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Guest Post: Mystery Cults and the Secret World of the Occult in Urban Fantasy by Laurence Raphael Brothers

In my romantic-noir urban fantasy novella The Demons of Wall Street, magic and the existence of demons are secrets kept hidden from most people. Only a relatively small number of sorcerers, bankers, and their agents are in on the conspiracy, on the order of thousands of people worldwide.

Cover of THE DEMONS OF WALL STREET.The premise of magic-done-only-in-secret is not exactly an original conceit, and indeed it has become so familiar over not just years but generations of fantasy literature that it is hardly something to be questioned when it appears. It’s a convenient explanation for how magic can possibly exist in our familiar and ostensibly non-magical world.

Still, the idea of a very widely-kept secret to which thousands of people are privy may seem rather implausible. Surely someone would let the information slip? But as it happens, there are quite a few historical examples of widely-held secrets that were kept so well we aren’t sure what the truth of them was anymore.

I refer you first to the mystery cults of the classical world. In ancient Greece, and subsequently throughout the Hellenized and then the Romanized world, a great many people subscribed to the mystery cults of Eleusis, Samothrace, and (in Roman times) Mithras, among others. These cults required terrible binding oaths from their aspirants, and in many classical-period cities, substantial percentages of the middle and upper classes were members. But we don’t know, apart from a few scattered hints, what the cults believed, what their rituals were, or how members were expected to recognize and support one another outside of the ritual centers. It might be that the masonic phrase “I have seen the sun at midnight” was originally part of the Eleusinian mystery, which we know had something to do with the myth of Demeter and Persephone. But then again, that might be just wishful thinking on the part of the masons based on some modern invention. The names of the deities worshipped by cultists at Samothrace were forbidden to be uttered aloud, and while it’s believed they were mostly chthonic female members of the Greek pantheon, we really don’t know for sure. And even the cult of Mithras, to which millions of Roman legionaries and a great many other citizens belonged (including the emperor Julian the Apostate) is almost opaque to us now. There was probably the sacrifice of a bull involved at some point, but we know very little more than that of their beliefs and practices.

In any event, during this period of around 2,000 years (1600 BCE to 400 CE), everyone was well aware of the existence of the mystery cults, but the members kept their secrets quite effectively, as hardly a scrap of period writing survives that reveals any of their hidden knowledge; indeed, even elliptical references and allusions are rare.

And so, through folk culture, literary memory, and possibly even through the survival of cult remnants outlawed by the Catholic Church, the idea of secret organizations, hidden rituals, and underground magical practice was passed into medieval and then modern times. Early Christianity often assumed the form of a secret cult during the time in which it was forbidden, and splinter groups such as the various gnostic sects became hard-to-extirpate heresies that survived well into the 1400s. These heretic cults changed form from time to time as individual groups were scattered or forced underground, but eventually many of their beliefs were incorporated into the nonconformist branches of Protestantism, and thus into some present-day sects.

There’s no era of recent European history in which secret organizations didn’t thrive, and in many cases, we have only vague knowledge of their dissemination and indeed of their actual beliefs and purposes. Consider for example the 18th century Illuminati, made famous by Robert Anton Wilson and Robert Shea’s gonzo novels starting with The Illuminatus! Trilogy published in 1975, and revived yet again on a more literary basis by Umberto Eco in Foucault’s Pendulum in 1988. It seems Adam Weisshaupt organized some quasi-masonic lodges in Bavaria and elsewhere that might have been political, might have been magical, or might just have been the Enlightenment equivalent of an old boys’ social club with a few secret forms and rituals thrown in for fun. Who knows, really? No one living. But even today we have quasi-secret organizations with wide membership like the various masonic groups, whose rituals are admittedly only officially secret. But there are also a great many more serious, smaller groups, including the various descendants of the Golden Dawn and the organizations founded by Aleister Crowley and his disciples, who include, at just one remove, L. Ron Hubbard. The bizarre pulp-science-fictional beliefs ascribed to Scientology’s elite, while no longer secret, are certainly consistent in style with their many predecessors.

Which brings us back to urban fantasy and its pervasive notion of magic performed in secret behind closed doors by organizations of oath-sworn initiates that any of us might trip over or better yet be invited to join.

Is this mere wish fulfillment? Escapism? Fantasies of power and transfiguration? Certainly. But these are fantasies with the most distinguished of heritages, wending their way back to ancient times, and given the imprimatur of the greatest writers and thinkers of antiquity one must concede there is a certain solemn majesty to the idea.

So if you read The Demons of Wall Street (first in a series, the sequel The Demons of the Square Mile will be out at the end of the year or early in 2021!), I do hope you’ll enjoy it; the novella’s purpose is entirely to entertain. But should the notion of a secret organization of sorcerers and financiers hiding in plain sight in the boardrooms of the great firms of Wall Street give you pause, consider this little essay as a preemptive justification of a grand conceit passed on from earliest antiquity all the way to the present day.

Buy the book here.


Headshot of Laurence Raphael Brothers.BIO: Laurence Raphael Brothers is a writer and technologist. He has worked in R&D at such firms as Bell Communications Research and Google, and he has five patents along with numerous industry publications. His areas of expertise include Internet and cloud-based applications, artificial intelligence, telecom applications, and online games.

He has published many science fiction and fantasy stories and is a member of Science Fiction and Fantasy Writers of America.

Find out more about Laurence Raphael Brothers on his website.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
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Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

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Guest Post: We Are Not Entertained by Aigner Loren Wilson

There’s this common misconception that the world of editing (in the sense of submitting your story to a magazine or contest) is an absolute puzzle constantly being shifted around by angry and jaded editors. In classes, writing groups, and even among non-writers, I hear it repeated that you have to have this unknowable combination of luck and talent to land a spot in a magazine, and it isn’t worth trying or learning. You got it or you don’t.

But that type of thinking leaves most people without it.

I want to say that in my years as a reader, judge, and developmental editor none of that is true. Especially about editors. We’re not shadowed goblins lying in wait to crush every writers’ dream. The reason we got into this line of work is because we want to hear a good story, a new story. We want to be entertained.

But unfortunately, most of the time, we are not. We are left wondering where’s the story.

And after a few years, I realized that most stories don’t make it because of the same reasons. Time and time again, I open a submission (always reading without knowing the info of the author) and come across the same mistakes or faults in stories that keep a cool or fun idea from making it from a submission to an acceptance. Dear writer, I’m going to tell you these faults so that you can identify them in your own stories and make it out of the slush pile.

Because I do really want to see your stories out there. Even if I never read them, someone will, and they will love them.

One of the common issues I come across are dark openings. A dark opening is when a writer aims to be mysterious but doesn’t give the reader anything to hold on to. Often, the story opens with two characters exchanging a few lines of dialogue while doing some mundane task that is an overarching metaphor for the story. That in itself isn’t bad and can be found in a lot of great stories, but where the stories fail is in how they do this.

In dark openings, characters, along with their dialogue, are usually nondescript to the point where you can’t really tell who is saying what because everyone sounds the same, and they aren’t really having a conversation but are merely stating the story in a heavy-handed way. The correct way in doing these mysterious dialogue driven openings is to use metaphor less like metaphor and more like subtext so that the point comes in without feeling like it’s being fed to the reader. And, of course, all dialogue should be distinctive to the characters, but this is even more so important in an opening.

Not only does it show the reader the characters, but it shows them that you’re an author who knows your story and characters. It builds that very necessary and crucial bridge of trust between the writer and the reader.

Another thing that holds writers back is telling their story to the reader instead of showing their story to the reader. Commonly known as telling vs showing. Based on the stories I’ve read, my theory behind this bit of advice not sinking into writers is that they misunderstand what it means to show and to tell. Writers tend to do a lot of in your face telling masking as showing. For instance, during a fight scene, the reader will get a blow by blow of flailing arms and legs.

But that is not showing.

Showing does more than just show. Showing makes the reader feel. It calls forth the image of the scene or character to the reader’s mind. There are many ways to do this, but the top way is by using descriptive language and sentence structure to control reader emotion and story. Instead of giving a blow by blow of action, give a blow by blow of evocative internal workings. How does your character feel when slicing into their foe or friend or lover? Use the right words in the right order to create magic.

The final issue that many stories have, though there are many more, is that they start too late. For a story of any length, the editor looks for whether or not the writer has introduced world, theme, problem, and character within the first paragraph. But a lot of writers, choose to open their stories with something that they think will grab the attention of the reader or will paint a picture of the setting. But what will tell an editor of place or grab their attention won’t actually cue them in on what is important to this story and to the character.

Openings should introduce world, character, and problem at least on the first page. When it is not introduced, the editor is left wondering where the story is going, instead of wrapped up in its progression.

As you will have noticed, most of these issues happen in a story’s opening. That’s the only space you really have to win a reader or an editor over. And editors can feel or sense whether or not the story they dive into is written by a writer that knows what they are doing or by a writer who is just phoning it in because they don’t think they have to try.

If you take issue with this article and feel as though I am lying to you, then I leave you with this: it is my firm belief that every writer should become a slush reader, so that they may see the wide array of mistakes laden in stories. It will not only help you realize your own faults, but it will also show you that I am right.


Aigner Loren Wilson author photoBIO: Aigner Loren Wilson is a SFWA, HWA, and Codex writer whose stories and articles have appeared in Terraform, Rue Morgue, Arsenika, and more. She writes or edits for Strange Horizons, Nightlight: A Horror Podcast, NYC Midnight, and other outlets. To keep up to date on where she is publishing and other news, sign up for her newsletter, follow her on Instagram, or follow her blog.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

 

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Guest Post: Daniel Pinkwater on How He Exercises His Profession

I don’t know about other writers. For one thing, I’ve never been another writer. For another, although I’ve observed practically all the interviews, or as in this case requested from writers, are about how the writing is done, creative tricks, recipes and such. I can’t listen to, view, or read that stuff…not that it isn’t full of useful information, just that my attention wanders, or I fall asleep. So, the nice guy who works for the publisher and arranges this kind of thing told me it would be a good idea if I wrote something about writing. And I just told you that I really don’t know anything about how other writers do it.

I’m on a bit of a spot here, because I’m not sure I know anything about how I do it. But I do have an idea. This idea is brand-new, I just came up with it the other day. It’s based on something I observed about a dog we have. This is a pure-bred rough collie, presently about 18 months old. I digress for a moment to tell you that for two people who are pushing 80 to go out and buy for a lot of money, an energetic 13 week old puppy is completely insane, but that’s what we did. What you’re supposed to do is match the dog to your own time of life, seniors should get a senior dog, doesn’t move so fast and naps more, just like us. We did the opposite. We had the puppy for a month or so when Jill, that’s my wife, got bitten by a tick, it was bearing a tick-borne disease, Erlichiosis, which is nasty. Jill wound up in the hospital more or less out of her mind for five days, and then did 41 days in rehab. While this was going on the puppy went back to the farm with mom and dad and the sibs.

When Jill was home and well enough, the breeder brought the puppy, now around 6 months old. We didn’t expect the pup would remember us very well, probably hardly at all. But we were wrong. She came in the door. “I’m back!” she said, gave us each a fast lick, and curled up next to Jill’s chair in the spot she had napped before the interruption. Later she took me on a tour of our house, “These are the stairs to your office. Here’s where I stole the 3×5 cards and brought them to you one by one, just like I’m doing now…still funny. I’m not supposed to get onto this couch, but this ratty one is ok.”

The puppy, her name is Peach, by the way, remembered everything, and had quite a bit earlier in her short life clicked on her role as “our dog,” and she even loved us without rhyme or reason, undeterred by how uninteresting we are, it was all, everything, baked in. She had to learn a few minor things, don’t bite, don’t poop indoors, walk nicely on the leash, but all the essential stuff was in place and only awaiting whatever prompts activation.

And, believe it or not, I never gave this thought until this week. That, in the case of this one writer, not speaking for or about anyone else, is how I exercise my profession.



Daniel Pinkwater is, in brief, the author and sometimes illustrator of over 80 (and counting) wildly popular books. He is also an occasional commentator on National Public Radio’s All Thing Considered and appears regularly on Weekend Edition Saturday, where he reviews exceptional kids’ books with host Scott Simon. Said books usually go on to become best-selling classics.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post or video interview, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

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