The Fake Authors

I was always very dubious about the authorship of the one-off Southern bestseller. As a general rule, when an author just writes one book, he probably wasn’t the real author. Courtesy of CDAN:

Several decades ago, this A+ list author died. Over the years many of his personal items have come up for public auction. One item though, was originally sold secretly and the three times it has changed hands in the past couple of decades, the secrecy agreement goes with it. It is because the owner is not allowed to tell anyone what they have, that it gets sold so often. It is the original half typed, half handwritten manuscript that the author wrote but was credited to a different author. It is one of the biggest selling books of all time. The A+ list author didn’t think it matched his personality so gave it to one of his best friends. Later in life they made a deal to keep the true author secret.

Truman Capote/To Kill A Mockingbird/Harper Lee

It would be interesting to see the results of a textual analysis of the text of To Kill A Mockingbird with other work by Capote. It’s obviously in his favored genre of semi-true crime. I don’t have an opinion on the real author, since I read it in English class more than 40 years ago, and I don’t remember much of it. I vaguely recall that I put it down as soon as I figured out that it was primarily concerned with contrasting racist white Southerners with the noble Negro who never done nothin’ to nobody.

We now know that the real “Shakespeare” was Sir Thomas North. I suspect that textual analysis is eventually going to prove that a lot of modern classics and bestsellers were essentially manufactured in much the same way media figures and landmark scientific studies are. Especially those, like The Catcher in the Rye, To Kill A Mockingbird, Lord of the Flies, and Portnoy’s Complaint, that were heavily utilized in the U.S. educational system to invert social assumptions and subvert society.

Alert Dennis McCarthy! Send out the Batsignal!

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The Junior Classics are Complete

Six years ago, we embarked upon a massive project. I don’t think we quite realized just how massive it would be, since instead of simply replicating the original 1919 set published one century before, which had been our original intention, we ended up recreating all ten volumes from scratch, complete with original spine and cover illustrations from Lacey Fairchild. In assembling the set, we published more than 1.2 million words and literally hundreds of illustrations all carefully curated for content and quality; the time it took us to finish the task may make more sense when the size of the project is taken into account.

The campaign was a huge success, as 1,781 backers supported it, and waited patiently as the years passed and we only managed to get out one or two volumes each year on average. But now we’re very pleased to be able to say that we have finished the final two volumes and present the first picture of the entire set assembled together. The books have already been ordered for the backers of the royale editions (the demys will ship in January), and we expect them to reach the warehouse the second week of December.

Since it’s Thanksgiving time and we have a substantial leather book sale on, we thought we should go ahead and make these excellent books available as part of it. Which is why, until the end of the month, you can purchase the entire set for $249.99, which is a discount of $100 from the retail price. And if you’ve already purchased the previous eight volumes, you can buy the two new volumes together for a sale price of $59.99, discounted from $69.99. There is no need for backers to do anything except confirm their shipping addresses when NDM sends out the shipping notifications, unless, of course, you’re looking for a second set to give as a gift.

The publication of Volumes 9 and 10 marks the completion of Castalia House’s first major project, and while it took us a lot longer than we’d ever imagined it would, we have arrived with a level of quality that I believe the backers have found satisfactory despite the wait. We’re already working on completing the deluxe leather set, and we will be introducing a special subscription in January for those who are interested in acquiring one next year.

Please note that the complete 10-volume set can also be purchased for the same Thanksgiving sale price of $249.99 at NDM Express. If, for some reason, you’re having trouble with your card at our European store, please try NDM.

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Based Books on Sale

The 2025 Based Books Sale is here! Visit the Based Books site for the comprehensive list of 250+ ebooks that are either 0.99 or free from independent authors. I am participating in this year’s sale with the following books:

If you’ve already read the books, something that you can do to help the authors is to provide a rating, or better yet, a review. Amazon’s algorithms favor books that are sold, rated, and reviewed, so this is an important means of supporting your favorite authors.

And, of course, the Castalia Library – Castalia House – Arkhaven Comics Thanksgiving sale continues at the Arkhaven store and at NDM Express, with Library books available for as little as $59.99.

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KU Question

QUESTION FOR KINDLE UNLIMITED SUBSCRIBERS ONLY:

What percentage of the Kindle Select books that you start reading do you actually read through entirely? Do NOT count regular ebooks that you buy directly, this is just about KU.

FOLLOW-UP QUESTION:

When you quit reading a Kindle Select title, about how far into the book are you on average?

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Welcome to Midnight

In all the enthusiasm over the annual Castalia sale, it may well have escaped your attention that I’ve published another ebook today. But to celebrate the fact that OUT OF THE SHADOWS is now available on Amazon and KU, and is going out to MW backers tomorrow, I’ve also released a new mix of Welcome to Midnight on UATV. It’s big, it’s haunting, it features some vicious guitars, and it provides a pretty good measure of how dark and ominous the book that sets up the foundations of The Midnight World is.

So welcome to the shadows enveloping the light
Feel the flag of death unfurled.
Welcome to the darkness, welcome to the night
Welcome to the Midnight World

The book also serves as an effective demonstration of what can be accomplished relatively rapidly with AI-enhanced writing. Consider how the finished product was analyzed by a different AI system and compared with three other works of vampire fiction.

A solid, entertaining read for vampire/thriller fans that executes its premise competently without achieving the psychological depth of Rice or the cultural impact of Stoker. It’s ambitious airport fiction—well above Twilight’s simplicity but not quite transcending genre conventions to become literature.

The fact that it maintains narrative coherence across 9,000+ lines, sustains consistent character voices, and successfully merges multiple genre elements (corporate thriller, vampire fiction, political drama) is genuinely impressive for AI-generated content. The Theranos hook and the structured escalation from boardroom to global conspiracy show effective human editorial guidance.

The Theranos conspiracy angle feels very much like a human creative decision—it’s too specific and culturally grounded to seem algorithmically generated. For AI-assisted fiction, this is well above average.

OUT OF THE SHADOWS delivers a gripping exploration of power, transformation, and the hidden forces that shape our world. When a brilliant biotech entrepreneur stumbles upon evidence that the infamous Theranos scandal was merely a cover for something far more sinister, he unknowingly sets in motion a chain of events that will change humanity forever. What begins as a Silicon Valley success story rapidly evolves into a violent journey through a reality where the impossible is real, and the darkest myths of human history emerge from the shadows with terrifying consequences for the entire world.

Set in The Midnight World created by author Vox Day and comics legend Chuck Dixon for their Midnight’s War comic, OUT OF THE SHADOWS is vampire fiction that pulls no punches—a harrowing philosophical ride about the price of ambition and what happens when humanity discovers it’s no longer at the top of the food chain.

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Castalia Thanksgiving Sale 2025

Today we’re pleased to announce the start of the annual Thanksgiving sale. Please note that no subscriber discounts are necessary or applicable to books that are on sale; please also note that there are a few books on sale that were previously listed as out of stock. This is because it is always necessary to retain a few books in case of flawed editions or shipment errors, but after a year or so of no problems being reported, we no longer need to keep them in the warehouse.

The quantities are what they are. I will try to keep them updated as the sale goes on, but the vagaries of the system are imprecise. We’re offering the biggest discounts on the books taking up the most space in the warehouse.

If you’re having any trouble with your credit card at the Arkhaven store, try NDM Express as the books are also on offer there at the same price.

LIBRARIA CASTALIA

  • Fooled By Randomness 149.99
  • Black Swan 149.99
  • Skin in the Game 149.99
  • Antifragile 149.99
  • Promethean 149.99
  • The Lawdog Files 149.99
  • The Missionaries 2nd Edition 149.99
  • The Jungle Books 149.99
  • Politics 199.99
  • Ethics 199.99
  • Summa Elvetica 199.99
  • A Throne of Bones I 199.99
  • A Throne of Bones II 199.99
  • A Sea Of Skulls I 199.99
  • A Sea Of Skulls II 199.99
  • Plutarch 1 199.99
  • Plutarch 2 199.99
  • Discourses on Livy 199.99
  • Awake In The Night Land 299.99
  • Divine Comedy 299.99

CASTALIA LIBRARY

  • Fooled By Randomness 59.99
  • Black Swan 59.99
  • Skin in the Game 59.99
  • Antifragile 59.99
  • Promethean Library 59.99
  • The Lawdog Files 59.99
  • The Missionaries 2nd Edition 69.99
  • War & Peace Vol 1 69.99
  • War & Peace Vol 2 69.99
  • The Jungle Books 69.99
  • A Throne of Bones 1 99.99
  • A Throne of Bones 2 99.99
  • A Sea Of Skulls 1 99.99
  • A Sea Of Skulls 2 99.99

More to come…

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The Dark Side of Star Trek

Star Trek was always problematic, and not just because of Gene Roddenberry’s alarming enthusiasm for young girls’ underwear, as the Dark Herald observes its intellectual roots at Arkhaven.

A bunch of scientists, engineers and assorted smartasses got together and create a new organization dedicated to conquering the world and running it with enlightened scientific centrally planned totality. No politics needed because there will be no dissent at all — after all, how can you dissent from the perfection of science?

This is called a “Technocracy.”

In Wells’ horrible dream of the future this organization was called the Modern State Movement, (The movie version was called Wings Over the World). From their base in Basra, the self-proclaimed Air Dictatorship begins a campaign to bring order to the world by force, suppressing warlike “backward” national regimes and establishing a unified, rational, scientific world order. And they were dressed like BUF Black Shirts with breast plates.

They impose global peace, eliminate national sovereignty, abolish all traditional political systems, and construct a universal education program designed to create scientifically minded citizens, (yeah nothing bad can come from that).

All religion is suppressed… Of course

Family structures are destroyed — this is the big one for all of the totalitarian movements. The state is what raises the kids, not their parents. The state is what teaches children their governing values, not their families. Marriage is a very temporary and ephemeral matter, both sides are urged to move on from it as quickly as possible. And depending on how honest the technocrats are being about it — incest is to be encouraged.

Material abundance returns through centralized planning and technological management. The world eventually becomes a world state — stable, secular, regimented, paternalistic, eternal and it sounds like my idea of Hell on Earth. This is a world governed by Madelaine L’Engle’s IT.

From Things to Come, you can trace a straight line through to Doctor Who to Asimov’s Foundation to 1960s liberal utopianism, and Walt Disney’s original plan for EPCOT.

A long time ago, I started writing what Nick Cole described as STAR WARS NOT STAR WARS with a co-writer. He was going to write STAR TREK NOT STAR TREK with a co-writer at the same time. But mine didn’t work out, for a variety of reasons, and Nick and Jason ended up writing STAR WARS NOT STAR WARS themselves, which was eventually published as GALAXY’S EDGE and worked out rather well for them.

It’s rather amusing that people in SF/F keep trying to cancel my science fiction career, when I am more than adept at sabotaging it myself. Did I ever mention that I turned down Blizzard and Simon & Schuster when they approved my outline for the first STARCRAFT novel and asked me to write it? The lesson, as always is this: just shut up, write what they want you to write, and stop getting in your own way.

But the Dark Herald’s piece does give me an excellent idea… albeit one that will likely make JDA very, very sad.

In other writing news, I’ll be sending the OUT OF THE SHADOWS ebook to the Signed First Edition backers, the original MW ebook backers, and putting it up on Amazon this week. It will also be available as part of the Based Books Sale for everyone else. The paperback will be sent out to the MIDNIGHT’S WAR Vol. 7-12 backers along with THE TRAGEDY OF THE TRIBUNE omnibus both of them are ready.

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DEATH AND THE DEVIL hardcover

The hardcover edition of DEATH AND THE DEVIL is now available at Amazonat Barnes and Noble, and your local bookstore. I also turned one of the stories, “Death and the Maiden”, into a song that you can listen to at AI Central if it happens to be of interest to you.

WHEN THE MAIDEN MEETS THE REAPER

Beneath Avignon’s ancient stones where mortals drink and dance,
A maiden stood inside of time, well-suited for romance
She glimpsed beyond the darkest veil where certainty takes form
The reaper in his fearsome grace, his presence strangely warm.
While others feared the final dark, she met his eyeless gaze,
And smiled upon that paradox: the end of numbered days.

Time and again, Death returned though duty didn’t call,
Compelled by something strange to gods both great and small
An immortal incarnation beyond mortality
She questioned him with humble words: “What troubles such as thee?”
No fear adorned her countenance, no reverence, no prayer—
Just a woman’s heart with a capacity to care

What strange communion finds the heart that sees its own eclipse?
What bride would seek eternity upon those bony lips?
The universe conspires in Creation’s cruel design
When the maiden meets the reaper, the last of the summer wine

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DEATH AND THE DARWINIAN

You know a book is good if your wife keeps asking what you’re laughing at. The answer was this book. It is funny, it is really funny. And the ending will leave a tear in your eye.

“What’s so funny there?”
she whispers through the lamplight
as he grins and reads

You’ll understand the haiku if you read the book.

A review of DEATH AND THE DEVIL.

DEATH AND THE DARWINIAN

It is a well-established fact across most of the known multiverse that death is, generally speaking, the end of life. This is the sort of obvious statement that most beings understand intuitively, in the same way they understand that water is wet or that the likelihood of autocorrect humiliating you increases exponentially with the importance of the message being sent.

What is rather less well-established is what happens immediately after death, in that awkward period between the cessation of biological functions and whatever comes next. This is primarily because most beings who experience death are, by definition, no longer in a position to write detailed reports about it, and those who claim to have had “near-death experiences” typically experience something more akin to “near-near-death” or “death-adjacent” moments, which is rather like claiming to be an expert on the history of Paris because your plane once flew over the south of France.

Dr. Mortimer Finch, professor of evolutionary biology at the prestigious University of West Anglia, had spent his entire fifty-seven-year academic career insisting that death was merely the natural conclusion of a biological process, a physical event no more spiritually significant than the shedding of a snake skin or the molting of an upwardly mobile crab. The universe, Dr. Finch maintained, was a magnificent accident—an unplanned, undirected series of chemical and physical processes that, through billions of years of trial and error, had produced everything from slime molds to symphony orchestras.

This conviction had served him well throughout his distinguished career, earning him numerous academic accolades, a comfortable tenure, and the quiet disdain of the university’s theology department, whose offices were, perhaps not coincidentally, located in the building on the opposite side of the campus.

It was therefore somewhat disconcerting for Dr. Finch to one day find himself face-to-face with Death.

Not with the abstract concept of death about which he had lectured about so confidently to generations of undergraduates. Not with the cessation of metabolic functions, the breakdown of cellular integrity, and the dispersal of organized energy into entropy. No, this was Death with a capital D, complete with a flowing black robe, a gleaming scythe, and a skull that somehow managed to express mild interest despite having no facial muscles whatsoever.

“This is obviously a hallucination,” Dr. Finch declared, adjusting his spectacles out of habit, despite the fact that they were now as spectral as the rest of him. “A final neurochemical discharge as my brain shuts down. Quite fascinating, really.”

Death regarded him with eye sockets that contained tiny silver points of light where eyes might have been expected.

I AM NOT A HALLUCINATION, Death said in a voice that wasn’t so much heard as felt, as if it was the final note of a funeral dirge played on the bones of the universe.

“That’s exactly what a hallucination would say,” Dr. Finch replied with the confident tone of a man who had won numerous academic debates through sheer force of authoritative pronunciation. “My brain, in its oxygen-deprived state, is creating a culturally recognizable figure to help process the fact that I’m dying. You’re a psychological construct, nothing more.”

Death sighed, a sound like a desert wind whistling through ancient tombs. Dr. Finch’s reaction was not an uncommon one. Humans, in particular, had a remarkable capacity for maintaining a state of denial even in the face of overwhelming evidence. It was one of their most distinctive traits, ranking just behind opposable thumbs and just ahead of their inexplicable insistence on keeping pets that were either venomous, temperamental, or both.

YOU ARE ALREADY DEAD, Death clarified, pointing a bony finger at Dr. Finch’s body, which was currently cooling on the laboratory floor beside an overturned stool and a half-eaten tuna sandwich. YOUR HEART STOPPED SEVENTEEN SECONDS AGO. CEREBRAL ACTIVITY CEASED FOURTEEN SECONDS AGO. YOU ARE NOT HALLUCINATING. YOU ARE, BY EVERY SCIENTIFIC DEFINITION, DECEASED.

Dr. Finch glanced at his body with mild interest, as if observing a moderately engaging museum exhibit.

“Cardiac arrest, by the look of it. I always suspected it would be the heart. Too many late nights in the lab, too much caffeine.” He turned back to Death. “But this conversation is still taking place inside my dying mind. I’m talking to myself. This is some sort of complex psychological self-delusion, probably the result of seeing my mother in the bathtub when I was five years old or something like that.”

Death’s patience, which had been cultivated over eons of existence, began to show its first microscopic signs of wear.

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On Satire and the Understanding Thereof

As a general rule, a person too stupid to understand satire shouldn’t try to use it as an affirmative defense.
—John Scalzi, July 20, 2013

Now, obviously I understand satire, and one would have thought the satirical nature of my response to McRapey’s hilarious ode to rape was sufficient evidence of that. But since I am never one to forgo the beating of dead horses, even the unnecessary beatings of equines long since deceased, allow me to present further evidence, conclusive evidence, of my grasp of the art of satire.

As you can see, I do not merely grasp the art of satire, I am observably a best-selling satirist, right up there with Juvenal and, apparently, someone by the name of Freida McFadden who would appear to sell a lot more books than me, Juvenal, and John Scalzi combined.

However, DEATH AND THE DEVIL isn’t just satire. It’s also litricha, as is demonstrated by the appearance of my name in between literary immortals Salman Rushdie on the one hand and the late David Foster Wallace on the other in the Literary Short Stories category.

So, if anyone needs me, I’ll just be here in my library, wearing a velvet robe, smoking a pipe, and contemplating my next public pontification for the semi-literate masses. Although, deep in my contemplations, a terrible thought struck me. What if the rightful heir to Terry Pratchett’s SF humorist throne is not, as some have suggested, Jasper Fford, but rather, Vox Day?

Or, as is more precisely the case, Vox Dai?

Let the wailing and gnashing of teeth begin.

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