Themes in the FLU SEASON Saga

By now you've gotten your copy of THE GRANDSONS and are quickly learning what happened to Bart, the young son of Maggie from Book 5. It is a tragic story, but not without some joys, as Maggie wishes for her son. Even Bart himself sees connections between events in his life and those who went before him.

Now that THE GRANDSONS (Book 6) has launched (albeit unexpectedly early), I can reveal some of the themes that weave through the series. In this latest volume, I didn't hold back letting the theme show. It is in the epigram at the beginning, a quote from "The Way of the Son" - the opera Maggie composes based on the notebooks of her great-grandfather, Sandy. In fact, Book 2 is titled THE WAY OF THE SON and follows Sandy and his young family as they struggle to survive after leaving the island where they briefly had sanctuary. That year-long adventure becomes a test for Sandy. He nearly succeeds only to ultimately fail in DAWN OF THE DAUGHTERS (Book 3).

The Way of the Son is fraught with danger, menace at every turn, and a lot of stupid mistakes that pop up when you least can handle them.

 

Sandy writes the line in one of his notebooks, and Maggie draws from it for her opera at the end of THE GRANDDAUGHTER (Book 5). Bart sees the start of her composing effort before he disappears. Yet the theme stays with Bart, haunts him, providing a challenge for him. He takes it as a test for himself, believing he must do better than his ancestor did. Bart, too, has many of the same flaws and does the same kind of things Sandy failed at. Bart is a flawed character, in literary critic terms, who tries and tries but fails as much as he succeeds. Partly it is due to his circumstances, but more often his varied choices, perceptions, and how moments turn him back and forth like a weathervane in the wind. In the end, the storm comes for him.

As THE GRANDSONS launches, I've been writing a new book, what I could call Book 7. It began as a lark, something to do while THE GRANDSONS sat to await one more read-through/revision. Tying the timeline together with other books of mine (see this post), I set this new story more than 200 years after Bart's time. Civilization has fallen further, become medieval - even in Missouri. It shall be titled THE WARRIORS BAUMANN.

At one point our heroes meet some actors who perform the famous play "The Way of the Son" - based on the songfest by Maggie Baumann. Everyone knows some of the songs from the old opera, it seems. As a comedy, Book 7 plays the play for laughs, twists lines so they now sound like legend rather than the scribbling of a desperate teen boy trying to save his young wife and daughter during a pandemic.

Another major theme in the series involves the often tumultuous relationship between mothers and sons.

THE BOOK OF MOM (Book 1) gives us Sandy and his single, never-married mother, Polly, a music professor and tuba player. She's gotten along on her own for most of her life and often lords over her autistic son. Sandy sees her behavior as love, protecting him, encouraging him to stand tall and be strong as the pandemic worsens and they flee their city. It is time for him to be tough, so his mother pushes him, teases him, makes him be strong for what lies ahead. Up to a point where Sandy realizes his mother's weaknesses and unrealistic advice. He tries to save her only to fail. His failure gets him and his young wife/cousin exiled from the island sanctuary - leading to THE WAY OF THE SON where he must grow up fast and take charge, though often making mistakes - much like Bart does in Book 6.

To a lessor extent, there is mother - daughter conflict in DAWN OF THE DAUGHTERS, but adult Sandy still struggles to reconcile his relationship with his mother. 

As baby Isla grows into a young woman, she becomes the mother who has conflicts with her own son, Fritz (who goes by Frank in adulthood). Fritz also tries to figure out his mother in THE BOOK OF DAD (Book 4) as she reaches the end of her life. Being in the reconstructed capital with all of its Ideal Society rules and restrictions, Fritz/Frank fights to tell the truth about what happened during and after the pandemic - even as government entities, including his own older half-sister (Isla's daughter) who is now in charge, refuse to accept it as truth. This Big Sister insists the pandemic never happened: only a few localized pockets of sickness. Fritz/Frank upholds his mother's lived experiences to his detriment.

And in THE GRANDSONS we find young Bart at odds with his mother, Maggie, who wishes him to follow in her musical footsteps only to see him take more interest in his uncle's ranch and desire to follow him as a lawman. As Bart struggles to "find himself" he knows he can't face his mother again after what has happened. Yet his mother continues to haunt him as he goes through his life. Dreams, nightmares, visions, voices, ghosts seem to rag on him too many times, keeping him on edge. 

A final major theme weaving through the series is the idea of needing someone to carry on: the family name, the family blood, ideas about connectedness and salvation in survival. 

In each book characters raise the idea of carrying on the family, like it is a crucial task - which would make sense in a time of pandemic, virus, and death. Who will survive? By golly, we need someone to survive. That idea pressures the characters to try to have babies. Even a group of scientists has set up a breeding program since half the population has been lost through disease, war, and starvation. 

It isn't so much a matter of the author's personal beliefs (I know many people do not want children or are unable to have children), but in this story setting the urgency to make a baby is truly a matter of survival. It is a realistic situation, a plausible mindset. Each generation in the series eventually must rely on the younger generation to care for them and to carry on the family, to continue civilization, and therefore humanity - a universal theme.

This final theme shall definitely reappear in THE WARRIORS BAUMANN, leading to the ultimate novel to be titled: A TIME OF KINGS.

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

All About THE GRANDSONS

You may notice that this blog has been going for 15 years. That in itself may seem amazing, but it hasn't been without its ups and downs. My goal now is to maintain it with one post per month minimum so I have a neat calendar listing on the right side.

As I posted on various social media platforms in the past week, THE GRANDSONS, my latest novel and the next volume in the FLU SEASON Saga, has launched. In fact, launched early - not that it wasn't ready; it was.

Funny story: It was late and I thought to do a last-minute check of the details in all the spaces and pages of the publication process only to come up to the final button. I mistook that button for the "save" button and, having pressed it, the book was launched. But, not to worry, for it was finished, polished, and ready to go. I simply wished to make July 1 the publication date. Seeing the next day that it had actually been launched, I scrambled to check the details of the print edition, then went ahead and launched the paperback, too. Now both are "live" and available to you.

Get them both here: Da Link!

Get the entire series here: Flu Season Saga!

THE GRANDSONS concludes the Flu Season Saga in epic fashion: a feisty Western set in the future, with unexpected science-fiction oddities, outlandish courtroom theatrics, and tear-jerking family drama. 

The Principal Players:

Jake Baumann - flaneur/narrator of the 'present' storyline, dentist and coroner

Assorted townsfolk: Deputy Cal; Doc Baker; Judge Robinson; Mr. Duda & Mr. Hitchens, attorneys-at-law; colorful trial witnesses; random phantoms and freaks 

Maggie Baumann - Jake's grandmother (his mother was adopted by Maggie) & Bart's mother

Bart Baumann - son of Maggie, a teenage boy at the start, full grown man later*

The Culpepper Sisters: Trinity, eldest, "the mean one"; **Trina, "the quiet one"; Triss, "the silly one", outlaws

Nick Ramos - gamekeeper at The Facility

Marina Kvashenaya - scientist at The Facility

Jesus Alvarez - a traveler, follower of the Brethren

*The "15 years earlier" section is written in 3rd-person, as though it's been pieced together by a writer telling what he's heard.

**Who is the "main character" in THE GRANDSONS? I'll just say that Trina is in the first scene and the final scene, connecting with both Bart and Jake. Anything more would be spoiler.

click to enlarge

The Story:

Part 1 - A stranger comes to town bearing two bodies on a cart. The woman is well-known and the deputy takes her into custody to get answers to questions left unanswered for fifteen years. A trial begins, trying to tie her to the crimes of her sisters and an outlaw known as Bad Bart. Jake, town dentist and coroner, gets involved: he sees the woman as someone to save. Jake's grandmother, Maggie (from Book 5), just wants to know what happened to her son the past fifteen years when everyone thought he was dead.

Part 2 - More than 100 years after a pandemic and civil war broke apart the nation (Books 1-3), a new reconstituted America struggles between tyranny in the east and survival in the west (Books 4 & 5). In this western territory, fatherless teen Bart Baumann is stuck between his nagging mother and a domineering uncle, the sheriff, Bart is in a hurry to grow up. Going on a posse after an outlaw gang gives Bart the chance to show everyone he's a man. But that plan doesn't go as expected and his life is forever changed.

Young Bart becomes lost in the wilderness. He stumbles upon the camp of a trio of gunslinger sisters who take him in, teach him the business. As Bart grows up he comes into conflict with the older sister while entering a romance with the middle sister. When his bad deeds earn him a high bounty, he realizes it's better to go straight and live a normal life, but where can he and his young family go? He checks the surrounding towns for a good home.

The answer is forced on him as they are chased by a posse of lawmen into the "forbidden zone", the land west of the western territory. There they discover what has happened to the nation: destruction that has left the land devoid of people. They try to survive in the new environment, a daily struggle finding food and defending against dangers - until they find a hidden facility of scientists who believe the air and land outdoors is poisonous, even as they work to create children immune to the poisons. However, Bart can't help himself: acting badly once more, they must flee again.

Finally settling with one of the scientists from the facility in an abandoned house outside a long-destroyed city, they think they are alone and can just live their lives - only to be caught in battles between religious fanatics and foreign soldiers. A wandering wiseman convinces Bart there's no need to go further west: nothing there. Then a devastating tragedy compels them to return east, where they hope to meet up with the other sisters and live a normal life. 

Part 3 - But the sisters have gotten into more serious trouble while they've been away. Bart becomes an unwitting participant in a final tragedy that threatens to separate him from his found family. The trial in Part 1 concludes with agonizing testimony and an explanation for the nuclear holocaust threatening them. Questions are answered. Yet it is left to Bart's cousin Jake to reconcile everything, especially setting the record straight for future generations.

Stats for Nerds:

File created: May 21, 2024

Draft finished: February 17, 2025
(Approximately 1 year between launch of Book 4: THE BOOK OF DAD and THE GRANDSONS, with Book 5: THE GRANDDAUGHTER between them.)

Final revision completed (not counting extra tweaks/edits): April 27, 2025

Pages (including blank pages between chapters; not including frontmatter and endmatter pages): 542

Final word count (not including chapter division marks, etc.): 148,000 

Sessions (opening file to work on it): 1561 

Is this actually the conclusion of the FLU SEASON Saga?

Well, folks.... Before THE GRANDSONS was even half-way done with revisions, I started another book, set 200+ years after the end of THE GRANDSONS, to be titled THE WARRIORS BAUMANN, which follows two ancestors of the family in Book 6 as the world further descends into chaos and a plain medieval society becomes the norm in Missouri. It is written as a comedy, a farce, if you will, yet with a warm-hearted finish that connects with my earlier novel EPIC FANTASY *WITH DRAGONS, which is set 8000 years in the future. 

Happy reading!

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

Writing Motivations: An Exercise in Self Therapy

Sure, writing a story is about creating something chiefly for entertainment. You could also include a message or two. Add some personal episodes. Tell some idea you may have about something, relevant or not. A lot of stories (and novels!) are based to some degree on the author's own experiences. That's not a requirement; usually it's because the real event fits nicely into the story and it's often easier to borrow than to invent from whole cloth. I've certainly done that with my 20 novels.

I began with a cool idea. What if this happened? I wrote it out, exploring the idea, testing it. Not too interesting in itself, I soon learned. Have to add characters who are interesting; they can deal with the problem. Then the problem becomes interesting because readers see it through the eyes and mind of the character. Most of my books begin with an interesting premise but it is always explored through the main characters' experiences.

What about exploring yourself? 

My first completed novel was back in 1981 (remains unpublished). I was not exploring my own issues in that. It took another novel (1983; published in 2020) for me to see something in it that reflected my own condition. In my youth, I often would explore a situation as if I were only an example, a test subject, even though - had I been pressed - I might have realized I was figuring out something about myself. 

That side effort of writing a fictional piece became more apparent as I got to grad school and entered an MFA program I believed would help launch my career (it didn't although I did learn some valuable things). Since then, I've noticed how the things in my real life that nag me, that cause me grief, or puzzle me can be worked out through invented characters substituting for me. I can have characters do what I would never dare do, say, or even think, in my real life.

A few examples.

The example that comes most quickly to my mind, is my so-called crime thriller novel EXCHANGE (May 2020). Although the plot of story doesn't involve anything in my real life, I did draw liberally from my real life to inform certain scenes and find the grief in the main character, making it more real and visceral. Early in 2019 my elderly mother died. Although we knew it was getting close, it still came as a surprise when I received the phone call from the hospice. I didn't feel anything for a while, even as I went through the steps I was supposed to go through, e.g., grieving, settling her estate, etc. But something was boiling deep in me and I let it come out in my writing: the main character in the novel suffers the murder of family members in a mass shooting (not a spoiler). I put everything I was feeling into what I had the character feel, what he said to the psychologist, how he acted. In a strange way, it was easy to write; I felt it and it flowed out my fingers onto the page. And in that way, that letting it out through the page, I did manage to find closure.

When I wrote the first volume of my vampire trilogy, A DRY PATCH OF SKIN (October 2014), I was determined to stay in a hyper-realistic mode. I set the story in the same city and the same time as I was writing it. I used my real feelings to infuse the main character's feelings in regard to his relationship, the love interest, and about his own morality. That was me doing the feeling, doing the thinking, and putting it on the page for others to "enjoy". When I wrote about his relationship with his parents in the second book, SUNRISE (April 2018), I could draw from the relationship I had with my own parents (although they were not vampires). Again I cut and pasted from actual everyday experiences I had with them.

In my FLU SEASON series, which began with what I believed would be a one-off stand-alone novel about a single mother and her teen son surviving a worse pandemic/lockdown than what most of us experienced in real life, I found a lot of connections to exploit. 

The first book, THE BOOK OF MOM (November 2022), is narrated by the teen son who "suffers" from Asperger's syndrome, a form of autism. I chose to have the character that way because I was, at the time, becoming informed about it. Random sources sparked something in me that made me wonder, through the long line of experiences in my life, if I might not also have that syndrome undiagnosed. Turns out many adults find out later in life that they have actually been living (sometimes unsuccessfully) through the unusual aspects of the syndrome. I hadn't been diagnosed at the time I started writing; I merely thought it would make an interesting character - and it did. 

And speaking of Father's Day (which it is as I post this), we have THE BOOK OF DAD (June 2024) which was written as a sequel to the original trilogy. I had more ideas so I wrote another book. In it, I saw a twist on Orwell's "1984" but only inasmuch as the new capital was a repressive place where thought and history were strictly controlled. I let fly all my paranoia and neuroticism in the character of Frank (Isla's last child). I explored my own beliefs about the role of a man in society, as a provider, as a protector, and how society (government) sought to replace those roles, leaving a man with nothing to stand for, nothing to do but manual labor. He rages at his society - as we rage against ours today. But it was therapeutic for me, letting it out of my system, so to speak.

As the series continued through the family lineage, that body of traits is passed along to a greater or lesser degree, right up to Book 6: THE GRANDSONS (coming July 1, 2025). We don't know if the syndrome affects the main character there, if he suspects it or even knows about the possibility. If you know from reading the other books in the series, seeing it unfold in other characters, or you know from your own research, then you may well see it in his actions, but it is not specifically suggested. They say to write what you know, but sometimes you write what you know without knowing you know it. You know?


So I cheat. But at least it's my own life I draw from. There's a lot to draw from, although it's never been my intention to simply write a memoir. I did try that a couple of times. It got boring fast. My advice for new writers, however, would be to try to write your own life. See what is true and see what isn't but may sound true enough to be included. Then you can fictionalize it. A good exercise.

Now, with the FLU SEASON Saga coming to an end (or so they say), I can look back on multiple generations across the six books and see quite clearly the themes, the tropes, the messages I wanted to offer. I think of some words: redemption (in nearly every book I've written), reconciliation (making things right again, especially with other family members), and always: continuity. Maybe too often in these six books a character will remark on those who came before and those who will follow after, and feel a sense of relief at that. Maybe the character thinking it simply feels relief that he/she doesn't need to keep carrying on, that the next generation will take over, will carry the family forward another few decades then pass it off to yet another new generation.

How to make sense of it all? An old MFA professor once told us: "If you want to send a message, put it in a letter, not a story." And yet, where better than a story to offer something valuable? The trick is to let it slip in like a letter under the door, unobtrusive, almost an afterthought yet full of wisdom of a sort when it finally becomes clear to us. 

THE GRANDSONS launches July 1, 2025. I'll be blogging on it between now and then.

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

With a whimper....

If you have been reading the FLU SEASON Saga these past four years, you likely already know how the world ends. It's with a whimper, not a bang. As poet T. S. Eliot ends his poem "The Hollow Men":

This is the way the world ends. Not with a bang but a whimper.

I studied the poem in college, took inspiration from its bleak outlook (albeit dark inspiration, but I digress). As a fledgling science fiction aficionado in the 1970s, I believed in the nuclear holocaust version of the end. That's what we were taught throughout the 1960s, after all. And yet, in the late 1970s, with oil shortages, long gas lines, cars being switched from large domestic models to small foreign vehicles, I could easily see how this would be how the world ended: in shortages that became...well, nothing. A whimper of industry slowly fading away.

Things got better and we forgot what we'd feared. Not me. I continued to walk the talk of doom and gloom. I saw the oil crisis of the late 1970s extending until there was no petrol for anybody and we were thrown back into a pre-industrial age. Worried at the real possibility, I sought to improve my swordfighting skills and relearned how to ride a horse. But we had time. How far? I counted back to the Middle Ages (roughly 500 to 1400 A.D.) and considered how society then compared to society today. Then I flipped the years around and projected into the future by the same interval. My thesis was: If society had developed this much in a thousand years, then how much would it regress after a thousand years of decay?

Bingo! I had a story. Or at least a premise. Suppose something happened that shut down our entire industrial society? After 1000 years we would be similar to how society was 1000 years ago. Think: no petroleum refining, no electricity generation, none of the products relying on gas and electricity. Think: farming - back to ox and plow (but you'd eat that ox eventually and pull the plow yourself). It takes a year to grow tonight's dinner, I've read in doomsday and 'prepper' resources. Yet all is good and well.

Good and well if you are a writer coming up with a story. The worst things are, the better for writers. The only flaw in the proposal is that books may not be published in that dire situation. Until then, I can write about the fall of civilization. And that is exactly what I did with my FLU SEASON series, a family saga starting with the real Covid pandemic we experienced 2020-22, then taking it further - much further; several generations into the future. So far, in fact, that I can almost connect it to my once-planned and narrowly composed "fantasy" epic that is set 1000 years into the future when society does indeed resemble a medieval civilization.

Interestingly, I attempted to continue my Stefan Szekely Vampire Trilogy (Book 1 is 2014-15; Book 2 is 2027-28, and Book 3 is 2099 to 2106). I employed the next generation as the main characters, setting them further into the future. It was a technologically dense society, cyberpunk-esque, which seemed the right way to go with the story. However, I quickly became overwhelmed trying to describe such a society. I realized I was not tech savvy enough to pull it off in plausible fashion. So I abandoned the project. I'm much more comfortable with a society that simplifies rather than complicates. Without an electric grid or nuclear energy - wind and solar power is not, as of this blog, sufficient to provide most of our energy needs - there isn't much to hold society together. One need only look at a city-wide power outage to see how people react. What if it were an everyday situation? Or an entire country goes dark (e.g., Spain this month) to understand how only a few weeks of that depredation could affect a society. People would go mad, get vicious. Forget the scramble for toilet paper. And three months of being on your own? A year of it? Forever...?

So here we are: a world familiar yet falling down, becoming less and less. In my FLU SEASON Saga, THE BOOK OF MOM (1) opens the series six years into a pandemic when  Mom and her son no longer believe things will get better and flee their city for the hope of safety in the countryside. In THE WAY OF THE SON (2), everything does get worse: society has collapsed and it's every person for themselves. By DAWN OF THE DAUGHTERS (3) a new society has developed, split between survivalists in the woods and those who start to rebuild cities, get a functioning electric grid up, reforming government, but through tyrannical means. 

THE BOOK OF DAD (4) takes us through the new Ideal Society that emerges on the ruins of the old nation. Our family manages to escape, settles in the western territory and gains some freedom in THE GRANDDAUGHTER (5), where the title character uses music to try to make a kinder, gentler life. By then everything is broken, the nation divided between desperate cities on the east coast and the struggling residents of the western territory, a reversion to outlaws, farmers, and tribal bands. In my forthcoming book THE GRANDSONS (6), we experience what remains of a forgotten nation as characters explore further west.

As you can see, I have a distinct philosophy regarding the future. I'm a downer. One might say I'm a Debbie Downer. I believe in degradation, in regression, in collapse. Not in amazing tech that saves us, saturating our world with all sorts of conveniences - with or without oppression, no privacy or private ownership, and other aspects suggested by Huxley and Orwell, and their imitators. No, for me it's all about entropy.

It is also easier for me to write about a 'lesser' setting, which I can handle well, than a technological overwhelming new world. In fact, I still have not upgraded my computer or its apps for years now and those corporations have threatened to cut me off.

I've started a new trilogy (Book 7), one which is set even further into the future - with even further degradation, returning ever-steadily back (ahead?) to a medieval future which will culminate in the War of the Five Princes in 3030 A.D. an important event eulogized by characters in my EPIC FANTASY *WITH DRAGONS (set in 8000 A.D.). They think of it as nearly forgotten history. It's a full-circle circle and a perfect way to end my writing career, circa 2030.

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

Legacy Media and the time of death

Legacy. It's a big word. It means everything, all you've done, all you hoped to do but didn't get around to it, your hopes and dreams, and perhaps things you've said. It can mean something or go for naught. I don't make the rules.

Those of you who may have followed this blog know when and how it began. You may recall why I started it. (Recap: as a place for supplementary material for my interdimensional sci-fi trilogy THE DREAM LAND.) It has evolved  in many different ways. Now it is contracting to one post per month. Trends come and go; it used to be the thing but now, with all the podcasting and TikTok videos, a blog - which you actually have to read to get anything out of - is a dying commodity. However, it's the only medium I'm good at.

That said, I've come to realize how my writing legacy - what may be made of it - is likely to go. In 2010 I found myself declaring that if I were able to do one thing before I died, it would be to get a novel of mine published. By 2011, I had done that albeit in a disagreeable mode; then had to do it again in 2012 to make things right. But it counted. I had a few novels already written from pre-internet days which I revised again and published. Then I found myself writing completely new books. That seemed just fine. I enjoyed telling the stories I told.

We faced an unexpected situation in 2020 that became untenable as the months went on. All I could do, staying at home, was imagine what I could write during this 'free time': a pandemic novel. Sure, a lot of writers took on the theme. As a science-fiction reader/writer, a plague similar to what we were all experiencing at that time didn't seem too fantastic. How to make it a more interesting story? I would start my pandemic book in the sixth year of the pandemic, after everything we experienced (lockdowns, shortages, fear, tyranny, etc.) got much worse.

That began the FLU SEASON saga - actually a stand-alone novel which blossomed into a trilogy before the first book, THE BOOK OF MOM (2022), was published. I quickly built on that story with a second book using the same characters; what would happen next in this situation? THE WAY OF THE SON (2023) was published, and before I finished revisions I started the next book, DAWN OF THE DAUGHTERS (2023), which I believed would complete the trilogy. I got our fictional family through the pandemic, the lawlessness, the reconstruction of a new society. I felt comfortable leaving them at that time.

However, funny how muses work. One night a mysterious voice spoke to me: "If you write it they will read it." I had an idea for the next chapter and so I wrote what I called a sequel, not realizing it would be the start of a new trilogy: THE BOOK OF DAD (2024). Of course, the ideas did not stop there and before I published that sequel, I'd started a newer sequel, THE GRANDDAUGHTER (2024), a more light-hearted, more romantic story that would leave a sweet taste in readers. However, when I get to the final chapter, I always want to think ahead to what would happen after that final page.

Therefore, I began writing THE GRANDSONS (forthcoming in 2025) which picks up the story at the end of THE GRANDDAUGHTER and jumps ahead fifteen years. The western territory of the rebuilt nation is a rough land and only our heroine has made it a nice place with her musical talents. But her son is a problem. This becomes an epic tale of relationships and sheer survival, the struggle to survive in a harsh land and what our main characters learn about each other and themselves by going through that gauntlet. (More details in the next blog post.)

THE GRANDSONS was meant to be my final novel even as I read back through it, revising and editing as I went. I began the publication process, still expecting this book to be the end of the family saga, now up to the year 2185 by the final page. I declared my writing career done. Oh, I might put together a collection of my short stories just for sheets and googles. But it didn't take more than a few days for me to realize that without a writing project I would likely die sooner rather than later. I needed a project - but what?

Then, without trying to think of a new idea - not even considering continuing this same series - an idea popped into my head as I sat waiting for the trailers to start before the movie I'd chosen to see. Before the trailers! I saw a barbarian fellow in a forest with a sword - and I knew it was the same series but further into the future, say 2350 or so, a couple hundred years beyond the end of THE GRANDSONS. The world has gotten more barbaric, medieval even, heading to the great epic tome I plotted as a 13 year old boy. I titled it A TIME OF KINGS after the overture we were playing at the time in my junior high band because the music perfectly fit the story I was devising. Later I turned my outline and notes into a screenplay in college, then attempted to novelize it later but got busy with other things.

In my only Epic Fantasy - titled EPIC FANTASY *WITH DRAGONS (2017) - characters in year 8000 would mention ancient times and the War of the Five Princes which is a direct reference to my early novel idea/screenplay, covering events of the years 2980-3070. And voila! as they say in France. A new novel was born: something to tie the FLU SEASON Saga to this EPIC FANTASY *WITH DRAGONS. The Baumann family, fleeing a city in chaos during the sixth year of the pandemic, survives through many hardships to eventually produce a boy who is saved from battle by the King of the Missourites (capital city: Louis) in 2980. That boy grows up at court, but becomes instrumental in instigating the War of the Five Princes and, in the war's aftermath, he becomes .... [spoiler alert].

So I have started this new novel, more epic fantasy than sci-fi/post-apocalyptic America. I'm titling it THE WARRIORS BAUMANN, focused on two brothers of a brood of brothers, hoping to make good in their destinies in the barbaric land. And, not to have to wait for another idea, the book which would come next shall be titled SONS OF STANK (Stank a.k.a. Stanley K. Baumann). After this book comes the infamous A TIME OF KINGS in which I finally finish novelizing the screenplay (plus notes made since then), regardless of any similarities with the GAME OF THRONES universe. First of all, my series is set in future America, not a fantasy world.

I still may not get to all of that. It's the reason I have written each book in the series to work well as a stand-alone: a complete story, satisfying in itself, without the requirement to read previous books or to read the following books. I give readers all they need to know from previous books to understand the current book but without too much backstory. Keep checking back to see my progress. I may falter and fail to finish this final trilogy, but I shall give my all to the project for without something to keep me out of trouble I shall without fail get into trouble, and that isn't good for anyone.

UPDATE: THE GRANDSONS was such a delightful project that it simply flowed. I have moved up the publication date from mid-fall to mid-summer. Look for it!

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

Novel vs Short Story?

In my writing life, I've been confronted many times buy this age-old question: to write short or to write long. If you've followed my so-called career, you likely know that I prefer the longform writing. I suppose it's because in the longer format I have room to tell a full story according to my imagination. The short story format, in my humble opinion, is meant to present a singular incident. The longform presents a series of incidents. In that way, a short story could, if a writer had a mind to do so, be simply one of many incidents that could be expanded into a novel.

Let me give you a little history of my writing. In my younger days I had pen and paper to write my stories. That was a limitation: my ideas had to be short. When I gained the technology of a typewriter (first the Smith-Corona manual, then an IBM Selectric, an electric machine) I could write with more ease and my output expanded.

However, I still faced limitations. Hit the wrong key and you had to type the whole page all over again. I regularly typed my homework nevertheless. In high school, in fact, I typed out my ideas once in the form of a 66-page single-spaced rip-off of 1984. I stapled the pages together and let a friend read it. He passed it to other friends. Before I got it back, it probably had been read by half the school (a small student body in those days).

I planned a long epic book in middle school, started writing by hand in a notebook, made notes and planned the rest of it. With a typewriter, I could (a few years later) type out a screenplay version of the novel I had planned. It was a quicker way to complete the story, get it on paper, with the expectation I could novelize it later. (Still haven't done that!) 

So in my typewriter days, a short story was merely a novel in outline form. Later, with my first computer (Tandy 1000) - enabling me to save my writing and return to it later for editing - my stories gained length. I composed a pair of novellas (short novels), trying to write longer works. My advancement to a full PC machine with Windows 3.1 completed my transformation into a novel writer.

By then I knew I wanted to write books - not merely stories. I read a lot of novels (mostly sci-fi an fantasy) and knew I wanted to tell big stories. Epic stories. With my acceptance into an MFA program - where I'd hoped to learn how to get a break into the wonderful world of novelism - I was forced to write short stories. 

We crafted the New Yorker magazine's style of story: urbane, subtle, restrained, focused on thoughts and feelings rather than overt action. Translation: not much happens yet it devastates a character in the story. I got it: it was a fair exercise for learning to write fiction. I switched from sci-fi and fantasy stories (my mini-novels) to these "literary" fictions. I saw the light, as it were, and became a true believer. Characters before cool stuff.

Point taken. I switched from the cool idea being the center of the story to a main character who readers would care about and follow through the story as said character dealt with the cool idea. My MFA thesis was a novel I titled A BEAUTIFUL CHILL which is a fine example of literary fiction: the action is almost exclusively in dialog and sublime moments of relationship conflicts. I also tried to skewer the English department and its vagaries. It remains one of my most favorite novels.

But I did write short stories, measured by length of pages and number of words. Also counted by the plot or conflict in them: a single thing/problem/incident/episode/ moment-in-time. For me, the story idea came to dictate whether it would become a short story, a novella, or a full novel. I liked big ideas and that is why I've mostly written novels. However, I did write enough stories to fill an anthology. That may be my next or final project once this final volume of my FLU SEASON Saga comes out later this year with THE GRANDSONS.

As a Myrddin author, I've shared a few stories in the anthologies we've put out over the past few years (click on the covers for links). One of my better short stories was deemed so good (effective, compelling) that I built a whole novel around it. Another short story came from a prompt the anthology editor gave us. Others were more silly passages, humorous even, like a writing exercise and yet they were worth the reading. 

I fashioned a short story from 2 chapters in my novel A BEAUTIFUL CHILL and titled the story "Lust" because it illustrates a variety of definitions of that word. So, again, the idea determines the format I use; most of my ideas require the larger format of a novel. I need elbow room to tell the complete story.

This is my one and only TEDTalk. Thank you for coming!

Oh, wait! There's more! Speaking of my final volume in the FLU SEASON Saga, I am deep into a thorough revision - usually the word count expands during this phase as I fill out scenes and make the narrative richer - and will set it aside for a month before returning for a close final edit. I expect the finished novel to be available by the end of this year (2025).

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

The Usual February Blues

In the greater scheme of things, February is clean-up time. Saddled with both fresh starts and fading glory, the second month is inexplicably stuffed full of many major events. 

First comes Groundhog Day which applies only to Pennsylvania but for whom many other folks rely. 

Next comes the Super Bowl, the biggest bowl ever to be filled! This year, however, the vaunted champions did not capture the trifecta. Never fear, I fully expect the team to return to the big game next season, perhaps facing the same opponent.

After the big game comes the little one's birthday, although she is not so little now, all grown up and on her own in an exciting career. 

Then we have the Day of Presidents, formerly Mr. Lincoln's birthday. Rather than celebrate the two most important presidents, Lincoln and Washington, Congress swept all the top politicians into a single day. Thus, such chief executives as Millard Fillmore and William Henry Harrison (president for only eight days) get equal billing with the heavy hitters, like Mr. Taft and Mr. McKinley.

It is a slow slog into March and hopes of Spring Break after that, but we need those two weeks to rest and prepare for what we've all been waiting for. And what is that, you may be wondering?

The completion of the first full draft of the final volume in my FLU SEASON Saga (formerly a trilogy and two sequels), THE GRANDSONS (a.k.a. Book 6).

Now I shall read and revise, as is my usual routine, ready or not. THE GRANDSONS is a long story, a novel within a novel, but I trust the story will be sufficiently engaging to keep the pages turning as you experience the post-apocalyptic landscape though a host of Western tropes and outlaw vibes, futuristic cities, religious fervor, territorial conquests, nuclear disaster and impending doom for everyone! Yes, an uplifting epic for everyone!

Here is an excerpt from the first chapter:

A crowd gathers to see who this figure might be, as none have come from the east for years – none worth addressing, at the least. Stragglers with tales of flameless fire and putrid illness. A wave of death. Fleeing criminals hoping for a break. The rare lost tax man or some ignorant seeker of opportunity, random scalawags and bold outlaws. A gunslinger or two. A foolish family hoping to survive.

Dark in road-rough garb, the figure glares from beneath the rim of the felt hat at the townsfolk gathered: passersby, the curious, morning shoppers, businessmen going to offices. Another cow town, the stranger seems to acknowledge with a disappointed shift of chin. They’re harmless, and unarmed, the dark figure notes.

The figure, looking more to be a woman in man’s clothing as the people examine, lays her hand upon the grip of one of two pistols set upon her hips, ready to use it.

“Skinner Canyon?” asks the stranger in mild tone.

“Yes, ma’am,” says an older man, wiping his moist brow, beady eyes set in a permanent squint. “This’s the place.” He gives her a long look, not approving. “What’s yer bidness in town?”

Townsfolk can see the two pieces of cargo lain in the cart. There is a crudely constructed wooden box, looking like pine, large enough and in the shape to hold a laid-out man. The wood is well-smudged with dirt, grimy like it was dragged up from the earth. A coffin, they presume, nailed tightly shut. Who could be inside? 

The trend these days when querying agents and publishers is to construct what is called a Mood Board or Vision Board using snippets of images, perhaps brief text, to help entice would-be investors in the story. I get it. Like a Pinterest posting, which I did long ago. Here is one I threw together last night. It should give you a good feel for the story.

More details next time. I'll give away some of the plot but with no spoilers. You will recognize some characters from Book 5: THE GRANDDAUGHTER and some of the setting from that novel. This novel, however, moves far from that town into truly sci-fi territory without (I hope) getting too sci-fi techy or relying too much on familiar tropes of a post-apocalyptic world (zombies, etc.). I have an overall positive view of the future, but one which turns away from the technology that kills us all in most sci-fi movies. The ending here may not be "happy" in a Mary Sue sense, but will be satisfying.

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

Welcome to 2025

Just as January follows December and 2025 follows 2024, I follow also with another blog post - and let me tell you it is tough these days. However, in my stupidity, I dare not let it lapse. To lapse is to make the mountain of return steeper. And I shall not endure that effort. As it is a new year I shall begin by wishing everyone, friend and follower, the best possible collection of days one may possibly experience. Hopefully, some of them will bring you joy, enlightenment, and a satisfying sigh of pleasure. I am not without the same desires for a carefree expanse of days.

Let us first acknowledge the onset of the Year of the Snake, a zodiac animal with which I have no affinity. I resonate much better with the Dog, the Cow, and the Tiger. I accept the Dragon and the Mouse. I have little awareness of what a Snake year may bring; I remain stricken by that snake offering fruit long ago and all that has come from that encounter. I have, however, once long ago sampled rattlesnake at a restaurant also serving elk and bison. (Tasted like chicken.)

Thus acknowledged, I shall invite you to indulge in my on-going saga of the family Baumann whose exploits through several generations and five novels continues into one more book: THE GRANDSONS. I expect this is the final book in the series, a total of 6 novels, woven together yet perfectly arranged for each volume to stand alone as a unique story in itself. It is fitting that the family saga end with a massive tome rivaling the epic fantasy bricks of the past only with a post-apocalyptic Western setting.

I won't share much today; I leave that for subsequent blog posts. I have been at work on this great epic since concluding Book 5: THE GRANDDAUGHTER, the lightest and most uplifting of the series of pandemic/survivalist and reconstruction/oppressive society novels. This new novel does indeed relate to Book 5 as the title characters are the grandsons of the heroine of Book 5 (which may be a spoiler for Book 5, sorry). 

In writing a long story, I continue to come up against the length. And yet, I realize I could tell the same events in leaner portions and still cover everything. However, that hardly makes a good story. More like a newspaper report: just the facts, ma'am. No, I must fill in every scene and make it dramatic, let the reader languish in a scene and setting, to be in the scene and experience it as though just another character.

It is rather like this short form: He got up one morning and spent the day doing tasks. In the evening he had dinner, read a book, and fell asleep. The end.

Or I can "draw it out" by adding details, giving descriptions, letting things happen, letting them unfold, introduce other characters, give the main character some purpose, a problem to solve, disagreeable events to deal with, a love interest, and reveal all manner of thoughts and feelings.

That is what makes a story worth reading. Otherwise it is only an account of someone doing something akin to journalism or a memoir.

So I have devised a novel within a novel, as it turns out. THE GRANDSONS begins in the present-day of the story - which is 15 years after the end of THE GRANDDAUGHTER - and presents a situation: a stranger coming to town (Skinner Canyon of Book 5 fame, a western outpost of a dying nation). The confrontation sends us back 15 years to experience everything that happened. This 'middle novel' leads us to up to the present-day once more and, now that we understand all that happened, our thoughts and feelings will likely change for the concluding chapters. It will have a satisfying ending, I promise, yet with a dramatic twist in the final chapter. I've written a draft of that chapter already so I know it to be true.

That is enough for now. I shall keep you updated. I expect THE GRANDSONS will be available later this year.

Meantime, you may wish to enjoy the five currently existing novels of the FLU SEASON Saga  which can be found in paperback and e-book form here. 

I have other novels, too, in several genre, all available in both formats here. 

Thanks again for your support!

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(C) Copyright 2010-2025 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.