Apocalyptic Zombie Ketchup or Dystopian Ghoul Catsup?

Every time I hear the term “zombie” applied to the flesh-eating, bacteria-virus-infested cannibals either of film or print, I cringe.

They are not “zombies”--they are ghouls.

A “zombie” is a person brought back from the dead to serve as the slave of another person.

A “ghoul” is the malignant spirit of a dead person, a dead person whose body has been possessed, or a demon in human form who terrorizes the living by eating live flesh and causing havoc throughout the neighborhood.

The “zombie” movie that started it all never even called the dead cannibals “zombies”. Night of the Living Dead is attributed with having started the whole dead-eating-the-living craze. However, if you actually watch and listen to the movie, the dead-eaters are never referred to as “zombies”.

Because they are not “zombies”.

Check out Ray Dennis Steckler's 1964 B-movie opus The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? No flesh-eating here: just a crazy dead person killing those who did him and his crazy gypsy sister wrong.

I feel a heated passion arise in me of late when I hear or read the terms “apocalyptic” and “dystopian” being used as synonyms.
Comments and reviews of The Hunger Games have helped to blur the line between the two distinct terms, but it's not the first story to do so. I don't know what Suzanne Collins calls her tale, but others have given it both the “apocalyptic” and “dystopian” labels—but it's really only one of those.

So, which is it?

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It's the difference between "ketchup" and "catsup".

Some will argue that the only difference between "ketchup" and "catsup" is the spelling. Such culinary pundits are woefully mistaken.

As with so many other foods that have become a staple of Western cuisine, "ketchup" was invented by the Chinese (鮭汁, kôe-chiap and kê-chiap) and brought to the West by Italian traders.

It was a sauce for fish. Those wacky Italians, though, made it into a sauce for just about everything else, including ice cream. I swear to God, I've seen people put it on ice cream.

So, I offer you my Chinese Vodka Ketchup recipe of my own particular taste:

Ingredients

• 1 6-ounce can tomato paste
• 1/3 cup brown sugar
• 1/2 cup apple cider vinegar
• 1/2 cup vodka or red wine or beer or whiskey
• 1 teaspoon sea salt
• 1/4 teaspoon onion powder
• 1/4 teaspoon garlic powder
• 1/4 teaspoon cumin
• 1/4 teaspoon curry
• 1/4 teaspoon paprika
• 1/4 teaspoon parsley
• 1/4 teaspoon ginger
• 1/4 teaspoon thyme
• 1/4 teaspoon cayenne pepper

Directions

1. Combine ingredients in a saucepan over medium-low heat. Whisk to eliminate lumps while bringing to a boil. Reduce heat to low.
2. Simmer partially covered (careful, the hot bubbles splatter) for 20 minutes, until thickened.

Makes about 1 1/2 cups.

Notes

• Homemade ketchup won’t last as long as commercial ketchup, but with sugar and vinegar as natural preservatives, it should keep fine for a week or two in the fridge.

So, what's the difference between my Chinese Vodka Ketchup and any other "catsup"?

For "catsup", use white sugar and add more of it; leave out the  vodka, wine, beer, or whiskey and use white vinegar instead; and leave out the cumin, curry, paprika, ginger, parsley, rosemary, thyme, and cayenne pepper. This will produce the bland sweet "catsup" Americans slather on everything.

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Okay--the difference between "apocalyptic" and "dystopian" genre.

First, an “apocalyptic” tale involves a story in which some catastrophic event has occurred in which the survival of humanity is in question. On the Beach is a good example of this. So are The Core, Armageddon, 2012, I am Legend, Resident Evil (et al), and the flood stories of Gilgamesh, Noah, Quiche Mayans, and many, many more. An "apocalyptic" tale results either from man's own negligence or God's wrath or nature's revenge.

Stephen Vincent Benet’s short tale “By the Waters of Babylon” is a perfect example of the apocalyptic event caused sometime in the distant past by humans themselves.

An “apocalyptic” tale almost always includes some spiritual message within the story. Benet’s tale turns the apocalyptic event into a dream of a great burning in which the gods were displeased with humans and mankind was nearly wiped out.

A “dystopian” tale is one in which a repressive government enslaves its people in the belief that humans need repression in order to save them from themselves-- or simply because those in power are in it for the sake of the power itself.

In a dystopian story, society believes it has achieved Utopia and cannot or does not see the fatal flaw within its system that is actually working against the advancement of Humankind--usually the repression of individual choice and creativity, as in Ayn Rand’s Anthem, Bradbury's Fahrenheit 451, and Lowry's The Giver. In almost every tale, the government sets out to repress individual choice and creativity and even destroy human productivity and enlightenment.

V for Vendetta is one of the best examples. Nineteen Eighty-four is an excellent example of a government enslaving its people simply for the sake of power: “Do want to see a picture of humanity?” O’Brian says to Winston. “It’s a boot in the face.”

Other good examples of true dystopian fare are Equalibrium, The Postman, the short story “Harrison Bergeron” by Kurt Vonnegut, The Handmaid’s Daughter, and, yes, The Hunger Games.

One of the best  tales in which a dystopian culture is belched from an apocalyptic event is Repo: The Genetic Opera.  In Terrance Zdunich's tale, the apocalyptic catalyst is the failure of human organs. The dystopia arises when Genco offers savioristic transplants and a culture paradigm shift emerges in which everyone believes society has achieved utopia.

Another good example of the apocalyptic-to-dystopia scenario is P.D. James's The Children of Men. This tale of the future demise of humanity begins with the last child born on earth dying--and he's 18-years-old. Humanity can no longer reproduce. Society shifts into paranoid mode in which whole countries are now barb-wired from each other, each blaming the other for the "disease" of sterility, and everything from a space virus to God's Armageddon is offered for the explanation as to why humans can no longer produce children. A new culture arises as human kind slouches through the apocalyptic slough, a dystopian culture.

Collins’s tale is not “apocalyptic”.

I will submit that a dystopian setting can arise out of an apocalyptic event and an apocalyptic event can result in a dystopian society’s choices.

Generally speaking, though, the tale is dominated by one or the other. The Hunger Games is without question dystopian, not apocalyptic. Maybe it will morph in apocalypticism or the society is the result of an apocalyptic event, but the events in the story itself lead to only one conclusion: dystopian.

My tale NEVЯLAND is apocalyptic whereas my story Popinjay is dystopian.

I have approached each with the distinct definitions clearly delineated in order to keep the two tales straight and true to their intended purposes. The backstory of NEVЯLAND does not have dystopian catalyst just as the backstory of Popinjay has no apocalyptic event.

Okay, I know some will protest: “This is a distinction without a difference, like zombies and ghouls.”

And thus I taunt you with this: Nuts! It’s the distinction that makes the difference in the first place.

Zombies are not Ghouls.

Apocalypticism is not Dystopianism.

Ketchup is not Catsup.

Eat well.
Write well.

Larry Mike

God? Virus? Barney? -- Using Real People to Create Fictional Characters

One of my more inspirational--some say insane --ideas in promoting NEVЯLAND is the weekly "publication" of the Junebug Journal.

You can read it HERE. I started as a photojournalist. I've published and edited two newspapers. The Junebug Journal is one way of reaching inside of me and doing something I enjoy doing very much.

I have to be careful, though, not to make the weekly newspaper look too professional. After all in the apocalyptic, non-adult world of NEVЯLAND, the Junebug Journal is published by Chad Chapman, Jr., the 17-year-old son of the disappeared publisher and editor Chad Chapman, Sr.

The weekly newspaper gives a real-world effect to my tale. It reveals background and sundry information about the characters, Junebug, Oklahoma, and gives a different personal insight into the terror and chaos the children are facing.

The newspaper contains some clues and teasers. This second special edition even has an ad for a tattoo parlor--after all, the paper has to pay for itself.

The newspaper allows an outlet for the minor characters, those who don't have a big role in the novel.

Another thing I did to try to achieve a more realistic effect as well as create a more realistic set of characters in a realistic world is to poll several dozen children from 11 through 14-years-old.

Two Altus Public School teachers graciously volunteered to pass out a survey I had written and have their students complete it.

The survey asked things such as age, size of family, if any new CPR and other first aid.

I also asked them a series of questions:

*What do you think happened to the adults?

*Who would you miss most if your family suddenly disappeared?

*What are the five to six biggest problems in a city where there are only Children and no Adults?

*What do you fear the most in such a situation?

*How would you solve some of the problems you think would arise in such a situation?

*Et cetera

I received some very interesting answers. Some were quite insightful.

I was surprised at a few students whose answers came very, very close to the overall plot of NEVЯLAND.

I was pleased as the answers of the students re-affirmed what I had felt as I outlined and began writing the first draft. In other words, I am on the right track.

So, I have combined the Jungebug Journal with the students' survey answers.

Combining the two has given the story an authentic voice and is helping me to stay focused on the real characters. These are real voices from real children, and now they are a part of my tale.

The latest edition of the Junebug Journal contains direct quotes from the surveys of the students--and, yes, one really did say that Barney had eaten the adults. I laughed when I read his response--that young man isn't going to be phased by anything or take much too seriously.

Further editions of the Junebug Journal will feature more real quotes from real students who have now been incorporated into NEVЯLAND.

When you write, don't isolate yourself.

Talk to people who are representative of your characters--in age, gender, appearance, disposition.

Ask these people how they would react in such-and-such situation. You don't' have to tell them you're writing a story, just bring the conflict randomly in conversation or relate it to something you've read in the news or on the Internet.

When you write, create a real fictional world complete with a newspaper, a radio station, local teen hangout. Invite your readers to participate in this real fictional world.

Creating a real world within your fictional world requires getting butt off chair and meeting face-to-face with real people. These real people are your characters, and they will help you to smoothly move your story along.

See you on the bookshelves.

Larry Mike

Busy, Happy Week & New Website

Busy week.

Semester Exams.

Final Grades.

Graduation.

Work in Progress.

Blog.

New Website for NEVЯLAND. Not much, but a beginning.

Facebook.

Twitter.

And, I’ve had a hacking cough for three weeks that sounds like I’m a thirty-year smoker and is keeping me up late at night.

So, today, I’ve worked for several hours, and it’s time to quit.

Wife’s been working on the fixings for the BBQ. She’s got the meat ready.

And now it’s time for me to do some cooking.

Busy.

But relaxed.

And happy with the week’s accomplishments.

My Facebook Group page for NEVЯLAND went from 0 to 266 members in six days.

I'm happy about that.

See you on the bookshelves.

Larry Mike

NEVЯLAND Soundtrack: AC/DC - Thunderstruck

I'm in one of those moods.

The words are pounding out like thunder and flashing across the page like lightening.

Nothing more thrilling than directed and intense creativity!

NEVЯLAND--The Contest

Everyone loves a winner, and everyone loves to win!
To promote NEVЯLAND--The Novel WIP, I'm having a series of contests.
Here's the first contest I'm having:

The first person to refer ten of his/her Facebook friends to NEVЯLAND--The (WordPress) Blog or NEVЯLAND--The (Facebook) Group will get a signed hardcopy of the first draft of NEVЯLAND--The Novel WIP!

You'll have to keep track of which of your FB Friends join The Group or The Blog and send me their names when you reach ten.

When you notice that ten of your Facebook Friends have joined The Blog or The Group, email me with their names, and I'll confirm you as a winner.

Check back often for updates for other NEVЯLAND--The Novel WIP Contests!

See you on the bookshelves.

Larry Mike Garmon

And All the Children Are Insane

I'm at a point in the opening of NEVЯLAND where hysteria and chaos have consumed the children like a fire gorging on dry grass.

To help with the mood, I'm listening to songs with themes of destruction, apocalypse, death, and end-of-the-world themes.

And the best of these death/apocalyptic songs is "The End" by The Doors--

"And all the children are insane
All the children are insane."

Enjoy the video and the song.

See you on the bookshelves.

Larry Mike Garmon

How Do You Make that Backwards Я?

One of the questions I am asked about NEVЯLAND is–How the hell do you make that backwards “R”?

First, it’s not actually an “R”. It’s the Russian letter Я–pronounced YA. It’s also the first person singular pronoun “I” in Russian.

And I make Я with a simple mouse click that switches my English keyboard setting to a Russian keyboard setting on my Mac (PC can do it, too).

Mac has an upper task window, and my window shows an American flag to tell me I’m using the English keyboard setting.

When I want to type Russian letters, I click on the American flag, a drop menu appears with a Russian flag in it. I then click on the Russian flag, and VOILA! My keyboard is transformed into a Russian keyboard.

(Not the actual letters printed on the keys, of course–I have a picture of a Russian keyboard taped to my wall to show me where the Russian letters are located as if I were using a real Russian keyboard.)

Once I type Я, I click on the Russian flag in my Mac’s upper task window, click on the American flag in the drop down menu, and I’m back to using the English keyboard setting.
On the Russian keyboard, the Я letter is where the English letter Z is located.

As I typed the outline for the first book, I had to come up with a NAME for the book and the series.

I must have a NAME when I write a book as the NAME suggests a theme for me and helps keep me focus.

The title NEVERLAND came quite easily, but I didn’t like the way it looked.

I played around the the spelling:

NEVRLAND

NEVRLAN

NVRLND

And none of them felt right. I continued outlining.

So, I’m plotting Chapter Three: Laynie, who has witnessed the hysterical chaos that has taken over Junebug and is horrified by the death of a couple of children, is determined to ride her bike out of Junebug to her grandmother’s farm about three miles outside of town.

However, in her panic, she forgets about the invisible wall surrounding the city and imprisoning the children.

She peddles up to the city limits at full speed and crashes into the invisible barrier. She’s thrown forward. Her head slams into the invisible wall, and she’s knocked out.

As she regains consciousness, she hears a hissing sound and a terrible metallic sharp odor assails her nostrils.

When she’s fully awake, she sees Cassie, a classmate from Junebug Junior High spray painting in the air–and the letters are hanging in the air on the invisible wall.

Cassie is a mainstreamed special education student classified as an Idiot-Savant who is a genius at math but has little to no social or verbal skills.

She likes to listen to audio stories, though, and her favorite story is Peter Pan.

She tells Laynie that a Blue Fairy has visited Junebug during the night and has taken all the adults away, including her parents.

Laynie realizes that Cassie is confusing two stories: Peter Pan and Pinocchio.

Pinocchio features the Blue Fairy, a motherly figure who helps Pinocchio become a real boy.

As Laynie walks away from Cassie and her “painting on the air”, Cassie calls out, “Good-bye. Don’t let the Blue Fairy get ‘cha!”

Laynie turns around and sees what Cassie has written “on the air”, which is
NEVЯLAND

And that’s how the title with it’s Я came about.

The title also reveals a major theme about growing up in a world without adult supervision, much as the children in Peter Pan’s NEVERLAND:

• What kind of “world” would several thousand Children build if they were left to fend and defend for themselves?

Do you have a question about NEVЯLAND or writing in general? Send me your question, and I’ll do my best to get back to you ASAP.

Thanks for your support and encouragement. Although writing is a solitary event, putting a novel together is a collaborative effort–and I’m getting all sorts of great advice and encouragement from friends, new and old, as well as fellow writers.

See you on the bookshelves,

Larry Mike Garmon