Aidee Ladnier's Blog

While perched on the riverbank
Mud seeping sneakily into my jeans
As sunlight lanced into the denim, scorching my skin
I caressed a worry stone that had jabbed me from my pocket
So many anxieties it held
As my fingers scrubbed its surface smooth
Rubbing my fallacies into the stone’s hollow

Tasting freedom in the balmy air
The stone leapt from my fingers
Plunging down the riverbank
And into the calm, rushing waters of Lethe far below me
Beyond my reach and any wish to chase it
Escaping my frantic fears… to leave me lighter

 

I wrote this while thinking about how anxiety builds up quietly, like pockets filling with pebbles until you can hardly move. Today, I imagined letting one of those stones go, trusting the river to carry it somewhere far beyond my sight. The name Lethe felt right because in Greek mythology, it’s the river of forgetfulness, and letting go of a fear is the first step toward peace.

Poetry, for me, is a way of loosening the knots my brain ties. Novels ask for structure and plot. But poems let me experiment with images, senses, and rhythm. Small sentences are makes me braver about writing bigger ones.

It’s been slow going on the fiction front. But every small creative act, every worry stone dropped, feels like reclaiming a bit of myself. If you’re also trying to write again after a long pause, maybe you need a moment like this too. Sit somewhere quiet, notice a detail, turn it into a few words, and see what loosens.

And if you’d like to read some of the fiction I’ve already written, you can check it out here. I’m always looking for new readers (or readers that just want to check back in with some fictional old friends).

 

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I have a weakness for a killer first line. If there’s one thing that pulls me into a story instantly, it’s an opening sentence with serious oomph—the kind that makes you sit up and say, I have to keep reading!

A strong opening isn’t just a nice touch—it’s essential. It’s the first handshake between writer and reader, setting the stage for everything that follows.

Some of my all-time favorites include:

“You see, I had this space suit.” — Have Space Suit—Will Travel by Robert A. Heinlein

“Marley was dead: to begin with.” — A Christmas Carol by Charles Dickens

“O for a Muse of fire, that would ascend The brightest heaven of invention…” — Henry V by William Shakespeare

These opening lines are memorable because they immediately establish intrigue, tone, or a sense of curiosity. They invite the reader into the world of the story with just a few carefully chosen words.

That’s the kind of impact I strive for in my own first lines—ones that whisper (or shout), Come closer. There’s more to this story. It’s a moment of connection, where a single sentence can captivate, intrigue, or even challenge expectations.

Here are a few of mine:

“On her sister’s wedding day, Ari noticed that one of her ears had migrated to her hand.” from the short story “Playing It By Ear”

“On the Christmas card, two fluffy Persian cats sporting felt antlers stared at Ethan in disgust.” from A Hundred Promises of Love

“On the outside, it masqueraded as a run-down, dirty warehouse, but the Klockwerk Kraken had a reputation for being the closest and most unique bar at the Switchpoint Station port.” from The Klockwerk Kraken

Why Your First Line Matters

A strong first line sets the tone for the entire story. It can be whimsical, eerie, nostalgic, or even drop a hint that something monstrous lurks just around the corner.

It’s your first opportunity to spark curiosity and establish the atmosphere. It also provides a crucial first impression of the main character, setting, or narrative style. A well-crafted opening line isn’t just a hook—it’s a promise of the adventure to come.

Your opening sentence is your reader’s first introduction to you—the writer. It’s your chance to say:

“Come on! We’re going on an adventure.”

And if done right, your readers won’t just accept the invitation—they’ll race ahead, eager to see what happens next.

Think about your favorite books—what do their first lines have in common? How do they pull you in? Do you prefer a bold statement, a thought-provoking mystery, or a hint of humor? Do you find yourself remembering certain first lines long after finishing the book?

I’d love to hear your thoughts! Share your favorite first lines in the comments, whether they’re from books you love or ones you’ve written yourself. What’s the best first line you’ve ever read—or written? Let’s celebrate the magic of a great opening together!

The post Why a Great First Line Hooks Readers (and How to Write One) appeared first on .

Kaze No Denwa 

I heard about a telephone today 
One where you can call the dead
One where you pour out your love, your regret, your grief 
One where the wind carries your voice away like dried rustling leaves 
Leaving you spent and empty and whole 
Maybe the words fly to heaven 
Maybe they sink into hell 
But mine go nowhere 
Because my grief can’t be assuaged by the wind 
My feelings are honey sweet and burning on the skin of my cheeks 
I want to call you 
Pretend I hear your voice 
But there is no laugh nor whisper on the other side 
My heart sits like a rock in my chest 
Heavy with unsaid words I cannot utter 
Too heavy to be carried on the wind 

The “Kaze no Denwa” or “The Phone of the Wind” is a phone booth originally placed in the garden of Itaru Sasaki in Ōtsuchi, Iwate Prefecture, Japan. He was grieving the death of his brother. Since then visitors from all over Japan and the world have traveled to hold one-way conversations with deceased loved ones in his phone booth. When you enter the booth, the words “Welcome, I’ve been waiting for you,” are visible.

I loved the idea of a phone that I might use to call my grandmother who I still miss. I have a phone. It’s not connected – an old rotary dial antique that has its own telephone table. But I can’t bring myself to pick up the receiver. 

The post Poetry Break: Kaze No Denwa  appeared first on .

Am I writing? Have I beaten my anxiety yet?

Well, despite needing to write today, I gave my website a facelift instead.

I took down the dark colors and swapped them for something light, something that feels a little less heavy. Maybe it’s a reflection of where I want my mindset to be—less weighed down, more open. Or maybe I was just tired of looking at the same old thing. Either way, it feels like a fresh start. It’s funny how something as simple as changing a few colors and fonts can make everything seem new again, as if I’ve dusted off a neglected part of myself and let in some fresh air.

I also tried to write a post about my fears, hopes, and despair over the current state of our society, but somehow, it deleted itself. A complete vanishing act. Which is an interesting commentary on technology and its idea of “helping” me. Maybe that was the universe telling me to let it go—or at least to approach it differently. Or perhaps technology, much like me, is just tired and overwhelmed. Either way, I took the hint and stepped away for a while.

I’m still struggling to write consistently, but I’m getting there. Some days, the words flow, and other days, they feel like pulling teeth. But I remind myself that progress is still progress, no matter how slow. And I’m inching closer to sending something off to an editor. That’s both thrilling and terrifying in equal measure. It’s an old anxiety I though I had made peace with a decade ago.

So soon, maybe?

Keep me in your thoughts. And I’ll keep you in mine.

Take care of yourself out there. And (shameless plug!) if you haven’t read my Klockwerk Kraken stories, they are about the comfort of family. And we could all use some comfort right now.

The post Am I writing? Have I beaten my anxiety yet? appeared first on .

Read My Story “Getting the Proper Rise” (which won 3rd Place) in the new Queer Sci Fi Anthology

Queer Sci Fi has just released the annual QSF Flash Fiction anthology. This year, the theme is “Rise.”

Every year, Queer Sci Fi runs a one-word theme contest for 300 word flash fiction stories, and then we choose 120 of the best for our annual anthology.

RISE (Noun, Verb)

1) An upward slope or movement
2) A beginning or origin
3) An increase in amount or number
4) An angry reaction
5) To take up arms
6) To return from death
7) To become heartened or elated
8) To exert oneself to meet a challenge

Buy Now   Edited by J. Scott Coatsworth
Publishing Company: Other Worlds Ink
Cover Artist: J. Scott CoatsworthPairings (if a romance): MM, FF, MF, NB etc
Genres: Fantasy, Horror, Paranormal, Romance, Science Fiction
Story Type: Anthology/Collection
Word Count: 35000
LGBTQ+ Identities (if applicable): Ace, Bi, Demi, Gay, Intersex, Lesbian, Poly, Trans
Keywords/Categories: anthology, collection, short stories, flash fiction, fantasy, sci-fi, science fiction, paranormal, horror, gay, lesbian, ace, asexual, bi, bisexual, demi, demisexual, intersex, poly, trans, transgender, FTM, MTF, contest, Ace, Asexual, Bi, Bisexual, Demi, Gay, Intersex, Lesbian, Poly, Trans, Transgender, new release, announcement, giveaway  EXCERPTSIt wasn’t the principles that Matt Harden objected to. The principles were fine: Limited planetary resources. Circle of life. The wrongness of playing God.

But, he thought as he spread the herbs on the basement floor in the prescribed way, the principles were bullshit when you were faced with reality. When the only man who’d ever held your heart was stolen from you by a moment’s distraction behind the wheel. When you never had the chance to even say goodbye. When your body in bed was as cold and alone as a corpse in a coffin.

When the night mist was clammy on your neck and the grave-dirt heavy on your shovel.

—From Principle and Reality – Kim Fielding

“He’s here,” Matt said, slamming the door behind him. “You ready?”

“Think so,” Rory said. He’d finished the salt circle, and quickly moved on to placing the candle in the center.

“Will this work?”

“It’s this or nothing.” Once Tiff told them she’d survived a run in with the killer known as The Hook, Rory knew they were as good as dead. Supposedly this bastard had been killed before, but he never seemed to stop. Much about The Hook seemed unreal, but Rory thought it was the only weapon they had – the unbelievable. Besides, they were gay; those characters always died first.

—From Best Served Cold – Andrea Speed

“You do realize,” the nurse said gravely, “that without your parent permission form, this procedure can only be temporary.”

“I do,” Sharon said nervously. Sharon. That was a good name, right? Sounded like Shawn, but wasn’t. Was a girl’s name. A woman’s name. She liked Sharon.

“And that given your parent’s lack of support for this, there will be a counselor assigned to your home to ensure your safety?” The nurse continued, checking the talking points on her tablet with precision.

“I won’t need it,” Sharon said nervously. “They think it’s a phase, but they’re not, you know, hostile.”

—From A New Day – Amy Lane

GIVEAWAY

Queer Sci Fi is giving away a $25 Bookshop.org gift card with this tour: a Rafflecopter giveaway

AUTHORS

This year, 554 authors entered the Rise contest. 120 of them were chosen, and their stories are included in this anthology:

Jordan AbronsonAisling AlvarezCJ AraloreEllery ArdenAnusha AsimAtenDrew BakerJeff BakerEvelyn BenvieEytan BernsteinR. BradenSorren BriarwoodKayleen BurdineSiri CaldwellSonja Seren CalhounJennifer CaracappaD. CarlsonCaroMinerva CerridwenAmanda CherryDawn Spina CouperMonique CuillerierLynden DaleyClaire DavonEf DealFrancine DeCareyNicole DennisSarah DoebereinerKellie DohertyAllan Dyen-ShapiroMarkus McCann EdgetteKim FieldingTom FolskeAthena FosterAni FoxBeáta FülöpJendia GammonStorm GrantChad GraysonGabbi GreyKaje HarperNarrelle M. HarrisKelly HaworthChisto HealyMegan HipplerJoanna Michal HoytGrace HudsonMeghan HylandJeff JacobsonErin JamiesonDale JordanAdrik KempOlivia KemperJamie LackeyAidee LadnierAmy LaneTris LawrenceBrenda LeeKatrina LemaireGordon LinznerJayne LockwoodClare LondonNathan Alling LongPatricia LoofbourrowC. LoveroIlyas M.Stacey MahunaPaula McGrathAtlin MerrickAmanda MeuwissenEloreen MoonJaime MunnRJ MustafaOliver NashAnnika NeukirchJess NevinsRory Ni CoileainL. NooneMilo OwenChris PanatierJ PiperNia QuinnMere RainM. RaschKazy ReedLS ReinholtAlexei Madeleine ReynerEmerian RichRie Sheridan RoseAnna RuedenCurtis RuedenCarol RylesJamie SandsRodello SantosSumiko SaulsonAradhya SaxenaZiggy SchutzJ. ScottAlex SilverRoxanne SkellysparksAndrea SpeedChloe SpencerRobin SpringerAndrea StanetNathaniel TaffE. TearmannTori ThompsonGeorge UnderwoodAvery VanderlyleJoz VarloDawn VogelRhian WallerDean WellsDevon WidmerB WilkinsHolli Rebecca WilliamsPaul WilsonHo YenJamie ZaccariaBlog Tour Contact:
Queer Sci Fi Website | Facebook | Mastodon

Buy RISE Now

The post Rise – the new Queer Sci Fi Flash Fiction Contest Anthology is out! appeared first on Aidee Ladnier.

So first off I’m going to encourage you watch Lindsay Ellis’s amazing video about How Three-Act Screenplays Work and the breakdowns of how movies use them to plot because it is simply brilliant and totally left my mind blown:

You can also view it on Youtube

Okay, you’ve watched it right? It’s an amazing video on storytelling craft

Now I’ll write it all out so I can better understand it. This is easier for me because I’m a writer and not a film critic.

First point – the three acts of a three-act structure don’t have to be of any particular length. Some works might have really long first acts which then puts the midpoint at 60-70% in the story. Act breaks are not a defined by length but function.

Second point – Tension is really important in a story. Individual acts and sequences have tension but the overall narrative itself has its own tension. The beginning and end of an Act marks a change or shift in tension. 

Typical three-act structure has eight sequences in three acts. A SEQUENCE is the build and release of minor tension which also contributes to the overall ACT tension. The ACT Tension then contributes to the main narrative tension of the ENTIRE STORY. So lots of layers like an onion.

But one character pushes the central conflict (even in an ensemble piece with lots of subplots and character arcs) and the momentum of the plot.

To figure out the Sequence tension, Lindsay assigned each Sequence a question. Answering the question relieves the tension.

Act IPoint of Attack – this gets the ball rolling and may have nothing to do with the protagonist. It focuses on the universe and creates a story element for the protagonist to react to. That reaction becomes the inciting incident, and may be outside of the protagonists control or even knowledgeSequence 1 – explains laws of universe, status quo of protagonist, flaw or desire which makes protagonist feel incompleteInciting incident – this sets up the central conflict of the story displayed through the main character’s motivation (in romance this is almost always where the protagonist decide to win the romantic love interest). It marks the end of first Sequence. The conflict pushes the protagonist to do something (and eventually make an important decision at the end of Act I). The first Sequence tension is resolved by how the protagonist reacts to the inciting incidentSequence 2 – builds the creation of the main narrative tension of the overall story, this locks the protagonist in or sends them out on a quest (small and personal or large and sweeping)Lock In – character has been set on the path of the story and they can’t go back to the way things were.Act IISequence 3 – quest makes ground, hero achieves a milestone or learns something importantSequence 4 – buildup to the Midpoint, hero makes first serious attempt to achieve their goalMidPoint – changes the aim of the hero’s quest, there’s a disruption in the hero’s life making them question decisions and assumptions and goals, main tension of Act II has not been resolved but something about it has fundamentally changed, ups the overall story tension by shifting it but does not resolve itSequence 5 – builds on the change and must add momentum and tension, usually focuses on a subplot or secondary character backstorySequence 6 – protagonist encounters their biggest challenge yet and hero slumps to lowest pointProtagonist’s want (internal motivation) drives the main tension which is resolved at the end of the second actMain culmination – resolution of the main tension, everything is hopeless, where you find out whodunnit (brought to justice in Act III), big betrayal, deceit is uncoveredAct IIISequence 7- the hero must make a decision which defines their character growth. This will create the new tension for Act III which is related to the main overall story tension. But it can’t come out of nowhere.Twist – shifts the focus of the third act tension in your plot to something more grand (like saving the world) or more intimate and personal (like saving the love interest’s life)Sequence 8 – climax which resolves the final tension, protagonist’s need (which defines character growth) resolves the tension of the third act, couple finally gets together in romance, and protagonist grows in some way so that they are the opposite of they way they were in Sequence 1

So that was my breakdown. It’s definitely food for thought on how I’ll structure the plot of my next novel. Of course you can view all my current books in one convenient place here.

The post How to Plot – Mind blown! New Craft Appreciation Day appeared first on .

So first off I’m going to encourage you watch Lindsay Ellis’s amazing video about How Three-Act Screenplays Work and the breakdowns of how movies use them because it is simply brilliant:

Okay, you’ve watched it right?

Now I’m going to write it all out so I can better understand it (because I’m a writer and not a film critic).

First point – the three acts of a three-act structure don’t have to be of any particular length. Some works might have really long first acts which then puts the midpoint at 60-70% of the way through the story. Act breaks are not a defined by length but function.

Second point – Tension is really important in a story. Individual acts and sequences have tension but the overall narrative itself has its own tension. The beginning and end of an Act marks a change or shift in tension. 

Typical three-act structure has eight sequences in three acts. A SEQUENCE is the build and release of minor tension which also contributes to the overall ACT tension which then contributes to the main narrative tension of the ENTIRE STORY. So lots of layers like an onion.

But central conflict (even in an ensemble piece with lots of subplots and character arcs) and the momentum of the plot is generally going to be pushed by one character.

To figure out the Sequence tension, Lindsay had a great shortcut by assigning each Sequence a question and then noting that the tension is relieved when that question is answered.

Act I

Point of Attack – gets the ball rolling and may have nothing to do with the protagonist, focuses on the universe, creates story element for the protagonist to react to with that reaction becoming the inciting incident, may be outside of the protagonists control or even knowledgeSequence 1 – explains laws of universe, status quo of protagonist, flaw or desire which makes protagonist feel incompleteInciting incident – sets up central conflict of the story displayed through the main character’s motivation (in romance this is almost always where the protagonist decide to win the romantic love interest), marks the end of first Sequence, conflict pushes protagonist to do something (and eventually make an important decision at the end of Act I), the first Sequence tension is resolved by how the protagonist reacts to the inciting incidentSequence 2 – builds the creation of the main narrative tension of the overall story, this locks the protagonist in or sends them out on a quest (small and personal or large and sweeping)Lock In – character has been set on the path of the story and they can’t go back to the way things were.

Act II

Sequence 3 – quest makes ground, hero achieves a milestone or learns something importantSequence 4 – buildup to the Midpoint, hero makes first serious attempt to achieve their goalMidPoint – changes the aim of the hero’s quest, there’s a disruption in the hero’s life making them question decisions and assumptions and goals, main tension of Act II has not been resolved but something about it has fundamentally changed, ups the overall story tension by shifting it but does not resolve itSequence 5 – builds on the change and must add momentum and tension, usually focuses on a subplot or secondary character backstorySequence 6 – protagonist encounters their biggest challenge yet and hero slumps to lowest pointProtagonist’s want (internal motivation) drives the main tension which is resolved at the end of the second actMain culmination – resolution of the main tension, everything is hopeless, where you find out whodunnit (brought to justice in Act III), big betrayal, deceit is uncovered

Act III

Sequence 7- hero must make a decision which defines their character growth and creates the new tension for Act III which is related to the main overall story tension but now different (can’t come out of nowhere)Twist – shifts the focus of the third act tension to something more grand (like saving the world) or more intimate and personal (like saving the love interest’s life)Sequence 8 – climax which resolves the final tension, protagonist’s need (which defines character growth) resolves the tension of the third act, couple finally gets together in romance, and protagonist grows in some way so that they are the opposite of they way they were in Sequence 1

So that was my breakdown. It’s definitely food for thought on how I’ll structure my next novel.

 

 

 

The post Mind blown! New Craft Appreciation Day appeared first on Aidee Ladnier.

[image error]So while writing this blog post, I was deep in the middle of a class by Kris Kennedy on backstory. (Which was excellent BTW, so if you ever see her teaching that class anywhere, run to register!)

If you don’t know what backstory is, it’s the part of your book you’re not supposed to put on the page. It’s the contents of that dreaded info dump we know we shouldn’t let anywhere near our prose unless it’s in drips and drabs throughout our novel. And it’s also the wizard hiding behind the curtains in Oz, directing the story but taking no action of his own.

Kris’s class brought home how important backstory is. One exercise she gave us was to write a scene that would never go into our book. We could hint at it, allude to it, even let it affect our characters daily, but we could never show our readers or tell them what happened in that scene. That one scene was important in a way the rest of our character’s life until the book, was not. It was the singular event that gave us the Wound.

Michael Hauge uses the terminology the Wound to denote a single event that changes the life, beliefs, and psychology of a character. This wound event impacts all the events that follow it. This one event is the place where something happened to your character to make them believe an erroneous fact which the arc of your novel will correct. It’s the event that “broke” them.

And a wound doesn’t have to be traumatic. It has to be earth-shattering… or at least able to shake what your character perceives is firm ground beneath them. An example of this would be your protagonist finding out a role model is a drug dealer. It could lead your character to the opinion that no one is what they seem, or every person is weak and self-serving. Another example might have a protagonist live through a house fire, which could lead to a fear of fire, being loathe to buy material goods that can vanish in a puff of smoke, or obsessively checking the oven and the electrical wiring for short circuits. These wounds lead to the character thinking something erroneous about themselves. In the fire’s case, a hero might decide it’s better not to get attached to things and people or bad things inevitably happen to them. In the role model’s case, a heroine decides everyone is just out for themselves, or it’s stupid to work hard when the world rewards cheaters.

As we’re writing romance, both your characters must complete an arc and if they both stem from a wound, even better. But to go one step further, to tighten your prose, make it the same event! How much more conflict would your story have if one character set the fire that led to their house burning down and their romantic partner lost a father fighting that same house fire? And in the other example, what if your protagonist found out their role model was selling drugs and their romantic lead found out the role model sold the drugs that led to their brother’s initial substance abuse problems? Conflict everywhere!

[image error]Likewise, you can use the same wound from different sources and your two romantic leads will have very different reactions to it. For example, one might survive a house fire and lose a beloved sibling, leading them to be clingy around those they love. Whereas their partner may survive a fire but lose a sibling and believe the wrong child survived. These very different reactions will color every single decision they make in your book. For example, one might refuse to go to college and leave their home and family but the other might join the volunteer firefighters to justify their survival. Same event, different reactions, both broken, and both allowing one event to dictate their day-to-day existence.

And that’s what this one momentous event is for your story. Every single scene of your novel needs to have one decision, one reminder, or one memory colored by this event — even if it’s an emotion or a single body language tell. The emotional wound must break your character from their ability to live a fulfilling life. It’s not a solvable mystery (although readers will treat it that way if you’re doing your job and NOT putting it in the story) nor is it a single event that just occurred in your character’s past. It is THE EVENT, the one that shaped them, makes all their decisions for them, leads their life, and the one they must correct to become whole and able to love another person whole-heartedly.

So go write that scene… and then let it direct your story from behind the curtain.

The post Pay No Attention To The Essential Plot Device Behind The Curtain appeared first on Aidee Ladnier.

[image error]

Photo by Javardh on Unsplash

Life has taken a turn. I have a day job working in an ancillary capacity to the medical field and the recent pandemic has me working 12 hour days, seven days a week just to keep information about COVID-19 flowing online.

So my writing has suffered quite a bit while I work and worry about the current state of our society, unable to escape into my fantasies while real life is pounding on my door. I wish I could say that I have a book almost ready to publish or that I have a story that is bursting out of me, but at the moment, I’m struggling to remain calm on a day to day basis.

I love writing. I love connecting with readers. But this state of affairs has plunged me into exhaustion and worry and I’m clinging desperately to hope that all my loved ones will see the other side of it.

So I can’t write right now. But that won’t always be so. Like the pandemic, like my despair, my inability to write will pass. I’m looking forward to that day.

Please, please, please take care of yourselves!!! I’ll see you on the other side.

I was recently researching western steampunk because, well….I’m writing one and I was surprised to see that it’s one of several in the ____punk genre.   I knew about cyberpunk and steampunk, but dieselpunk?

This prompted a trip to Wikipedia where I found out that my punk knowledge was sadly behind the times.  These days there is:

Cyberpunk – encompassing a technologically advanced dystopia and the loners who inhabit it (which also spawned “postcyberpunk” with protagonists who actually have jobs)
Steampunk – a sort of Jules Verne, victoriana, steam-powered technological world
Dieselpunk (or Decopunk) – set between WWI and WWII, it embraces the Art Deco aesthetic and includes pulp magazines, film noir, and movie serials
Biopunk – biotechnology on the rampage – not as many computers as cyberpunk, more genetic enhancements
Nanopunk – similar to Biopunk but with nano machines
Splatterpunk – a horror genre with…well, lots of splattering
Stonepunk – Stone Age technological wonders, in other words, they use the materials of the stone age to make technology we’d see today – like the technology you see in the Flintstones
Clockpunk – similar to Steampunk but relying on more clockwork instead of steam and set in the Middle Ages
Teslapunk – similar to Steampunk but set in the 19th and early 20th centuries when Nikola Tesla was alive
Atompunk – predigital 20th century when the early space race and communism were the big news of the day
Nowpunk – contemporary hacking adventures (very closely related to Steelpunk which focuses on the 20th century)
Rococopunk – for people that like punk in baroque style (sort of new Romantics)
Elfpunk – fairies and elves transplanted from mythology into urban fantasy settings
Mythpunk – mythological creatures plus postmodern fantasy elements

Of course, I don’t see mine.  My story is probably going to land somewhere between Steampunk and Teslapunk. I like to think of it as Wild Wild West punk after the old television series and the outrageous technology they had surfacing in the Old West.  After all, what’s better than Steampunk and Cowboys? Western Steampunk for the win!

[image error]
(photo by SoulStealer.co.uk)

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