Welcome back to the blog. This week, I’d like to reach out to follow authors working to put their books out into the world. As I’m currently preparing for my first major convention appearance, I thought about all the preparations that go into getting ready for any kind of appearance for an author. So today, I’d like to present a check-list for any author making their first major appearance, from a local signing to a full con appearance.
- Books- let’s start with the most obvious part of a con- the actual product. You need to make sure you’ve got a good amount of books. The worst feeling of an appearance is to run short early and miss potential opportunity. However, you also don’t want to over-order, and be left with a huge number of books. The best thing to do is to plan for your appearance and decide how much to bring based on just where you’re going and how many people will likely be there.
- Money-Box- besides books, the most important thing you need at an appearance is money. You need to have loose cash to give change to people that pay in cash. You may also want to invest in a credit card reader, which are often small enough to work with a smart phone and will make it easier for people to pay. Regardless, you must always have a cash-box, a small, lockable container that holds your change and your profit. This is one of the two most important things to bring to any appearance.
- Props- another important part of any event. You always want to appear professional and to attract attention. Some simple props can easily accomplish this; a poster of your book or even of yourself can help steer people in your direction and get the first initial interest. As with the book number, this should be adjusted for your appearance. You don’t want to overcrowd a library or undersell a crowded convention.
- The Right Attitude- no one wants to go to a signing for a grumpy author. Be prepared for the event you’re going to- if it requires you to speak, be polite, informative, and most of all, approachable about your work and as a person. If you’re going to be in a group, be inviting, but without seeming like a carnival pitchman for your book. Above all, be prepared to be in one location for a long time, friendly to the people that approach, and above all, grateful for people that purchase your book.
- Preparations- this seems obvious, but it’s worth mentioning. Whatever event you are going to, know the details. Know when you need to get there, make sure your give yourself time to set up, know the setup, and make sure all your materials are ready.
- Help- something many authors don’t think of. Appearances are built around the author, but they can require more then one person. Don’t be unafraid to ask for help in setting up appearances, especially at cons. The larger the event, the more pressure is on to get customers, so don’t be afraid to have someone else there to help you out.
- Research- we end with the most important step of appearances, finding one. While your publisher may aid you in finding events, you will likely need to do some work on your own. Some events are easier to schedule- local signings, events at libraries, are usually happy to host you. Events like cons however, will take more work and require your efforts to find them. So get on your computer and find them, it’s the only way to be able to get your book out there.
Hopefully, this checklist will make it easier for new authors to navigate the difficult waters of their first major event. And don’t forget about my appearance at the Big Apple Con in a few weeks, on Mar. 7th, at NYC’s Penn Pavilion from 10-6 pm.
Greetings once again. Today is the first step of the promotion for Equites, as I announce my first Goodreads giveaway! It’s simple- all you have to do is enter at the link below, and you’ll be entered to win one of ten copies of Equites. The only thing better then an epic fantasy is a FREE epic fantasy, so don’t delay. The giveaway is open until March 2nd, so hurry over and enter!
Greetings once again. While I’m currently enjoying the newness of my new book, a part of my mind also knows how much closer I am to completing my trilogy. At the same time, Marvel Comics made a big announcement that it will bringing the current Marvel Universe to an ‘end’ (but given comics, this could mean many other things). Regardless, these events both led to write today’s blog on one of the hardest things for any writer to create- the end. The ending has been described as the best and the worst part of a story for any writer, since it means both the end of a project and the start of a new one. But before anything can be started, an ending has to be done with proper skill.
The Good Ending
Ideally, an ending will accomplish certain goals. It will bring the story to an end in a satisfying way, so that readers feel a sense of completion. It also has to feel like the end of a journey. Characters that began an arc must complete it, to mark the end of the journey they have over come. They can do this by gaining confidence, overcoming an enemy, or accomplishing a goal despite hardships and setback. Oftentimes, this progression is the end by itself. However, goals can also be outside the character- saving the world, destroying evil, etc. Regardless of the method, the end must always come in a way that feels true. An ending such as a dues ex machina (or the ‘magic ending’ where everything is solved by luck or a sudden plot device) fails in this because it negates any progress the characters have made, or any real depth the story’s progress has made.
The Bad Ending
A good ending may seem like a basic, easy thing for a writer to want to accomplish, but it is not always so. Many obstacles can block the way, such as the dues ex machina. However, writers can also be challenged by other factors. One of the most common is simply not knowing when to end. Many of us can think of a series that started well, but suffered because it went on long after its premise was exhausted. In fact, one of the most famous TV ‘rules’ is the Fawlty Towers rule, named after the classic British series, which only lasted twelve episodes to avoid creative burnout. Other series, like Discworld, avoid this problem by focusing on a universe rather then characters, which allows for much more varied stories.
Getting back to comics, there is also the fear of ending prematurely, or a reboot. DC Comics’s New 52 relaunch, in which a new continuity was established, angered many fans who didn’t want to see an end to the current incarnations of their favorite stories and characters. Worse still, the new continuity altered many classic characters and origins while exemplifying the worst kind of reboot- one done without complete planning behind it, which eventually cost DC the sales it gained over Marvel. And finally, there is one last type of bad ending to mention- the fanservice ending, which is designed largely to please a division of the fanbase over telling a complete ending. For this, I point to the recent Legend of Korra finale, which ended in an ambiguous suggestion of two characters having a homosexual relationship (a popular fan belief) instead of having an ending with greater meaning to the show’s overall message. This also can be constructed as the writers trying to add last minute depth to underdeveloped character relationships and hoping for a controversial ending to make the show seem more important then it was.
In simplicity, a good ending has to satisfy, bring characters and goals to an end, and feel final. Writers of all types need to recognize the need to bring their stories to a satisfying conclusion, and when it needs to happen. For one final example, J.R.R. Tolkien did actually consider a sequel to Lord of the Rings. However, after writing only one chapter, Tolkien stopped, realizing that there was simply nothing left to say. That, is an impulse that all writers need to recognize, because even the deepest well can run dry.
Greetings to all. Today, I have great news, as my second novel, Equites, has been sent to the printers, and is finally live and available for purchase! Currently, it can be purchased on the iUniverse website (link below) in hardcover, paperback, and e-book, and will soon be available on mainstream book sites such as Barnes and Noble and Amazon.com.
This marks the beginning of a busy year, as I will be doing even more promotion for the Lightrider series. This will include giveaways, a national Book Exhibit, and my first venture into conventions, at the Big Apple Con on Mar 7th in NYC, and the Garden State Comic Fest in Morristown NJ over the summer. More details will be released as time goes on, so please, keep checking back for info and my usual writing entires. Here’s to a successful New Year.
Welcome back to the blog. In order to combat the post-Christmas blues, I’ve saved my final holiday entry for today. And I’ve saved the best for last. So prepare to take closer look at a Frank Capra bomb that became a holiday classic- It’s a Wonderful Life.
Prayers on Earth cause God and Joseph to summon Clarence, an angel in training, to venture down and help George Bailey, a man considering suicide. Through flashbacks, Clarence sees George grow from child to man, a life in which George often gave up his dreams of travel and architecture to help others in his hometown. Despite giving people a way to build and own homes rather then beg from the wealthy Mr. Potter, George is regretful of his missed chances, which overtake him when money from his business is misplaced and he faces jail. Despondent, George attempts to kill himself for insurance money, only to be stopped by Clarence. Acting on George’s statements, Clarence then reshapes the world so that George was never born, resulting in a world where the town is ruled by Potter and George’s friends and family are bitter, unhappy, or ever even came into existence. Horrified, George begs for his life back, which Clarence gives him. George returns to accept the consequences, but the townspeople he has helped over the years come to give him the needed money, repaying him for all his years of kindness.
What Writers Can Learn: Lengthy Narrative, Consequence
While it took many years of holiday TV airings to become a holiday staple, it is not hard to see the Christmas nature of this film, which promotes selflessness and the kindness of friends and family. But other then its morality, this film gives writers examples of excellent tools. First, the piece is perfect as a long narrative of George Bailey’s life. We are shown George from the time he is twelve, and then almost all of his early adult life. Even without his teenage years, we are given a clear of the man’s life, and the core of his character. Even as a child, he displays a strong selflessness, losing part of his hearing to save his brother, and taking over his family business to save it from Potter. With each age, we see George become a better man and we became more and more enamored with him and hope for his success.
However, the narrative also reveals the consequences of George’s actions. Each of his good deeds is marred by sacrifice. We see him give up college education, his dream of architecture, then his chances to see the world, his honeymoon, all to keep his family business going, and protect the townspeople. And while his nobility is admirable, he displays all too human regret and frustration at the loss of those dreams. We see touches of it throughout it the film, but it is nowhere more apparent then the difficult scene where George returns home after the money is lost. He is clearly angry and saddened, snapping at his family, complaining about his life, and then finally destroying his models of things he would never build. We see just how human George really is and despite all the good he has done, he has sacrificed a great deal. Some have even brought this into the final scenes, where the townsfolk are brining George the needed money. While it can be seen as the repayment of kindness and how good deeds are rewarded, it can also been seen as another blow to George, since he now has more then enough funds to keep working in a job he never truly wanted. But regardless of how it seen, this is a perfect view of the consequences of one’s actions and how they affect his life.
While not a holiday film, Jimmy Stewart (George) had a similar role in Mr. Smith Goes to Washington, where he plays a junior senator attempting to stand up to the inhuman bureaucracy of government (a film of great use in these difficult political times). And with that, our holiday journey is finished for another year. I look forward to seeing you all in the New Year, as I put forth the second volume of Lightrider. Happy Season to you all.
Greetings once again, as we continue our look at great holiday writing. Today we examine a genuine holiday classic, drawn from the mind and hand of one of America’s comic strip legends. Let’s turn the spotlight on A Charlie Brown Christmas.
It’s the holiday season, and as usual, Charlie Brown is feeling depressed. He feels that Christmas has become over-commercialized, (thanks to Snoopy’s excessive doghouse decorations and his sister Sally asking Santa for money), and that he cannot grasp the true meaning of the holiday. Taking advice from Lucy, he agrees to direct the school Christmas play, but is unable to control the unruly and sometimes selfish children. Charlie Brown decides to get a Christmas tree to better set the mood, but selects a small, barren tree (the only actual tree in the lot) which is ridiculed by the children.
Charlie then beseeches someone to tell him the meaning of Christmas, which prompts Linus to recite the Nativity story from the Bible. Feeling inspired, Charlie Brown takes the tree home to decorate, but it cannot even support a single ornament. C.B. leaves in disgust, but Linus and the other children arrive, and are able to properly decorate the tree as C.B. returns, as the group begins to sing.
What Writers Can Learn: Simplicity, Subtlety
Charlie Brown Christmas has aired for fifty consecutive Christmases, and it’s not hard to see why. Aside from bringing Charles Schulz’s Peanuts cast to television, it is a landmark in the art of simplicity. Everything about the story feels genuine and endearing, from the basic story (completed within ten days) to the performances (done by young children with little previous acting experience). As a result, the story isn’t weighed down by excessive details or long winded story telling. The characters are direct, which makes them seem more like children, and the lessons are quickly stated and shown, which makes it easy to get across, especially in Schulz’s simple and often heartwarming style.
The other great aspect is the subtlety. As mentioned, the story itself is largely simple, but as such, its points can be easy to grasp. Charlie Brown is similar to the Grinch at the start, disillusioned with the commercialism of Christmas, and this point is clearly stated without lingering too long. The other children also display their negative traits quickly. But of all these moments, the most important is Linus’s reading of the Bible, one of the key moments of the Christmas season.
A scene that Schulz fought to be included, it is easy to say that bringing up religion is a difficult topic, and it is. But the presentation is what makes this the keystone of the special. The earnestness of Linus’s delivery is a major part, to be certain. And while the religious aspect is undeniable, it is also true that Christmas is a religious holiday, and for those that celebrate that aspect, this is what the holiday truly means. But most importantly, following Linus’s speech, there is silence. No urging is given to the viewer, no demands are made. We are simply left to our own devices, to take the words and apply them as we see fit. In that, we have the greatest example of subtle writing- assuming the audience is smart enough to grasp the meaning in their own way.
There have been numerous Peanuts specials over the years, dealing with other holidays and various events, but few, if any, have reached the heights of the first. But those of you looking for one last gift, come back next week when we unwrap what may very well be the greatest Christmas tale of all.
Welcome once again, as we continue our month long look into Christmas storytelling. Last week, we visited a modern version of the North Pole, but today, we’re entering a different realm. A realm between the pit of man’s fears and the summit of his knowledge. This week, we venture into the American TV classic known as The Twilight Zone, and its Christmas offering, “Night of the Meek.”
Henry Corwin, a drunken department store Santa, arrives late and is fired from his position after a parent complains. Corwin then pours his heart out to the crowd, explaining that he drinks in large part because of the squalor and poor condition of his neighborhood and the children in it, and that he cannot truly be Santa for them. Decrying that Christmas is a far purer and better thing then department stores and presents, Corwin wishes that for one night, the meek could inherit the Earth. After being refused entrance to a local bar, Corwin comes across a large sack, which produces any gift asked of it. He then fulfills his wish, giving gifts to the children of his neighborhood and to the men of a homeless shelter. However, a nun calls the police, who then contact Corwin’s former employer, who believes he has stolen the gifts from the store. However, the store manage can only remove garbage out of the bag, and the policeman tells him to leave it alone. Later, Corwin has emptied the bag, and wishes only that he could do this every year. As he returns to the alleyway where he finds the bag, he now discovers a sleigh with two reindeer and an elf, waiting to take him to the North Pole.
What Writers Can Learn- Redemptive, Unique Character Writing, Morals
While The Twilight Zone is largely thought of for supernatural tales, it could often tell more heartfelt stories, and this is no exception. A great part of the genius of the episode can be placed at the feet of Corwin. The idea of a drunken, layabout department store Santa is nothing new, and is often written for comic effect, or to showcase a superior Santa figure. But here, we are made to feel for Corbin, who is aware of his flaws, and drinks out of regret not for himself, but for the poor people he lives with. We see that there is a good man behind the alcohol soaked veneer, who takes his position so seriously, that he weeps when poor children ask for gifts and “a job for my daddy” that he is powerless to give (A great note of consideration must also be given to Art Carney, famous as Ed Norton on The Honeymooners, who carried the episode with his heartbreaking performance as Corwin).
But this episode is also excellent in its redemption and moral offerings. Despite his noble intentions, Corwin is at best, a sad figure with little to give the world, and he knows it. Upon finding the magic bag, we see Corwin’s utter joy at being able to make his dream a reality. Even under the face of scrutiny, he stays true to his goal, gifting his accusing manager, an act that convinces the policeman that Corwin should be left alone to accomplish his goal. In that, we see that even the most unlikely of us can do great good, if we are only given the chance.
And now, we come to the morals, the part that makes this required Christmas viewing for everyone. As mentioned, Corwin is a department store Santa. He constantly sees the hustle and bustle of people endlessly shopping and buying and spending each day, then goes home to a world where Christmas is just another day of the year. He sees children that will get everything they want, and children that don’t even get coal in their stockings. Even his firing comes at the hands of a woman who is trying to force the commercial of Christmas onto her son, and it is that very scene that makes Corwin deliver a speech on the truth of Christmas that ranks up with Linus telling the Nativity to Charlie Brown. Because Corwin doesn’t just remind us of Christmas’s true meaning, he stands in the hall of commercialism and reminds all the people, including the children, of those who have nothing. It is a speech that I have placed below, and I dare you watch it, and not weep.
The Twilight Zone had no other Christmas episodes, but those looking for strong moral tales would do well to examine its episodes for them (“The Last Night of a Jockey” is a fine example). “The Night of the Meek” was remade for the 1980’s Zone revival series, but nothing tops the original. And of course, there is another classic tale of the true meaning of Christmas, which we’ll get into next week. But if you want a hint, check the funny pages.
Greetings once again. First off, I must apologize for my recent absence from the blog. I have spent last month prepping for the release of the Lightrider sequel, Equites, and have had little time for any kind of outside work. However, that work is nearing completion, and I can begin December with new postings. And as we are in the holiday season, I am compelled to continue last year’s tradition, and comment on some Christmas stories. To kick things off, I have chosen a new holiday film that seems on it’s way to becoming a holiday classic- Arthur Christmas.
Arthur Christmas is the youngest son of the Claus family, which has maintained the role of Santa for years, the role passing from father to son throughout the generations. Arthur’s brother Steve is largely responsible for the work each year, having transformed the process into a largely military style operation, with the boys’ father acting in a purely symbolic role. However, the current Claus, who is out of touch and largely working in a bubble, is still unwilling to pass on his title, which frustrates Steve to no end. When a present is found to be undelivered, the elder Clauses ignore it, but Arthur, who believes no child should ever be left behind on Christmas, sets out to correct the error, aided by his grandfather, who also wants to recapture his youth.
What Writers Can Learn: Old vs. New, Sympathetic Characters, Moral Lessons
Arthur Christmas is a unique spin on the Santa Claus legend, largely because of the modern spin it puts on the actual job of being Santa. The amount of technology and stealth style planning that goes into making this version of Christmas is clearly effective, but at the same time, seems cold and impersonal. As such, it is an interesting dichotomy for the viewer. The process is effective and amazing to behold, but it is so far removed from the traditional depictions of Santa, that it becomes uncomfortable to a degree, a fine satire of the effect of modernization on many current technologies and trends.
However, what gives the film much of its strength is that all of its major characters are relatable. In fact, it is hard to find an active villain within this story, which in most stories would be a death knell. However, this story succeeds by giving each Claus, save Arthur, a healthy degree of selfishness, though each one is understandable. Steve is resentful towards his father and does not want his brother to succeed because he doesn’t want him to be a hero. But at the same time, Steve has clearly been the real driving force beyond his father’s recent work, and is justifiably angry at continually being passed over for a job he has proven himself at. Grand-Santa simply wants to feed his ego, but he has also been neglected in his old age, and watched the tradition he worked for be pushed aside. And finally, Santa himself is shown as well past his prime, but refusing to pass down the job to his son. However, this man has been Santa for most of his life, loves his work, and is frightened at the prospect of losing his identity. This makes all of the characters sympathetic for different reasons, and viewers can find their own opinions regarding them and the film itself.
Finally, the film also teaches a fine lesson about one of the greatest aspects of Christmas- the act of giving. Throughout the film, each of the Santas acts in selfish ways and give little thought to the missing gift at first. Then when they do, they either botch the procedure or argue over who should do it. Only Arthur truly cares about making sure the child gets what she asks for, a moment outlined in the movie’s strongest scene. It reminds us of the best part of giving to others- that it doesn’t matter how or who does the giving, only that it is done with care and love for the receiver. It is because of Arthur’s dedication to this, that his family realizes he is the only one that can carry the name of Santa into the future. And that reminds us of why we truly should give at Christmas- simply to make another person happy.
In this case, I can’t offer further reading, but I can implore you to view this film to really see the ideas I’ve explained here. Next week will see the examination of another Christmas classic, and in the spirit of the season, I leave with a gift of my own- a preview of the cover of Equites. And if you are interested in finding out more, I will be at the Clark Public Library in Clark, NJ, from 2-4 this upcoming Saturday, where you can get a special pre-order discount. Happy Holidays.
Greetings from the boneyard as we celebrate All-Hallows Eve. Tonight, we head into the past for one of the earliest examples of horror in the last century, horror made with ink and pen and paints for children of all ages. Today, we end October with a look at the grand history of horror comics.
Horror comics can be traced back to the early 19th century in America, with Prize Comics’ “New Adventures of Frankenstein” widely considered the first of the genre in the States. While many other publishers produced such books, the most well known was EC Comics, and its three series Haunt of Fear, Vault of Horror, and Tales From the Crypt. These comics reached a massive high in the 1940’s, with famous artists such as Johnny Craig and Reed Crandall writing and drawing the frightening tales.
Unfortunately, these books also experienced a tremendous backlash as parents of the time preached on the bad influences of horror and crime in comics. Dr. Fredric Wertham also published Seduction of the Innocent, which claimed that violent caused children to be violent, painted the comic industry as a shadowy, Mafia like operation, and even pointed to Batman and Robin as propagating homosexuality. In response to the claims (which were based on largely undocumented anecdotes), the Comics Code was formed, which put a ban on many of the essential details for horror and crime comics. As a result, most horror comics faded away, though some were repackaged under sci-fi and mystery.
However, horror comics did find their way around these guidelines, and in the 1970’s the code did relax enough to allow Marvel to create the vampire Morbius, and even their own version of Dracula. Alan Moore also had great success at DC resurrecting the Swamp Thing and modern comic writers have found success with characters like Hellboy, and series like 30 Days of Night, Deadman, The Midnight Sons, and Marvel Zombies.
While many horror comics were generally simple horror tales, their influence has allowed for much of the creativity in comics today. Without their influence, it is unlikely their would be much, if any, supernatural influence in the comic world today, or any real seriousness. Indeed, many look at the Silver Age of Comics (done under the Comics Code), as one of over the top stories, with such gimmicks, as Lion-Headed Superman, and Bat-Baby (really. They both happened). Even a long lived character like Batman suffered without the elements of those early horror comics, becoming farther and farther removed from his grim beginnings until the 70’s and the loosening of the Code. Because of that, comic writers today have further freedom and creativity to weave not only frightening tales, but to explore darker, more serious elements that challenge readers instead of merely satisfying them.
As mentioned the EC Comics are largely among the most popular horror comics, with various anthologies existing today. The titles mentioned previously are also worth looking for the modern ramifications of horror. However, those with a taste for the silver screen can also be satisfied. The classic TV anthology Tales From the Crypt, is based on the comic of the same name, and many episodes are direct adaptations. Stephen King and George Romero’s Creepshow is a feature length tribute to EC, featuring graphics and stories straight out of the classic comics. So if you’re looking for a way to get some scary fun next Halloween, take a trip to your local comic story. Until then, boils and ghouls…
Welcome back to the literary graveyard, as we continue our Halloween journey. Today, we take on one of an American horror legends, located in the Hudson River Valley region of New York State. In particular, a small village that plays host to a story of death, ghosts, and mystery- Washington Irving’s The Legend of Sleepy Hollow.
Familiar to many, Sleepy Hollow is the tale of Ichabod Crane, a schoolteacher that journeys to Sleepy Hollow and pines for the hand of local beauty Katrina Van Tassel. However, Katrina has another suitor- Abraham ‘Brom Bones’ Van Brunt, who delights in pranking and frightening the superstitious Crane. Then at the Van Tassel’s autumn party, Van Brunt spins the tale of the local ghost, the Headless Horseman, a Hessian solider decapitated by a cannonball, and who now rides the countryside looking for his head. Crane is frightened by the story and later leaves the party, presumably after being rejected by Katrina. On his way home, he runs across the Horseman, and endures a panic filled ride to the Church bridge, which is supposedly a barrier to the Horseman. However, the Horseman hurls his flaming head at Crane, who is never again seen in Sleepy Hollow, with many wondering what became of him.
What Writers Can Learn: Ambiguity, Mystery, Suspense
One of the most fascinating things about Sleepy Hollow is its ambiguity. For example, none of the main characters are purely likeable. Ichabod is depicted as an overly strict and moral teacher, but a glutton in his private life, who desires Katrina as a way to access her father’s vast fortune. Van Brunt is a local hero, but a vicious prankster and a bully in many depictions. Even Katrina is hinted to be only interested in Ichabod to make Van Brunt jealous. Each character is genuinely flawed and imperfect, which makes who is likeable up to the reader.
However, that ambiguity also extends to the story itself. Nowhere is this more seen then in the final fate of Ichabod Crane. While it is plausible to believe Ichabod was spirited away by the Horseman, the story also suggests that he escaped and left the town to become a judge in another county. But it is also suggested that his spirit haunts the area. However, the strongest suspicion is placed on Van Brunt, who was described as an agile rider. The story mentions that he always had a knowing look upon his face when the tale was told, hinting that he dressed as the Horseman to frighten off Crane and get Katrina (whom he does marry). What actually happened is left up the reader, and with all the options seeming plausible, the terror of not knowing the truth makes the tale even more frightening.
Of course, no discussion of the story would be complete without the famous chase. Irving wisely builds the section to pulse pounding intensity, beginning with the superstitious Ichabod traveling down a dark road, the ghost stories of the party still ringing in his ears. As the Horseman approaches, Crane demands for his identity, until the ghoul’s frightful visage is revealed. Crane runs off, pushing his horse to the limit as he races for the bridge, the Horseman in pursuit. Crane reaches the bridge, but turns just as the Horseman hurls his flaming at him, ending the chase so suddenly, the reader is left drenched in sweat, stunned into shock and uncertainty, elements that all great suspense stories should.
Sleepy Hollow has been adapted many times in film and television. The Disney adaptation is best for younger viewers, as it maintains a fine balance between Disney charm and frights. Older audiences would be well served by Tim Burton’s Sleepy Hollow, which is loose with the story (Crane is now a NYC constable, called in to investigate the Horseman) and adds a compelling murder mystery and well done gore element, while still paying homage to the original story. The TV movie The Hollow is also a fine choice- a sequel of sorts that deals with The Horseman returning for the descendants of Ichabod Crane, with many dark and genuinely frightening elements. Finally, there is the current TV series Sleepy Hollow, which resurrects a British turncoat version of Ichabod Crane in the modern day, along with the Horseman. While it expands on the story, adding Biblical, historical, and mythical elements as well as a modern crime drama, it is still an enjoyable and fun version, good for anyone looking to expand on the original story.
Come back next time for our final unearthed grave, one filled with ink and paint and plenty of ghouls….