

One of my favorite characters was Sadie in The Culling. She is a brash, shoot-from-the-hip lady that does not mince words. As I considered her personality, Mae West stood out in my mind as the perfect model. Thinking back on her quotes and her own roles in film, I drew on the traits she displayed in life and the movies to pattern Sadie. Though her appearances in the story were limited, she makes a larger than life impression, much as Mae did in life.

Swede Hanson and Lou from The Devil’s Herds were patterned after slick talking, sleazy politicians. No matter which side of the political spectrum one falls, we all know of one or two such types that make us scowl with contempt when we hear them speak their rhetoric. These two characters were not modeled after any one person. Instead, I drew upon the qualities of several politicians both past and present to create their personalities.

One of my favorite actresses of all time is Bette Davis. Her portrayal of scandalous women was second to none. Such was her performances, oftentimes, I found myself rooting for her despite the questionable character of the women she played. A montage of several of her roles factored into the personality of Hattie in Deception at Skull Creek.

In The Jonah Herd, the actor, Arthur Honnicutt, greatly influenced the creation of the character, Hank. His roles were usually old, grizzled curmudgeon types that were never at a loss for words. He spoke his mind, whether it made sense or not. I pictured Hank much the same way.

As I created the character, Devileye Bobby Chambers in Collateral Winds, I considered many notable outlaw and Hollywood heavies before settling on Jim Davis as the model. Those familiar with him will remember him as Jock Ewing from the Dallas television show. He was also known for playing bad guys in westerns long before his role as the father of one of television’s iconic characters many people loved to hate.

Several other characters are modeled after historical figures and actors from the golden age of Hollywood. Some you might recognize. While others, you might not. There might even be a few characters that remind readers of someone real or created, from the past or present. That is one of the enjoyable parts of both reading and creating stories, projecting the image of someone to go with a character in a story.

Kidnapped Week! Guest Blog: “Historical Inspiration for the Supernatural Story” by Maynard Blackoak

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Historical Inspiration for the Supernatural Story

Maynard Blackoak

As a writer, I find inspiration around me. Somedays, it seems all I have to do is look outside the door. There are other times it is a task to find it. Sometimes it comes to me out of the blue, in an unexpected place. For example, listening to old legends and stories told by the elderly can spark the flame of imagination. From a simple tale that had been retold for generations, a new and harrowing tale is born.

Since I was a young child, I was told of the infamous gunfight in Ingalls, Oklahoma Territory. Many times, I have visited the old ghost town of weathered structures, and visualized in my mind what that fateful day would have been like. Often time, I would place a hand on spots that looked like decayedbullet holes, and believe I could smell the spent gunpowder.

It was a no-brainer the first tale I wrote for Eerie Trails of the Wild Weird West was Claire Simmons, a tale that revolves around that legendary gun battle. I had relived the incident so many times in my head, it was as if I had witnessed it firsthand. I knew most the ins and outs of the story. I just needed to do a little research to fill in a few blanks. Throw in an eerie element, and the story took on a whole new perspective.

Spending a significant amount of childhood in Oklahoma, I was also exposed to many Native legends. One of those old tales made it into my collection in the story, Willows of the Mourning Dove. While I did embellish on the original folklore, certain aspects remained true to the story as I remember hearing it.

Another story, Deception at Skull Creek, was based upon various pieces of gossip I have heard throughout my life. I have often overheard women, and men too for that matter, retelling a story of a certain party. Sometimes the stories involved a granule of truth that somehow had managed to grow in depravity like a snowball rolling downhill. Though not one of the stories occurred during the time of the Wild West, it was not a stretch of the imagination to apply their sordid elements to a story of that era.

Cimarron Rose was a story based partly on fact and partly on rumors of the time. Of course, imagination took the gossip to a whole other level to give it a taste of horror. Still, if not for stories I had heard about the real Rose of Cimarron, this story would most likely have not popped in my head. Besides, rumors normally make for a much juicier read than the truth.

Though, off the top of my head, I cannot think of another story in Eerie Trails of the Wild Weird West that was inspired by folklore or gossip, I am certain one, or the other, or both, influenced a tale or two—at least marginally. After all, there is not much telling what lurks in the cobwebbed corners of my memories. Sometimes, they even reveal themselves subconsciously. One thing I do believe is readers of this collection will enjoy the strange ride through the Wild West.