Changing Landscapes: A Multiverse of Transmedial Storytelling

 2 of 3 Part Article

In Transmedial Readership, (the first of a three-part series on Changing Landscapes in the world of publishing), I took a look at the evolutionary progress of the modern-day eBook from its 1940’s humble (HES) electronic beginnings as a means to record the work of Catholic philosopher>theologian Thomas Aquinas, to its use as a way of sharing large amounts of text within the educational community.

In wasn’t until the late 90’s, early 2000’s that we saw this PC monolith of data transfer evolving into an embryonic hand-held device which would eventually morph into a AI that responds to voice recognition and allows its user to down load @4GSpeeds books, magazines, games and movies, access the internet, read PDF files as well as import>export those last minute>out the door>I forgot to send the statistics the boss needed 30 seconds ago.

Then I took a look at the predictions of the early 2000’s in regards to the viability of these handheld book readers, and concluded that the greatest giants to be slain at this present time weren’t the consumers, but rather the twin peaks of Author and Publisher on the Mt. Olympus of Literature, where change for the sake of change doesn’t come easy. From there I concluded that with an ever-increasing readership demand for “newer>better>faster” ways in which to partner with the writer’s, producer’s and designer’s of today’s storytelling, there is now a natural impetus for author’s to relook at how they will develop story content, as well as explore what other forms of media are available in order to bring the purveyors of  sensory interaction into the best experience possible.

So What is Transmedia?  

In an interview with Neela Sakaria, SVP @Latitude magazine, transmedia creator Andrea Phillips said that a true transmedia project is one that involves audience participation, which in turn means they will have to seek out and find multiple layers or pieces of information in order to understand the entire story. 

The Producer’s Guild list its Credit Guidelines for  “transmedia” as a project which “…must consist of three or more narrative storylines existing within the same fictional universe on any given platform: film, television, short film, broadband, publishing, comics, animation, mobile, special venue, DVD>Blu-ray>CD-ROM, narrative commercial, marketing rollouts and other technologies”.

In other words, there has to be a collaborative effort of three or more forms of media being used to tell the same story within the same platform. An early example of this would be L. Frank Baum‘s 1900 novel,  The Wonderful Wizard of Oz and Mary Shelley’s 1818 classic Frankenstein,  both of which were presented to the public on multiple platforms or layers of media (book > play > movie).

So What is Storytelling? 

Wikipedia  tells us that storytelling is a means by which mankind has of conveying events through words, images and sounds, which in turn are a part of every cultures means of entertainment, education and cultural preservation, endued with the power to instill moral values.  In his interview with, Gottschall said that he believed that fiction was more effective at changing the way a person believes about something than any writing that was specifically designed for that purpose.

 WhenRobert Pratten of Transmedia Storytelling was asked why people tell stories he said, “We tell stories to entertain, to persuade and to explain. Our minds do not like random facts or objects….we naturally and often subconsciously connect the dots…in a… stimulating way we call stories. Great stories win hearts and minds.”

Jonathan Gottschall, author of “The Storytelling Animal” states, “….story is the most powerful means of communicating a message…..People are moved by emotion. And Peter Guber, Studio Chief at Columbia Pictures and author of Tell to Win, says, “The best way to emotionally connect other people to our agenda begins with “Once upon a time…”

So Why Use Transmedia in Storytelling?

In a gathering of creative individuals hosted by Electronic Arts in 2003, Henry Jenkins, a Provost Professor of  Communication, Journalism, and Cinematic Art at the   USC Annenberg School for Communication and the USC School of Cinematic Arts noted in an article he wrote for Technology Review ,  that transmedia>multi- platform or enhanced storytelling as they knew it,  was on the cusp of undergoing significant changes and that those changes would mean an entirely new way of ‘doin the tellin’.

Those present stated that they saw a future where the masses would no longer be satisfied being told stories on a one-dimensional plane such as watching a movie or reading a book, leaving the theater or turning the last page, and be satisfied that what they have just experienced was all there is and there is nothing more.

People today have evolved from hunter>gathers on open grass lands   to hunter>gather’s on the internet, and they take “great pleasure…uncovering character backgrounds… plot points…and… making connections between different texts…”  It’s no longer enough just to read or watch a story from a one-dimensional aspect. Audiences now want to have an opportunity to enter into the story and participate in both its development as well as being able to decide alternate endings.  It becomes a case of where the whole is now greater than the parts.

By combing multiple layers of media in the development and publication of EBooks, authors can now take a story which began as an arrow through time and folded it back upon itself in complex layers impregnated with texture, depth, emotion and visualization. No longer do our characters move from point A to point B solely dependent upon their creator’s narrative abilities as the primary means by which the reader enters into and experiences the story.  By apply multiple sensory applications the story now becomes a collaborative partnership between the author, the characters, the reader and everyone else who has contributed in creating an experience that moves everyone beyond the land of cardboard cutouts and into the realm of interactive>inter-dimensional> transmedial adventures.

In the third and final part of this three-part series I want to zoom in on what transmedia storytelling is doing for EBooks and how Amanda Havard, first time author of the Urban fiction “Survivors“ and entrepreneurial genius behind Chafie Creations and the development of Immersedition, is taking the world of literary experiencialism to a whole new level.

From the laptop of an uncensored dreamer


Changing Landscapes:Transmedial Readership

Transmedial Readership

Part 1 of 3 Part Article   

What began as a technological search for better and faster ways to record and share information in an educational format that would be equitable for as many users as possible, has now become a multi-billion dollar, multi-media frenzy of looking for newer>better>faster ways in which to engage and entertain a readership that is evolving almost, if not faster, than the technology that spawned it.

The basic DNA of e-books began as an electronic index and concordance to record the works of the Catholic philosopher>theologian Thomas Aquinas. But as with all things technical (or otherwise) the early progenitor of digital formatting began its natural evolution by growing legs, developing gills and eventually finding its way onto the landscape of the late 1990’s – early 2000’s,  where it emerged as the first recognizable sub-species of our current day Ebook.

And as with all things which evolve by way of ‘survival of the fittest’, the emerging technology for knowledge and entertainment is being viewed, culled and gone over much like the livestock my father choose to purchase for the farm I grew up on. Only those devises which hold the best possible traits for future economic advancement will be kept. All others will either be passed on to less competitive merchandisers or left in the 50% off reader’s bins to be recycled in whatever way the seller sees fit.

Within a matter of just under seventy years, the progression from pre-historic HES (Hypertext Electronic System) to Apple’s iPad>Amazon’s Kindle Fire has meant not only a significant change in the way reader’s have begun to pursue their intellectual entertainment, but how that entertainment is going to be presented as well.

On January 01, 2001 Wired magazine published an article by Kendra Mayfield on the future of e-books in which she interviewed Roland Laplant, chief marketing officer for Xlibris (a self-publishing>print on demand company). His prophetic comment about the then approaching future of e-books was, “Ultimately e-books will eclipse paper books. It’s just not convenient now…. There needs to be a lot of change in actual consumer behavior for that shift to occur.”

In that same article senior analyst E. Yegin Chen, of was quoted as having this to say about the consumer’s of the gradual evolving technology of digital reading, “The retail consumer market is not quite ready for e-books yet…E-book vendors need to improve the reading experience to obtain significant adoption rates.”

While O’Brien from Forrester Research had this to say; “….With limited content, inadequate reading screen resolution and differing formats, e-book devices will fail to find a mass audience.”

As predictive as all three of these gentlemen were about the need for change, what they failed to either foresee or comment on, was that ultimately it wouldn’t be consumer’s who would need to change their behavior, but rather, the battle for change would come from the Mt. Olympus of literature its self; the peaks of Author and Publisher. Two of  the biggest giants in the land who (in my opinion) are not only those most affected by this juggernaut of technological driven consumerism, but who are also the two most resistant to change for the sake of change.

All change, be it literary, social or political requires an ability to let go of the familiar and embrace, by faith, a new way of thinking and doing that is neither predictable nor safe. It means embracing ideas and concepts, that for many us who grew up during the Baby Boomer era, threaten our belief in the traditions of our ancestors that held onto: “if it ain’t broke, then don’t fix it”. And I’m afraid there are still many authors and publishers that don’t want to fix, what in their point of view, isn’t yet broken.

Every since people like Martin Luther stood up and challenged the way in which the written  word was produced and made available, mankind has been forging a pathway towards creative expression that will in inevitably rise up and confront that which tries to hold onto and control the reins of the printed (and now digital) word. There will always be those individuals who will want to challenge the status quo, engage the Goliaths  of the land and topple them with the stones of; creativity, individualism, expressionism, consumerism and just plain chutzpa.

In an article for the Washington Post in December of 2009, staff writer Marion Maneker wrote a piece entitled “E-books spark battle inside the publishing industry” in which she made this observation; “Publishers can no longer be vast containers of intellectual property distributed in paper form to bookstores, supermarkets and warehouse clubs. But they don’t have to be: They can become highly selective distributors to bookstores, supermarkets and price clubs. That’s the lesson of the television, music and movie businesses.”

I think the same argument can be used for authors as well; the time for viewing the written word as a sacred shrine of literary prose that will strike down all those who try and approach its oracles with anything other than our four hundred and fifty years of printing tradition, is over.

Not only is the e-book technology biting at the heels of the publishing world, but in many ways it has taken hold of the pant seat of authors too. In today’s ever emerging readership, it is no longer enough just to spin a good yarn or weave an ‘edge of your seat’ thriller that allows the reader to engage their imagination as part of the journey. Today’s technology is fast becoming the impetus for the way in which a writer develops their story content as well as the media  they want to use in order to bring their reader’s into the best possible experience of that story.

In the future (if not already), authors will need to decide whether to stay with text>alone storytelling or to step off the map of their literary forefather’s and begin sculpting complex ideas that require a more transmedia approach. Will the story they want to tell be interactive or will it require nothing more from the reader than a rapid eye and finger movement as they go from one textual page to the next? Or will it be created in such a way that the journey from page one to page two hundred and seventy five be given multiple scenarios and alternate endings? Or will it lend itself to embedded sound tracks, multi-verse formatting and off world overlays?

In my recent blog The Flux Capacitor I talked about the possible dangers of moving away from the written word and embracing a lifestyle where what we read and see can be neither touched nor put on a bookshelf to admire, and as a result we flirt with the possibilities of one day losing the resources and abilities to pass on to future generations the history of who we are. Interesting that in the process of writing that blog I discovered an idea that made me go back and rethink my previous viewpoint.

Next blog: Who’s ‘Doin the Tellin’ Now? > Part 2 of 3 Changing Landscapes

From the laptop of an uncensored dreamer


Changing Landscapes: A Multiverse of Transmedial Storytelling

Changing Landscapes: A Multiverse of Transmedial Storytelling.

Song of the Seraphim

Angel Time; 2009 by Anne O’Brien Rice; Alfred A. Knopf; New York, NY

I’ve been a fan of  Anne Rice since her break away 1976 novel “Interview with a Vampire“.  For me she was the pioneer of romance – gothic fiction; combing the horror of the living dead with the romanticism of  history. Reading one of her novels is like taking a guided stroll through time: from the antiquities of ancient Egypt, to the reasoning of Rome;  up the dark towers of Middle Age Europe ,  down the sleepy bayous of the South and  up the heights of Ashbury Park into good old fashion rock and roll.

I won’t say I like everything she’s written, such as her Mayfair Witch series  or those under her pseudonyms of Anne Rampling, or A. N. Roquelaure. The witch series (except for Merrick) gave me the quillies and her erotica…well it’s the prude thing (just can’t see mudding up my mind with images I’d rather not have).  But regardless of the personal issues  I have with some of her work,  it’s always about content, not style or talent (though my disappointment with “The Wolf Gift” had more to do with her main character rather than either content or style)

Toby does have to accept that God can forgive any sin, and I think most people have trouble accepting or believing this, too, especially people fighting very bad habits of what they consider to be sin. It can be hard to believe one is worthy of God’s forgiveness. But all things are possible with God, and anyone and everyone who repents can be forgiven. – Anne Rice

Anne Rice has a cadence to her writing that is uniquely hers  and shows up in everything I’ve  read. I’m not sure if it’s because most of her work is written in the first

person (and therefore she’s able to capture the readers ear in a way other POV’s can’t) or that the verse and rhythm of her prose  has given her characters the ability to bring to life a piece of art or the warmth of a sunset;  the way light and shadow fall across the translucent flesh of the un-dead,  or the passion  of someone who will never see the sun rise again. Whatever it is, taking a journey with one of Rice’s characters is never boring or lacking in vibrant creativity.

Two books I just finished were   “Angel Time“(October 2009), and Of Love and Evil (November 30, 2010): Anne’s newest “Songs of the Seraphim” series. Both stories are told around  a disheartened assassin  named Toby O’Dare, who has been enlisted by the seraphim Malchial to earn his redemption by traveling through angel time; using his skills as an investigative killer to save the lives of the faithful.

Now a story about angels and assassins, in and of themselves,  probably wouldn’t have floated my boat if it hadn’t been for Anne’s ability to use her talent for story telling  as a way of exploring mankind’s need  to know, and be known, by Someone beyond themselves.   I particularly appreciate her sensitivity towards  man’s passion to understand what it is that drives him toward Divinity;  her capacity to go far beyond the obvious religious claptrap of so much of today’s landscape  and see the Holy as both personal as well as vulnerable.

And of course there is always the pleasure one derives from reading a story in which every character, every theme, and every plot-line feels as though it’s been painted rather than written. To spend an evening reading an Anne Rice novel is to  smell the musky  scent  of magnolias on a warm New Orleans night,  fly through the heavens pressed against the chest of marble like flesh,  or feel the splash  of water against your pant leg as a taxi’s  tires slap down onto pock marked asphalt.

On a scale of one to five, I’m giving “Songs of the Seraphim” a four.

Dana Stabenow

Book Review: Restless in the Grave; Dana Stabenow; 2012 Saint Martin’s Press, NY

The nineteenth murder mystery book in the life of Alaskan native, Kate Shugak; PI, park rat, Aleut – five –foot – nothing of female wiles and intuition.

Author Dana Stabenow has yet to disappoint; whether she’s writing about Kate Shugak, Liam Campbell,  or branching out with stand alone like Blindfold Games or Prepared for Rage, her ability to weave mystery, social relevance, and character development never ceases to amaze me. Except for killing off some of my favorite characters and making me cry, I’ve yet to finish one of her books and found it wanting.

In this newest Shugak mystery  “Restless in the Grave”, Stabenow has once again  managed to write about the personal and political intrigues that govern the great state of Alaska without boring me to tears; making even the historical background of tribal politics palatable. Matter of fact, she is one of the very few writers that doesn’t make my eyeballs roll to the back of my head the moment I read words like statehood, association, politician and WWI – II.  She  is a master at weaving murder, bad – behaving – politicians,  Native American history,  and family conflict into murder, buried mystery, and just enough romance to keep hope alive.

“Over a third of the Newenhan population was under eighteen,which didn’t make his job any easier, the hormonally challenged being terminally and all too often fatally prone to acts of stupidity.” ― Dana StabenowRestless In The Grave

Liam Campbell novels

And best of all, being the prude that I am, I can still get through the scattering of sexual encounters (usually brief and to the point) as well as  potty mouthed character portrayal,  with barely a flinch; particularly as the author is brilliant at using one or both as enhancements to her story, rather than fill in props for poorly developed plot lines.

Let’s face it; Stabenow makes even law enforcement potentially sexy.

If you want a great read, and enjoy reading about characters that have more life in them than your Uncle Carl and Auntie Susie, then I highly recommend not only Dana’s newest Shugak mystery, but going back to the beginning with “A Cold Day for Murder

For continually keeping me entertained and wanting more, I give “Restless in the Grave” 4.5 stars.

Georgette Heyer: 1902-1974

Pioneer of Regency Romance Genre

In 1989 authors Teresa Chris & Arthur Barbosa published a detailed look the world  Heyer’s wrote about in: Georgette Heyer’s Regency England (Sidwick & Jackson; 1989).  More than fifteen years later Jennifer Kloester took another look at Heyer’s detailed author notes in her books: Georgette Heyer’s Regency World (London: Heinemann; 2005)and Georgette Heyer: Biography of a Bestseller (London; Heinemann; 2010); as well as a great fan website.

It is said that Georgette Heyer is the one who began the genre known as “Regency Romance” and in her lifetime wrote: 34 Regency Romance novels; 6 Historical; 4 contemporary; 12 thrillers and 16 short stories (as well as several non-fiction articles; “Books About the Bronte’s” and “How to be a Literary Writer”)

But this review is not so much the history of Heyer’s but a nostalgic look at work that heavily influenced my desire to become an author.


I discovered my first Georgette Heyer romance novel “The Masqueraders” when I was fifteen and was instantly captivated by her ability to weave history, plot, humor, and romance onto paper in such a way that immersed the reader into the flamboyant lifestyle of 1800 century England.  She was so convincing with the details of the time period and characters she wrote about,  that I remember thinking to myself  that God had somehow miscalculated the trajectory in my birthing timeline by at least one-hundred-fifty years.

Now I’m not naïve to think that the majority of men (maybe even women) will give a rip about a review on one more Regency romance author (all hail Harlequin Romances), but before you hit the delete button on this post, hear me out.

The reason I decided to write this wasn’t about reliving my childhood fantasy’s (thought there are a few I still might) or even about reverting to an earlier genre preference. No the whole reason I’m taking time to jot this down is, that when I went back and re-read “These Old Shades” (William Heinemann LTD, London, 1932);, it’s sequel “Devil’s Cub” (E.P. Dutton & Co., INC., New York, 1966) and “The Masqueraders” (E.P. Dutton & Co., INC., New York) I realized what it was that caught my attention as a kid: Georgette Heyer’s was a brilliant author – period.

In more than fifty years as an avid reader, I have never come across an author who developed character or dialog better than her. Bar-none. Though her plots are generally good, it is her ability to use detail (without becoming boring) and nuance  in the dialog and description of her characters that makes her truly brilliant.

“Remind me one day to teach you how to achieve a sneer, Hugh. Yours is too pronounced, and thus but a grimace. It should be but a faint curl of the lips.”
― Georgette HeyerThese Old Shades

One of my favorite aspects of writing is dialog,  and so it was with a sense of awe and wonder that I realized just how damn good this gal was. She didn’t just use dialog to move the story along, she used it as a tool to mold and paint her characters,  so that when you were finished with the book, each one was as familiar to me as the person I saw every morning when I looked in the mirror.

So among-st all the other “must read” stacked on the surface of almost every imaginable area of my office, I’m taking out my collection of Heyer’s, dusting off the jackets and sitting down to re-educate myself on prose that is not only clean and humorous, but demonstrates  what really great character  development and dialog  actually look and sound like.

From the laptop of an uncensored dreamer;


Such Wicked Intent

by Kenneth Oppel

Kenneth Oppel; Simon & Schuster; 2012

Once again Oppel has managed to successfully lead me down the dark and twisted pathways of the heart and mind of the young Victor Frankenstein in such a way, that even now, twenty-four hours after reading those hateful words, “The End”, I have yet to decide whether to embrace the main character in hopeful love, or toss him in an asylum for the criminally insane before it’s too late. I don’t know whether to applaud his willingness to explore all the possibilities to try  and save his twin, or resign myself to the fact,  that regardless of how honorable Victors intentions may seem, the bottom line is,  in the end, all things serve his god-like  purposes.

Even if those purposes are to bring his twin back from the dead.

From start to finish, the author has enriched us with his ability to bring to fruition the life of one of literatures most classical figures in a way that we might mistakenly think that it was Oppel, and not Shelley,  who was the original author and creator of Victor Frankenstein.  So full and colorful are the protagonist-antagonist’s narrative of himself, his comrades,  and the events surrounding his baptism into arcane things better left alone, that he makes the reader forget that they are merely observers of the events,  rather than its participants.

“If my heart were a compass, you’d be North.”  ― Kenneth OppelSkybreaker

If there had been a Book Three,  to “The Apprenticeship of Victor Frankenstein” series waiting  on a library shelf or Amazon Kindle reader, I’d have already gone out and bought it. But since there isn’t, I’ll just have to content myself with the hopes that it won’t be too long until I can rejoin my newfound friends on their quest to uncover the dark and forbid magics of necromancy.

On a scale of one to five, I’m giving “Such Wicked Intent” a five; as I found it even better written than its predecessor.

Book One: The Apprenticeship of Victor Frankenstein: “This Dark Endeavor”

From the laptop of an uncensored dreamer,


Re-Blogged: Musings of a Monster Librarian

Here’s a great muse I discovered @monsterlibrarian about>with the author.  This looks like a great site for my fellow information junkies when looking for additional publishing spots, book reviews, links etc. I’d bookmark this site if I were you.  I’m including a copy of their “About Us” @ the end of Oppel’s comments.

Teen Read Week: It Came From The Library! Kenneth Oppel on Frankenstein

Published by Kirsten on October 15th, 2012 – in Uncategorized

Kenneth Oppel is the author of  two novels (so far) about the young Victor Frankenstein, This Dark Endeavor (reviewed here) and Such Wicked Intent(reviewed here). He has also written many other books, and received a Printz Honor Award for his novel Airborn in 2004. We asked him to share what influenced him to write the story of Victor Frankenstein. It was pretty neat to learn that Frankenstein is one of his favorite books! You can see what he wrote back to us below.


 From Kenneth Oppel:

Frankenstein is one of my favourite novels, and I wish I’d written it. Unfortunately, it was written two hundred years ago by a 19-year old genius called Mary Shelley. Arguably, Frankenstein is the first science fiction novel, the first monster novel, the first horror novel. Not only is it an incredibly gripping read but, like all the best literature, it tackles weighty themes: reckless human ambition, the ethical implications of scientific pursuit, the creator’s responsibilities to his creations, and the perils of really, really bad parenting. All things that are still relevant today.

A couple of years ago, while re-reading the novel, I was struck by how quickly Victor Frankenstein’s youth is described – and one line in particular stuck out: “No youth could have passed more happily than mine.” Now, remember that this is a kid who goes on to dig up corpses, chop them up, sew the body parts back together, jolt them with electricity in the hopes of revivifying them, and creating life from death. Doesn’t sound like a very happy youth to me. What might have happened to Victor to lead him to become the “mad scientist” we all know? That, I thought, would make an interesting story.

A few pages later, Shelley goes on to give a helpful clue: “I entered with the greatest diligence into the search for… the elixir of life…. What glory would attend the discovery, if I could banish disease from the human frame, and render man invulnerable to any but a violent death!”

Right away I had an image of a teenager who was curious, ambitious, arrogant, and probably obsessive. Obsessions are a staple of literature — every great character has one. Whether it’s a desire or an aspiration, or the simple will to survive, there’s something that drives every hero — and every reader to keep turning pages.

Sixteen year old Victor Frankenstein is a fantastic character to work with. He’s the embryonic form of the man who will go on to dig up corpses, chop them up, suture then back together and jolt them with electricity to try to create life from death. Now that’s an obsession! When you read about people who create a work of genius, whether it’s an invention or a work of art, there’s often a strain of compulsion or even madness that motivates them and keeps them working tirelessly towards their goal — often at great emotional cost to themselves and those around them. Off the top of my head it could be as various as Howard Hughes (with his movies, or his Spruce Goose), or Francis Ford Coppola (Apocalypse Now) or Philip K Dick (who wrote himself to death).

Victor’s search for The Elixir of Life makes for an excellent quest. But it seemed to me there had to be something more behind it. What if Victor needed the elixir for a personal purpose? Was he himself ill? Or maybe a friend, parent – or a beloved sibling?

And so, in my alternative Frankenstein mythology, I decided that Victor Frankenstein had a twin brother, Konrad — who has an entirely different personality, and is a much steadier sort than Victor — and just that much better at everything.

It was tremendous fun to learn about the real Mary Shelley and her sources for Frankenstein. I’m sure plenty of my readers will pick up on all the references to the real Mary Shelley and the fascinating and tragedy-filled life she led. From my point of view, all this material was source material for me. I used Mary Shelley’s family as a basis for Victor’s – and stole characteristics from her husband (Percy Shelley) and friend Lord Byron to build Victor’s personality and backstory. When you’re reimagining a literary classic, you want to preserve the tone of the original, and this was one way I could do it.

And I loved writing Victor. As a writer I think you strive to create characters that exercsie the full range of human behaviour and emotion — and often these things are not heroic or noble or attractive. Victor is certainly a larger than life characters. He’s smart, arrogant, rash, selfish, but also loyal and loving and brave — in short, he’s no more an antihero than most of us on the planet. It’s huge fun to let loose a character with a temper, but also with a passion and a plan. I think you sympathize with Victor’s sense of inferiority around his perfect identical twin, and any reader would sympathize with someone who tries so hard to be good at things, in the shadow of another. Sometimes envy makes people do rotten things. So Victor’s not always nice, but you always want to watch him — and I think you want him to get what he wants, even if it’s a bit appalling. I mean, he’s Victor Frankenstein, not Harry Potter.



The Monster Librarian welcomes you! This site is dedicated to all the books that are creepy, scary, and give us the willies.  It is meant to be a resource for readers and librarians. For readers of horror, this is designed to be a site where you can find other books that fall into the horror category that you might be interested in reading.  For librarians, this site provides tools to help in collection development, readers advisory, and program planning. While the site will have  information on current mainstream horror it will also include in the various lists older books that may be of interest.   This site has no other agenda than encouraging people to read, and supporting readers of the horror genre.

Intimate Life Lessons:developing the intimacy with God you already have.

5.0 out of 5 stars

A Lifestyle of Intimacy With God, July 14, 2012

This review is from: Intimate Life Lessons (Kindle Edition)

When I read this book I was struck by how simple Linda makes developing a lifestyle of intimacy with God the Father. Growing up in traditional church, I was taught that everything is about Jesus (which it is), but the fact that He came to reveal the Father was sadly neglected.

Linda helps the reader regain a childlike relationship with the Father God that He intended for us to have all along. Each chapter contains easy to follow suggestions for overcoming doubt, erroneous traditions and our own wrong imaginings. She guides the reader from the outer court of our minds to the inner court of our hearts,  and helps us become, once again,  introduced to the one who loves us so much,  that He sent His only Son to die for us as proof. SSpjut

Intimate Life Lessons: by Linda Boone

Everyone tells you that you need to be intimate with God but no one tells you HOW. Finally a how-to book on intimacy.

This book takes the mystic out of intimacy with God and teaches it in simple terms with simple exercises.

Each chapter will give you: a short explanation or training on the how-to; an intimate moment section, which is a word from God to you; and an activation exercise. Group discussion guide also included.

God desires your heart and longs to give you His. He invites you on a journey of the heart. Linda Boone: Real Love Encounter His Love Ministry

The Noble Dead Series

Barb & J.C. Hendee

From the Author:  From Wikipedia

Barb & J.C. Hendee live in a quirky small town just south of Portland, Oregon. They are the authors of the Noble Dead Saga. Learn more at:

Barb is also the author of the Vampire Memories series and the upcoming Mist Torn Witches series. Learn more at

J.C. and Barb share a home office with their desks pushed up against one another.

They garden year-round and grow a good deal of their own food.

They also seem to spend a good deal of time researching myths and folklore about vampires.

The Noble Dead Saga’s:

I discovered The Nobel Dead Saga’s: One & Two; about four or five weeks ago. As you know, I’m a voracious reader, so once I find an author I really like,  I”ll devour everything they’ve ever written. So between Kenneth Oppel’s – Victor Frankenstein Apprenticeship – and Stephen R. Lawhead’s latest series “The Bright Empire; Book 3, The Spirit Well, I just finished “In Shade & Shadow” (Series Two),  and am getting ready to delve into “Through Stone & Sea”.

There are several reasons I enjoy reading Hendee’s work. First off,  I love fantasy, vampires, and everything elves, dwarves, and alien lifeforms.

Secondly, the authors (husband and wife) are talented enough writers,  that they are capable of telling a story without overused profanity (not that I’m against profanity, just the substitutionary use of it when the author is either too lazy,  or too ignorant to look for something better)  or explicit sexual content (I image they just assume I have an imagination and I’m not afraid to use it).

“Whether he accepted the way Wynn saw the world or he believed any part of what she saw to come did not matter. If he ever wanted her, he had to want what mattered to her. It was necessary to believe in her. 

If he were ever to mean anything more to her, she had to be the heart of his faith.” Chane; Of Truth and Beasts. 

Thirdly, they  just tell good stories with continually evolving plot lines,  that are both entertaining and imaginative. After fifty years of Tolkien, Brooks, Anthony, La Guin and similar fantasy fiction writers, it can’t be easy coming up with a new slant on an old story. Yet somehow Barb Hendee and her husband did; damphirs, noble dead, fey dogs and Forgotten Wars.

There were one or two times (especially in Traitor to the Blood), when I got a little tired of reading about the whining desperation of Leesil trying to locate his Elven mother. But the authors managed to weave enough additional sub-plots into the stories framework,  that I was able to get over myself and keep going.

All and all I enjoyed Series One, and working my way through The Noble Dead Saga – Series Two.

The Vampire Memories Novels:

Once again Hendee has managed to put a new twist to an old tail: Vampire families with telepathic gifts. But in this series of tales, the vampire population is on the down swing and unless someone manages to eliminate the antagonist (Aren’t all vampires antagonist’s?) Julian, there won’t be any left to worry about.

The Vampire Memories are a great romp in fiction; something to take outside and read while your soaking up rays and throwing back ice cold tea. The characters are deep enough to engage your imagination, yet not so deep that your upset when one of them bites the dust (literally – vampires turn to dust when they’re killed, and it can be really challenging to breath  if your near one when it’s head gets whacked off).

So from “Blood Memories” to “Ghosts of Memories” I prophecy that the reader will have at least five great novels  to entertain themselves with.