Thursday, July 4, 2013

Short Stories for 99 Cents

With a little encouraging shove from my friend and writing group colleague Nick, I've decided to make three short stories available on Amazon.com for 99 cents each. They'll make you laugh. They'll make you think. They'll provoke debate and possibly haunt you for a while. And all for the price of four chicken mcnuggets.

Here is a quick pitch for each. Buy what you like! Search the titles at Amazon.com. Searching my author name, James Russell, doesn't get the best results. (There's James Russell Lowell, plus some Cubs pitcher, but I'll be more famous than them one day.)

Graduation - Pete Petucci has always had a "thing" for Anna Marikowski, but when his ill-timed moo interrupts her graduation speech, she goes rogue on the live mic, and everything gets uncomfortably honest.

Last Gay Bar - Ted and George have spent decades of hookups and breakups at Feathers, the local queer bar. When they run into a student, they decide to move on from the scene, and wonder what they want to move toward.

Friends and Pyromaniacs – Bill and Tom love to set fires. To Bill, it’s just something cool to do. To Tom, it’s revelation. He sees fire as transcendent: the key to immortality. When Bill fails to see it that way, Tom goes to gruesome lengths to show his friend the transformative powers of flame.

So happy reading to all. "Jesse Rules" is still under review with Bold Strokes Books. In the meantime, here are some you can enjoy. They work with Kindle or Kindle software.

Also, new projects I'm working on:

The Ones I Love - A series of letters to everyone I've ever been in love with. I'm finding it hard to write for some reason. I'm laughing and crying at my computer at really random intervals. My husband isn't sure whether to get me coffee or antidepressants or vodka.

Morph - What if children and adolescents could change gender at will, but at midnight on their eighteenth birthday, their gender became permanent? This is the world Aaron and Michael grew up in. Michael is a "border case", meaning people aren't sure what he'll choose. He goes to special guidance office sessions to help him decide. The choice is complicated, as all things are, by emotion. Aaron loves his best bro Michael, and he's madly in love with Michaela, Michael's femorph.

That's all the lunacy I have to contribute this week. Happy pride and happy fourth everyone.

Love,
James

Saturday, June 8, 2013

Scene and Sequel

This week was interesting. A reader on Bookcountry eviscerated "Rise of the Paramancers", and I think it might've helped. He clued me in to the Bingham model of fiction, which advocates a tight point of view character and heavy emphasis on action.

"Show don't tell" is nothing new as a principle, but it is one of those ideas you have to keep reminding yourself of. I'm starting to realize my early drafts are written for me, so I can understand my own insanity. My later drafts should just be the characters playing on the page.

The Bingham model runs on scene and sequel. A scene consists of goal (pov character wants something) conflict (pov char fights for it) and disaster (pov char is thwarted or they win but the win complicates matters). A sequel consists of reaction (we get in pov char's head for an emotional inventory) dilemma (they face lousy options) and decision (they decide which lousy road to walk). Scenes are long and action-based. Sequels are short and thought-based.

If you're going to do back story or direct narrative, that's supposed to happen very quickly during the reaction portion of sequel.

It does keep a narrative flowing. I was able to take my 22 page first chapter section and slice it to 12. I'd love your thoughts on it at bookcountry.com. Here is the link: http://www.bookcountry.com/Books/BookDetails.aspx?bookId=142640

So I'm trying to trust my reader more. It isn't a new lesson, but rather one of those you have to re-learn every now and then.

Jesse is still under review with Bold Strokes. Publishing links below:

To buy the 2013 Saints and Sinners anthology, featuring "Mountainview", click below.

http://www.amazon.com/Saints-Sinners-Fiction-From-Festival/dp/1626390304/ref=sr_1_2?ie=UTF8&qid=1370199594&sr=8-2&keywords=saints+and+sinners+2013+new+fiction+from+the+festival

"The Camp Seminole Weiner Wall", 2012 Best of the Net nominee, free to read
"The Gay Bomb", my first publication ever and it's free to read
The Amazon link to buy "Saints and Sinners New Fiction from the Festival 2012" featuring "Divine Hand"
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Saints+and+sinners+2012+new+fiction+from+the+festival

Sunday, June 2, 2013

Pitching in Person


Last week was Saints and Sinners in the jazzy, sweltering undercarriage of Nawlins. It was all dirty spice like hot sauce and grits.

It also gave me the chance to do something I had never done before: I got to try to sell Jesse verbally, via an analog human-to-human interface. Conversation. That’s what they’re called.

How many times have you been told that now is the best time to be an author? You just hop on the internet and someone discovers you, right?

Well…

The internet has made it easier for writers to get exposure and feedback, without a doubt. But it also created slush piles, which make it harder and harder for editors and publishers to find unsolicited manuscripts of quality. I also believe slush piles make agents less likely to consider unsolicited queries.

This is where conversation comes in handy.

What a different experience. Writing someone a letter explaining your book can’t possibly demonstrate to a stranger why you HAD TO WRITE THIS BOOK. Or maybe I just suck at queries. Whatever. The point is, I found it a thousand times easier to pitch in person.

The best part was seeing the two sides of a publisher wrestling with one another. I could see the businessperson in my audience struggling with the same concerns that have stopped JESSE RULES from being published up until this point.

But the reader in her, that person wanted to know more.

I haven’t sold it yet, I’ve only convinced one person to read it. But in this world of slush piles, I take it as a great compliment that someone would ask for more work just because I made them curious. And all because of a simple conversation.

Publishing links, as always. This week we include the Amazon link to Saints and Sinners: New Fiction from the Festival 2013, which features my story “Mountainview”, about a bullied Middle School student and his tormentor finding common ground amid catastrophe.



To buy the anthology, featuring "Mountainview", click below.

http://www.amazon.com/Saints-Sinners-Fiction-From-Festival/dp/1626390304/ref=sr_1_2?ie=UTF8&qid=1370199594&sr=8-2&keywords=saints+and+sinners+2013+new+fiction+from+the+festival

"The Camp Seminole Weiner Wall", 2012 Best of the Net nominee, free to read
"The Gay Bomb", my first publication ever and it's free to read
The Amazon link to buy "Saints and Sinners New Fiction from the Festival 2012" featuring "Divine Hand"
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Saints+and+sinners+2012+new+fiction+from+the+festival

Wednesday, May 15, 2013

Breaking the Membrane


I got to peek under the industry curtain a bit this week. More on that in a moment. First, updates.

“Rise of the Paramancers” is about half-way edited. Once I’ve ironed out some consistency issues I’ll be posting it on a new resource I found out about: Bookcountry.com. This site allows authors of genre fiction (no literary fiction yet) to post drafts and get free feedback from readers of that genre. By the end of summer, “Rise” should be polished enough for me to post.

I heard about this resource from Michael Underwood, the U.S. sales and marketing manager for Angry Robot books. (They’re the U.K. company responsible for publishing Chuck Wendig, author of “Double Dead” and “The Blue Blazes”. I’ve trumpeted his genius in prior posts.)

Michael was able to get his big break by using Bookcountry, which is sometimes cruised by editors and publishers. He shared his career breakthrough story at a local event, and it was wonderful to hear about how someone else struggled, and eventually jabbed through, the evil, only-publish-what’s-already-sold membrane that coats large sectors of the publishing industry.   

His story validated a suspicion of mine: “Jesse Rules” might not be the book that breaks the membrane for me. The premise is a hard sell. “Wanna buy my book about a homicidal closeted catholic school student?” “Ma’am?” “Why are you backing away slowly while maintaining eye contact?”
Of course, I love my book. I think its all the desperate ambition and frustrated libido of teenagerdom, rolled up in one awesomeballs manuscript.  So of course, I’m still going to try to sell it. But maybe it has to be another title that earns me some advocates, and then I pull the old Reading Rainbow – “If you liked my elemental coming-of-age fantasy, you’ll lo-ove my homicidal closeted catholic school literary fiction!”

Michael broke through with his third book (“Geekomancy”, check it out). I’m still finishing my second, so I may not be as far along this journey as I’d hoped to be by now. So it's time to slide into Zen mode and enjoy each step for what it is. Next week is Saints and Sinners in New Orleans, where I’ll be signing copies of my fifth published story, “Mountainview”, in the 2013 Saints and SInners New Fiction from the Festival collection. Below are the links to my free published pieces, as well as the 2012 Saints and Sinners collection, which features my fourth published story, “Divine Hand”.
 
"The Camp Seminole Weiner Wall", 2012 Best of the Net nominee, free to read
"Friends and Pyromaniacs", if the link works it ought to be free to read
"The Gay Bomb", my first publication ever and it's free to read
The Amazon link to buy "Saints and Sinners New Fiction from the Festival 2012" featuring "Divine Hand"
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Saints+and+sinners+2012+new+fiction+from+the+festival

Wednesday, May 1, 2013

The Paramancer Pitch

I feel like I know how to pitch a book at this point. Then again, I have yet to sell one, so I could be very wrong.

I've slowed the agent hunt, purposefully. Chasing too many at once was making me come across a little too "eager puppy". Plus, if someone at the bar is hitting on everyone, and then they hit on you, how insulting is that? I don't want to seem too desperate. I totally am desperate, since this is an honest place, but I just don't want to come across that way anymore.

The new thing is find one agent who seems perfect, then write a much more personalized query to them. It may seem like common sense, but I had to come to it in my own good time. My new approach is, if I have to think more than ten minutes about why an agent could be a good representative for "Jesse Rules", they probably fucking aren't.

Some other things:

I'm in the 2013 Saints and Sinners anthology again this year, and I'll be signing copies in New Orleans on May 23rd.

I'm working on a pitch for my fantasy novel, "Rise of the Paramancers". It may be a better debut novel than Jesse. I'll change it based on who I'm pitching to, but the heart of the pitch is below, and comments are welcome, as always.


It begins with the War of the Twin Gods. Zura, the Vandal and Devil Goddess, is bent on returning all of creation to the void it once was. Dioro, the Artist and Blessed Brother, battles his dark twin, to protect his beloved work. He creates a shield of magical energy called the Veil, and wraps it around his prized creation – Axis – the land of four elemental kingdoms, Dioro’s gift to the beings he crafted in his image.
Outside the Veil, the Gods go to war, in forms too great and terrible to imagine. Some say they destroyed each other in their wrath. Some say they survive, diminished and healing, age after age.
Inside the Veil, life evolves in relative peace, for thousands of years. The people of the four elemental kingdoms live by the principles of Dioro’s Wheel – the idea that each element is weak against one of the others. Storms break upon the mountains. Fire can melt even stone. Water extinguishes fire. Storm is the master of sea. Balance is the gift of Dioro’s Wheel.
In Gorge, the Kingdom of Earth, Karth studies to become a Geomancer. He learns from Master Damon, the most powerful Geomancer of their age, who can flip the earth beneath his foes, impale them on earth spikes, or pin them screaming to the ground with earth hooks. Karth trains to do battle with the Necromancers, Geomancers who have fallen to Zura, acolytes of the Devil Goddess who believe she survived the War of the Twin Gods. They wait for the day she can penetrate the Veil and bring them out of hiding, into power.
But Axis is not the only creation of the Artist. Across the wasteland known as Beyond, there is another realm where more of the Blessed Brother’s creations live. These are the Paramancers, sorcerers who can master all elements. One of them crosses Beyond, with the help of a parasitic creature who amplifies his powers. She claims to be what’s left of Zura, the Devil Goddess in the flesh, and when they tear the Veil and enter Axis, balance becomes chaos. Her first target is Gorge, and the Earth Kingdom will need both master and apprentice Geomancers to become champions, if the kingdom is to survive.
Rise of the Paramancers is an 84,000-word high fantasy novel, the first in a planned series of five. It has been called an adult Last Airbender by sample audiences. My reader is the same adult who read George R.R. Martin’s A Song of Ice and Fire series. The moment is right for a philosophically complex adult fantasy.

Share your thoughts below.
-James Russell

Wednesday, April 10, 2013

Stories Worth Your Time

Stories Worth your Time

The agent hunt continues. I’ll be signing copies of the 2013 Saints and Sinners fiction anthology in New Orleans on May 23rd at the Hotel Monteleone. (It’ll be on Amazon afterward. Check out my story, “Mountainview”, about a gay middle school student and his bully finding common ground amid disaster.)

I got my first yes on JESSE RULES. Unfortunately, it was from a fundamentalist publisher, who definitely didn’t understand that it’s a book about a gay teen who turns into a homicidal megalomaniac because he refuses to be honest with himself. Maybe they thought I was saying all queer kids kill. Sigh.

Anyway, moving on.

That’s all on the business front. Here’s something new.

Stories (books-movies-video games) worth your time:

We Need to Talk About Kevin – The film and the book are equally enthralling. Here is a mother wrestling with the age old question, ‘to breed or not to breed?’. She has lived the thrilling life of a traveler, and met and married a man she loves. Now she’s stuck with a big, fat, angsty, ‘What next?’
            Babies are supposed to be next. But at seven billion people on the planet and counting, we have a choice in that matter now. People can say no to breeding and do other things with their time. (Although what to do with one’s childless time may be the scariest question of all.) We can even self-assess, come to the conclusion that we would be terrible parents, and choose not to breed accordingly.
            But somehow, this educated woman of the world gets pulled into motherhood. Her desire to “turn the page” as she calls it, combined with passive-aggressive pressure from her husband, leads her to have a son, Kevin.
            From the start, Kevin can tell he isn’t wanted. And everyone is going to pay for it.
            I love this novel for tackling taboo head-on. I also have selfish reasons. The novel was a critical and commercial hit, proving you can disturb and entertain an audience at the same time. This is what I’m going to do with Jesse.

Prometheus – Some folks didn’t get what Entertainment Weekly called the “heavy, heavy, heaviosity” of this movie. Plus it’s a prequel, and let’s face it, most of those are derivative shit.
            Not this one. By being a “sort of prequel”, it maintained the mystery that most prequels lack. You had an idea of what was going to happen but not how, and that kept it fresh. The basic idea is a hundred years in the future, two scientists hypothesize that they’ve found the planet where our creators came from. “The Company” from the “Alien” movies funds an expedition, though their motives are, predictably, as pure as an interstellar Goldman Sachs. This results in a monster movie with a philosophical backbone. Not a lot of those in captivity.
            Besides being an FX extravaganza, it also sports stellar performances from Charlize Theron, Noomi Rapace, and awesomeness incarnate, Michael Fassenbender. (He’s been in X-men and Inglorious Basterds. The prosecution rests.)

Bioshock (Game Series) – I’m jealous of this tagline: Shooting game with psychic abilities set in libertarian dystopia under the sea. How cool is the concept alone?
The first game features my favorite plot twist since Samus Aran turned out to be a woman at the end of the first Metroid. One of the people guiding your character through the combat zone dystopia of Rapture turns out not to have your best interests at heart. He’s hypnotized you to obey whenever he uses the word “kindly” to “ask” you to do something for him. It turns the gamer’s perception on its head, and it motivates you for the latter half of the game, where you are driven to find and kill your former puppet master.
            By the time you hear the line, “A slave chooses, a man obeys,” you’ll be hooked enough to check out the latest installment, Bioshock Infinite.

Killing Them Softly – Ever rent a movie on a whim with no expectations, and then find yourself pleasantly surprised? That’s how I felt with this one. It had Brad Pitt and enough Sopranos alumni to draw me in, but I wasn’t expecting much but another faded copy of “Goodfellas”.
            It was a lot better than that for a few reasons. It starts predictably, with mafia guys ripping one another off, eventually calling in Brad Pitt’s character to settle things down with a series of executions. Pitt likes to “kill them softly”, meaning from a distance, so there’s no begging, no emotions, no intimacy. He’s a killer with a conscience, trying to be a killer with none.
            Meanwhile, news of the 2008 deregulation-fueled stock market crash pervades in the background. Brad Pitt screams the movie’s thesis at the end. “This isn’t a country, it’s a business. Now pay me my fucking money.”

Rebooting the American Dream – You may not know Tom Hartmann, but you should. In this book, he does what no politician has had the courage to do in my lifetime – he identifies the main problems our country faces and proposes solutions. (Some, like worker cooperatives, deserve at least a closer look.) This is the best case I’ve read for tax-and-spend liberalism as an alternative to don’t-tax-still-spend conservatism of the Cheney-Wolfowitz crowd and Lord of the Flies libertarianism of Ron and Rand Paul.
            He makes a lot of valid points. Globalization was never voted on. It was forced on the majority of humanity by the international rich. Trustbusting the media could lead to true diversity of opinions on the public airwaves. There is such a thing as “the commons”, things that we all own like our national infrastructure. The profit motive does not bring out the best in people, particularly when it comes to prisons and health care. A constitutional amendment could solve our largest problem: Government has to be larger than the largest corporation; otherwise you get corporate government, which is what we’ve had since Reagan. It hasn’t worked out well if you weren’t already rich when E.T. came out in theaters.
            I know some folks fancy themselves “apolitical”. I don’t buy it. I think most people care but they don’t know what to do. Start small. E-mail your Senators and Representatives. Sign an online petition here and there. Go to one protest a year for something you believe in. This book could fire you up to do it. Even if you’re conservative, it could fire you up to go shout on the other side of the picket line. Either way, it starts a conversation long overdue.

So that’s me finding stories to love, while I chase my author dream. Feel free to comment about a story that moved you, book, film, Youtube kitty clip, whatever. As long as it made you think and feel.

-James Russell

Sunday, March 17, 2013

Sniper of the 99%

When I fall in love with a character, I always want to share. Right now, as I hunt for an agent and edit "Rise of the Paramancers" (both frustrating slogs) one of my escapes is telling the story of Evil Eye, the sniper of the 99%.

He's a veteran of an unnecessary foreign war (intervention, adventure, choose your euphemism), one designed to relocate the public wealth of the American taxpayer into the private pockets of military contractors. A war designed to never end. Meanwhile, back home, new privatization initiatives lead to cuts in health care for veterans. They especially nickel and dime on mental health care, which is what Evil Eye needs. He tries to obtain care through every proper channel before concluding that there is no difference between the evil men he was trained to kill and the evil men who deny his right to health. The C.E.O. slaughter begins.

Having finished his "origin story" I'm now working on the next chapter in his life. What will happen to this man of the people once he catches a whiff of fame? What will happen when he has to face an inconvenient fact? These men he's killing are bastards, but they have families, and each shot produces a widow and some fatherless children.

I hope readers will find the character enjoyable on multiple levels. He's easy to root for and yet he isn't 100% right. He's flawed but fighting.

Here's a sneak preview of the first section of the first "Evil Eye" story. Enjoy.


Evil Eye

They blame it on my P.T.S.D. The rebels and the ones who call themselves patriots. It’s condescending either way. Offensive, really. My mind is whole, even if my brain is muddled. It was my I.Q. that made them want to train me for their sniper squad in the first place. The dumb guys, they just throw them in infantry. Meat for the war machine.
I read this one reporter who said I never came home from the war. He’s right. But he didn’t have to have that tone. I’m a soldier. Soldiers hate being pitied. I’m not pitiful. I’m pitiless. When they call me that, I’m proud.
I never came home from the war. War means fighting. I fight everyday now, just like I did overseas. They call it, “losing time”. I lose time. Then I fight to keep my head focused on where I am, and what I have to do.
I have to stop. This isn’t about me. I’m sorry if I gave you that impression. This was never about me. This was always about J.J.
Back in the war J.J. and I were the pride of our sniper squad. We were always lying on our bellies on some rocky hill, in some bombed-out building. There was sand and searing wind. We blazed days and froze nights. It was a country that started with Ira- or ended in –stan. We can call it Ira-stan. Let’s not pretend you care.
I was the spotter. We studied our marks for weeks. We learned their routines. Our wives sent us diapers and baby wipes from home. We asked for them. We lied and said they were donations, to help us win the hearts and minds of the locals. The truth is, if we were studying a mark, we never took our eyes off them. If our targets were active, or it felt like we should be watching, we shit our diapers, right where we were laying. Then we took turns changing, treated ourselves to some baby wipes.
We were talking about our marks. Omar. I liked to name them. J.J. hated that. He said they’re harder to kill if you name them. I said every man should have a name. We had that argument choreographed. Like the one I used to have with my wife when she wasted tooth paste.
Snipers and spotters. It’s like a marriage.
He was southern, J.J. I’m from Pennsylvania. He first joined the Marines after 9/11 ‘cause he “wanted to kill moose-lambs”. That’s how he said it.
It was weird. We argued over everything. We argued for years. The crippling idiocy or stalwart leadership of George W. Bush. Keynesian economics vs. that trickle-down Milton Friedman bullshit he was into. Later, we argued about whether or not Obama was really a moose-lamb from Kenyer.
But my reason for signing up wasn’t that different from his. I’m a liberal. I’m even against the death penalty. I think our justice system is too corrupt to trust with life and death. Strange belief for a sniper? I study my targets personally. We research for months before a trigger gets pulled. Then we take our own shot.
I know. I said I was a spotter. I’m getting there.
I was trying to say my reason for joining the Marines. I’m a liberal but 9/11 made me see evil. It made me see some men are unrepentant killers. It made me see that some men will spend their lives doing nothing but inflicting agony on others, if they’re permitted. Humanitarians argue it’s always wrong to kill, and I half admire their unwillingness to compromise. Maybe I’m just too practical. Some men need killing. Their deaths raise the quality of life for every human being who survives them.
Addition by subtraction.
On that point, me and J.J. were in total agreement. When our political arguments got too heated and somebody’s feelings were getting hurt, that’s what we came back to. “Addition by subtracshin,” J.J. said. “Ah like it.”
“You know what this means,” I told him. “We have to become unrepentant killers ourselves.”
“Paradox,” J.J. said. “My daddy used to say growin’ up meant dealin’ with paradox. Fuck it. We’re right and they’re wrong. Ain’t no paradox here.”
J.J. didn’t like the idea we had any thing in common with the enemy. And he hated that I named the guard Omar. He didn’t want me to name them at all. It made them harder to shoot he said. And I said every man should have a name. It was choreographed. I might’ve said this before.
“Then yer shootin’,” he said. I tried to think of a good reason to disagree.
When I think about it now, I lose time. But I couldn’t have lost time that night. My head was still whole back then.
Somehow, some way I don’t remember, my binoculars wind up around J.J.’s neck, and one of my eyes stares into his scope.
Omar smokes at sundown. He’s a pacer too. He smokes and paces. But tonight he’s pacing and smoking in a new language. Frantic. Tonight Omar is frantic.
Why?
Omar guards a small bunker in a world of shifting sands. Intel says he’s with the new Al Qaeda, “The Lord’s Wrath”. Based on the amount of electronic data flying in and out of this place, the location is important to them. So we watch it. We watch and wait, just like Omar.
“Squirrelly t’night ain’t he?” J.J. says. I take my eye out of the scope and look at him. So that’s what I look like with binoculars jammed against my face. I look back into the scope. The door behind Omar opens.
The man who emerges is Omar’s superior, I decide. We first saw him last week. He has a neater beard. His black shoes gleam in the sun. His hair is always washed and gelled back. Omar puts out his cigarette when this man approaches. Usually. Not tonight. Tonight Omar’s superior asks for Omar’s cigarette. He lights his own with it. They converse. They have a skittish laugh together.
“Mohammad looks nervous too,” I say.
“Stop fuckin’ naming ‘em,” J.J. reminds. In my scope, Mohammad points and shouts. They trample their cigarettes, burying the butts in the sand.
“Check it out,” J.J. says. “East ridge.”
I adjust my body, keeping my face buried in the scope.
No flags. There are no flags on the truck that appears on the horizon. There aren’t many cars in this country, nor roads to drive them on. When you see a truck, it usually has state flags displayed somewhere. That’s supposed to tell our drone operators, “You can blow me up, but the diplomatic incident won’t be worth the paperwork.”
“No flags,” I say. “Just an unmarked Range Rover, remarkable in how unremarkable it’s made to look.”
“Tinted glass,” J.J. observes. “That’s a incognito Lord’s Wrath V.I.P. I fuckin’ guarantee it.”
“You should shoot,” I say. “We could be court-martialed.” J.J. laughs.
“Don’t soak yer panties. Just us out here. You miss, an’ we’ll say I missed. Better yet, just don’t fuckin’ miss. But let’s make sure this ain’t the bread delivery b’fore we get all hot n’ bothered.”
Men with AK-47s emerge from the van, scanning the area. One whistles and makes a whirl in the air with his finger. Another taps twice on the tinted black window. An unarmed man steps out.
I don’t have to name this one. Every sniper in the military knows his face. Every American with a television has seen his videos.
“That’s Amar fuckin’ Atta,” J.J. says. “T’night we burn the bridge ‘tween Al Qaeda and Lord’s Wrath.”
“This is your shot,” I say.
“That’s what it’ll say on the paperwork,” J.J. says. “But back at the nest yer gettin’ the credit.” J.J. was always like that. He never let me be anything but my best.
I can’t believe I’m staring at Amar Atta. He’s so small. His clothes are so plain. He has thin glasses and a thinner beard. He has the vacant expression of a librarian organizing returned books.
This is the man who helped bin Laden plan the attack on the U.S.S. Cole in 1998. In the waning days of Al Qaeda, he assembled the men who became the Lord’s Wrath. And then the Chicaco Subway attack – the rush-hour Chlorine bombing just after the fifteenth anniversary of 9/11. The messages were clear. We can smuggle through Canada. We can hit your heartland. We can manufacture bio weapons straight out of your bleakest sci-fi nightmares.
We can hit back too, you demented fuck. The mind behind all that ruin is in my crosshairs. And I can make it pulp. There’s just one thing I have to ask J.J. first.
“You think it’ll change anything?”
“Dunno. One thing’s fer sure, he ain’t ever gonna stop killin’ unless you stop him.” Of course, J.J. was right. Time for addition by subtraction.
“How the wind?”
“Very slight, outta the southeast. Correct left just a bit.”
“What are my follows?”
“Git Mohammad if you can. He’s a somebody. Then hit the front tire on that truck. Sun’s still behind us. They’re gonna look our way after the shot. Then Allah’s gonna blind ‘em.”
“Alright. Let’s do it.”
“Just like takin’ his picture,” J.J. reassured. I hated that. They said that in basic. I was blowing a sun roof in a man’s skull. It was pretty fucking far from taking his picture.
Atta barks at Mohammad and Omar. He points toward their buried cigarettes. I correct left. I pull the trigger.
Atta’s head bursts like an overripe melon. Mohammad’s face is covered in sudden gore. He looks up into my scope and squints in the sunlight. I fire my second shot, right through his eye. Omar ducks behind a barrel. Atta’s guards shoot wildly, squinting towards us. I fire my third shot and the truck’s front tire pops. Their truck slouches uselessly forward.
“Fuckin’ eagle eye shootin!” J.J. says, slapping my back. “Let’s get the fuck outta here!” We run into the setting sun as bullets chase our heels.

(end of free preview)