Archive for September, 2026
Welcome to the September 2026 issue of my newsletter, “News from the Crypt,” and please visit Carter’s Crypt, devoted to my horror, fantasy, and paranormal romance work, especially focusing on vampires and shapeshifting beasties. If you have a particular fondness for vampires, check out the chronology of my series in the link labeled “Vanishing Breed Vampire Universe.”
Also, check out the multi-author Alien Romances Blog
To subscribe to this monthly newsletter, please e-mail me at MLCVamp@aol.com, and I will add you to the list.
For other web links of possible interest, please scroll to the end.
As summer “lingers through September” (like in Camelot, except theirs doesn’t have to endure thunderstorms), below is an excerpt from my paranormal romance novella “Summertide Echoes,” set at a cabin in the Shenandoah Mountains. After the hero’s folk music performance at a lodge in the National Park, he and the heroine are reminiscing about their teen years, including their marathon Dungeons & Dragons games. The conversation shifts to their disagreement about whether to sell the vacation cabin they co-own.
This month’s interview introduces H. B. Berlow, author of historical crime fiction and other genres.
*****
Interview with H. B. Berlow:
What inspired you to become a writer?
The story I always tell is of the assignments in first grade where we had to place each newly learned vocabulary word into a sentence. There was some degree of fascination to that which stuck in my mind. Of course, it didn’t hurt that my parents had books in EVERY room of the house. Reading, art, and culture were big in my family.
What genres do you work in?
My current focus is on Midwest historical crime fiction. However, I have written literary fiction, metafiction, and Transgressive fiction. There was also an intensive period in the early 1990s when I was involved in the Boston poetry scene.
Do you outline, “wing it,” or something in between?
Ah, the Plotter / Pantser inquiry. Well, as far as that goes, there is a brief outline which, after I’m done, seems like I took the bypass instead of the highway. Interestingly, I came up with a different expression a few years ago: the Sculptor vs. the Potter. One takes a big block of stone and chips away at it until the image forms. The other takes pieces and constantly builds it up until it becomes an identifiable item. I’m typically the latter.
What have been the major influences on your work (favorite authors or whatever)?
As far as authors go, I harken back to the original hardboiled guys: Dashiell Hammett and Raymond Chandler. For darkness, I sprinkle in Cornell Woolrich. For pure pulp, nothing beats Jim Thompson. As for contemporary, Dennis Lehane is from my hometown of Boston so I “get” what he’s doing.
Now, I recently retired after 43 years in customer service, which I’m quite certain informed my, shall we say, need to write crime fiction. I don’t think I need to elaborate.
How has your experience in filmmaking affected your fiction writing?
Fantastic question, given my studies in the early 1980s focused on how film was made until all these technological advances. Storytelling was always the key. My screenwriting classes were the guide in that regard. Since I write historical crime fiction, there is less attention paid to computers and CSI-type episodes. My work is character driven. The main character uses intellect, thought, instinct, experience, and whatever other personal tools he can grab onto. Story and character are predominant.
What kinds of research do you do for your historical novels?
Short answer: whatever is needed. Here’s an example from the first book “Ark City Confidential.” It was the second chapter and I had the antagonist, a gangster from Chicago, being told to leave town to avoid Capone’s vengeance. He would hide out in Kansas.
Now I had to figure out: how he would get down there (since there was no interstate system); what kind of car he would drive to determine how many miles per gallon that car got in order to calculate how long it would take to reach his destination; figure out what kind of lodgings he could stay at and where he would eat.
Nearly a full day’s worth of research for about three-quarters of a chapter. But if you don’t do it, you’ll sound foolish and lose your reader.
Please tell us about your podcast on “the writing life.”
Brian Johnson and I have been friends for about twenty odd years (as opposed to an odd twenty years!). He had a podcast prior, his co-hosts didn’t want to expand upon their original format, and it ended. I had bugged him for a while and he acquiesced.
Despite the fact that we write in different genres, the basic notions we discuss are about “creatives” more than just writers. We discuss craft, passions, activities, and offer a chance to promote. In so doing, we promote ourselves.
On the other hand, my blog, The Tikiman Says…, has been up and running since 2010. I discuss more personal aspects of “the writing life” and intertwine it with my cooking/baking adventures. They happen to be my other creative passions.
Just out of curiosity, what’s the source of your screen name “Tikiman”?
I started buying, shall we say, less expensive Hawaiian shirts from thrift stores. Out of the blue, my wife got me a birthday present of an authentic Aloha shirt from Hilo Hatties, one of the finest purveyors of Hawaiian wear at the time. Back then, those things cost $50. I stopped buying the thrift store ones after that.
Throw in a love of lounge music (because nobody beats Frank and Dean) and a passion for martinis and craft cocktails, the Tikiman emerged from the beach just as Aphrodite came from the foam of the sea. (Okay, a LITTLE melodramatic!)
What is your latest or next-forthcoming book?
The Time of Judgment, Vol. 4 of The Wichita Chronicles, is scheduled for release on August 19, 2026. In this book, Jewish private detective Harold Bergman is drawn into the search for a Nazi war criminal roaming around somewhere in Kansas. Given the nature of the series thus far and the development of the main character, it feels like where the story was going to wind up all along.
What are you working on now?
If you recall earlier, I mentioned recent retirement. Therefore the question is how much I am working on now. Book Five of The Wichita Chronicles is complete and will be presented to my publisher later this year. Book One of a new series is complete. I am querying a literary metafiction, pulling a couple of WIP out of mothballs, attending book fairs, book festivals, and book signings. Oh and baking bread and making sausages Naturally, there are honey-dos sprinkled in between.
What advice would you give to aspiring authors?
Two invaluable words: Patience and Persistence. That’s the start. Read anything you can get your hands on that intrigues you, whether it’s in your genre or not. Attend a meeting of an authors’ group or, better yet, join. Go to conferences, festivals, author and book events. Talk to authors. (Trust me, they love it!) It has to be your passion, not a “side gig.” It has to be what feeds your soul, not something to supplement your income. Writing is far too personal a venture.
What is the URL of your website? What about other internet presence?
The Tikiman Says is my blog.
Facebook: hb.tikiman
You can give a listen to Tikiman and the Viking Podcast which is available on Spotify, Apple, and wherever the cool podcasts are located.
Threads: @rabbi_dude
Instagram: rabbi_dude
*****
Some Books I’ve Read Lately:
THE EVERLASTING, by Alix E. Harrow. Author of bestselling portal fantasy THE TEN THOUSAND DOORS OF JANUARY, in this secondary-world fantasy Harrow presents a complex story in which the “portal,” a magic book, sends the protagonist to multiple alternate pasts of his world rather than different worlds in a multiverse. Here the author uses the rare technique of second-person narration. The protagonist and the title character, Una Everlasting, recall the multiple iterations of their relationship by each telling the other, addressed as “you,” events they may have forgotten due to the nature of the time-travel magic. One later section, however, switches to third person, referring to the pair as “they,” but it’s still the protagonist(s) writing the story. Excerpts from the classic work THE DEATH OF UNA EVERLASTING appear in bold. The LOCUS review of the novel compares its present-day setting, an empire called the Dominion, to post-World-War-II Great Britain. Owen Mallory, a faculty member in a university history department, is a stereotypical introverted, bespectacled scholar who, although a war veteran, was thoroughly unsuited for military life. He came home with emotional and physical scars as well as a medal won by accident. He has a strained relationship with his single father, a radical pacifist opposed to the present government. Owen has little hope of tenure or even academic respect, with his work on the mythic figure of Una, the legendary knight who raised the first queen of Dominion to the throne, regarded as derivative at best. His adventures begin when he receives, from an unknown sender, a copy of THE DEATH OF UNA EVERLASTING, a lost work some historians had believed never to exist in the first place. It brings him under the sway of the empire’s new Chancellor, a ruthless manipulator determined to shape the country’s history according to her own vision for the greater good. Upon meeting her, Owen embarks on the first of multiple involuntary trips through time. He encounters Una again and again, always under the same ancient yew tree from which (like a female Arthur) she drew her magical sword. In the first visit to the past, he accepts his mission to ensure that her triumphant career and heroic sacrifice unfold as history records. Having gotten to know the disillusioned, battle-scarred woman behind the legend, however, during later iterations he strives to spare her from her destined fate. Every time, although the magic that originally made both of them forget their earlier meetings has faded, their foreknowledge doesn’t enable them to thwart the inevitable. For the reader, the inexorable repetition of the tragedy can become emotionally exhausting. Even when Owen and Una acknowledge their mutual love and believe they’ve found a path toward a normal, more or less happy life, the reader knows better. Our metafictional awareness of the number of pages left in the book warns us against complacence. Have their lives been shaped by some outside force from the beginning? Are they nothing but puppets? Is everything they experience aside from the indestructible enchanted sword (if even that) staged? Layer upon layer of history and myth are stripped away, revealing the truth about that yew tree as well as the depth and scope of the Chancellor’s involvement. Time loops multiply and fold upon themselves, with Owen destined to write the book that inspired him to pursue Una’s legend in the first place. The heart-rending plight of the protagonists and the head-spinning plot twists culminate in a denouement that makes the ordeal worth the journey.
Soon after finishing this novel, I read one of Harrow’s earlier works, THE ONCE AND FUTURE WITCHES. That book also explores the function of stories. In its alternate-history 1890s American setting, witches are known to exist but believed to be almost extinct, thanks to systematic legal persecution and burnings. Witchcraft has dwindled to minor household charms, with its deeper truths covertly handed down among women and hidden in songs, nursery rhymes, folklore dismissed as trivial, and fairy tales (aka “witch-tales”). It’s these sources that three estranged sisters, brought together by a dramatic magical event, draw upon to revive the ancient words, works, and ways. They summon the long-lost Way to Avalon, which turns out to be a multi-level library tower. Perhaps they may somehow connect with the mythic Last Three, Crone, Mother, and Maiden, while they half-consciously grow into those roles themselves. Meanwhile, the eldest sister, a librarian, strives to record every fragment of lore and spells they can find. Resurgent witchcraft and resulting persecution unfold against the background of the suffragist movement. The hostile, mainly masculine powers-that-be conflate suffragettes, prostitutes, civil rights workers, and labor organizers with witches as embodiments of evil. Witchcraft becomes a symbol of women’s oppression and reclamation of power. THE ONCE AND FUTURE WITCHES, fraught with danger, sacrifice, and tragedy, ends with a eucatastrophic epilogue that doesn’t in any way cheapen what the characters have suffered.
ONCE-UPON-THYME, by Celine Jeanjean. Another secondary-world fantasy grappling with the nature of narrative. At first glance, this appears to be a lighthearted fairy-tale parody, but darkness deepens as complications arise. The kingdom of Once-Upon-Thyme, somewhat like the 500 Kingdoms created by Mercedes Lackey, operates under the control of an almost sentient force of storytelling. While members of the middle class are generally exempt, royalty, nobility, and simple villagers and country folk tend to get shaped into roles dictated by the standard “storylines.” Furthermore, the authorities sometimes help the magic along by intervening to straighten out inhabitants who veer from their traditional paths. Otherwise, vaguely defined but dire disasters might result. As the first page explains, in the tiny realm of Once-Upon-Thyme, far larger on the inside than it appears from outside, queens are supposed to die in childbirth, peasants regularly win thrones regardless of qualifications to rule or absence thereof, all stepmothers and stepsisters must be evil, and curses are “more prevalent than the common cold.” Princess Adrianna, who has so far failed to snare a princely bridegroom, doesn’t fit the archetypal pattern. Her stepmother, a washout in terms of wickedness, is obsessed with gardening and constantly quarrels over it with their gardener, one of only two servants in the dusty, disorganized castle. Adrianna gets along fine with her gentle, animal-loving stepsister. Adrianna’s live-in fairy godmother lolls around drinking way too much, and Adrianna herself tends in that direction. Meanwhile, Prince Charming (his real name) prefers libraries to balls or his domineering mother, who’s pushing him to fulfill his destiny. He can barely stand the thought of marrying one of the relentlessly flirtatious princesses who swarm around him. At the ball in the opening scene, he accidentally meets Adrianna’s stepmother, Queen Petunia, in the garden. Delighted by a lady who discourses nonstop on a substantive topic (flower cultivation) without expecting any response from him, he decides he’s in love with her. From a storyline perspective, his ignoring Adrianna and proposing to her stepmother portends disaster. Also, his role in the pattern requires him to prove his worth by slaying the last dragon in the kingdom. The novel’s tone shifts from amusing to foreboding when Adrianna learns the truth about how her stepmother was unwillingly shaped for her place in the story. Furthermore, if Adrianna doesn’t fulfill her destiny of marrying a prince, their family’s predetermined structure will collapse, forcing a grim fate on the “evil stepsister.” Since Adrianna hasn’t succeeded in winning her prince, can she perhaps thwart destiny? She accordingly rides forth to seek the dragon along with her fairy godmother and Sam, a freelancer hired to help her steal the dragon’s egg in order to lure the beast into a trap. When Adrianna realizes the dragon is an innocent creature only trying to protect her child, though, the plan becomes problematic. To complicate matters, romantic tension grows between Adrianna and Sam, which the reader recognizes, naturally, long before the two of them do. Trying to save both the dragon and her stepsister, Adrianna finds herself so far out of any prescribed script that she must create her own story. With the reader wondering how the crisis can possibly be resolved, the author attains a happy ending by a surprising route. Despite the dark scenes, moments of comic relief pop up throughout. The author’s forthcoming variation on “Snow White” should prove equally entertaining.
SEA OF CHARMS, by Sarah Beth Durst. A third book in the series that began with THE SPELLSHOP. Not exactly a sequel, since the timelines of the three novels overlap. In the background of all three looms the revolution against the empire and the resulting upheaval in the capital city. The author does an admirable job of weaving interlace connections among the three stories. While one doesn’t need to have read the first two to enjoy this installment, it’s fun to catch glimpses of characters from previously published books. For instance, a sapient plant from the enchanted greenhouse of the second novel figures as a prominent secondary character. Can a story taking place mostly at sea qualify as a “cozy” fantasy? I’ve always considered a strong sense of place, a safe haven such as a coffee shop or bookstore, an integral part of that emergent subgenre. In this case, however, although the protagonist, Marin, has a strong relationship with her parents and enjoys returning to visit them, she considers her boat and the ocean her true home. As for the “low stakes” component of the definition (which I don’t fully agree with), the overthrow of the empire entails very high stakes, but (as mentioned above), that’s background. The foreground of the series features characters whose main connection with the revolt is an urgent desire to stay as far from it as possible. In her island home and at sea, Marin hears only rumors that have no direct impact on her. Her “stakes” start out low, consisting of an overbearing ex-fiance and a massive loan her parents contracted to buy her a new boat. While she works hard as a seagoing courier to earn enough money to pay off the debt, she believes she has plenty of time left. Until she doesn’t, when the personal stakes for her suddenly become dire. Meanwhile, wary of relationships after her ex’s vile betrayal, she’s content with a friendly sea monster as a sailing companion. Nevertheless, she accepts Ree, the plant, as an apprentice, yielding to his fervent wish to sail with her and see the world. The thrill he gets from new skills, experiences, and discoveries is a delight to read. Marin also finds a winged cat stowed away on her craft. After rescuing a friendly acquaintance, the musician Dax, from the conservatory in the devastated capital, she agrees to let him stay on board, learning new songs on the islands they visit, at least until the harvest festival for which she’s promised to come home. In return, he’ll pose as her boyfriend to reassure her parents and forestall neighbors’ pitying curiosity. Genre-savvy readers, of course, know how this familiar romance trope will turn out, despite Marin’s and Dax’s very different lives. The sea is her element, while he belongs in the conservatory as a master musician. After adventures, dangers, dark moments, and risk of losing her boat and her parents’ house, we can confidently anticipate resolution of both the external and emotional crises. The fun, as usual, is watching how the characters overcome seemingly insurmountable problems. Happily, there’s another volume forthcoming in this fantasy world, THE MAGICAL CHEESE EMPORIUM, in January 2027. Also, Durst has just announced the sale of volumes five and six!
DAGGERBOUND, by T. Kingfisher. Sequel to SWORDHEART, which you don’t absolutely have read before this one, but doing so would enhance the experience. The books take place in the same world as the Clocktaur duology and the Paladin series. It’s a pleasure to encounter familiar characters from earlier novels in DAGGERBOUND, including the paladins (brief cameo), badger-like gnoles, Bishop Beartongue, cursed sword warrior Sartis and his wife introduced in SWORDHEART, and Zale, levelheaded, logical, humane, keenly intelligent lawyer from the Temple of the White Rat, my favorite of Kingfisher’s secondary characters. DAGGERBOUND offers an accessible introduction to this world as well as a treat for fans of the other novels. Edmund, first seen as a naïve, cloistered young scholar on his maiden foray to the outside world in the Clocktaur duology, is the primary protagonist of this new work. About eight years later, deeply disappointed that he can’t get the hidebound, misogynistic priests of his god to listen to what he learned on that expedition, he decides to leave the order. On a journey to deliver some books and an ancient sword to a distant city, he plans to complete his assignment and not go back. He’ll be technically stealing the mule, Sweetness (almost a character in herself, whose personality totally belies her name), but he manages to square the deed with his conscience. Attacked by bandits, he accidentally separates the sword from its sheath. In a burst of silver light, a warrior with silver eyes appears. After some confusion, Edmund learns the Dervish isn’t an angel, as he thought, but a fighter trapped in the enchanted weapon. The magic compels the Dervish to guard the wielder’s life at all costs. He’s functionally immortal; reversion into the sword whenever it’s sheathed heals all injuries and even restores him from death. The silver marks that Edmund mistakes for tattoos are in fact scars of the Dervish’s many wounds. A hardened cynic who has hated all his wielders, with good reason, he’s prepared to take the same attitude toward Edmund. The scholar, though, displays such an irresistible combination of intellectual curiosity, encyclopedic knowledge, innocent tendencies to believe the best of everyone, and sheer kindness that the Dervish can’t help liking him. For instance, when Edmund discovers the magic enables the servant of the sword to speak the language of his wielder, Edmund immediately gets excited about the translation possibilities. (He’s disappointed to learn it won’t work that way.) The sword-cursed warrior has to keep reminding himself that Edmund isn’t his type. On the way to Edmund’s destination, they encounter bandits and villagers in the habit of sacrificing people to a dragon, among other hazards. They pick up two companions, a gnole and a giant, sapient pill bug, who was captured while on a diplomatic mission to the capital. She carries a device that translates her words into human speech, since neither species can physically pronounce the language of the other. Unfortunately, the sociopathic necromancer-smith who bound the Dervish and two comrades into swords centuries earlier has become revered as a saint by a small cult. Its fanatical members will go to any lengths to possess the enchanted weapon. As always, the worldbuilding is fascinating. (For instance, many different deities coexist, with amicable relations among most of their worshipers, but not all. Males in the pill bug’s species are non-sapient and much smaller than females. Gender in the gnole language signifies caste, not biological sex. There’s a perilous region that randomly shifts around and tends to trap travelers who wander into it.) I love the secondary characters, engaging dialogue – which often injects humor into even dire situations – and the developing relationship between the two protagonists, each of whom changes and adapts in his own way. I hope we won’t have to wait another five years or more for the next volume in the trilogy.
For my recommendations of “must read” classic and modern vampire fiction, explore the Realm of the Vampires:
Realm of the Vampires
*****
Excerpt from “Summertide Echoes”:
“Seeing those miniatures on the shelf in the cabin brought it all back. I was a little surprised they were still on display.”
“Of course they are.” In a more tentative tone, Mark asked, “Does that mean you don’t have the stuffed dragon I gave you anymore?”
Joyce echoed his words. “Of course I kept Tiamat.” She didn’t think it necessary to mention that she placed the toy in its traditional spot on her pillow every morning when she made the bed. “Where in the world did you get a red, three-headed, stuffed dragon? You never told me.”
“Never will.” He flashed a teasing smile. “Think of it as magic.”
Noticing her glass empty, he signaled for another round of drinks, switching from beer to ginger ale himself. “Speaking of surprises, it threw me when you texted you’d already set up a visit from a realtor. I thought we were in the early stage of considering what to do.”
“What else would we do? We can’t hang onto the place forever.” To his silent, blank stare, she said, “Wait, is that what you planned?”
“Why not? I spend an occasional weekend there. It’s convenient for overnight when the weather’s not safe for driving all the way home.” He glanced sideways, then down at his drink. “And, frankly, if we let go of it, I’d miss it more than I can explain.”
“I’ll miss it, too. I realized that when I saw it this afternoon. But we have to be practical. We’re not kids anymore. It’s obviously what the aunts intended.”
He looked up at her. “How do you figure that?”
She swirled the straw in her glass, reluctant to meet his challenging stare. “From the terms of the will. They left most of their savings and the rebate from the continuing care community to Glenn because he wouldn’t have any use for the cabin, what with moving around the country every couple of years.” Now an Air Force officer with a wife and two children, her brother was currently stationed in New Mexico. “So they clearly meant for us to make up the financial difference with the value of the cabin. The realtor told me there’s a hot market for mountain vacation property in this area.”
“Is that a good reason to sell right away, just because we can? I don’t need the money that much.”
“Well, I do,” Joyce shot back. Catching herself raising her voice, she turned to scan the room, hoping she hadn’t drawn attention from the few other people who still occupied tables and barstools. More quietly, she said, “You know I’ve been collecting vintage comics since college, right?”
He nodded. “You’ve mentioned you wanted to start a mail-order business in comic books and graphic novels. You’re finally going to take the leap? Not too risky?”
Hoping she didn’t hear sarcasm in the last sentence, she answered straightforwardly. “I’ve done everything I could to minimize the risk. I’ve rented a storage facility big enough to hold as much stock as I’m likely to have anytime soon. I’ve opened a business account and incorporated myself as an LLC. I’ve set up a website.” She swallowed a lump of anxiety, reflecting on the one “risky” step she had dared. “I bought the entire inventory of a comic shop going out of business when the owner retired. Thing is, I had to get a personal loan to pay him, and the only type the bank would give me has a final balloon payment. It’s due in seven months.”
“Oh, I see. That’s why you need your half of the sale proceeds.”
“Right.” The tightness in her chest loosened. Maybe he would yield to practicality after all. “There’s one alternative to putting the cabin on the open market. If you’re so anxious to keep it, you could buy out my half.”
“That would be the ideal solution, except I don’t have that kind of money. Not even if I used the total amount of the advance I’ve received so far. As you might not realize, it comes in installments, not one big lump. Not to mention that I do need it as a cushion, like I said earlier.”
She drew a long breath and exhaled slowly, trying to stay calm. “What about a mortgage?”
“I’m already carrying one on my condo, my primary residence. No way would the bank lend me the cost of a vacation home on top of that. Especially considering how loan officers feel about freelancers in any field. From their viewpoint, I don’t have a stable income.”
Well, nobody told you to quit your day job. Even in the midst of her frustration, she knew better than to make that cutting remark aloud. Besides, it seemed unlikely that a bank or mortgage company would’ve approved his community college salary to cover a second real estate loan anyway.
“There’s another alternative, though,” he said.
At least he was thinking in terms of finding a solution instead of flatly rejecting her position. “What’s that?”
“I could lease the cabin from you, pay a monthly rent.”
She clenched her fists in her lap. “What good would that do me? Don’t you get it? I need the lump sum in less than a year, or I lose everything I’ve invested in the comic business project.”
He spread his hands in a gesture of helplessness. “I do understand that, but if I can’t get the money, I can’t.”
“Then we’re back to selling the place. Speaking of financial cushions, your half of the proceeds would give you more time to establish your writing career. If you’re worried about having somewhere to stay after performances in bad weather, couldn’t you make some permanent arrangement with the lodge? If you could afford to pay me rent, you could afford to reserve a regular room.”
“It’s not that simple. They fill up fast during the peak season.”
She glared at him, fighting the urge to shriek in exasperation. “That sounds like a lame excuse to me.”
He sighed. “Okay, I admit that’s not all there is to it. I’m not ready to let go.”
“Can you at least explain why?”
He folded his arms. “I have my reasons. If you don’t feel the same way, it’s too hard to explain.”
-end of excerpt-
*****
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“Beast” wishes until next time—
Margaret L. Carter