George A. Romero passed away this last Sunday. My facebook feed is filled with tributes. I must belong to all the right "groups," otherwise it would be nothing but cat pictures and histrionic parroting about "Russian collusion" and whatnot. I'm guessing Romero meant a lot of things to a lot of people. He absolutely transformed horror cinema. That would be enough to make him a legend. But he did so on his own, without any blessings from the Overlords of Hollywood, the suits and ties in the movie business who think they get to decide what will and won't be produced. This spirit of independence, to me, is Romero's most important contribution. As a writer who has been completely shunned by the mainstream publishing industry, I've had to go the independent route and it's not easy at all. Easy is selling out. Easy is "giving the people what they want." The difference between the corporate media and truly independent artists is the artists understand what the people want and what the people need are two different things. In 1968, the people may have wanted more pandering drivel like Guess Who's Coming to Dinner, but Romero gave them what they needed. Unlike a mainstream product, Night of the Living Dead wasn't made to be, ah, consumed over a weekend or two and then relegated to secondary markets. It took a while to build its steam and eventually became what the mainstream calls "a cult classic." That's their way of saying, "Gee, we really missed the fucking boat on that one!" In this day and age, when the corporate media cranks out nothing but one pandering, cloned product after another, that spirit of independence is more important than ever. The best thing we can do to honor the work and legacy of George A. Romero is to continue giving the public what it needs, even if it infuriates our corporate overlords.
And then, of course, when we're dead, we can come back to life and feast on our corporate overlords' guts!
So I declared summer, 2017, the Summer of Horror at Drive-in Radio on KBGA. I spent the first month talking about the Golden Age of the Slasher Film. All four episodes are now archived at YouTube for your listening pleasure:
This month I'll be talking about George A. Romero, Wes Craven, Tobe Hooper, and John Carpenter.
If you want to tune in live, the show airs on KBGA Missoula, 89.9 FM, available for streaming here, on Tuesday nights from 10PM to Midnight, Mountain Standard Time (That's midnight on the East coast and 9PM on the West coast).
If you ever hear anything on the show your disagree with or want to discuss further, feel free to do so in the comments section here. Just don't write anything stupid!
So just over a year ago I started writing horror stories (I should say I RESUMED writing horror stories since I wrote horror stories when I was a kid, before college poisoned me with idiotic aspirations to become an "intellectual") and a few have finally gotten published. The latest, "EMUQ," can be found in the new issue of Massacre Magazine. Like all my horror stories, it takes place in the Lake County region of Indiana in one of several towns I've invented. It's only 99 cents on your futuristic kindle device. Enjoy!
And if you want to read some more horror by Mr. Cizak, be sure to check out "Creepy" at Beat to a Pulp and "Atomic Fuel" in the latest issue of the outstanding Digest Enthusiast.
In case you missed it on my other social media advertising devices, I host a radio program on Tuesday nights called DRIVE-IN RADIO. It's a mix of me saying outrageous things about b-movies and various strains of 'billy' music--psychobilly, rockabilly, hellbilly, etc.
For an example of outrageous things I say, in the STAR WARS show I declared only the first Star Wars movie worth watching. Yes, I dismissed even THE EMPIRE STRIKES BACK. Unfortunately, somehow I managed to lose that show.
If you want to listen live, you can tune in on Tuesday nights from 10 to Midnight (Mountain time, which seems to be the same as Central Time) at KBGA.ORG. If, by chance, you are in the Missoula area, you can listen on your radio at 89.9 FM. I log the songs played at Spinitron, where you can also chat with me during the show.
Mark your calendar and make your travel plans! On June 21, 2017, at 7PM, I'll be reading from DOWN ON THE STREET at Shakespeare and Co. in Missoula, MT. Sean McDaniel will be reading from his book CRIMINAL ZOO. Be there for the invasion of the Great Northwest!
So let me take a break from pushing PULP MODERN Vol. 2 No. 1 to tell you about THE DIGEST ENTHUSIAST #6. I was interviewed for a previous issue of the journal to talk about PULP MODERN. This happened just as I had lost all faith in the reading public's interest in TRULY independent publishing (and I gotta' say, it hasn't picked up all that much; I'm editing PULP MODERN now for the sheer sake of providing an alternative to the crappy corporate digests and touchy-feely boring-ass "literary" digests out there).
ANYWAY, earlier this year, when I started getting the itch to produce more PULP MODERN issues, I happened to be flipping through one of my contributor copies of the THE DIGEST ENTHUSIAST. I realized the editor, Richard Krauss, seemed to know a whole hell of a lot more about putting together a professional-looking journal than I ever did. I wanted to see some of my fiction in a future issue of THE DIGEST ENTHUSIAST. I contacted Richard, sent him a story, and he said he liked it and would run it in the next issue. That's how the conversation about PULP MODERN started. The rest, for those of you with the money and good taste to purchase the latest issue know, is history.
SO, let me implore you to buy and read the latest issue of THE DIGEST ENTHUSIAST. Not only will you get to read a fun story of mine about conformity ("Atomic Fuel"), you will get to see why I asked Richard Krauss to join the PULP MODERN crusade. THE DIGEST ENTHUSIAST is the best of its kind. No debate about it. Buy it, read it, and, of course, as always, review it on Amazon and help the squares get hip to the independent scene.
Dear non-writer friends, family, lovers, and enemies:
I recently re-launched PULP MODERN, a fiction journal filled with short stories by some great, independent writers from around the world. I’ve teamed up with Richard Krauss, who also produces an equally impressive journal called THE DIGEST ENTHUSIAST. Richard’s contribution has lifted PULP MODERN above the ranks of the thousands of independent journals out there by giving it a very professional look. The journal has been out for a week and, frankly, I’m very disappointed with the sales figures thus far. To be clear, this is not a profit-seeking venture. This is something I do to help my fellow writers by providing a non-corporate-influenced market they can send their work to. Sales figures, to me, represent how well the journal is read. Everyone involved is not doing this to pat themselves on the back, they are doing this to bring YOU, non-writer readers, something different from the vanilla, stale fiction journals you see on the stands at Barnes and Noble and other mainstream booksellers. You see, about thirty years ago, corporations started buying all the entertainment outlets that had any influence with the masses in effort to promote a singular, narrow-minded point of view. That’s why today, television, movies, and books and magazines are bland and uninteresting. We’re trying to provide an alternative to this neutered narrative the corporations want everyone to buy into. We can’t accomplish this without your help, though. Most of my friends, family, lovers, and enemies claim they like and support independent art. When I look at the sales figures for PULP MODERN, however, I know most of those who say they support it aren’t actually doing it.
Here’s what we need you to do:
1. Buy the journal. The journal is available in print for those of you who like to hold books in your hands, and in digital form for those of you who like to read on a kindle or similar such device. The price of the print journal is as low as I can go without the printer charging me extra for printing the book. Now, I understand Oprah doesn’t promote PULP MODERN. Nobody on the E! channel talks about PULP MODERN. The wonderful women on The View never discuss this journal. You probably think that means the journal is defective. No. It means it’s independent of any and all corporate influence. It means you’ll be reading fiction that hasn’t been watered-down to be “polite” or “politically correct.” That means you’re reading a REAL artist’s work. As I said, Richard Krauss has made sure this journal looks professional, so you can be seen in public with a copy of PULP MODERN and people won’t think you’re part of some cult or involved in some other unsavory activity. Reading a truly independent fiction journal won’t give you kooties or raise your property taxes. You will never be accused of being a communist or a “terrorist” by a House on UnAmerican Activities for reading PULP MODERN. This is not an example of “self-publishing,” so you don’t have to worry about the old fashioned stigma associated with self-publishing. You will be entertained, you will be enlightened, and you will be putting your money where your mouth is when it comes to supporting independent art.
2. Post a review at Amazon. Once you’ve made the great leap into the New Frontier and purchased and read (and thoroughly enjoyed) PULP MODERN, we need you to go to Amazon and post a review. Amazon promotes books according to the number of reviews a book has received. The first level starts with 25 reviews. This is very difficult for an independent journal to achieve, so we need ALL of you to do this. Whether you loved the journal or hated it, PLEASE take the time to post your thoughts at Amazon.
3. In order to encourage all my non-writer friends, family, lovers, and enemies to participate in this important endeavor, I will put the names of the first 25 people to review the journal into a hat and draw three to receive prizes. These prizes will be out-of-print books that are very hard to get now.
I thank you for your participation and hope that you will share this post with your friends, family, lovers, and enemies.
Pulp Modern vanished for a year because I felt the efforts of myself and the writers were not appreciated. Let's make sure this resurrection is successful. Please purchase a copy, read it, and review it at Amazon. The goal is to get fiction to a broad audience that has not been pre-approved and sterilized by corporate-owned publications (fake fiction! fake fiction!). THIS is the revolution. It's now or never...
Also -- Pulp Modern makes its triumphant return on Tuesday, May 9.
Finally -- check out my radio program DRIVE-IN RADIO on KBGA 89.9 FM Missoula, Friday nights at midnight (MST). I will begin posting archived shows on youtube in the next few days. I talk about b-pictures and play psychobilly and rockabilly music.
In effort to make sure things are done better than before, I am going to open submissions for Pulp Modern in a very orderly fashion so I don't break my back reading submissions. The first submission window will open March 1, 2017, and end March 10, 2017. Depending on the quality of the submissions received, there will either be no more submission windows before the first issue is produced, or I will open another one in a month or so in attempts to find more quality submissions. What that means is, prepare your best work for that first window, because that may be the only one until we start work on the second issue. There is also a new email address for submissions:
therealpulpmodern (at) gmail (dot) com
Also, very important: Pulp Modern once again will publish crime, horror, fantasy, science fiction, and westerns.
After some discussion with Richard Krauss, who edits the outstanding Digital Digest Enthusiast, I am bringing back Pulp Modern way, way ahead of schedule. I'm afraid it won't be quite what I had suggested a few weeks ago, but I've decided it's more important to have Pulp Modern available as a market for writers than it is to nourish my nostalgia for the 1930s magazine market. I still will not be able to pay what I would like to, but I will enact a ten dollars per story flat rate that I will be paying out of my own pocket. Richard Krauss is going to help with the layout and other aspects to make sure this is the best, most professionally-presented independent journal possible while I focus on making sure the best possible stories are published. As I know more, I will post here, at twitter, and facebook.
Abnormal Man is one of those books—it’s going to take you
places you would never voluntarily go. But you’ll go along for the ride,
because Grant Jerkins gives you little choice. Written in the second-person
present tense, Grant implicates the reader in the thoughts and actions of his
three main characters, forces empathy with people you normally hope the law will
catch up with and either lock them away for good.
The book is about Billy, a teenager who gets a sexual thrill
from fire. Circumstances put him on the road with Frank, an older, violent,
even more troubled character. They end up at a trailer with Chandler, a much
older, much more twisted individual who deals in dope and mild child
pornography (if there is such a thing). From that description, the average
person no doubt feels compelled to turn away. But Jerkins’ writing chops are
on-point—just enough description to put you in the time and place of the
action. Observations are made that all people, whether they’re suffering similar
psychosis to the characters or consider themselves “normal,” have made (the
most obvious being the impression young Billy has of the moon, and how he
carries that impression with him throughout the book).
This is not always an easy book to read. Squeamish,
unimaginative (and I would argue, people devoid of genuine empathy) readers
might toss it out early on, excusing their lack of empathy by saying, “I don’t
like these characters.” But for the reader interested in understanding minds
unlike their own, it does what great books are supposed to do—it drops you
right in the shoes of strangers and allows you to think about society’s
“undesirables” in ways more complex than simple black and white
generalizations. I couldn’t help but think of Lolita as I read it, and how that
book no doubt shocked readers when it was first published. Abnormal Man should
shock the status quo, but it should also be elevated to the same critical
status as Nabokov’s book.
(Abnormal Man was the first publication from ABC Group Documentation, who will be publishing my novella Down on the Street in a few months)
So the first story in the Lake County mythology I'm putting together has been published at Beat to a Pulp. It's called "Creepy" and takes on what I think of the over-use of that particular word. Enjoy!
So I spent the last three months researching and designing an online course at the college I teach at called Fantasy, Horror, and Science Fiction Literature. In the process, I had to revisit the original pulps for all three genres and my love and fascination with writing that is truly imaginative was rekindled. I fucking love these magazines. Is there anything on the newsstand today that rivals Amazing and Astounding? Weird Tales? No. Not even close. Bringing back a culture of fantastic fiction through pulp publications was a goal of mine five years ago and I failed. I failed miserably.
Pulp Modern's first two issues approached what I had originally set out to do. After that, the journal (there's a problem right there--calling it a journal instead of a magazine) started to veer in odd directions. People noticed and hardly anybody submitted stories until I went to the "themed" issue idea. Well, this was all fine and dandy, but again, it was far away from my original intentions. That's not to say that every issue of Pulp Modern wasn't its own little masterpiece. I love issue five, the variety of stories in it was amazing. The JFK issue looked like something 20-year old Alec Cizak would have produced, full of paranoia (see Joe Clifford's story for an example) and all out rage, not to mention the highly imaginative pieces by Chris Rhatigan and Mav Skye. Stories in the drugs issue earned praise from Otto Penzler's assistant who helps put together the Best Mystery Stories anthologies (or something like that). And the last issue, when I went all crime all the time, was wall to wall great crime fiction. I'm proud of every issue of Pulp Modern and the writers who contributed should be even prouder of the work they produced. But Pulp Modern was inflicted by the sensibilities (or lack thereof) of the academy. The very name, Pulp Modern, suggested "postmodern" work would be acceptable. And I certainly did publish some stories that could fall under that category. But I feel that alienated the genuine genre writers out there who, ultimately, like me, don't want to waste time writing stories where the writer overtly pats him or herself on the back for being so gosh darned clever. Again, far, far away from what a real pulp is supposed to be.
The lack of sales versus the amount of time I put into producing Pulp Modern led to its demise. Not enough people cared and I blame that on lack of publicity and lack of exposure. Most people who might want a nice collection of stories to read on the subway or while they're sitting on the toilet don't look for material like that on Amazon. They see something on a newsstand or at Barnes and Noble, the cover catches their attention, and if they like the description on the back, they buy it. That means that any real movement toward a thriving market of pulp magazines needs to go a bit the old fashioned way--real magazines need to be printed up and distributed to book stores and newsstands.
So, all that being said, my ultimate plan is to start one of these kickstarter funds or whatever the hell they're called, and raise the kind of money that would allow for the publication of a real pulp magazine that actually pays writers a decent sum of money for their work (I, and hopefully the rest of you, have reached a point where publishing "for free" is not acceptable. Writing is work and it should be rewarded as such. Nobody asks a janitor to mop floors for free...). That is my goal and I will begin assembling a team of people to help make this happen. I don't know if the result will be called Pulp Modern, or if I'll start with a particular genre and then branch out with magazines for all the different genres. But that's the thinking for now. Any comments or suggestions are welcome.
Just thought I'd say Merry Christmas to the two or three people who still read this "blog," if it can even be called a blog.
I've spent the majority of this year working. I wrote the rough draft to a novel. I look forward to polishing it and sending it out to be rejected by editors some time in 2017.
In January, 2017, Beat to a Pulp will publish a short story of mine called "Creepy."
Later in the year, ABC Group Documentation will publish Down on the Street, a novella I started work on way back in 2012. It's about a cabbie who makes the wonderful decision to become a pimp.
An old friend of mine recently read the "weird fiction" stories I've been working on for the last nine months and said she found them "tame." Of course, I'm trying to write elegant horror stories, so I shouldn't have been surprised by her assessment. My ego couldn't take it, however. I've pulled out a nasty little novella called Temple of the Rat that scared me pretty bad when I was last working on it in 2014 (it's actually the novella I had started for Drive-in Fiction way, way back in 2011). It's the most disgusting thing I've ever written. We'll see if I can find a home for it.
Now that I've forced myself to write a complete draft of a novel I'm not so hesitant to start another one. I hope to write at least one or two more over the next twelve months in addition to writing a feature-length script I'll shoot on my nice, new HD video camera here in Missoula some time in the summer.
Once again, have a great holiday season and hopefully I'll have much more to report over the next year.
In case you didn't know, Greg Barth is a juggernaut in independent publishing. He sells more Selena books in one month than most of us will sell in our entire lives. When I saw him mention outlining on Facebook, I thought it might be interesting to hear more about his writing process. I sent him some questions, and here are the fascinating answers he provided:
1. You’ve stated you use the Save the Cat! beat sheet to outline your books. How close do you stick to Snyder’s beat sheet? Do you ever switch anything up in the beat sheet? About how long does it take you to get the outline to a point where you’re ready to write a book? How thorough would you say your outlines are when you’re ready to write a book?
I don't stick very close to it. I think it's a good guide as to whether or not I have enough story to begin writing, but I never nail down all 15 beats. To me, building a story and writing the story are two separate actions. Before I begin writing, I like to have what I think of as "three big scenes". Those scenes are usually violent and emotionally charged, and those are the scenes I write toward and look forward to getting to. Those scenes would be the break from act one to act two, the midpoint, and then a break into act three. I want each of those scenes to change the direction of the story. I come up with those scenes by thinking about them while driving each day. Once I have those, it's a matter of figuring out how to get things started in an interesting way.
I don't do any writing until I have a good bit of the story figured out. I am not the kind of person who can sit and make something up by writing. If I don't have enough story to excite me to write, then it's not time to write yet. I spend a lot more time playing with the story in my head than it takes me to write the book. This usually takes a few weeks or months. The outlining only takes a couple of days. When I do sit down to actually write the book, it usually only takes me two weeks or so to have a draft complete.
I never outline the last 25% of the book. Sometimes I have an idea of where I want it to end, but more often than not, that's just the closing scene, not the climax of the story. My outline for act three usually just says, "she murders everyone" or something along those lines.
Also, while it's not one of the beats, Blake Snyder talks about the crucial "Save the Cat" scene. That's the scene where the protagonist does a kindness, and it helps endear them to the reader. I never include that scene. My character is just not that kind of person.
2. How much prewriting do you do with respect to characters? Do you write thorough biographies for each one? Do you have a list of questions you answer for each character? How much thought goes into minor characters before you write a book?
I don't do any prewritimg of characters. I find that I grow bored with secondary characters, so it's rare that I have on in more than a single book. Some of them get killed off, others just fall by the wayside between books. When I think up a secondary character, I want there to be a contrast with my main character. They don't have to be polar opposites necessarily, but it helps if there is enough diffference to drive tension.
3. Outlining seems to be a choice some writers make while others (including, apparently, Stephen King) don’t believe in outlining. For writers just cutting their teeth and getting started, can you make an argument for why outlining is necessary? Have you ever tried to write a novel without first outlining? How did that go?
I think you have to find what works for you. I just can't sit down and make up a story by writing it. I have to build the story in my head first until I get something I am excited enough to write about. I think of myself as a story builder first and foremost. Writing the story is just a medium to get it told. I enjoy the writing itself, but it's always about the story, not so much the writing. I'll never be one to put in a lot of detailed description or cool metaphors or any other poetic devices. I just want to tell the story in a straightforward manner.
I can't think of a time that I wrote something without at least a mental outline. Road Carnage gave me quite a bit of trouble even with outlines. I completely scrapped everything and started from scratch five times. Each of those five versions are very different. I started off writing a meandering road novel, something along the lines of On the Road. That just didn't work. I tried writing it with a different protagonist from a third person POV. Scrapped that too. It wasn't until I had a strong outer motivation and high stakes that drove a fast paced story that I had any success with writing it. Once I had that, the story basically wrote itself over about two weeks. I think of Road Carnage as one of the hardest novels I've written and also among the easiest. Once I had the right story, it all clicked into place.
4. What do you say to those who argue following a template just produces the same story over and over again?
I think that is a possibility if you are too rigid with your outline. Story structure is important to me, but structure is not the story itself. There's an endless variety of ways to make the framework suit almost any story. But at the same time, you have to go with your gut and do what feels right for the particular story. Once I am actually doing the writing, I don't think so much about the outline anyway.
5. The Selena books have been amazingly successful. Without giving away anything top secret, can you tell us steps you took to make sure word about your book got out there?
I wish there was a top secret, but there isn't. I start with trying to write the most exciting story that I can. And then I make every effort to be accessible. I am fortunate enough that a few readers have reached out to me. I don't think being a writer is that big of a deal, I don't think of my readers as "fans", and I try to never talk down to them. Part of an entertainer is just being nice. I try to engage on social media with readers, and I enjoy getting to know them.
I've been very fortunate in getting a number of kind reviews for the series, but there's no real secret. I just try to be out there and engage where I can, whether it is on Facebook, or at Noir at the Bar, or wherever.
I post about the books fairly frequently in social media, especially if a new volume is out, or there's a review to share.
I'd like to thank Greg for taking the time to answer my questions and I encourage anyone who hasn't read his work to fix that situation ASAP.
So I've been writing horror stories this year. My feelings about horror are that the less explained, the scarier the story. This has led to some issues, however, as I let people read these stories to gauge their reactions to them. One story in particular has caused several of my readers trouble. I just sent it to a horror anthology whose deadline was yesterday. I am worried because I don't want to hit readers over the head, explaining every goddamn thing, but I'm not quite sure just how much info I need to give before I can safely say, "All right, you're on your own!" Anybody out there have any ideas on this problem?
So folks on twitter are celebrating the 50th anniversary of the premiere of Star Trek. The original series claimed it would be a five year mission. Well, Pulp Modern turned out to be a five year mission. I will no longer publish it since it doesn't generate a tremendous readership. I'm not a publisher, it turns out. I have no idea how to properly promote stuff. From here on, I will stick to writing, making movies, and if I can find the right musicians in Missoula, I'll put my punk band back together.
Before I say goodbye to the Pulp Modern experience forever, I'd like to acknowledge the 91 amazing writers who contributed stories to the journal between 2011 and 2016. Take a good look at this list--these are the authors you should be reading, not whatever mainstream shit Oprah's selling on national television...
Rob Zombie made two very interesting films in the early part of this century -- House of 1000 Corpses and The Devil's Rejects. He was given the reigns to the Halloween franchise (I fucking hate referring to movies as franchises, by the way) and decided to "reboot" one of the few movies in the history of cinema I feel should never be re-anything'd--Halloween. He took the mystique out of Michael Myers by showing a prolonged back story using all the cliches about serial killers (torturing small animals, coming from abusive homes, etc.) and, most egregious of all, he replaced the suburban setting of the original film with a "white trash" setting. These changes destroyed what made the original film so effective. Like the misguided sequels to the original film, he explained the unexplainable and gutted any chance for real horror to exist. Mr. Zombie followed that travesty with his version of Halloween II (the original Halloween II being a bad idea to begin with), an artsy-fartsy, violent LSD trip of a movie that made no sense and, seemingly, buried the "franchise" once and for all. In that respect, Mr. Zombie should be thanked.
But folks have been clamoring for a Halloween "III" (as opposed to the original Halloween III, which is the only decent sequel in the bunch, precisely because it has nothing to do with Michael Myers), or, for fuck's sake, another "reboot," or anything with Michael Myers running around slicing up teenagers. The project has struggled for over five years now, as discussions on IMDB will attest to, and the people who control the rights have finally come up with the one solution that should please die-hard fans of the series (that's a better word than franchise, isn't it?)--They've brought The Man himself on as an executive producer. John Carpenter will be involved with whatever they decide to do with this Halloween movie. I hate to be Bobby Bummer this soon in the game, but I just don't think another Michael Myers movie is necessary. What I wish would happen is this:
John Carpenter should insist on picking this series up where Halloween III: Season of the Witch was taking it, that is, an anthology series with a different Halloween-themed story in every installment. Halloween III "failed" when it was released because a large population of shit-for-brains insisted the movie was "bad" simply because it didn't involve Michael Myers running around killing people. Heaven forbid they be asked to consider a different story. Producers have since said the film should have just been called Season of the Witch. I say that's nonsense. What the film should have been called was Halloween: Season of the Witch. By eliminating the number three from the title, maybe half of the shit-for-brains who still piss and moan about Myers not being crucial to the film would have caught on ahead of time that the movie was going to be something different. Why not do that now? Why not create an entirely new Halloween-themed story and just use the Halloween name the way the Star Wars "franchise" is putting its name over these off-shoot movies like Rogue One? Has the general public grown up? Are we sophisticated enough to catch up with the very visionary idea Carpenter had back in 1982?
Nah, get ready for the guy in the Shatner mask to kill some more teenagers...
Just wanted to mention I recently contacted Marcia Clark on Facebook in the crazy hopes of convincing her to submit a story to Pulp Modern. In very little time, she returned the longest, most exhaustive, most convincing and polite excuse for not being able to contribute (she is, not surprisingly, very busy). It was the most gracious gesture any Big Time writer has offered to my requests for stories (though we must never forget Lawrence Block's agreeing to let me reprint a story of his for the very first issue).
How many other Big Time writers would have ignored the request altogether? I've never been so flattered by a rejection!