Tonight's Writing

 Just finished synthesizing a three-act outline (in accordance with Syd Fields' three-act structural story beats) for my first screenplay concerning my literary avatar, David Kemp.

It is entitled Real Men Break Things.

I've had that title for about 21 years, but have never really done anything with it.

I know I've always wanted that title to go to a screenplay featuring David Kemp.

At first (meaning late last year, earlier this year) I threw a bunch of random events (loosely linear and spanning the course of about 8 years) onto an outline and thought I'd write this screenplay with no real structure, narrative drive or purpose (other than the therapeutic art of writing something autobiographical). 

However, I have indeed decided to do something more with this title and story.

I'm not going to give too much away (that is between myself and my forever first-reader, Tim Scott), but this is about an emotional arc Kemp goes through in an effort to recapture his individuality and solidarity in the face of an emotionally opposing force. 

Vague, I know, but, like I said, I don't want to give too much away.

But this story will explicate a time in my life (nearly 9 years ago now) that was simultaneously one of the most joyous and emotionally & psychologically wrenching periods in my life. 

Don't know when I will have time to write this (perhaps during the school year, as it will not take much out of me, creatively,  as all I have to do is recall scenes and dialog from memory). But I will write this after Depravity (my latest horror script) and after I finish Mall Santa, but before I embark on my two most treasured and ambitious scripts: Personal Demons 3 and State of the Art (a cyber-gothic blitzkrieg of futuristic horror that has lived, rent-free, in my imagination since I was fifteen). 

It feels good to have so many projects ahead of me. 

I will literally never run out of things to write about.

I wont say that writer's block is a myth (because, for some people, it is very real), but I have never experienced it. 

It's like cryptids: I am certain they are real, but I have not yet encountered them.   

Stage 32 + Mammoth Pictures Search for New Blood Feedback Rebuttal

  

Stage 32, LLC

23233 N. Pima Rd., #113148

Scottsdale, AZ 85255

www.stage32.com

 

Item(s) Stage 32 + Mammoth Pictures Search for New Blood Screenwriting Contest

12th Annual Search for New Blood Screenwriting Contest

Your Reader:

“Your reader is a repped screenwriter whose written commissioned films for production companies like Higher Vision Entertainment and sales/distribution giant Imagination Worldwide. They have worked as a script consultant, screenplay competition judge, and screenwriting teacher for over the last decade. As a writer, they have even won a screenplay contest themself, so they know what it takes for a great script to break through.”

 

My rebuttal: Note how they don't reveal who my readers / critics are... I'd be a lot more inclined to listen to them if they had even a modicum of industry experience to their name (I’ve never heard of Higher Vision or the “giant” Imagination Worldwide… both sound like made-up cinematic names for evil corporations… Umbrella Corp., OCP, etc.)... The fact that they don't reveal who they are makes me question everything they say.

Furthermore, apparently they never learned proper English. The sentence “They have worked as a script consultant, screenplay competition judge, and screenwriting teacher for over the last decade” is awkward to a maddening degree.

“As a writer, they have even won a screenplay contest themself, so they know what it takes for a great script to break through”… Oh, that super-reassuring! Thanks! They are a repped writer, but you have to brag (childishly, and with rather adolescent diction and syntax) that they won a script content… yikes! Have they had a script they wrote produced? Who are they signed with? What are their IMDB credits? If you’re not going to tell me any of these things, then I am going to assume my reader is a nobody and you are exponentially inflating their credentials in order to justify taking my money for this “coverage”. Incidentally, I paid $100 for this nonsense. Serves me right. I overpaid by 100%.

Comment Summary:

"Personal Demons" showcases a bold, character-focused horror narrative with a strong voice and cinematic style. Its blend of small-town authenticity and supernatural fear feels like a modern take on "The Goonies", with the young middle-school-age kids now as high school seniors. The script also loads up on the horror references, both subtle and overt. For instance, Effie refers to "The Exorcist" in both book and movie form, while the "Horror Club" mirrors the "Hellfire Club" from "Stranger Things". At the same time, the pacing in the first act lags as it conveys each kid's home situation while postponing the main conflict. This issue could be cleared by trimming some exposition. Some clarification on the demon's lore, such as what it can and can't do, and tightening the first act would boost the dramatic tension and narrative momentum. The script shines in its exploration of themes involving grief, faith, and disillusionment among teenage outsiders. With a few tweaks and a more emotionally impactful climax, this could evolve into a remarkable coming-of-age horror film.”

My rebuttal: The Goonies? Really?! I was going more for The Monster Squad. Anyone who can’t see that doesn’t need to be judging a horror screenplay competition. Incidentally, I loved The Goonies when I was a kid (because it starred other kids, who were having epic adventures). I recently re-watch it around Halloween of 2012 (when I was 32) and couldn’t recall why I liked that movie.

Also, I wrote this script in 2015. A year before the first season of Stranger Things premiered. The “Hellfire Club” was still 7 years in the future at that point.

“At the same time, the pacing in the first act lags as it conveys each kid's home situation while postponing the main conflict. This issue could be cleared by trimming some exposition”… Yeah, that “exposition” they are referring to is what we writers call “character development”. If I hadn’t included that, how much do you want to bet they would have dinged me for lack of character depth.

“Some clarification on the demon's lore, such as what it can and can't do”… Incidentally, I do address this during the second act “Obstacles” (according to Syd Fields’ three-act hard-and-fast structural rules).

“With a few tweaks and a more emotionally impactful climax”… Ha! First time I’ve ever received that criticism. The ending is one of the things readers of my script have pointed out as being one of its strongest parts.

Formatting:

“The script features professional formatting, with clear slug lines, centered dialogue, and vivid action lines that create a cinematic feel. Character introductions are brief and visually distinct. However, some action paragraphs and descriptive passages stretch beyond the standard five lines. These lengthy passages make the pages read more like a novel than a screenplay, which can make the task of reading feel like a slow chore. By breaking lengthy blocks into smaller segments, the script becomes more readable and closer to a "visual" document than a novel. Keep in mind the rule of thumb: create a paragraph break between each distinct visual image. Parentheticals and ellipses appear too often. If the parentheticals indicate a specific action or movement, move them to action lines, as some dialogue exchanges require brief action cues to keep the rhythm. The use of clearer transitions for time jumps and montages with standard cues like **MONTAGE:** or **SERIES OF SHOTS:** could also improve readability. For the most part, the formatting is solid but needs refinement for a quicker, smoother read.”

My rebuttal: “The script features professional formatting, with clear slug lines, centered dialogue, and vivid action lines that create a cinematic feel”… Yikes, this is seriously something you look for?! If a script is professionally formatted?! You realized that uncountable websites and software (Final Draft, etc.) that people can use to achieve this, right? Why is this even worth mentioning?

“However, some action paragraphs and descriptive passages stretch beyond the standard five lines”… Yup, never heard of this “standard” before. Sounds like bunkum to me.

“These lengthy passages make the pages read more like a novel than a screenplay, which can make the task of reading feel like a slow chore”… Ha! I guess if you don’t like reading (especially novels) this can feel like a chore. I’ve been endlessly complimented on Personal Demons’ “novelistic” (a non-word people in Hollywood use to mean “actually well-written”) prose.

“Parentheticals and ellipses appear too often”… Okay, clearly these yahoos have never read a book on screenwriting… or taken a screenwriting course… or, you know, passed a high school English class.

“The use of clearer transitions for time jumps and montages with standard cues like **MONTAGE:** or **SERIES OF SHOTS:**”… Yeah, at this point they are criticizing just to criticize. I do label time jumps with those distinctions. What script were they reading? Wasn’t mine, apparently.

Character & Dialogue:

“The script delivers sharp character voices and realistic teen interactions. Each Horror Club member feels real. Conrad’s grief, Effie’s defiance, and Arnold’s awkward intelligence anchor the supernatural in emotional truth. Dialogue reflects adolescent rhythms: funny, quick, and self-aware without feeling forced. The exchange, “don’t cross the streams,” between Conrad and Effie blends humor with horror perfectly. Some characters lean too much on stereotypes. Effie sometimes appears as a typical “goth girl,” and Conrad’s emotional journey of dealing with loss and belief after his mother's death needs more clarity. Side characters like Jeremiah and Arnold lose focus past the midpoint, which leaves the script missing out on chances for their characters to develop or emotionally impact the viewer. Dialogue occasionally slips into exposition or obvious statements (“You disappoint me”) that minimize the subtext. One option to remedy this issue involves giving each teen a unique verbal style. The dialogue can show Conrad as intellectual, Effie as sardonic, Arnold as literal, and Jeremiah as anxious through their speed, volume, and choice of words. The script could also do more in later acts to show how adult figures like Mr. Hauer or Conrad’s father highlight generational themes of fear and faith. Much of the script's characterization and dialogue remains strong, but refining emotional arcs and deepening subtext would further enhance its impact and authenticity.”

My rebuttal: “The script delivers sharp character voices and realistic teen interactions” … Wow. Thank you. This is the first time anyone has admitted this.

“Some characters lean too much on stereotypes. Effie sometimes appears as a typical “goth girl”… yup, the praise was minimal. Now time for the criticism. I disagree with this assessment of Effie and it’s the first time I’ve heard said criticism.

“…and Conrad’s emotional journey of dealing with loss and belief after his mother's death needs more clarity”… How much do you want to bet that, if I’d focused more on this character trait, they would have said that it “slows down the pace and is unnecessary to the story”?

“Side characters like Jeremiah and Arnold lose focus past the midpoint, which leaves the script missing out on chances for their characters to develop or emotionally impact the viewer”… Never heard this criticism before. Honestly, with an ensemble piece with 4 main characters, two (or one) is going to emerge as the protagonist(s) and the other will fall into the peripheral. I think I did a commendable job of giving them their due screentime and development.

“The script could also do more in later acts to show how adult figures like Mr. Hauer or Conrad’s father highlight generational themes of fear and faith”… I’ll give them credit in that they accurately identified two of the themes I was going for: generational divide and faith. However, the adult characters don’t need all that substance… anymore than, say, the voice on the other end of the information line for The Substance (in the film of the same name) needs development. In this instance those characters are there to represent secondary antagonists: they create obstacles for our protagonists. Nothing more. The adult characters are, however, given development when their children (the main characters) are introduced.  

 

Plot & Structure:

“The script creates a gripping mix of small-town realism and supernatural horror. It features an engaging cast and relatable themes. The story centers on horror-loving teens who confront a real demon, which serves as the supernatural basis for their real-world problems. The first act effectively sets up characters and tone. The midpoint trap scene with holy water stands out as a dynamic turning point. Still, the "domestic scenes" drag down the pacing before the inciting incident. The demon attack on Wolfgang occurs around Pages 20–25, where a typical script would have it happen 10 pages sooner. Conrad’s journey from skeptic to believer shows promise but lacks clarity. By giving him a deep emotional need, such as seeking redemption for past mistakes or protecting his surrogate “family”, his role could have a clear direction. After the successful trap in Act II, the tension slowly drains, and the story loses its narrative momentum. The climax successfully externalizes the horror but could resonate more with audiences if it were linked to Conrad’s internal conflict. The resolution should deliver thematic closure by illustrating how survival alters each character's perspective. With improved pacing, a more proactive protagonist, and a sharper emotional conclusion, "Personal Demons"

 

My rebuttal: “Still, the "domestic scenes" drag down the pacing before the inciting incident. The demon attack on Wolfgang occurs around Pages 20–25, where a typical script would have it happen 10 pages sooner”… ugh! First, it’s called character development. I can’t kill these characters before the audience gets a chance to know them and care about whether or not they live. Second, this is the second time someone has said “your ‘horror hook’ (I guess they mean the death that is the inciting incident) needs to come earlier in the film!”… To that, all I have to say : Marion Crane dies 44 minutes into Psycho. Tina dies nearly 20 minutes into Nightmare on Elm Street. Those are two hit movies that have turned in franchises. Their IPs are still being exploited today. I rest my case.

“Conrad’s journey from skeptic to believer shows promise but lacks clarity. By giving him a deep emotional need, such as seeking redemption for past mistakes or protecting his surrogate “family”, his role could have a clear direction” … Yeah, I have no idea what they’re talking about here. This is the first I’ve heard this criticism.

“After the successful trap in Act II, the tension slowly drains, and the story loses its narrative momentum” … Yup, first time I’ve heard that as well.

“The climax successfully externalizes the horror but could resonate more with audiences if it were linked to Conrad’s internal conflict. The resolution should deliver thematic closure by illustrating how survival alters each character's perspective” … I love how they give me criticism, but not how to fix it, making it empty quibbling. Incidentally, how do I show have the ending alters each characters’ perspective without bogging the narrative down with an unnecessary epilogue? Also, why are they so stuck on Conrad and his metamorphosis? Is it important? Sure. But this is also an ensemble piece. You can’t tell me one specific character need to have this epic arc and evolution and then tell me all the other characters need their catharsis as well. This is not a 2-hour movie. It’s a 90-minute movie.

“With improved pacing, a more proactive protagonist, and a sharper emotional conclusion, ‘Personal Demons’ could create a powerful blend of horror and coming-of-age drama” … Well, all these just sound like excuses. I’ve never been told that Conrad is not a “proactive protagonist”, and I’ve never been told that the conclusion (or script as a whole) lacks emotional depth or clarity (they kept using that word, ironically, to cover up the fact that their feedback so was irritatingly vague). As for the pacing, well, again, I followed Syd Fields’ three-act structure, so…

  

My main takeaways: They were more complimentary than the last few rejections (who offered coverage) were. But a lot of their criticisms were either out of left field (as in, I’d never been told these were problems before) or seemed like excuses for rejection. I base this, as I said, on their incredibly vague condemnations for which (most of the time) they give no solid method or example as to how I might correct this deficiency. But, alas, even though I do appreciate the praise they gave me (they are the first to admit that my characters act and speak like regular teenagers), I still regard Stage 32 as an enormous scam meant to separate desperate (and naïve) writers from their cash while touting a handful of “industry insiders” as confirmation of their legitimacy.

 

Note: Sometimes I wonder (fear) that I do not take criticism well. I know I take it too personally, if nothing else.

I also sometimes wonder if my rebuttal to the criticism I receive isn’t valid. Insecurities then creep in and I question my talent as a writer and the marketability of my work.

But if my rebuttals were invalid, how then am I able to synthesize them so quickly in response?

Regardless, I have to constantly remind myself that: 1.) feedback/coverage from pitchfests and film fests are just that… and not rejections directly from an agent, producer or studio. 2.) Criticism, like anything else, is largely subjective and is guided by the critic’s personal aesthetic, preferences and what they (sometimes pretentiously, sometime accurately) believe to be industry-standard information. 3.) As it pertains to Personal Demons, that screenplay has had more wins than losses, so any criticism I receive, I take with a truckload of salt.

 

Bloody Mirror Feedback Rebuttal

  

Title: Personal Demons

Writer: Erik D. Harshman

Evaluation By: LSN Selection Committee

Status: Private Jury Feedback 

(Note how they don't reveal who my readers / critics are... I'd be a lot more inclined to listen to these fools if they had even a modicum of industry experience to their name... the fact that they don't reveal who they are makes me question everything they say). 

 

Brief Overview & Reasons for Non-Selection

 

PERSONAL DEMONS is an ambitious, small-town horror script focusing on the "Blackhand

High Horror Club,

" a group of outcast teenagers who take it upon themselves to hunt and kill a literal demon after it murders one of their own. Drawing heavily from 1980s teen-centric horror and adventure films, the narrative attempts to blend the coming-of-age struggles of misfit teens with a high-stakes supernatural battle.

While the script has a strong, nostalgic premise and clearly exhibits the writer's deep affection for the horror genre (evidenced by the extensive cinematic and literary references), it was not selected for our finalist round due to issues with tonal consistency, pacing, and dialogue. The transition between the realistic teenage angst (strict parents, moving away, religious differences) and the hyper-stylized, over-the-top demon hunting sequences often feels jarring rather than cohesive. Furthermore, the dialogue frequently leans into exposition and heavy-handed genre quoting, which undercuts the natural voices of the teenage protagonists and slows the narrative momentum.

 

My Rebuttal: This is the first anyone (across many film fests, agents, etc.) has said anything about “tonal consistency”.

Furthermore, the demon hunting in the script is not “hyper stylized”. I don’t know what script they were reading, but it wasn’t mine. All of the demon hunting is extremely grounded in reality (as much as demon hunting can be). Inf act, I wrote this script in 2015 after attending my first pitchfest and having every producer and agent tell me that they were looking for “grounded horror”.

And, finally, there is hardly any exposition in the script. I defy anyone to highlight more than one or two instances. And given that most big Hollywood movies (in recent memory, I’ll point out 2017’s Alien: Covenant) are full of exposition and info dumps, well, I don’t see one or two instances being a problem. As for the “heavy handed genre quoting”? There are two lines. One stolen from Ghostbusters (which was meant as nothing more than character development, to show that these kids were raised on the same pop culture that most kids are raised on) and the other (from Predator 2) I task anyone with identifying that line. Besides, how many movies (like 2025’s I Know What You Did Last Summer and 2024’s Alien; Romulus) are full of call-back lines inserted in for nothing more than to trigger & stir nostalgia in the viewers. And if one more person tells me that these characters don’t act and speak like natural teenagers I am going to throat-punch them. I spend 7 hours a day, 7 days a week, ten months out of the year with teenagers. If anyone knows how they act and speak, it’s me. I would like to question anyone who issues that criticism of my script to tell me what teenagers they are observing. More than likely it is their younger siblings, nephews/nieces, etc. and, thus, they have a biased and skewered view of these individuals.

 

 

Highlights & Strengths

A Fun, Nostalgic Premise: The core concept, a high school "Horror Club" using their encyclopedic knowledge of horror movies and literature to combat a real-world threat, is fantastic and highly marketable. It evokes a strong Stranger Things or The Lost Boys vibe that genre fans would inherently appreciate.

The "Timbo" Character: The inclusion of Timothy "Timbo" Bishop, the young, Ozzy Osbourne-loving priest, is a highly original and entertaining twist on the standard clerical archetype in horror films. His intervention at the climax is one of the script's most memorable and enjoyable moments.

Visceral Action Sequences: The writer does not shy away from brutality. The action sequences, particularly the climax in the cave involving chainsaws, holy water balloons, and iron spikes, are inventive and visually engaging.

 

My Rebuttal: I wrote this a year before Stranger Things came out and I hate The Lost Boys. I’m not even sure I’ve seen Lost Boys from start to finish in its entirety.

 

 

Constructive Observations

Tonal Imbalance: The script struggles to find a consistent tone. It oscillates between serious, grief-stricken drama (the funeral, the parents threatening to send their kids away) and cartoonish action (the teens rigging a Little Rascals-style bucket trap in an alleyway; the demon casually eating a rib cage like a human). Committing fully to either a dark, grounded thriller or a heightened, self-aware horror-comedy would strengthen the overall impact. Refining the Dialogue: The teenage characters often speak in paragraphs of exposition or rely too heavily on reciting horror trivia rather than communicating organically.

Streamlining the dialogue to sound more like authentic teenagers, and allowing their actions to demonstrate their horror knowledge rather than constantly stating it, would make them much more relatable.

 

My Rebuttal: Their comments of “cartoonish action (the teens rigging a Little Rascals-style bucket trap in an alleyway; the demon casually eating a rib cage like a human)” is just insulting. Again, no one (from agents, to other festival and screenplay competition judges) have noted anything along those lines. 

“Committing fully to either a dark, grounded thriller or a heightened, self-aware horror-comedy would strengthen the overall impact”… yeah, I do commit to one tone. It is dark and grounded. It is not self-aware at all. It is not meta. The teenagers simply realize that something they’ve read about, seen, played in video games and heard about in heavy metal has finally shown itself to be a reality. That’s about as self-aware as it gets, all of which I handle in a grounded tone. If the script is funny at all, it is because people (kids, especially, as they are completely trying to figure life out as it comes as them, full-speed, and trying to figure themselves out in the process) can be funny and ridiculous. These kids are thrown into a situation they can’t possibly comprehend on their own (without all the theological and pop culture references to help them make sense of it all). That is the grounded tone and approach.

Closing Thoughts

PERSONAL DEMONS is a heartfelt love letter to the horror genre with a highly appealing core concept. We commend Erik D. Harshman for his ambition and his clear passion for the subject matter. With a rewrite focused on unifying the tone, polishing the dialogue for authenticity, and grounding the supernatural mythology, this script has the potential to be a highly entertaining and commercially viable teen-horror feature.

 

My Rebuttal: “Unifying the tone”, I’ve already addressed this. This is a matter of perception and aesthetic. Theirs is incorrect.

“Polishing the dialogue for authenticity”… seriously, I’d love to hear the advice these idiots would give me on this topic. Unless they are going to spend as time with teenagers as I have, they have no ground to stand on.  

“and grounding the supernatural mythology”… my mythology is sound. No one has ever said anything to the contrary… and that seems like a big complaint that would have come up in Personal Demons’ multiple festival wins by now.

 

 

How We Can Support PERSONAL DEMONS:

Refine Positioning & Pitch Assets: We help adjust your script's positioning for maximum

industry appeal. For PERSONAL DEMONS, we would suggest framing the narrative around

"Nostalgic Teen Horror/Adventure" (similar to Stranger Things or Summer of 84),

highlighting the "Horror Club" premise as your primary hook. We also help you optimize

your essential pitch materials, including your logline, synopsis, and a professional Pitch

Deck / EPK.

Video Pitch Development: We guide you in crafting and producing a highly effective Video

Pitch. This allows you to visually and emotionally sell the tone, pacing, and commercial

viability of your script to producers who may not have time to read 100 pages right away.

Targeted Festival Strategy: We create a customized roadmap for your script, identifying

20-30 targeted screenplay competitions and genre festivals that specifically champion dark

thrillers and twist-driven narratives, saving you budget on unnecessary submission fees.

Targeted Pitch & Sales Strategy: We analyze your script’s scope, budget, and genre to build

a curated list of 20-30 targeted buyers, production companies, and industry executives

who are actively seeking this specific type of material.

Full Representation & Direct Pitching: We act as your representative, packaging your

project and pitching it directly to our established network of producers, buyers, and

acquisition executives on your behalf.

If you'd like to explore any of these options, just reply to this email.

 

With respect and admiration,

— The LSN Team

 

My Rebuttal: Ah… and there it is! All that criticism was just a set-up/lead-in to offering me their “script doctor” services. Gotcha. Yeah, how much do you want to bet that, even if I paid their, no doubt exorbitant, fees and fixed everything they told me was “wrong” about Personal Demons magically someone  (another writer who doesn't exist) else’s script would be “better” and would win their no-name competition… if anyone ever wins period. This whole thing reeks of a scam / swindle. It is because of shysters like these that I rarely trust or respect the coverage I receive. 

 

Note: Sometimes I wonder (fear) that I do not take criticism well. I know I take it too personally, if nothing else.

I also sometimes wonder if my rebuttal to the criticism I receive isn’t valid. Insecurities then creep in and I question my talent as a writer and the marketability of my work.

But if my rebuttals were invalid, how then am I able to synthesize them so quickly in response?

Regardless, I have to constantly remind myself that: 1.) feedback/coverage from pitchfests and film fests are just that… and not rejections directly from an agent, producer or studio. 2.) Criticism, like anything else, is largely subjective and is guided by the critic’s personal aesthetic, preferences and what they (sometimes pretentiously, sometime accurately) believe to be industry-standard information. 3.) As it pertains to Personal Demons, that screenplay has had more wins than losses, so any criticism I receive, I take with a truckload of salt.

 

Paddy Poe Library Candle... Discontinued!

 Well, I went to the Paddywax website, to the "Library" section of their online inventory... and saw only Charlotte Bronte (ugh!), Jane Austen (snooze!), Charles Dickens (untouchable) and Fredrick Douglas (also untouchable... though his candle deserves more than a tiny tin!).

I then wrote them:

" Dear Paddywax,Did you do away with the Edgar Allan Poe Library candle?Or is it coming back?Please advise... I've written with that thing burning beside me for decades!Sincerely,EDH"

This is what they sent back:

"Hello, Thanks for reaching out! Unfortunately, this item has been discontinued; however, our development team is always reviewing or revisiting discontinued items. I will let them know you'd love to have this one back and they will review on their next development cycle. We apologize for this inconvenience! Have a great day! CS Sean from Paddywax" I am devastated!  My cousin (Amanda) got me my first Poe Paddywax candle for Christmas many, many years ago and I have since bought uncountable more. They are essential to my writing!  I love having them sit by my Qwerkywriter and occasionally smelling them when cranking out a new horror story/screenplay (I'd put "novel" on there, but I haven't written a horror novel in forever). Regardless, there are still options: the Quoth the Raven candle from Seawitch Botanicals (though not at all the same). There's an Etsy shop (man, I love that website) called TheMysticCrow that has a Poe candle that looks like it could fit the bill. And a whole bunch of other shops are selling candles, titled with some variation of "The Raven"... "Nevermore", etc. But all of them have fruity smells. Sorry, but there is nothing light, airy, whimsical or fruity about Poe's work. Poe's work (while intermittently romantic) is about the macabre, murder, madness and death (and everything that comes after it: mourning, depression, sorrow, longing, painful reminiscence).  But the one I found that most perfectly encapsulates the scents associated with Poe is probably this one.  ... The things I go through in order to get olfactory inspiration.

 

New Horror Screenplay Competition

 Well, I literally just found out about this competition after reading an article on Bloody Disgusting (because their editor in chief is one of the judges). 

However, the big appeal for me is that one of the judges is Barbara Crampton... one of my favorite actresses of all time!

Enclosed is a Re-Animator reunion group photo from Flashback Weekend 2025.

And, well, Bloody Disgusting is where I've gotten all my horror news since 2017, so this just seems like an appropriate fit.

Mind you, I thought this a few years ago when I submitted Personal Demons to the Days of the Dead (a horror con I've been to 10 times, more than any other con, since 2019) and I only got an "honorable mention"... and I'm probably setting myself up for disappointment here, but... it's only $45 and I can go to sleep each night knowing the Barbara Crampton has read something of mine. 

 

 

Tonight's Writing

 Well, tonight I tried finishing a short horror story I started last summer.

I started out writing in my Hemingway tribute shirt... but felt Hem was just a little too "less is more". So I switched to my red-with-yellow-lettering "Clive Barker Rules" shirt (that, suspiciously, didn't fit as well as it did two years ago and had me squirming and adjusting the whole time I was writing). I bought it off Etsy in 2024 and wore it to a horror con (Days of the Dead in Chicago in March 2024) where I actually got to meet Barker and (most of) the cast of Hellraiser. 

This story I am writing (called "In the Barn") is more along the lines of Barker (specifically, Hellbound Heart and some of the Books of Blood stories). 

I burned my Dark Academia candle (also bought off Etsy).

Honestly, I wrote tonight with self-doubt in my mind. I remembered all the critical and cruel things said to me by self-important magazine editors who had refused my stories in the past. I thought most of the lines I wrote tonight to be either too standard (for someone who's been writing as long as I have) or overwritten (bordering on the melodramatic and ridiculous).

I think I managed to eek out a few good lines, but it reaffirms a theory I have: sometimes the inspiration isn't there and, well, maybe you just shouldn't write! Take the night off! But with previous little time over summer break, I feel compelled to write whenever I have time (meaning, no other prior engagements) in order to make up for lost writing time during the school year.

Tomorrow I have plans with an old friend of mine... before the night's festivities begin, I plan to give this story another go. I only have about 3-5 more pages before it's time to close the curtain on this story. 

 

   

 

First Writing of Summer

 I have just completed my first writing of the summer.

I officially went on summer break on May 26th.

It has taken me over a week to get some words on the page.

I'm not as disappointed in that as I sound.

I needed some R&R.

Some time at the gym, etc.

But now that I've got words on the page, I cannot stop.

This summer I hope to:

1.) Finish two short horror stories (one I began last summer, the other I began in 2014!).

2.) Revised a screenplay I wrote in 2004!

3.) Write a new screenplay.

4.) Write one (possibly two) David Kemp stories.

And what did I write tonight?

I outlined ideas that have lived in my head (rent free) for years for Personal Demons 4.

I haven't even written Personal Demons 3 yet.

I have it all outlined (twice... I wrote an outline for it in (probably) 2021 or so... then forgot that I wrote it and wrote a new outline in 2022 or 2023) and it is ready to be written... I am perhaps just too intimidated by it. It is the end of my (as yet unproduced) trilogy. It is so epic (in my mind) and means so much to me that I can't just write (willy nilly)... I have to be in the mindset and laser focused on it.

Perhaps next summer.