Tuesday, May 26, 2020

Drew Fortune’s and Spain Willingham’s BEAST MODE is #162 in the never-ending series called INSIDE THE EMOTION OF FICTION

*The images in this specific piece are granted copyright privilege by Public Domain, CCSAL, GNU Free Documentation Licenses, Fair Use Under The United States Copyright Law, or given copyright privilege by the copyright holder which is identified beneath the individual photo.

**Some of the links will have to be copied and then posted in your search engine in order to pull up properly

***The CRC Blog welcomes submissions from published and unpublished fiction genre writers for INSIDE THE EMOTION OF FICTION.  Contact CRC Blog via email at
caccoop@aol.com or personal Facebook messaging at https://www.facebook.com/car.cooper.7

****Drew Fortune’s and Spain Willingham’s BEAST MODE is #162 in the never-ending series called INSIDE THE EMOTION OF FICTION where the Chris Rice Cooper Blog (CRC) focuses on one specific excerpt from a fiction genre and how that fiction writer wrote that specific excerpt.  All INSIDE THE EMOTION OF FICTION links are at the end of this piece

Name of fiction work and fiction genre? How many pages? How long is the film? Beast Mode, a screenplay and movie
SPAIN WILLINGHAM: The movie is 90 minutes. It’s an hour and a half which equals 86 -88 pages. Some movies give or take are different. Generally it’s a minute a page. 

What is the summary of Beast Mode?
SPAIN: Well it’s got a little bit of  Bowfinger and a little bit of Weekend at Bernie’s. Basically it is about a producer who gets involved with a pretty big A list actor. And he’s basically down to one client left and it’s kinda like JERRY MAGUIRE – he’s got one big client in his Rolodex left and they got a movie coming up and this could change everything. Something really not so wonderful happens to his client and they’re trying to salvage what they can and make sure that they can still make the movie for said client.  And low and behold they find some cream, a special supernatural cream that when applied can really do wonders and it kind of makes a difference if you’re a good person or not because the cream can really do good for you if you are good but if you are just an eternally damned soul it’s going to come out and the cream is going to show that and it’s going to cause a lot of bad things. 
     It’s kind of like when people get to Hollywood they’re innocent and they’re pure.  Then they start doing Hollywood deals and going to like Hollywood parties.  The person that got to Hollywood years ago is not the same person. It’s happened with my friends and some of Drew’s friends we ‘d be like, “What happened to you?” Hollywood. I mean it happens in real life all the time. We’re trying to do a social commentary on that but also a monster movie or a comedy at the same time.

DREW: I should mention C. Thomas Howell (his character Breen Nash) has the biggest flop in movie history credited to him so he literally has one last shot to make a movie that will do fine.

How did the two of you become collaborators of BEAST MODE
DREW FORTUNE: Spain had just moved to LA and it was exciting to have an old friend in L.A. and L.A. is a really cool place – and you don’t usually have close friends. So we're both kind of looking for a little project.  I was working for the L.A. Weekly in the evenings primarily at the time but I always wanted to write a movie so Spain explained this little monster movie within the movie scenario and he said, “What if it opens basically with a director who screws something up very badly?” And I was like “yea that’s something we can explore” and our imaginations kind of went weird.

How did you come up with the idea of Beast Mode?
SPAIN: For me a lot of people will start with an idea and eventually, the name, that is the most important because that is the first thing people notice is the name of the movie. One day I was hanging out with a buddy in San Francisco and he said, “Beast Mode” those two words to me – I had never heard those two words together – we got some crazy drinking.  Yea you guys turn one on and he goes “Beast Mode dude.” Basically that just got me kind of going.  I thought that was such a cool thing and it was before the NFL player Marshawn Lynch had named himself Beast Mode.  
Beast Mode – it was just kind of a glitter hashtag and I said that is the name of my next movie.  Instead of coming up with the idea for it I have to have the name of the title first. I started just thinking about it and I’m a big fan of movies within movies and the film takes in the world of the film industry so I started thinking: Wouldn’t it be funny if they were making a monster movie and you really became the monster? And I hadn’t really seen that before, especially taking place within the world of filmmaking.

What are the dates you began writing this piece of fiction and the date when you completely finished the piece of fiction?
SPAIN: 2013 and finished it mid-2014.  We finished the screenplay in the summer of 2014

DREW: When you write something and you finished it’s like Yah we are done! We did it! The End.  Then it’s like, “oh daddy there’s a lot of revisions to do. ” We did four or five revisions just between Spain and I. If you start to look at the logistics of something that was do you have any idea what that would cost? You really have to look at whatever budget you have available, what might be available.  And that’s when you start to really shape the shooting screenplay. That it’s something we can actually fall on.

SPAIN: The reason it took us so long is because you get a few investors involved and they're loving it and it turns out that maybe they invested in some other movies that didn’t quite make it as big as they wanted it to. So they kind of get cold feet. And I was already gung ho so we decided, “Hey even if we can’t film all of this, let’s film what we can. And we’ll come back to it and we will film it in stages.” And I just had to live with that for a little while. 

Where did you do most of your writing for this fiction work?
SPAIN: We were in the room together a lot. And most of the time it was in my house in Hollywood and we would be hanging out and sometimes Drew would hop on the computer; sometimes I would hop on the computer but a lot of it was just joking around and talking about movies that we love without copying old movies – were just trying to have lots of fun influences and take stuff from old movies for people to see and say “okay I can see where they got that”. It is an album of a lot of 80s and 90s movies in one and we just thought like this melting pot of ideas could kind of be fun. Movies take themselves pretty seriously – these big spectacular, big-budget marvel movies and such.  I think in the 80s they didn’t do that a lot of the time.

What were your writing habits while writing this work- did you drink something as you wrote, listen to music, write in pen and paper, directly on the laptop; specific time of day?
SPAIN: Write during the day.

DREW:  I don’t really have the Creative juices after 9’ o’clock pm.

SPAIN: We’d rather be watching horror movies.

DREW: A lot of crazy horror movies. 

Were there any deletions from the Beast Mode screenplay that did not make it into the film?
SPAIN: Sometimes yes and sometimes we go “Hey: is this moment really going to be in the finished film or do we feel like this might have a chance of being on the cutting room floor”?  You have to watch your film to movie ratio.  How much you shot versus how much is in the ended film.  You can’t shoot a thousand hours and your movie is an hour and a half. So we really have to be careful. You can’t get everything you want especially when we’re doing a multi-millionaire dollar movie for less than a million dollars.  Very hard to pack all of that in. We’re dealing with celebrities and big equipment and tiptoeing on eggshells in every department. It was really tough. And I learned a lot.   I think when I make my next film I’ll be a lot smarter

DREW: I really wanted a scene but conceptually I knew we couldn’t pull it off.  There’s a beast that runs amuck in Hollywood. And one idea I had was he is running through Hollywood like a wild animal and runs into someone’s backyard (where) a couple are having sex while they’re in the hot tub. And I somehow wanted to see a death in the hot tub. Underwater. It got a bit more graphic and gross. That was just something when it came down to -no.

SPAIN: Drew and I had some deaths that didn’t get quite made. If you want to pull off super creative deaths go ahead and add another eight days to your production because you need days for the makeup crew to do these things. When you go, “Okay it’s time to do the gore.” But guys we have more hours left. And the gore guy is going, “Oh I’m so mad because you told me I’d have the time and now it’s going to look like crap on the movie.” And they are absolutely correct. And that’s just how it goes. You have to make the gore scenes their own week. You can’t do the movie and the gore – it never works. It’s happened twice now with me on two different movies. Now I know for certain I’m going to treat the gore scenes in the following movie like their own movie.
Did any actors change the screenplay as they were acting it out?
SPAIN: Well sometimes C. Thomas Howell being a very  advanced actor, a seasoned actor, sometimes he would say, “Hey, let’s try it like this.” And I say, “Hey, let’s try it like that and this.” If you get too far down the day and you're not getting too much other scenes, you know getting jumped on, then you can do that. He was so professional and fun to work with. He had ideas sometimes that Chris (Freeman) the other director and I would look at each other and go, “That was great, C.T. Let’s try that too.” Only C.T. would really do that because the other actors weren’t the lead so they maybe didn’t feel too comfortable (that) it was their place to do that. I got to say C.T. bailed us out.  He’s probably been in over 100 movies.  He was really fun to work with. Being a not so seasoned director yet I have a lot to learn. Really wonderful having him. 

What was the most rewarding part of the Beast Mode to write and to direct?
SPAIN: I think the all coming to the head, they all coming to a close was the most fun me to write because now you have to wrap up all these storylines.  You had fun coming up with all these different characters and all their motivations. Everybody is coming to the same thing at the end of Beast Mode but maybe you didn’t think about the conclusion when you were writing all this so now you have to come up with creative ideas of how do we get everybody together to make the ending.  That was really fun for me.

DREW: We have a character named Finnegan (portrayed by Teddy Margas) and that character became funnest for me to write. And I think he steals the show in the movie. And he’s so sleazy and out for blood.

SPAIN: And it’s Drew and I and Chris who come up with these moments and these characters. It’s only as good as the actors. We could write this awesome script but if we have the wrong actor it doesn’t convey and then people go, “That didn’t work for me.” But like Drew mentioned we wrote an awesome role for Finnegan. We got our friend Teddy Magas, who is this 375-pound comedian we know who is very physical and very funny and I didn’t see it for anyone (else). We wrote it for Teddy in our minds.

DREW: I think Spain came up with the idea of the cream and where it comes from the heart of the jungle in Amazon and writing the backstory for that, that’s when things really got fun. We took it out of just Hollywood and made it a more interesting film.

Which was more enjoyable to do write Beast Mode or direct Beast Mode?
SPAIN: Writing. It is very comfortable. You can write in your bedroom, hanging out, ordering take out, but directing is not so fun. You just did 18 hours and now you get to go home for a couple of hours and then your back at it for 18 more hours. And that’s usually six days in a row. You have one day to reset. I don’t get that day to reset. The director is at the next location while the crew is resting. And then another six days of 18 hours. Production is brutal. It was tough. You have to know what you are filming is forever.  What you are shooting is going to be a movie long after you die so you have to make sure that all that preparation wasn’t for nothing. You have to make sure however tired you are however hard it is –that’s the most important part.   
          Sure editing crafts the movie and that is kind of sort of also the most important part. You can have a bad movie and edit it and it’s a somewhat good movie but you know it’s kind of hard to do the vice versa of that. You have to make sure during production that you are on your toes. You’re the leader of 60 people; you have all of these departments. The thing is some of these actors have big egos. They’re going “Why didn’t I get an extra take? How come he did?” It was really hard.  It was a big awakening for me. I will be even more so prepared for the next one. The next one will be my fourth feature. I think on the next one I will be as prepared as I’ve ever been.  That is why Beast Mode 2 will be a political movie and it will take place in Washington.    

DREW: In screenplays there is the “Interior” and the “Exterior” and, as a novice screenwriter, that is something that I didn’t think about the process. The logistics of things being in a bar or renting a bar just adds more money.  We’re going off on a relative shoestring budget. That’s just things you have to think about. We got to limit our locations. 

SPAIN: Some screenplays are overly descriptive, not a bad thing, but some are a little more vague and you can kind of talk about it in pre-production. “Hey you’re a little vague here let’s flesh this out.” You want to be detailed for as far as the production designers to go out. Are going to stage or are we going to rent a bar?

DREW: You know what else is kind of cool about Spain – we never fought. It’s a lot of fun and we know each other so well.        

SPAIN: This was never put my down my foot I have to have this. That never happened. We know each other. We know each other’s tastes. There are some movies that Drew loves and I don’t love and vice versa but we know each other’s tastes so well. We know what we want to see.

When will Beast Mode be released?
SPAIN: We have been courted by a few distributors. They were sharks. They were not interested in helping us. They just wanted content. Finally we found the right distributor.
Beast Mode is coming out in Halloween, Fall of 2020.

What are the cast and crew of Beast Mode?
SPAIN: A movie is a collaborative effort and the director is just one person. I mean, credit to my cast and crew for helping us make such a fun movie. And I look forward to it when you see it.

Has Beast Mode received any awards?
SPAIN: Now and last year we did film festivals and we won five film festivals and everyone’s been really loving it.
It was all kind of a blur because they were all so close a lot of traveling and it was a lot of fun. Meeting people who had never met me or seen me but to see the thing I had done was actually awesome.

Kapow Intergalactic Film Festival (LA, California) - Winner - Best Feature Comedy

Toronto Independent Film Festival (TOR, Canada) - Winner - Best Horror Feature

Thriller Chiller Film Festival (Grand Rapids, MI) - Winner - Best Thrill

Hollywood Independent Film Festival and Awards (LA - Paramount Lot) - Winner - Silver Award

Another Hole in the Head Film Festival (SF - California) -Beast Mode closed the festival out with a screening on Sat night!

Anything you would like to add?
SPAIN: Chris Freeman and I are kind of business partners. And co-directors.  This and another movie we want to make up next. And he had done a few movies previous to this.  It was great to have him on set otherwise I would have been way over my head.

DREW: I have to give Spain and Chris Freeman massive credit because they kept this thing really focused on the script. I spent one day on the set. it was a blast because I’m just a writer. I just had fun that day. I was impressed.

SPAIN: Drew ended up being a cameo that day.

          DREW FORTUNE is a pop-culture journalist and screenwriter, who has been actively publishing for the past ten years. He is a regular contributor to Vanity Fair, Rolling Stone, Esquire, and Vulture, but his writings on music, film, and television have been published in Cosmopolitan, Playboy, SPIN, Billboard, the A.V. Club, Stereogum, and many others. His favorite bands are Ween, Superchunk, and the Replacements. He loves fly fishing and loitering in record stores.

          SPAIN WILLINGHAM has been involved in acting since he was 5 years old. After studying at various creative theaters and a few summers at Stagedoor Manor. Spain began his sketch comedy career while attending Columbia Film School in Chicago. The troupe was modestly successful, and upon graduating from He relocated to San Francisco where he made his first feature-length film, "the Pure Party". It was an experimental way to shoot a film; no script, all improv, but a year later Spain penned the screenplay to "First World Problems" and also directed and financed the Film. 
He then made BEAST MODE and it will be released in 2020, starring C. Thomas Howell, James Duval, Ray Wise, James Hong and Leslie Easterbrook. The film won 5 film festivals in 2019. Spain is currently working on a several tv pilots as well as the feature screenplay for "Pink Mist" set to shoot in 2021. Spain lives in Atlanta, GA.


001   11 15 2018 Nathaniel Kaine’s
Thriller Novel
John Hunter – The Veteran

002   11 18 2018 Ed Protzzel’s
The Antiquities Dealer 

003   11 23 2018 Janice Seagraves’s
Science Fiction Romance
Exodus Arcon

004   11 29 2018 Christian Fennell’s
Literary Fiction Novel
The Fiddler in the Night

005  12 02 2018 Jessica Mathews’s
Adult Paranormal Romance
Death Adjacent
006  12 04 2018 Robin Jansen’s
Literary Fiction Novel
Ruby the Indomitable

007  12 12 2018  Adair Valerez’s
Literary Fiction Novel

008  12 17 218 Kit Frazier’s
Mystery Novel
Dead Copy

009 12 21 2019 Robert Craven’s
Noir/Spy Novel
The Road of a Thousand Tigers

010 01 13 2019 Kristine Goodfellow’s
Contemporary Romantic Fiction
The Other Twin

011 01 17 2019 Nancy J Cohen’s
Cozy Mystery
Trimmed To Death

012 01 20 2019 Charles Salzberg’s
Crime Novel
Second Story Man

013 01 23 2019 Alexis Fancher’s
Flash Fiction
His Full Attention

014 01 27 2019 Brian L Tucker’s
Young Adult/Historical

015 01 31 2019 Robin Tidwell’s

016 02 07 2019 J.D. Trafford’s
Legal Fiction/Mystery
Little Boy Lost

017 02 08 2019 Paula Shene’s
Young Adult ScieFi/Fantasy/Romance/Adventure
My Quest Begins 

018 02 13 2019 Talia Carner’s
Mainstream Fiction/ Suspense/ Historical
Hotel Moscow

019 02 15 2019 Rick Robinson’s
Multidimensional Fiction
Alligator Alley

020 02 21 2019 LaVerne Thompson’s
Urban Fantasy
The Soul Collectors

021 02 27 2019 Marlon L Fick’s
Post-Colonialist Novel
The Nowhere Man

022 03 02 2019 Carol Johnson’s
Mainstream Novel
Silk And Ashes

023 03 06 2019 Samuel Snoek-Brown’s
Short Story Collection
There Is No Other Way to Worship Them

024 03 08 2019 Marlin Barton’s
Short Story Collection
Pasture Art

025 03 18 2019 Laura Hunter’s
Historical Fiction
Beloved Mother

026 03 21 2019 Maggie Rivers’s
Magical Mistletoe

027  03 25 2019 Faith Gibson’s
Paranormal Romance

028 03 27 2019 Valerie Nieman’s
Tall Tale
To The Bones

029 04 04 2019 Betty Bolte’s
Paranormal Romance
Veiled Visions of Love

030 04 05 2019  Marianne Maili’s
Lucy, go see

031 04 10 2019 Gregory Erich Phillips’s
Mainstream Fiction
The Exile

032 04 15 2019 Jason Ament’s
Speculative Fiction
Rabid Dogs

033 04 24 2019 Stephen P. Keirnan’s
Historical Novel
The Baker’s Secret

034 05 01 2019 George Kramer’s
Arcadis: Prophecy Book

035 05 05 2019 Erika Sams’s
Rose of Dance

036 05 07 2019 Mark Wisniewski’s
Literary Fiction
Watch Me Go

037 05 08 2019 Marci Baun’s
Science Fiction/Horror
The Whispering House

038 05 10 2019 Suzanne M. Wolfe’s
Historical Fiction
Murder By Any Name

039 05 12 2019 Edward DeVito’s
The Woodstock Paradox

040 05 14 2019 Gytha Lodge’s
She Lies In Wait

041 05 16 2019 Kari Bovee’s
Historical Fiction/Mystery
Peccadillo At The Palace:  An Annie Oakley Mystery

042 05 20 2019 Annie Seaton’s
Time Travel Romance
Follow Me

043 05 22 2019 Paula Rose Michelson’s
Inspirational Christian Romance
Rosa & Miguel – Love’s Legacy: Prequel to The Naomi

044 05 24 2019 Gracie C McKeever’s
BDMS/Interracial Romance
On The Edge

045 06 03 2019 Micheal Maxwell’s
The Soul of Cole

046 06 04 2019 Jeanne Mackin’s
The Last Collection:  A Novel of Elsa Schiaparelli and
Coco Chanel

047 06 07 2019 Philip Shirley’s
The Graceland Conspiracy

048 06 08 2019 Bonnie Kistler’s
Domestic Suspense
The House on Fire

049 06 13 2019 Barbara Taylor Sissel’s
Domestic Suspense/Family Drama
Tell No One

050 06 18 2019 Charles Salzberg’s
Short Story/ Crime Fiction
“No Good Deed” from Down to the River

051 06 19 2019 Rita Dragonette’s
Historical Fiction
The Fourteenth of September

052  06 20 2019 Nona Caspers’s
Literary Novel/Collage
The Fifth Woman

053 06 26 2019 Jeri Westerson’s
Paranormal Romance
Shadows in the Mist

054 06 28 2019 Brian Moreland’s
The Devil’s Woods

055 06 29 2019 Rebecca Gomez Farrell’s
Epic Fantasy
Wings Unseen

056 07 02 2019 Randee Green’s
Mystery Novel
Criminal Misdeeds

057 07 03 2019 Saralyn Ricahrd’s
Mystery Novel
Murder In The One Percent

#058 07 04 2019 Hannah Mary McKinnon’s
Domestic Suspense
Her Secret Son

#059 07 05 2019 Sonia Saikaley’s
Contemporary Women’s Literature
The Allspice Bath

#060 07 09 2019 Olivia Gaines’s
Romance Suspense Serial
Blind Luck

#061 07 11 2019 Anne Raeff’s
Literary Fiction
Winter Kept Us Warm

#062 07 12 2918 Vic Sizemore’s
Literary Fiction-Short Stories
I Love You I’m Leaving

#063 07 13 2019 Deborah Riley Magnus’s
Dark Paranormal Urban Fantasy

#064 07 14 2019 Elizabeth Bell’s
Historical Fiction

#065 07 15 2019 Lori Baker Martin’s
Literary Novel

#066 08 01 2019 Sabine Chennault’s
Historical Novel

#067 08 02 2019 Margaret Porter’s
Historical Biographical Fiction

#068 08 04 2019 Hank Phillippi Ryan’s

069 08 08 2019 Diana Y. Paul’s
Literary Mainstream Fiction

070 08 10 2019 Phyllis H. Moore’s
Women’s Historical Fiction

071 08 11 2019 Sara Dahmen’s
Historical Fiction

072  08 19 2019 Carolyn Breckinridge’s
Short Story Collection

073 08 21 2019 Alison Ragsdale’s
Emotional Women’s Fiction

074  08 22 2019 Lee Matthew Goldberg’s
Suspense Thriller

075 08 23 2019 Jonathan Brown’s
Mystery/Amateur P.I.

076 09 02 2019 Chera Hammons Miller’s
Literary Fiction w/ suspense, concern with animals & land management
Monarchs of the Northeast Kingdom

077 09 09 019 Joe William Taylor’s
Literary Mystery
The Theoretics of Love

078 09 15 2019 Linda Hughes’s
Romantic Suspense
Secret of the Island

079 09 19 2019 Max Elliot Anderson’s
Middle Grade Adventure/Mystery
Snake Island

080 09 22 2019 Danny Adams’s
Science Fiction
Dayworld: A Hole In Wednesday

081 09 24 2019 Arianna Dagnino’s
The Afrikaner

082 09 29 2019 Lawrence Verigin’s
Seed of Control

083  10 05 2019 Emma Khoury’s
The Sword And Shield

#084 10 07 2019 Steve McManus’s

#085 10 08 2019 Sheila Lowe’s
Mystery/Psychological/Suspense with Scientific Bent

#086 10 10 2019 Jess Neal Woods’s
Historical Fiction

#087 10 11 2019 Karen Odden’s
Historical Suspense

#88 10 14 2019 Kate Maruyama’s
Love, Loss & Supernatural

#89 10 17 2019 Sherry Harris’s

#90 10 18 2019 Linda Mooney’s
Science Fiction Apocalyptic/ Post Apocalyptic

#91 10 19 2019 Jayne Martin’s
Flash Fiction Short Story Collection

#92 10 22 2019 Janice Cole Hopkins’s
Inspirational Romance

#93 10 29 2019 Kristi Petersen Schoonover’s
Short Story Collection

#94 11 01 2019 David Henry Sterry’s
Fiction: Sexual Violence

#95 11 03 2019 Jay Requard’s
Dark Fantasy/Horror

#96 11 04 2019 Caroline Leavitt’s

#97 11 06 2019 Kelsey Clifton’s
Science Fiction

#098 11 13 2019 John F Allen’s
Urban Fantasy Tale

#99 11 16 2019 Damian McNicholl’s
Historical Novel
“The Moment of Truth”

#100 11 19 2019 Stacia Levy’s
Mystery/Suspense Novel
“Girl Crush”

#101 11 24 2019 Charlotte Morgan’s
Fiction Novel
“Protecting Elvis”

#102 11 26 2019 T. L. Moore’s
Children’s Christian Fiction
“Ed On My Shoulder:  Maria & The Candy Trail”

#103 11 27 2019 Jeanne McWilliams Blasberg’s
Coming of Age Literary Novel
The Nine

#104 11 29 2019 Charlotte Blackwell’s
Adult Paranormal

#105 12 07 2019 Mike Burrell’s
Satire Novel

#106 12 09 2019 Phil McCarron’s

#107 12 11 2019 Wendy H. Jones’s
Crime Fiction/Police Procedural Novel

#108 12 13 2019 Sandra Arnold’s
Historical Literary Fiction
“The Ash, the Well and the Blue Bell”

#109 12 16 2019 Amalia Carosella’s
Historical/Contemporary/Duel Timeline/ Women’s

#110 12 19 2019 Laura Bickle’s
Weird Western/Contemporary Fantasy

#111 12 27 2019 Brian Pinkerton’s
Science Fiction Thriller

#112  12 28 2019 Sandra de Helen’s
Lesbian Thriller

#113 12 29 2019 Jo Wilde’s
Vampire Thriller

#114 12 30 2019 Sam Richard’s
Short Story Collection of Weird and Transgressive
“To Wallow In Ash and Sorrows”

#115 12 31 2019 Duncan B Barlow’s
Literary Fiction Novel

#116 01 02 2020 Allison Landa’s
Young Adult Novel

#117 01 03 2020 Pablo Medina’s
Literary Satire Novel

#118 01 06 2020 William Trent Pancoast’s
Historical/Literary Novel

#119 01 07 2020 Jane Bernstein’s
Contemporary Novel
“The Face Tells the Secret”

#120 01 09 2020 Terry Kroenung’s
Young Adult, Historical and Fantasy
“Brimstone And Lily”

#121 01 12 2020 Melissa Yi’s
Fiction Thriller

#122 01 15 2020 Marcie R. Rendon’s
Crime Thriller

#123 01 16 2020 Tori Eldridge’s
Multi Genre Novel

#124 01 17 2020 Kristen Joy Wilks’s
Christian Romantic Comedy

#125 01 20 2020 Susan C. Shea’s
Cozy Mystery

#126  01 22 2020 Phong Nguyen’s
Improvisational Fiction

#127 01 23 2020 Kate Thornton’s
Mystery Short Story In Its Entirety
“Ai Witness”

#128 01 24 2020 Phil McCarron’s
Semi Fictional Essays
“The Great Facepalm: The Farce of 21st Century

#129  01 27 2020 Kenneth Weene’s
Historicized Literary Fiction
“Red And White”

#130 01 28 2020 Graham Storrs’s
Science Fiction Thriller

#131 02 08 2020 Angela Slatter’s
Short Story “Terrible As An Army With Banners”

#132 02 11 2020 Joan Joachim’s
Just One Kiss

#133 02 16 2020 Kelsey Clifton’s
Science Fiction

#134 02 17 2020 Soraya M Lane’s
Women Historical Fiction

#135 03 07 2020
Linked Fiction
BLEACHERS Fifty-Four Linked Fictions
By Joseph Mills

#136 03 15 2020
Science Fiction Romance
By Marie Lavender

#137 03 17 2020
Crime Fiction
12 Bullets
by O’Neil De Noux

#138 03 18 2020
Flash Fiction Piece
by Kelle Grace Gaddis

#139 03 20 2020
By Jamie Sheffield

#140 03 21 2020
Character Driven Novel
By Jamie Lisa Forbes

#141 03 23 2020
Literary Murder Mystery
By Russell Rowland

#142 04 01 2020
By Kim Cormack

#143 04 02 2020
Western Noir Short Story
“Night Rounds”
by James Reasoner

#144 04 03 2020
Southern Fiction
By Claire Fullerton

#145 04 04 2020
Mainstream novel with elements of crime, mystery, and magic
by Karen Hugg

#146 04 07 2020
Historical Fiction
by Sophie Perinot

#147 04 08 2020
Dark Urban Fantasy with elements of Paranormal Romance
by Stephanie Reisner aka AUDREY BRICE

#148 04 13 2020
Mystery With A Fantasy Twist
By Shoshana Edwards

#149 04 14 2020
Historical Fiction
by Sharon Glogal Friedman

#150 04 19 2020
Vampire Horror Novelette
Blood Thrasher:  The Devil’s in the Metal
by Adam Messer

#151 04 25 2020
Historical Fiction
Charis in the World of Wonders
by Marly Youmans

#152 04 29 2020
Historical Fiction
The Master of Verona
by David Blixt

#153 04 30 2020
General Fiction (Family)
Bread Bags & Bullies:  Surviving the 80s
by Steven Manchester

#154 05 01 2020
Into The Ashes
by Lee Murray

#155 05 06 2020
Coming of Age/Crime Novel
All Things Left In The Wild
by James Wade

#156 05 10 2020
Paranormal Mystery
Southern Bound
by Stuart Jaffe

#157 05 13 2020
Mystery/Crime Novel
By Mark Slade

#158 05 15 2020
Horror/Crime Novel
Hotel Nowhere
By David E Adkins
#159 05 16 2020
Satire/Crime Novel
by Clint Margrave

#160 05 19 2020
Southern Gothic Fiction
by Emily Carpenter

#161 05 21 2020
Women’s Domestic Life Fiction
by Alena Dillon

#162 05 26 2020

No comments:

Post a Comment