Tag: Ron Hanna

The Secret Origin of The Claws of The Rook

claws_front_smallAfter I’d finished the fourth volume in the Rook series, it occurred to me that I’d introduced quite a few supporting characters that were worthy of stories in their own right: Leonid Kaslov, Catalyst, Revenant, Rachel Winters, Frankenstein’s Monster, etc. I decided it would make perfect sense to throw some of those characters together and create a spinoff project from The Rook Chronicles. I decided to leave out Kaslov and focus on the other four heroes I just mentioned, allowing The Rook to serve as their funding agent. I wanted to do the pulp equivalent of the old Batman and the Outsiders series: Batman brought together heroes to serve as his private strike force, handling things he didn’t have the time to do.

This strike force would be known as The Claws of The Rook, or simply “The Claws.”

The Claws of the Rook were meant to be introduced in their own volume, which would be set in-between volumes 4 and 5 of The Rook. The Rook would appear in a major fashion in the first story, then fade into the background, to be used as needed. The first story (“The Diabolical Mr. Dee”) was written and I think it turned out fairly well, though I was obviously still finding my footing with the series.

Then came “A Plague of Wicked Men.”

I forget who came up with the idea of teaming the various Wild Cat Books heroes into one story but I know that Don Lee, Wayne Skiver, the Carney brothers, Ron Hanna and I were all involved in the plotting of the story, which would pit the heroes against a grouping of evil villains. Ron and Wayne wanted to kick the story off by killing an established pulp hero and they chose to make Captain Hazzard the sacrifice. I was worried about how this would look, since Hazzard was very closely identified with the editor-in-chief of one of Wild Cat’s major rivals but I wasn’t really the mover and shaker in the plotting. A scene (by Wayne) was written in which Hazzard was killed and I know Don Lee wrote a scene where the villains first came together.

Then, as is common in these sorts of things, the writers began flaking out. One person had legal issues, another had concerns about the plot, etc. The project seemed dead.

Then I asked if I could take the plot and twist it into a Claws of The Rook plot, rewriting the scenes already completed and tweaking it all into something that I felt I could handle on my own. Everyone seemed fine with that and Wayne was gracious enough to allow me to keep his character Prof. Stone in the story. I threw in the Black Bat, Ascott Keane and Ki-Gor to make it even bigger. The story turned out fairly well, though it struggled a bit under its own weight. There were elements of the original plot that I was asked to keep that I would have preferred to jettison but I worked with what I had.

There were now two Claws tales…

And then the decision was made to scuttle the Claws spinoff. Sales on the most recent volume of The Rook had been weaker than expected and it was decided to not dilute the brand at this point.

So what to do? I didn’t want to just shelve those stories but at the same time I was feeling burned out on The Rook and didn’t really feel like doing a solo Rook collection, either.

It was decided to take the two Claws stories and put them into The Rook Volume Five. A couple more Claws/Rook stories were added to flesh out the volume and voila, we had a book.

But it wasn’t a very good book, in my opinion. It suffered from the fact that you had a book entitled The Rook that spent a lot of time with the Rook not in it — I was fleshing out characters for their own series, remember, so I had deliberately tried to push The Rook into the background of those stories.

It was published, people seemed to regard it as weaker than its predecessors but still good.

Here’s where all the individual members of the team first appeared:

  • Catalyst (Nathaniel Caine) first appeared in “Catalyst” in The Rook Volume Three. The story is set in 1942.
  • Esper (Rachel Winters, later Rachel Caine) first appeared in “Catalyst” in The Rook Volume Three. As stated before, the story is set in ’42.
  • Revenant (Sally Pence) first appeared in “Death From the Jungle” in The Rook Volume Four. The story is set in 1943.
  • Vincent (aka Frankenstein’s Monster) first appeared in “Satan’s Trial” in The Rook Volume Four. This story occurs in late 1943, after “Death From the Jungle.”

The group comes together as The Claws of the Rook in 1944, operating out of a two-story house on Peachtree Street nicknamed The Aerie. The group’s meeting room was in the finished basement and there was an extensive library and armory on the second floor. The team first appeared together in “The Diabolical Mr. Dee” before teaming up with several other pulp heroes in “A Plague of Wicked Men.” Both of those adventures were set in ’44. In 1946, they took part in the missions dubbed “The Devil’s Spear” and “The Ivory Machine.” During the latter story, their ranks swelled with the additions of The Black Terror and his partner Tim, Miss Masque, and The Flame. All of those stories were recorded in The Rook Volume Five.

Nothing is known about the majority of the members past ’46, though in one possible future (“The Four Rooks,” The Rook Volume Four), we see that Catalyst is still alive into the 21st Century, having outlived his wife. Given that everything shown in the series post 2006 is just a potential future, it’s not carved in stone that this is anyone’s ultimate fate, however.

I sometimes miss these characters but I’m uncertain if anybody would really want to see them revived. If I do, I’m not certain that the public domain heroes like The Black Terror and Miss Masque will remain with the group — I’d suspect that they’ll become secondary members, who might pop up if needed. I’d probably keep the focus on the main four (plus The Rook).

What do you guys say? Anybody want to see these heroes return?

From the Vault: The Claws of The Rook – The Secret Origin

claws_front_smallAfter I’d finished the fourth volume in the Rook series, it occurred to me that I’d introduced quite a few supporting characters that were worthy of stories in their own right: Leonid Kaslov, Catalyst, Revenant, Rachel Winters, Frankenstein’s Monster, etc. I decided it would make perfect sense to throw some of those characters together and create a spinoff project from The Rook Chronicles. I decided to leave out Kaslov and focus on the other four heroes I just mentioned, allowing The Rook to serve as their funding agent. I wanted to do the pulp equivalent of the old Batman and the Outsiders series: Batman brought together heroes to serve as his private strike force, handling things he didn’t have the time to do.

This strike force would be known as The Claws of The Rook, or simply “The Claws.”

The Claws of the Rook were meant to be introduced in their own volume, which would be set in-between volumes 4 and 5 of The Rook. The Rook would appear in a major fashion in the first story, then fade into the background, to be used as needed. The first story (“The Diabolical Mr. Dee”) was written and I think it turned out fairly well, though I was obviously still finding my footing with the series.

Then came “A Plague of Wicked Men.”

I forget who came up with the idea of teaming the various Wild Cat Books heroes into one story but I know that Don Lee, Wayne Skiver, the Carney brothers, Ron Hanna and I were all involved in the plotting of the story, which would pit the heroes against a grouping of evil villains. Ron and Wayne wanted to kick the story off by killing an established pulp hero and they chose to make Captain Hazzard the sacrifice. I was worried about how this would look, since Hazzard was very closely identified with the editor-in-chief of one of Wild Cat’s major rivals but I wasn’t really the mover and shaker in the plotting. A scene (by Wayne) was written in which Hazzard was killed and I know Don Lee wrote a scene where the villains first came together.

Then, as is common in these sorts of things, the writers began flaking out. One person had legal issues, another had concerns about the plot, etc. The project seemed dead.

Then I asked if I could take the plot and twist it into a Claws of The Rook plot, rewriting the scenes already completed and tweaking it all into something that I felt I could handle on my own. Everyone seemed fine with that and Wayne was gracious enough to allow me to keep his character Prof. Stone in the story. I threw in the Black Bat, Ascott Keane and Ki-Gor to make it even bigger. The story turned out fairly well, though it struggled a bit under its own weight. There were elements of the original plot that I was asked to keep that I would have preferred to jettison but I worked with what I had.

There were now two Claws tales…

And then the decision was made to scuttle the Claws spinoff. Sales on the most recent volume of The Rook had been weaker than expected and it was decided to not dilute the brand at this point.

So what to do? I didn’t want to just shelve those stories but at the same time I was feeling burned out on The Rook and didn’t really feel like doing a solo Rook collection, either.

It was decided to take the two Claws stories and put them into The Rook Volume Five. A couple more Claws/Rook stories were added to flesh out the volume and voila, we had a book.

But it wasn’t a very good book, in my opinion. It suffered from the fact that you had a book entitled The Rook that spent a lot of time with the Rook not in it — I was fleshing out characters for their own series, remember, so I had deliberately tried to push The Rook into the background of those stories.

It was published, people seemed to regard it as weaker than its predecessors but still good.

Here’s where all the individual members of the team first appeared:

  • Catalyst (Nathaniel Caine) first appeared in “Catalyst” in The Rook Volume Three. The story is set in 1942.
  • Esper (Rachel Winters, later Rachel Caine) first appeared in “Catalyst” in The Rook Volume Three. As stated before, the story is set in ’42.
  • Revenant (Sally Pence) first appeared in “Death From the Jungle” in The Rook Volume Four. The story is set in 1943.
  • Vincent (aka Frankenstein’s Monster) first appeared in “Satan’s Trial” in The Rook Volume Four. This story occurs in late 1943, after “Death From the Jungle.”

The group comes together as The Claws of the Rook in 1944, operating out of a two-story house on Peachtree Street nicknamed The Aerie. The group’s meeting room was in the finished basement and there was an extensive library and armory on the second floor. The team first appeared together in “The Diabolical Mr. Dee” before teaming up with several other pulp heroes in “A Plague of Wicked Men.” Both of those adventures were set in ’44. In 1946, they took part in the missions dubbed “The Devil’s Spear” and “The Ivory Machine.” During the latter story, their ranks swelled with the additions of The Black Terror and his partner Tim, Miss Masque, and The Flame. All of those stories were recorded in The Rook Volume Five.

Nothing is known about the majority of the members past ’46, though in one possible future (“The Four Rooks,” The Rook Volume Four), we see that Catalyst is still alive into the 21st Century, having outlived his wife. Given that everything shown in the series post 2006 is just a potential future, it’s not carved in stone that this is anyone’s ultimate fate, however.

I sometimes miss these characters but I’m uncertain if anybody would really want to see them revived. If I do, I’m not certain that the public domain heroes like The Black Terror and Miss Masque will remain with the group — I’d suspect that they’ll become secondary members, who might pop up if needed. I’d probably keep the focus on the main four (plus The Rook).

What do you guys say? Anybody want to see these heroes return?

The Claws of The Rook: The Secret Origin

claws_front_smallAfter I’d finished the fourth volume in the Rook series, it occurred to me that I’d introduced quite a few supporting characters that were worthy of stories in their own right: Leonid Kaslov, Catalyst, Revenant, Rachel Winters, Frankenstein’s Monster, etc.  I decided it would make perfect sense to throw some of those characters together and create a spinoff project from The Rook Chronicles. I decided to leave out Kaslov and focus on the other four heroes I just mentioned, allowing The Rook to serve as their funding agent. I wanted to do the pulp equivalent of the old Batman and the Outsiders series: Batman brought together heroes to serve as his private strike force, handling things he didn’t have the time to do.

This strike force would be known as The Claws of The Rook, or simply “The Claws.”

The Claws of the Rook were meant to be introduced in their own volume, which would be set in-between volumes 4 and 5 of The Rook. The Rook would appear in a major fashion in the first story, then fade into the background, to be used as needed. The first story (“The Diabolical Mr. Dee”) was written and I think it turned out fairly well, though I was obviously still finding my footing with the series.

Then came “A Plague of Wicked Men.”

I forget who came up with the idea of teaming the various Wild Cat Books heroes into one story but I know that Don Lee, Wayne Skiver, the Carney brothers, Ron Hanna and I were all involved in the plotting of the story, which would pit the heroes against a grouping of evil villains. Ron and Wayne wanted to kick the story off by killing an established pulp hero and they chose to make Captain Hazzard the sacrifice. I was worried about how this would look, since Hazzard was very closely identified with the editor-in-chief of one of Wild Cat’s major rivals but I wasn’t really the mover and shaker in the plotting. A scene (by Wayne) was written in which Hazzard was killed and I know Don Lee wrote a scene where the villains first came together.

Then, as is common in these sorts of things, the writers began flaking out. One person had legal issues, another had concerns about the plot, etc. The project seemed dead.

Then I asked if I could take the plot and twist it into a Claws of The Rook plot, rewriting the scenes already completed and tweaking it all into something that I felt I could handle on my own. Everyone seemed fine with that and Wayne was gracious enough to allow me to keep his character Prof. Stone in the story. I threw in the Black Bat, Ascott Keane and Ki-Gor to make it even bigger. The story turned out fairly well, though it struggled a bit under its own weight. There were elements of the original plot that I was asked to keep that I would have preferred to jettison but I worked with what I had.

There were now two Claws tales…

And then the decision was made to scuttle the Claws spinoff. Sales on the most recent volume of The Rook had been weaker than expected and it was decided to not dilute the brand at this point.

So what to do? I didn’t want to just shelve those stories but at the same time I was feeling burned out on The Rook and didn’t really feel like doing a solo Rook collection, either.

It was decided to take the two Claws stories and put them into The Rook Volume Five. A couple more Claws/Rook stories were added to flesh out the volume and voila, we had a book.

But it wasn’t a very good book, in my opinion. It suffered from the fact that you had a book entitled The Rook that spent a lot of time with the Rook not in it — I was fleshing out characters for their own series, remember, so I had deliberately tried to push The Rook into the background of those stories.

It was published, people seemed to regard it as weaker than its predecessors but still good.

Here’s where all the individual members of the team first appeared:

  • Catalyst (Nathaniel Caine) first appeared in “Catalyst” in The Rook Volume Three. The story is set in 1942.
  • Esper (Rachel Winters, later Rachel Caine) first appeared in “Catalyst” in The Rook Volume Three. As stated before, the story is set in ’42.
  • Revenant (Sally Pence) first appeared in “Death From the Jungle” in The Rook Volume Four. The story is set in 1943.
  • Vincent (aka Frankenstein’s Monster) first appeared in “Satan’s Trial” in The Rook Volume Four. This story occurs in late 1943, after “Death From the Jungle.”

The group comes together as The Claws of the Rook in 1944, operating out of a two-story house on Peachtree Street nicknamed The Aerie. The group’s meeting room was in the finished basement and there was an extensive library and armory on the second floor. The team first appeared together in “The Diabolical Mr. Dee” before teaming up with several other pulp heroes in “A Plague of Wicked Men.” Both of those adventures were set in ’44. In 1946, they took part in the missions dubbed “The Devil’s Spear” and “The Ivory Machine.” During the latter story, their ranks swelled with the additions of The Black Terror and his partner Tim, Miss Masque, and The Flame. All of those stories were recorded in The Rook Volume Five.

Nothing is known about the majority of the members past ’46, though in one possible future (“The Four Rooks,” The Rook Volume Four), we see that Catalyst is still alive into the 21st Century, having outlived his wife. Given that everything shown in the series post 2006 is just a potential future, it’s not carved in stone that this is anyone’s ultimate fate, however.

I sometimes miss these characters but  I’m uncertain if anybody would really want to see them revived. If I do, I’m not certain that the public domain heroes like The Black Terror and Miss Masque will remain with the group — I’d suspect that they’ll become secondary members, who might pop up if needed. I’d probably keep the focus on the main four (plus The Rook).

What do you guys say? Anybody want to see these heroes return?

Running With Wild Cats

Rook Volume 5Let’s travel back in time, to the long-ago era that was 2007. By this time, I had been writing professionally for a few years, having worked for Marvel Comics on their Encyclopedia series and the Official Handbook of the Marvel Universe. Inspired by Ron Forter & Gordon Linzner’s The Hounds of Hell I had even begun self-publishing some New Pulp stories. Already I had released a couple of Rook novellas (Lucifer’s Cage and Kingdom of Blood), as well as Conquerors of Shadow, which was my love letter to Edgar Rice Burroughs.

I wanted more.

Self-publishing gives you tremendous freedom but it also takes away from what I really like to do — which is write. I’m fine with giving up a measure of control over the finished product if somebody else will handle all the formatting and editing that I really don’t want to do.

So I began to consider looking for a publisher. The obvious choice was the folks who had published The Hounds of Hell — not only had that book inspired me in the first place but at the time I didn’t know of anyone else who was publishing that sort of pulp fiction. Keep in mind that this predated Pro Se Press and so many of the others. So I wrote to the two Rons (Hanna and Fortier, who were working together at Wild Cat Books) and pitched them on my Rook series. Perhaps they could re-publish the first two novellas and I could add several new shorts to round out the package? They were agreeable and we were set.

Only about a week or two later, I got an email saying that the Rons had decided to part ways. I’m not going to go into the whys of that, though I’ve heard a good bit from both sides. What’s important for our purposes is that I was given a choice — I could go with Ron Fortier and his writers or I could stay with Ron Hanna, who planned to continue publishing New Pulp. Fortier was planning to start up his own company (this would become Airship 27) but initially had no idea how quick or how slow this might end up being. It ended up not being all that long but I didn’t know that at the time. I elected to stay with Hanna because he could get my book into print the fastest.

The first volume of The Rook came out and we were all happy about it. My buddy Storn Cook did the cover and it looked aces. Following on that, I ended up writing a lot for Wild Cat Books over the next few years — the first five volumes of The Rook series, Guan-Yin and the Horrors of Skull Island, The Damned Thing, Rabbit Heart, Savage Tales of Ki-Gor, etc.

Wild Cat was publishing other things, as well, but I think it’s safe to say that I had become their primary source for new books. I’m not tooting my own horn there because sales weren’t great — I’m simply speaking about the quantity of things I was producing.

WCB was wonderful in giving me tons of freedom. Too much freedom, in fact! They did little in the way of editing and hardly ever said “No,” which is a dangerous thing to give to creative types. Left to my own devices, I sometimes went off on weird tangents. I need an editor to occasionally say, “Um… Hmm. No.” So these were good and bad times — good in the sense that I was writing like a madman and having fun. Bad because some of the finished product was not particularly professional and I was making… well, nothing. Ron occasionally sent me money if I inquired about it but the sales he reported were miniscule. I’m not saying he was lying but I do think he’d agree that his business sense is not the best — he’s a fan of pulp and loves helping produce it but he’s not an entrepreneur in the money-making sense. With the eBook sales, I knew many people who claimed to be buying and reading my stuff but the sales indicated that this was not the case. There was also the issue of promotion — WCB generally released the books and that was it. I tried to push them myself, of course, but I wanted to have someone help me with the marketing.

Eventually, I decided to branch out. I wrote for other companies and once Pro Se Press came along, I took my creations over there and licensed them to Pro Se. I left my back catalog at Wild Cat Books out of respect for Ron Hanna as I didn’t want to gut the majority of their line. For awhile, I produced new Rook material for Pro Se, while the old books were still with WCB. I finally decided to remove my books entirely from WCB because sales at Pro Se were pretty good… and yet I was making nothing from the older books at WCB. That was strange to me — again, I’m sure that Ron was very honest with me about the sales figures but my thought was that if the new stuff I’m writing is selling this well, maybe new editions of the old stuff (with new packaging and editing) would, as well. So Pro Se began rolling out new editions of The Rook and Conquerors of Shadow (now called The Family Grace) — and soon they’ll do the same with Rabbit Heart and The Damned Thing.

Sales are much better on the new editions of The Rook. Go figure!

Ron was understanding when I began to ask him to pull my books from circulation. He did it quickly and efficiently and never complained. I told him honestly that I appreciated all the support he’d given me and for allowing me the opportunity to break into New Pulp. I felt then and do now that Wild Cat Books does not get the respect it deserves. With so many people producing New Pulp now, we need to remember companies like WCB who kept this alive when few others did. I salute Ron Hanna for being a true fan of classic pulp and for believing in the viability of New Pulp. I nominated him for both a Munsey Award and for the Lifetime Achievement Award (Pulp Ark) and was proud to do so.

A couple of days ago I was posting away on Facebook and put the following: Reading “Live and Let Die” by Ian Fleming and struggling to figure out how I should feel about this one. It’s undeniably a rip-snorting adventure but the casual racism of the book makes me feel all skeevy. I’m trying to remember the era in which it was written but I frequently wince as a great paragraph stumbles over something decidedly non-pc.

What I meant by this (and assume was obvious in the post itself) is that I’m really enjoying the book… but that when I run across things like Chapter 5 being entitled “Ni**** Heaven”, it gives me pause. I really like Ian Fleming, actually, but it’s still weird when you see an entire race being described in huge generalities. That’s all I meant. I’m enjoying the book but it makes me feel all skeevy. A classic conflict between intellect and emotion, as my wife pointed out — my intellect reminds me that it’s a product of its time, my emotion says “Ew!”

Ron Hanna took some issue with my post, saying I’ve been reading a lot of “Classics” recently: “Robinson Crusoe”, and stuff by Jules Verne and Mark Twain… If the “non-pc” aspects turn you off, despite realizing the times in which they were written, then maybe you should get over it… “Huckleberry Finn” was BANNED for many years, in many schools, yet it’s a CLASSIC… and since you are a Librarian, I would think that you would have a more open mind about stuff like that, Barry…

I explained that I thought Ron needed to get off his high horse! I didn’t think my status update was close-minded at all but whatever. Ron then asked me if I was to write a story set in the 1930s, how would I handle it. I responded by saying that I figured Ron would know since he’d published my stuff for years. Seriously, he published The Rook Volumes 1-5 — shouldn’t he be very familiar with what I would do with stories set in that era?

And this is how he answered that: LOL… Very true! And since I couldn’t afford to pay you what you truly deserved, I totally understand your taking your work elsewhere… I never had a problem with that… But when you talk about “High-Horses”? Well, you list yourself as “Pulp Author Extraordinaire” and have your own “Imprint” and you ARE a “Professional” writer… Yet you still work at a Library… so when will you finally make a LIVING off your writing? Not trying to be harsh… I guess I just get upset when people have to blow their own horns so much that they run out of breath… I’ve always wished you nothing but the best, and I hope that one day, you CAN become a TRUE “Professional” writer when you can devote ALL your time to writing fiction… FWIW… I’m a “Published” writer as well, but I know I’ll never make a living at it… I hope you can… Really, I do…

Well, now.

That was rather hurtful, I felt. Implying that I was blowing my horn so much that I was running out of breath… that I wasn’t a true professional because I also have a day job… and then taking a swipe at my humorous (I thought) “Pulp Author Extraordinaire” tag on my blog. Not cool. I decided to not feed the furor any further and simply thanked him for the concern.

Would I love to be living in a mansion and writing all day long? You betcha. But I’ve had so many dreams come true… seeing my name listed in Marvel’s solicitations and on their website, writing my childhood hero The Avenger, having dozens of books with my name on the cover, having people who tell me that they love my characters and my stories… All of that is worth more than money.

I appreciate all that Wild Cat Books has done for me. Without that company and without Ron Hanna, I would not be where I am today. If he’d blown me off when I’d first approached him, I might have never created Lazarus Gray or Fiona Chapman or Charity Grace. I owe him and genuinely wish him the best. I think it’s clear that he harbors some sort of resentment or jealousy towards not only me but others in the New Pulp field. I’d love to see WCB rise like a phoenix and become a true force in New Pulp again — hopefully that will happen.

I really do hope so.

New Pulp Farewells

fiction_writerWow.

So this morning, I get up and check my email — where I immediately see a letter from Tommy Hancock, announcing his resignation from All Pulp. Now, I’ll be honest — I’m amazed that Tommy put this off as long as he did. He’s an incredibly busy guy and All Pulp is one of the many things that he’s done that benefits the New Pulp community a lot more than it benefits him and his own company. It’s a lot of thankless work. Still — seeing him announce that he’s leaving makes me immediately think that All Pulp in general is probably going away. Oh, sure, someone will step up most likely… but my experience tells me that someone who inherits something rarely has the same level of commitment as the person who founded it. I hope I’m wrong. If I had more time, I might step up myself… but I know better!

Thanks for all the work you’ve done on the site, Tommy!

Then I head over to Facebook and see a posting from Ronna Hanna that Wild Cat Books is shutting its doors in a few days. WCB has been publishing pulp stuff since 1997 and was instrumental in kicking off the whole New Pulp craze. More personally, Ron Hanna accepted my story submissions and gave The Rook a home for five volumes, plus all the other stuff I did there (Rabbit Heart, The Damned Thing, Ki-Gor, etc.). WCB had been growing more and more quiet in recent years and I’d pulled most of my own titles so they could be repackaged elsewhere… but I’m still damned sad to see WCB gone for good. They say they’ll continue publishing limited edition works and I hope so – but given heir recent output, I wonder if that’s more wishful thinking than anything else. I hope Ron (and, by extension, WCB) the very best, though — without them, my own writing career would be quite different… and the New Pulp movement might never have gotten off its feet. From WCB eventually came Airship 27, which inspired still more companies and publishers. Ron Hanna has contributed a lot to the pulp field and I hope he’s recognized for his contributions.

On a more positive note, I finished going over the Gravedigger edits I got from Pro Se and sent those back in. We’re steadily moving closer to its release date. I’m currently putting the final touches on the Lazarus Gray Volume Four manuscript, as well. It’s been a fun ride but I’m very close to typing THE END on this storyline, which has spanned books 2-4. I’m happy and sad at the same time, as I always am when I finish a major project.

Head over to All Pulp or the Wild Cat Books facebook group and commend Tommy & Ron for all their hard work, why don’t you? I plan to!