Dead Herrings

Currently reflecting on a particular narrative choice made in The Belko Experiment, and can't decide how I feel about it. So maybe you can help, dear reader.

In Belko, a mysterious voice orders the various office drones employed by Belko Industries to off each other or face dire consequences. When these ordinary people understandably balk at this bizarre order, the voice demonstrates the power it holds over them by detonating explosives implanted in each employee's head--implants they agreed to when they took their positions with Belko, thinking they were tracking devices to be used in the event of their kidnapping. The voice also uses the explosive implants to prevent employees from removing cameras or from hanging banners from the roof asking for help. As a plot device, the explosives are highly necessary, as they provide an incentive for these otherwise normal people to murder their fellows.

Except there's one employee who doesn't have an implant.

Early on, we meet Dany Wilkins. It's her first day at Belko, a narrative device in and of itself--a way for other characters to deliver the exposition the audience needs by explaining things to the newbie. In her on-boarding meeting, co-worker Vince explains the tracking implants and tells her to make an appointment to get one.

Out of 80 people in the building, Dany is the only one who DOESN'T have an implant and isn't beholden to the instructions of the voice. She can disobey his commands at will, and not have to worry about getting her head blown up from the inside. 

Except she doesn't.

The movie positions Dany as a potential final girl, and then unceremoniously offs her. Dany's trackerless status is never brought up. It never matters. Instead we get a bit of a deus tech machina from good guy Mike Milch (after he beats the COO to death with a tape dispenser to become the last Belkite standing*). 

So is Dany's lack of tracker meant to be a red herring, a clue to confuse us and make us think she's the survivor? Or is it more of a dead herring--a plot point that gets dropped later in the narrative?

I'd argue it's more of the later, as her trackerless status isn't engaged with--less a misdirection than a dead end. If she'd been sent on a mission only she could accomplish, only to get dispatched in the elevator, I think her arc would have worked better for me. Making something matter, making someone matter, and then having them fail? That's so much more of a dagger to the heart.

*Bonus rant: wouldn't this have been an even better movie without the guns? Imagine if all the employees had been forced to kill each other with whatever they could find around the office. The movie would have been that much more gleefully gruesome. The gun cabinet made things way too easy.  

That's NOT How You Anti-Hero

Don't watch Anonymous 616.

Or maybe do, this post will probably make more sense if you've seen it, but I'm definitely not recommending this thing to anyone, so when you've sat through an hour and half of pure what the fuck don't look askance at me, okay?

As with everything I do here, SPOILERS.

I write about horrible people that do horrible things. Theoretically I don't have a problem with a movie about a pervert who smokes DMT, tortures his friends to death, and then cuts out a twelve-year old's heart and eats it in a misguided bid to become God, although with something that extreme it's got to be handled very, very carefully to be effective.

THIS MOVIE IS NOT EFFECTIVE, for one primary reason: this is not how you anti-hero.

Anonymous 616 follows Sgt. Hipster (I can't remember any of the characters' names and I don't want to give this thing's IMDB entry a single fucking click) and a bunch of cannon fodder including Director's Wife*, Bland Realtor, Other Chick, and Daughter. Oh yeah, and Reverend What the Fuck there at the end. None of the characters are interesting--Bland Realtor's main distinguishing feature is that he likes to play shitty butt-rock at a high volume because he can, Other Chick is Vaguely Ethnic™, and Director's Wife has godawful taste in men in both the movie and real life. We learn nothing of consequence about any of these people, and none do anything of note other than die miserable deaths at the hands of Sgt. Hipster.

I've got no problem with a morally ambiguous lead. I fucking grew up in the '90s, where every single character was an anti-hero including Superman for a hot minute. But anti-heroes need to have some sort of unorthodox morality, an interior code. Think the Punisher or Dexter Morgan--neither kills wantonly, both have certain types of people that they won't kill, selection criteria, etc. Dexter wouldn't have saran-wrapped Rita (RIP) to a table because of a paranoid suspicion that she was cheating on him.

Sgt. Hipster isn't an anti-hero, he's a creepy POS from the beginning, and there's really no conflict. His own personal Tyler Durden IMs him and tells him he can do whatever he wants, and he does--Jesus Christing his best friend to the wall with a nailgun conveniently left lying about, smothering his girlfriend with a plastic bag, and much, much worse. It's like if Hostel followed Saladhands for the whole movie. What the hell are we supposed to be cheering for?

If Sgt. Hipster had struggled with his destructive impulses in a meaningful way, this movie might have been kind of interesting. If Director's Wife, Other Chick, or Daughter had turned into the typical Final Girl and put a few nails into Sgt. Hipster's skull, this movie could have been a run-of-the-mill horror trifle. As it is, the movie forces the viewer to sit in an irredeemable garbage person's POV for an hour and a half with no one to root for. The good guy's don't have to win, and we don't have to follow them, but if the monster's front-and-center we need to be able to glimpse the humanity under all those teeth.

And here? There's not even teeth, just dentures and the meat that gets stuck in between.     

*Not 100% on this but pretty sure.

UPDATE: If you want to debate, great. I'm wrong about all kinds of shit. But don't fucking post your own movie reviews here or links to your blog, they will be deleted.  

   

Watch This

Editing the tenth or so draft of the latest novel and identified a new pet peeve of mine--the verb "watch" and all its iterations. While the word has its uses, most of the time it just doesn't belong. 

"Watch" is what I call a distance word. It creates unnecessary space between the text and the reader. We don't need to know that a character watched something happen, if we're in their POV it's implied. Here's an example from my novel:

"Jan watched sparks from the fire crackle in the night sky, drifting on a light, early summer breeze."

But how about just "Sparks from the fire crackled in the night sky, drifting on a light, early summer breeze."

The second one's better, right (maybe not good but better)? "Jan watched" doesn't add anything, but it does take up space. And it filters the image a bit, right? Instead of giving us the pure, unadulterated version, we have to picture someone else looking at the thing that's being described.  

Of course there are times when you have to throw a "watch" in. If a character's watching something is integral to the story, it might make sense. For example:

"Rock watched his friends laughing and hanging out and wished he felt like doing the same."

Here the "watching" is closely tied in to the way he's feeling. There's probably a more poetic way to put this, and I would never argue it's the best sentence I've ever written. But it does feel needed here. 

Or this one, maybe:

"Rats nipped out of their hidey-holes, watching carefully for the thing that stalked the hallways"

Here it's a description of rodents watching, not a character watching something. Which I think works. 

But most of the time, it's just not needed. Do we need to "watch" a monster creep closer, or can the monster just creep closer? I think it can, and should.

The End*

*of 2017

You probably couldn't tell from this blog, since this is one area I've definitely slacked on, but 2017 was one HELL of a year for me. In 2017 I:

1. Published stories in Deciduous Tales, California Screamin', and Zathom.com;

2. Sold stories to Behind the Mask: Tales from the Id (out now!), and a couple other places that I can't talk about yet but am super excited about;

3. Was elected San Diego Chapter President of the Horror Writer's Association;

4. Attended Stoker Con, Wonder Con, Comic Con, the Horrible Imaginings Film Festival, and a bunch of smaller readings/signings;

5. Wrote a TON.  How much, you ask? This much:

Total Short Stories: 52
Shortest Story: 54 words
Longest Story: 31,869 words
Novel Progress: 255,299 words
Total Words Written 2017: 559,615 words

In the first couple weeks of the year, I've finished the novel and am mostly complete with another short story. Of my 2017 output, I'm hopeful most will see the light of day at some point. I just need to find the time to go back and actually do some editing--not that I don't have time I could repurpose, but my attention span means I want to focus on writing the shiny new idea instead of polishing up the old one I already explored. Not the worst impulse in the world, but not the best way to enable a career as a working writer either. The good news is I have some killer stuff planned for the year, and I can't wait to share it.

News and Press, California Screamin' Release

We've been doing a bunch of signings and events to promote the new anthology California Screamin', a collection of horrific tales set in the Golden State. Yours truly made the paper a couple times in the past week in relation:

A quick recap of the Bay Books reading/signing:

https://coronadotimes.com/news/2017/10/30/a-california-scare/

And a review/feature of my story "Bumming Smokes" (calling me "a skilled artist who delights in gore" is one of the nicest things anyone's ever said about me:

http://www.sdnews.com/view/full_story/27498657/article--California%E2%80%88Screamin--sheds-some-darkness-on-palm-trees-and-sunshine?instance=sdnews

California Screamin' is available in fine local bookstores, on Amazon, and directly from me, feel free to contact me if you'd like to buy a signed copy. 

https://www.amazon.com/California-Screamin-Danielle-Kaheaku/dp/0999449508/ref=sr_1_1?s=books&ie=UTF8&qid=1510100118&sr=1-1&keywords=california+screamin&dpID=51XytCpor0L&preST=_SY291_BO1,204,203,200_QL40_&dpSrc=srch

 

I'm Going to Kill You...Right After I Get This Dope-Ass Chest Tattoo

I had a lot of fun watching Chromeskull: Laid to Rest 2. Up until the part where I started yelling at my TV, that is.  I mean I was still having fun. But angry fun.

Having not seen the first one, I'm not sure how much setup I missed out on. The movie starts in media res with Brian Austin Green playing Vince Vaughn and cleaning up the scene of Chromeskull's first rampage. We know he's in charge because he's wearing a suit and acting like a dick. I'm assuming he stopped by the gas station on his way from his day job as a Vegas club promoter and/or vape salesman. Something unrealistic happens with 2011 cell phones and then he stabs the last movie's final girl to death in a motel room with a crazy-looking dragon knife he bought in a Venice Beach head shop (probably).

So far, I'm in. Schlocky '90s actors and "hey, it's that guys?" Sure. The killer's mask looks cool AF, and the idea of a slasher requiring a support team actually makes a hell of a lot of sense. Unfortunately they don't go into the backstories of douchebag club promoter, ethnicish hot chick or nerdy tech guy, but I'm sure they all have reasons for being there. Mostly financial, but at least douchebag club promoter seems to be acting as an understudy to the titular Chromeskull (including having a couple random blacksmiths make him an uber-headshop knife in a scene reminiscent of Moe Syzlak's classic "and that's how I turned five guns into one gun").

Considering that I don't often question the motives of the faceless henchmen in Bond or Batman movies (although I've got an idea for a short story on that topic I'm going to have to write one of these days), it would be unfair to spend too much time picking apart the lack of motivation for Chromeskull's support team. Ditto the dumb decisions made by the cops solely in service to the plot ("let's send the CSI tech who has a gun for some reason to a suspicious location with no backup," "let's split up," etc.), or the extreme upper-body strength exhibited by the various villains that allow them to slice someone's face in half like it was a mound of butter. All that stuff I can live with. No, the thing that really killed this otherwise-entertaining flick was a pre-climax montage where douchebag club promoter becomes another Chromeskull. 

After telling his kidnapping victims to "run around the facility for awhile" and "find something fun to stab me with," he walks into another room where there's a tattoo artist hanging out for some reason (!) and then proceeds to get a three hour chest tattoo. 

I'm not a tattoo artist, but I've got a lot of tattoos. My Jack O'Lantern on my right calf is a similar size to the skull tattoo douchebag club promoter gets, and took about four hours. Granted there's some color in there, so I'll shave an hour off, but still--we are talking about a three hour minimum tattoo. Who takes three hours to get a tattoo (from a tattoo artist who is apparently totally cool with kidnapping and murder and is just hanging out in this warehouse in case somebody wants some new ink) when you've got victims to murder? Not to mention the incredibly inept police are probably eventually going to notice their missing armed CSI tech and come looking for her in the exact same place where she last reported in from? YOU DON'T HAVE THREE HOURS FOR THIS SHIT. Nor do you have time to stare into a mirror running your fingers through your hair before finally shaving your head.

And seriously, what's the point? Part of the Chromeskull costume, in addition to the rad mask, is a suit. His victims can't see the tattoo. It only figures into the storyline when the actual Chromeskull shows up and kills club promoter Chromeskull for eating his lunch, and there's this dramatic moment where real Chromeskull rips open club promoter's suit and sees the tattoo. And then decapitates him. Like it's okay to dress up like him, but getting a tattoo is a bridge too far? 

At this point I think I've put more thought into this movie than the actual writers, so I'll end on this. Including a transformational montage right before the climax slows down the story, and not in an anticipation-building way. More in a why the hell is he taking all the time to do this way. Having the main henchmen transform into the main bad guy in order to be dispatched in a flying too close to the sun moment (not entirely unlike Alex's death in Breaking Bad) is in fact a cool idea. But better to show him slowly taking on aspects and mannerisms of his boss throughout the film, than have him sit in the tattoo chair for three freaking hours while the cops circle the warehouse.

Building tension before the climax is a good thing. But having characters do dumb and unnecessary shit (to a horrible nu-metal soundtrack no less) to put off the final act will just have the watcher, or read, squirming in their seat. 

And not squirming in a good way.

How to Literally Screw Up Your Character Arc, Plus a Bonus Rant*

The new Guardians of the Galaxy movie (the oh-so-creatively named Vol. 2) was generally enjoyable, and does a number of things right. As I always say, this isn't a movie blog, it's a story blog, so the following isn't a review. Rather, it's a critique of how the writers screwed up the character arc of arguably their best character, followed by a bonus rant* that I'm tacking on to the end because I'm too lazy to write an entire post about it.

Drax the Destroyer was one of several breakout characters in the original Guardians (another pleasant surprise: Vin Diesel is capable of multiple line readings of the same sentence). Partly because the way Dave Bautista played him is really the way a lot of people think of pro wrestlers: big, dopey, and unable to actually fight, which may or may not have been an accident. But also because Bautista's timing is incredible. He's an overly literal lunkhead (best line: Rocket: "His people are completely literal. Metaphors are gonna go over his head." Drax: "Nothing goes over my head. My reflexes are too fast. I would catch it."), but he's got heart.  

In Vol. 2, the writers apparently realized halfway through the movie that Drax and new character Mantis had nothing to do, so decided to have them "bond." See, it's funny because Mantis is conventionally attractive to anyone who's not repulsed by Kawaii culture (there's yet another rant there, but I'll let someone else handle it), and yet Drax finds her disgusting. Which makes sense, here on Earth we don't tend to look very kindly on anyone who's sexually attracted to a different species. While this makes sense, the writers don't really delve into the implications, instead playing it for shallow laughs.

At the end of the movie, to wrap up this half-assed emotional arc, Drax tells Mantis that she is beautiful...on the inside. This comment makes no sense for someone who has no concept of metaphor, unless he's actually pouring over a cat scan and remarking on how sturdy her liver is (or whatever equivalent organ Mantis' species uses to filter out actual toxins**). It's simply not something Drax would say. It's out of character, and it took me right out of the movie.

The most infuriating thing is how easily fixed this situation is. I've got a crazy idea, when Drax and Mantis are sitting around Ego's planet with nothing to do, why not have Mantis teach him about metaphors and idioms and the like? Drax's efforts to grasp the concept would be a rich source of comedy, give them an actual reason to bond, and grow both of their characters (Drax learns metaphors, Mantis learns how to connect with a non-Celestial who's essentially kidnapped her). 

But hey, why worry about character development when you have a baby talking tree and a soundtrack full of classic rock to make people who don't know what Spotify is cream their pants?

* Two bonus rants:

Bonus Rant #1: WTF is with Yondu's arrow? It looks cool AF, but seriously why isn't every single other character in this universe also using an arrow like that? Are they all just that in love with their hair that they don't want a metal mohawk implant?

Bonus Rant #2: GG1 and GG2 totally got their endings switched around. You kill a Kree with a big ass bomb, you kill a Celestial with an Infinity stone. Grrrrrrr so stupid. 

** As opposed to Whole Foods toxins

Gore 101: A StokerCon 2017 Exclusive*

I just got back from a phenomenal weekend at StokerCon 2017 on board the Queen Mary in Long Beach. The setting itself was pretty inspiring--there was a random door to a super creepy crawlspace above the toilet that inspired a short story I'm going to write. I also started an exercise in Michael Arnzen's class that seemed to be working pretty well, so I finished it and figured I'd post it here. Bonus material, if you will. Without further adieu, I present to you "Gore 101!"

 

Gore 101: A StokerCon 2017 Exclusive
By Brian Asman

             “And for my next trick, I’ll need a volunteer,” the pleasantly professorial man at the front of the conference room said with a wide, sweeping gesture, indicating the twelve of us gathered here on the second day of SplatterCon. 

            A wave of murmurs roiled through the room. It was too early for this shit. After choking down the half-assed continental breakfast the hotel put out, followed by too many cups of watery coffee, alcohol vapor from a dozen after-parties leaking through our pores, I’m sure pretty much everybody was asking themselves the same question.

            Why the fuck did I sign up for a nine a.m. class?

            Especially one about writing gross-outs. Worms crawled in and out of the eyes of a man projected on the screen behind the stage, underneath a banner trumpeting the course’s title: Gore 101: Squirming Your Way into the Reader’s Lower Intestine. My stomach churned.

            “Come on, somebody, anybody. I promise I’ll be gentle.” The man smiled, baring too many, too-bright teeth. Ned was his name. A last minute substitution for the horror writer Roy Kilpatrick, who’d apparently had some sort of personal emergency.

            Later, after everything was over, I’d remember who he was. Ned Lauson, a notorious convention creep who’d been drummed out of the Guild under inauspicious circumstances. I should have recognized him right away. But that’s the problem with writer’s conferences. We only know each other by our bodies of work, maybe through a glamour shot on the back of a dustjacket that looks nothing like us in real life. At a writing convention, anybody could be anybody.

            Ned’s gaze settled on me, the predatory glint in his eye raising the hackles on the back of my neck. But I wasn’t big on volunteering for things, at least not until I’d ingested enough caffeine to kill a small elephant. I shook my head back and forth, staring down at my notepad. Hoping he’d pick someone, anyone, else.

            Tentatively, a tall, bearded man with an eyepatch and a leather fedora raised his hand.

            Ned’s smile stretched to impossible dimensions, straining his unusually tan face. “Great. Come on up here. Don’t be shy.”

            The man slowly stood, joints popping, and walked up to join Ned at the center of the room.

            “What’s your name, friend?” Ned asked, extending a hand.

            “Harry.”

            “Harry? What a name. Just great. Well, thanks for being my assistant today.” Ned turned from his subject to address the rest of the class. “You’re all here to learn how to write about blood and guts. Gore, evisceration, involuntary amputation, all that good stuff. How to make your readers really squirm. My new friend Harry here is going to help me show you all how to do just that. You guys taking notes? Great.

            Everyone looked around at each other. This guy needed to get to the fucking point, and fast. Otherwise we’d all take off and wait for the bar to open.

            “Okay, here we go. In order to make your reader really uncomfortable, sometimes you have to get transgressive. I’m talking about some off-the-wall shit here, something no one’s going to suspect. Like stabbing someone in front of a room full of people.”

            Ned pulled out a boning knife, tested the tip with his finger, and then shoved it into Harry’s stomach all the way up to the hilt, giving it a little jiggle at the end to widen the wound.  

            “Oof,” Harry said, stumbling back.

            “Oh what the fuck?” I said, standing up. “You’re wasting our time with this half-assed Giallo parlor trick? We’re here to learn how to write, goddamn it.”

            Harry pulled the knife from his stomach. Blood bubbled from the wound, soaking his shirt. He looked at the knife in his hand, to his stomach, and back again. And then he screamed.

            The kind of scream you can’t fake, the kind of shit that reverberates deep down in your DNA and says run, run, run you stupid primate back to your fucking trees run!

            Ned grinned. “Everybody, watch closely. See the blood? That’s what real blood looks like. See how different it is from the buckets of corn syrup they toss around on the silver screen? Now, let me stick my hand in there and pull some guts out for you.”

            We watched in horror as Ned’s hand began to sink into the wound with a horrible sucking sound. His grin spread wider, the look in his eyes manic. “Yep, uh, really gotta get in here. Hmm, there we go. I think I got some guts for you.” He gritted his teeth and pulled. Harry’s fedora fell off his head, landing lamely on the ground behind him. And yet he stayed on his feet. Wobbling like a punch-drunk boxer, but still upright.

            It was one of the most impressive things I’d ever seen.

            Ned pulled his hand back out of the stomach wound, bringing with it a fistful of shiny pink intestine, striped with blood like a fleshy candy cane. Harry’s mouth open and closed. His head shook back and forth in disbelief at what was happening. At what was coming out of him. His hands flapped uselessly at his sides.

            All the rest of us were frozen in place. Not believing what we were seeing. Struck dumb with the sight. A random thought fluttered in the back of my head. Some vague notion of helping, somehow, or at least calling the cops, but it couldn’t fight its way to the fore. I remained rooted in my seat, watching whatever the hell this was unfold.

            Ned kept pulling, unspooling Harry’s guts from the widening, ragged wound, Harry himself swaying back and forth on his feet. Not making any attempt to stop the attack, strangely.

             “Did you know the average human intestine is nearly five feet long?” Ned asked, surveying the class. “I think I’ve got about two feet in hand so far.”

            Somebody behind me retched once, twice, then finally let go.

             “Which means,” Ned said, holding up the bloody string and pretending to gnaw at it with his teeth, “I’ve got approximately fifty percent of dear Harry’s guts in my hands. Isn’t that amazing? Half his intestines. In my hands. He’s got the whole entrails, in his hands, he’s got the whole en-tr-ails, in his hands, he’s got the whole entrails in his hands! C’mon, help me out here, I know you know the words. It’s like that Jesus song, except about me. And guts!”

            It wasn’t until about three months later that all this made any kind of sense to me. At the time, it was like some kind of psychological test, me sitting in a chair and someone showing me a series of disconnected pictures. Here’s a sunset. Here’s a truck. Here’s Anwar Sadat eating a Costco-size tub of cottage cheese with a giant novelty spork. The whole scene totally shut down my fight or flight responses. The rest of the room, too. A few more people puked. A couple choked sobs or muttered curses erupted behind me. But for the most part, we were silent, uncomprehending of the thing happening before our eyes.

            I don’t think anybody even took a Snapchat.

            Ned yanked more of Harry’s guts out, hand over bile-coated hand. The jagged, bloody tear in Harry’s stomach widened with every pull, ripping up his torso until I could see ribcage. To my continued surprise, Harry didn’t fall. In fact, something washed over his features, a kind of calming wave that made his one-eyed visage appear as though etched in stone for a fleeting moment. And then he started to laugh.

            Huge, belly-bursting (okay, poor choice of words) guffaws exploded from his mouth, launching blood-flecked spit into the air. Ned looked up at Harry, then at us, back to Harry. He arched an eyebrow.

             “Care to share the joke with the rest of us, my friend?”

            Still chuckling, tears streaming down his cheeks, Harry forced his mouth closed. And then shook his head, slowly, once, with a sort of grim finality. Whatever the joke was, he’d take it to his grave.

            Or so I thought.

            Suddenly the intestine in Ned’s hand spasmed, springing to life. With impossible speed it wrapped itself around his wrist, winding so tightly I could hear bones pop. Then with a jerk it receded back into Harry’s stomach, pulling Ned with it until his entire arm was buried in Harry’s torso. Up to the shoulder, even.

             “Harry?” Ned said tentatively, looking up at the one-eyed man. “I can feel your heartbeat.”

            Harry cocked his head at the man, putting his hands on his waist in a perverse Superman pose. Then Ned’s face went slack, blood rapidly draining out of his cheeks as his body jerked. A series of grinding, squelching noises emitted from Harry’s stomach.

            And then a new round of screams began.

            Ned was screaming, obviously. Plenty of my classmates too. After a few seconds of watching Ned’s body convulse like he’d buried his arm in a blender, I realized I'd joined my voice to theirs.

            Somebody at the back of the room jiggled the door handle. It didn't work. Wouldn’t work. At a time like this, they never did. Jiggling turned into pounding and desperate shouting.  

            That wouldn’t work, either.

            That horrible chomping sound continued, Ned shrieking all the while, his head rolling back and forth like a pendulum. Sweat dripped from his forehead. He batted at Harry’s chest with his free hand. Weak, ineffectual baby-blows. Harry didn’t seem to notice.

            My head spun, amazed and revolted by this singularly impossible act of mastication.

            Finally with one moist, gnashing crunch of bone, Ned stumbled away from Harry, pinwheeling off the lectern, whirling like a lawn sprinkler, spraying arterial blood from the shredded wound where his arm had been. Something wet and sticky spattered my cheek. I absentmindedly wiped it away with the back of my sleeve.

            Ned stopped wailing, his cries dying off into a few small, sputtering noises. Whoever that was at the back of the room stopped pounding. A silence crept over the room, broken only by the phlegmy gasps issuing from the back of Ned’s throat.

            He wavered on his feet for a moment, then fell over, crashing to the floor. One last spurt of blood leapt into the air. Fell back to Earth. Splat.

            Harry’s stomach was already knitting itself back together. Pale, pink skin stretched like taffy, expanding over rent flesh, slowly obscuring viscera. He watched us impassively, his gaze thankfully not settling on anyone in particular.

            More retching from the row behind me.

            I looked down at my hands, realized I’d been gripping the edge of the table. I figured my face was about as white as my knuckles. My pulse pounded fiercely, made me want to crawl right out of my own skin to get away from it.

            Harry’s stomach had pretty well put itself back together at that point, the bloodstains on his shirt and a few gurgling noises echoing from somewhere in that strangely toothy cavity the only signs that anything out of the ordinary had happened. He glanced down at Ned’s body, lying still beneath the lectern, and slowly shook his head.

             “I never much liked that guy. I always figured he was up to something.”

            From all around me, the class let out its collective breath. No one spoke, our minds hardly up to the task of processing the things we’d seen.

            Harry’s face seemed to shimmer for a moment, distorting itself into mismatched rectangles like a hiccup in an HD broadcast, before coalescing in a very different face indeed. Middle-aged yet boyish, wearing a pair of wire-rimmed glasses. He smiled, a real, genuine smile, unlike the uncanny facsimiles Ned had offered us in his attempts to act congenial.

             “So,” Harry-cum-Roy said to the class, “while that wasn’t my original presentation, I would hope it’s been an instructive one. I’d like to thank my unwitting assistant, Ned Whatever-his-name-was. The Guild for having me, and for putting on such a wonderful weekend. Make sure you thank all the volunteers for making this happen, m’kay? And finally, all of you for bearing with me. I’ve experienced technical difficulties before, but waking up bound and gagged in a broom closet at seven in the morning? That takes the cake. Anyway, we’re about out of time, any last questions?” His head swiveled left to right, taking in a room full of people who had oh so many questions, but none that they could begin to articulate. My tongue felt like a dead slug in my mouth.

             “All right, well maybe I’ll see some of you at the banquet tonight. I hope this has been an, er, instructive experience for you.” He flashed us one last winning smile and disappeared through a door behind the projector screen, leaving Ned’s prone form behind for some put-upon SplatterCon volunteer to deal with. The class held its silence for a long moment, and then the frantic and excited chattering began. The door at the back of the room finally decided to cooperate. Someone flung it open with a loud bang. Footsteps stampeded out into the hallway. 

            Looking down at the blank notebook on the table in front of me, I realized I’d forgotten to take notes.

 

* I realize that by posting on this blog, this story is technically a non-exclusive since anyone and their mother can read it.