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  • Ethical Aspects of Animal Husbandry
    Ethical Aspects of Animal Husbandry
    by Craig Terlson

    A collection of short stories where the humour runs dark and the slipstream bubbles up.


    ...imagine if Raymond Carver called up George Saunders and Joe Lansdale, and they all went drinking with Neil Gaiman.

  • Correction Line
    Correction Line
    by Craig Terlson

    “… it's clear that Terlson is way ahead of the curve in terms of crafting an engaging premise that reaches for elevated territory and reinvents enduring archetypes of action and suspense.”  J. Schoenfelder

    "Sometimes brutal, often demanding and always complex, this novel will repay the reader who likes their assumptions challenged and is happy to walk away from a book with minor questions unanswered but the big ones definitely dealt with! It’s likely to satisfy those who enjoy Hammet and/or Philip K Dick and who like their fiction very noir indeed."   Kay Sexton


    "I love a novel that you can't put down, and this is one of them."  L. Cihlar


Woo-back - Ford vs Gaiman

It was funny, and illuminating, to go back and read this post from 2009. I think I might voice it differently, now.

I still love, love, Ford and anything he writes - but I think I was a bit harsh with Gaiman. With the upcoming American Gods show, I thought this was timely to bring up again.

And same goes with Stephen King - since that time 8 years ago, I've read some more King, admired his On Writing book. More importantly, I've further understood the brilliance of Gaiman. My favourite of his is still Neverwhere (I have an autographed copy from the one time I met him.)

I recently reread Ford's story, Empire. And once again read that excerpt aloud to my patient wife.

From the Woo-back machine - cage match: Ford/Gaiman.


It's better in a FORD, my bookclub is discussing American Gods by Neil Gaiman. It's a bit of departure from a club that in the past couple of years has looked at Moby Dick, Children of the Alley (Naguib Mahfouz) and Gilead (Marilynne Robinson) - those of you who are genre-jumpers like me know that "departure" is an understatement.

I like Gaiman's work, but I don't love it. American Gods doesn't have the deep resonance of a book like Gilead – though, that is really like comparing apples to Winnebagos. But I admire his storytelling ability, in the same way that I admire (but don't love) Stephen King.

It got me thinking about plot and story, and specifically, how much happens in a story. Gaiman has people tied up in trees sitting vigil for Odin as other gods swoop down on thunderbirds and the true god of Easter makes dead plants live and wives come back from the dead, and mystic moon goddesses produce golden coins and magic, and blood and, and, and....
Yes, it is a sort of breathless fiction.

Then I read this from the other book on my bedside.

"The train flashed through a small Montana town without stopping – two crossing gates with bells and red lanterns, a row of darkened stores, an empty rodeo corral with two cows standing alone under a bright floodlight. A single car was waiting to cross, its parking lights shining. It all disappeared. Sims could hear a train whistle far off."

On man, how I LOVE Richard Ford. The above is from his story, "Empire", from Rock Springs. I came across that paragrah and I immediately wanted to slow down, to read it again, to be there on that train, seeing the cows, the lights, hearing the whistle. It is so evocative of mood and place and full of resonance. But why? Isn't it just a couple of cows in a nowhere town? Where the hell is Odin and that crazy moon goddess? Could somebody please blow something up?

And that's the strange thing. Gaiman's work moves at a breakneck speed across the page, in my brain and right out again. Nothing sticks. Don't get me wrong, I am NOT a book snob - I say if you love it, hell, even if you just like it, then READ IT! (Notable exception: Any book by Dan Brown - which should be banned in schools, not for content, but for promoting horrible, shallow writing) I digress.

Richard Ford stories get into my head and they stay there. That's why I read and re-read his work. And Gaiman, yeah, I'll read another one, because like a ice-cold Coors Light on a blazing summer day, it tastes good - but it goes right through ya.
I guess I try to place my own fiction somewhere between these two. I strive to create moments of resonance like Ford can, but once in a while I want to blow something up – to create something that will make the reader go, "Hey, that's cool." Because I know cows under streetlights doesn't do it for everyone.

Link to interview with Richard Ford on publication of, "A Multitude of Sins" - another book I am re-reading.

Gaiman's official site.


First media review

Excited to read the first media review of Fall in One Day this morning.

The magazine CM: Canadian Review of Materials is a great, and long standing, publication run by university and library people. I really liked what they had to say about the book.

Here is the first part of it:

Joe Beck’s world is turned upside down when his friend Brian goes missing. Thinking that the police and other adults don’t seem to be doing much to solve the mystery, Joe enlists the help of his brother Karl and their stoner friend Dennis to follow the clues, figure out what’s going on and bring Brian home safely. They understand this may uncover some long-hidden secrets, but it has to be done if Brian is to be rescued.

 Craig Terlson captures the feelings and reactions of 15-year-old Joe very well. At times, Joe is decisive and adult, making and executing plans in order to find his friend. Yet he also doubts his own abilities, afraid that he will look or act childish. This is a coming-of-age story in which the main character eventually learns more about himself and the world around him, despite failures, setbacks and his own worry and occasional hesitation.

 4 Stars - Highly Recommended


Go here to read the whole review (including an excerpt)



At the sound of the tone... resonate

Resonance. That sound that still exists in your brain after a really long, or powerful note, at the end of a classical piece of music, or hell, classic rock for that matter (think: A Day in the Life by the Beatles)... that's what I'm talking about. Us old TV watchers know it as retina burn, when the Zenith got flicked off but images still remained like ghosts on the screen. Or we imagined they remained. I say old TV watchers, because I'm not sure it works that way anymore. Maybe retina burn of the brain after you just binge watch 6 seasons of Breaking Bad and you can't stop thinking about Meth (and the consequences of evil).

But before I slip into digression (too late), right at the start of a post, let me tell you how this relates to writing. Quite awhile back when I was working on a lot of short fiction, I struggled with the endings of stories. I was talking a course at the time through Gotham Writers Workshop (yes, I am the Batman), and an instructor told me that an ending should both be a door and a window.

The door was some sort of closure. I say "some sort" because this does not mean a didactic statement that wraps everything and tells you the meaning of what you just read. See: Aesop's Fables. No, a door answers the question the story has posed... it answers it just enough.

The window is about seeing forward into the part of the story that is not told. It can be a "what happened next" type feeling – wasn't there some kid's magazine that had those sort of pictures? My retina burned brain has somewhat of a memory of these pictures. But it is more than guessing what happens next, it is all the possibles of what could happen next, and how these characters, and even the story itself, continues on in some pan-dimensional fiction universe. Ok, I made that up. What I'm talking about is resonance. Yes, trippy.

What do you remember after you've read a story, or a novel?

There are certain stories that will always stay with me – I don't even have to look them up on the inter-web. Raymond Carver's Neighbors has a couple, locked out of their neighbor's apartment, whose place they were supposed to be taking care of (and end up taking advantage of)... when the door clicks, locking, and they slide down against the door, unable to stop, or turn back what just happened. Or in Carver's Fat, the waitress that comes home and knows her life is about to change. Or one last Carver, Cathedral, where the blind man helps his host draw a Cathedral while holding his hand, and the man says, "Wow. That's really something."

Now, I could pick up my various Carver collections and reread those stories to see how my memory is - but I don't want to (but you, yes, you should go read those stories). What I want to think about is why those moments have stuck with me so long. The final chapters of Moby Dick do the same for me – the Pequod sinking and swirling into the sea, and then Queequeg's coffin shooting out of the water – almost like it was spit out. And then our hero, Ishmael, clinging to it.

It's been years since I read Moby Dick, but I'll never forget that image.

I recently finished George Saunders, Lincoln in the Bardo – so maybe it is too soon to think about resonance in that novel, but I already know this book will stay with me a long time (as do many of his stories). The images of ghosts going into Lincoln's body to try and get him to revisit his dead son, and more importantly, bring a closure to death, is something I can barely imagine what it looks like. Yet, I can hold the resonance of that event, and many others from the narrative.

Now, you can't force resonance into your writing – Lord knows I've tried. Forcing resonance into a narrative is like you're shouting at your reader Owen Meany style: HEY, THIS NEXT PART YOU'RE GOING TO READ IS SUPER IMPORTANT. YOU ARE GOING WANT TO REMEMBER. MAYBE GET AN UNDERLINER...

It's more about being faithful to the story you are writing. And to know that resonance doesn't always happen either... so don't go searching for it. But when it does... wow.

I'm a film guy too, so I think about this concept in that medium. My son has a podcast called, Does That Hold Up? Where he and a guest view movies that were important to them in their childhood, and see if they still hold up. In a lot of the episodes I've listened to, the movies do... which surprised me. I've went back and re-watched things from my childhood and teenage years, and nostalgia aside, sometimes they just suck, and suck bad. Though, I could watch movies like the Good the Bad and the Ugly, All the President's Men, or Altman's, The Long Goodbye, several hundred more times... because, man do they hold up.

So think of a movie or a book that had a lot of resonance for you. Maybe it was just the ending, or even a scene (De Niro and Walken in the Deerhunter anybody?) One of my favourites to think about is the ending of Sofia Coppola's Lost in Translation. Truthfully, this movie hit me at a time (turning 40), where it just nailed me. I know others gave it a a general "3 mehs". But when Bill Murray whispers into Scarlett's ear, and we never hear or know what is said... even when I watched it the first time, I knew that I would never forget it. Resonance in spades.

We could be here all night, so one more. The ending of No Country for Old Men. I knew it was coming, having read the book, but wondered if the Coen Brother's screenplay would hold to it. And they did. Some film watchers were confused. I was delighted, and immersed in Tommy Lee Jones retelling of his dream to his wife. Credit to Cormac for writing it, the Coens for staying true to it, and for TL Jones for nailing it.

I won't say that I had to fight for the ending of my new novel, Fall in One Day - but I did have to discuss with my editor why I wanted it to end that way. There is definitely a feeling of resonance in the final scene. I will be curious to see if readers share that opinion.

In closing... Ladies and gentlemen, here are the Beatles...
(skip ahead to the last note - or just watch the whole amazing thing).




Guest blogging for BMP

This week I did a guest appearance on the Blue Moon Publishers Blog - my post launched a new series called, Author Insights - it will be very cool to hear from different Blue Moon Authors.

Also, really pleased to be ask to do the guest appearance thing. It made me think of those great Quinn Martin Productions, where the guest stars are shown in a grid, or some bold graphic, while jazzy music plays.

Hey, a guy can dream right?


Here's the start of the blog:

Why I Write (The Perennial Writer's Question)

We asked literary YA author Craig Terlson, whose new book Fall In One Day launches this May, a simple question: Why do you write? His answer reveals that there’s more to this question than many assume! 

As long as there have been writers, people have been asking them, “Why do you write?” Now for me, this question differs from those other oft-repeated questions such as, “Where do you get your ideas?” (Value Village.) “Is the main character you?” (Yes. And so are all the rest.)

I actually find the question of why a writer writes intriguing. I love to collect famous writers’ responses. To be honest, some writers are kind of sourpusses about it. Cormac McCarthy says, “I don’t know why I started writing. I don’t know why anybody does it. Maybe they’re bored, or failures at something else.” Ouch, Cormac. Or Richard Ford, to paraphrase, says, “Only become a writer when you have tried everything else, and have no choice.”

For the rest of the post, visit the Blue Moon Blog.


And just in case you missed the Quinn Martin Productions reference - check out the jazzy opening to Streets of San Francisco.

Guest starring... John Ritter! (and others)





Woo-back - the Friday night movie edition

Almost forgot I promised to post something from the Woo-back machine every Friday. I think of it as machine that whirrs quietly under my desk, that belches green smoke when I fire it up into search mode. Or some times it just makes those quiet 1950s Sci-Fi noises, as it works. 

My imagination digresses.

Long-time readers of this blog know that I can tend to obsess over certain authors (um, GS anyone), but also movies, and whole movie eras (the 70s).

I've written a number of posts about Night Movies, one of my absolute faves. And it is high time I watched it again. I've seen it a lot of times, lost count really, but each time I see more. I don't think it's on NetFlix, in Canada they don't seem to have much of s back catalogue. But find it, do yourself a favour, and watch it this weekend.

(Check out the trailer - Oh, and make sure you read Ebert's review)

Here is my post from July 28, 2010:



I've heard that great novels (or even short stories) start with an image. John Fowles pictured a woman staring out to sea, and that became the French Lieutenant's Woman. I often think of the above picture, which in a way reminds me of Andrew Wyeth's paintings. There is a certain bleakness that I am drawn to, and I feel that some sort of story will come out of this picture. It helps that the landscape is barren, with surreal trees, and that the woman (my wife actually) is walking away from the viewer.

I've been thinking a lot about imagery and mood - having my own little film festival, rewatching some great pulp neo-noir movies like Point Blank and Night Moves.


Night Moves is one of those films that you know is great (not just me, many critics put it in the top ten of 1975, and the best of the 70's) - but you don't know why it is great. Sure, there is Gene Hackman, an actor I'd pay just to watch him shave.  And he is at the top of his game here. In the early 70's he did French Connection, The Conversation and even Young Frankenstein (best blind hermit in film - wait, I made espresso!) But back to Night Moves - it puts the grit in grit. The movie seems lo-buck, sets, lighting, even some of the acting seems like it was done on the cheap (it was). But it is the writing that cuts deep. I think it would have a real hard time getting made today. too personal, too circular, too subtle even.

But there are images in it that are embroiled in my brain - Hackman driving around in his beat up Mustang, Jennifer Warren's world weary face that asks him where he was when Kennedy died, and of course that last great shot of the boat going in circles, just like the movie, and sort of like life.

A great review by Ebert

Senses of Cinema



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