Category: Spiritualism

March 17, 2022

Grave’s End by Elaine Mercado

It’s the middle of the night. You’re lying in bed, almost asleep. But a banging wakes you. Your eyes fly open and your heart freezes. What is it? You can’t imagine what it could be. Is it a ghost—or your radiator?

When faced with inexplicable happenings in your home, a place you want to consider a safe haven, it may take time to discern the source. At first you may have no explanation for the events and phenomena. If you can find no natural cause, you may fear what’s happening. Assigning possible meaning requires you to question, research, test, and evaluate.

If you diligently rule out natural causes and consider that such happenings as seeing balls of light, glimpsing shadowy figures, and being touched by unseen presences in the night are supernatural in origin, where does it leave you?

You might decide to do nothing. If so, can you learn to live with spirit housemates? You would need to overcome fear of spirits manifesting in your personal space. For example, if you heard a disembodied voice say, “I love you” in your dark cellar, how would you feel? Warm and fuzzy? Or scared shitless? Would you ever get used to it? You could try, but you may never become perfectly comfortable with such contact.

You may face loneliness, wondering why these strange things are happening to you and your family. Could you confide in anyone else about them? Who?

If you admit to a confidant that you believe what’s happening in your home is supernatural, would they believe you? Will they accept and help you, or mock and reject you? Receiving criticism might make anyone hesitate to share their paranormal experiences with others.

In Grave’s End: A True Ghost Story, an allegedly true account of a haunted home, Elaine Mercado’s husband personifies dogged unwillingness to attribute events to supernatural causes. He provides for Elaine and their daughters plenty of doubt, disbelief, disagreement, sarcasm, and harassment. After Mercado deals with unpleasant phenomena, such opposition simply piles on more grief.

At another point in the narrative, her husband suggests a different approach. He says, “…I couldn’t figure out what was happening to me. I think if we just keep our heads, whatever it is will just go away” (71).

But what if you do keep your head, and it doesn’t go away?

You could move. Yet, what if, like Elaine Mercado, you have nowhere else to go? You may be unable to escape elsewhere on your own. Elaine found herself in this situation before she became a nurse; she couldn’t afford to take the girls and move out.

Mercado is obviously an anxious person, overprotective, prone to worry. Even if you aren’t, many reasons could prevent you from leaving a problem house. If you could afford to vacate, like most people you may be reluctant to make such a drastic change. (Some folks don’t flee abusive relationships for the same reasons.) It makes it even harder to go if the entities aren’t seriously hurting you.

With my study of Spiritualism and mediumship, the experiences in Mercado’s book rang true. Because of her doubts, her husband’s opposition, and all that she dealt with that I’ve outlined above, it took her a long time to acknowledge the source of the activity in her home. However, it boggles me that, suffering as she and her daughters did, she did nothing about it for over a decade!

Mercado disliked the thought of a medium coming (109). As a result, she and her girls suffered a while longer. She and Karin weren’t sure they liked psychic Marisa Anderson “cleaning” the house. Finally, though, Mercado acknowledged that the trapped spirits were suffering and needed to be sent on their way toward the light.

Mercado concludes, “[Experiences with spirits] proved to me, without a doubt, that we survive our physical death” (174). Although not everyone will agree with her conviction, it came to her hard-earned.

I found Grave’s End a fascinating story about why spirits may linger on earthly properties and what one family did about a haunting. Such accounts provide rich fodder for conjuring fictional tales of the supernatural.

I’ve read a ton of books about the afterlife and a few specifically on rescuing spirits trapped in the physical realm. One such book I edited and published on this topic is by Doris and Hilary Severn called The Next Room [Kindle].)

If you’re currently dealing with supernatural activity or know someone who is, I recommend my book, How to Tell If Your House Is Haunted: And What to Do If It Is. I wrote it to explain how to determine whether phenomena is spiritual in origin, what to do about it, and how.

May you and your home find peace as Elaine Mercado did.

Source:

March 10, 2022

Darkness and Blindness in The Others (2001)

The Others (2001), directed by Alejandro Amenábar, is one of my favorite supernatural horror/psychological thriller movies. It’s got everything I love: horror, the supernatural, the afterlife, mystery, suspense, Christianity, and Spiritualism. It shows what a haunting is like from “the other side.”

I could approach this film in so many ways. But I want to point out some things about darkness and blindness.

While the screen is still dark before the opening credits, a voiceover begins in which a woman says, “Are you sitting comfortably? Then I’ll begin.” This is the first instance of information coming from darkness that can be taken two ways: as a mother telling her children a bedtime story (beginning with Genesis chapter 1, where God says, “Let there be light”), or a medium beginning a séance with a table full of sitters.

Grace lives with Anne and Nicholas in her island manse which she keeps in perpetual darkness because the children are photosensitive and will die if exposed to strong light. Yet light in the darkness is exactly what they all need.

It’s 1945, and Grace, played by Nichole Kidman, is still waiting for her husband Charles to return from the war. The previous house servants abandoned their positions some time ago. The children bemoan the fact that, like Daddy, everyone disappears and doesn’t return.

Because they cannot leave the house, Grace homeschools the children using a religious curriculum. She’s a devout Catholic who spends much time indoctrinating the youngsters about such subjects as the four hells, notably limbo for children. As a Christian, she believes in the afterlife. But her rigid doctrine blinds her to the reality that they’re all dead. Their experience fails to align with her beliefs, so she cannot understand the nature of their plight. How and when will the light dawn?

Grace tells Mrs. Mills, the head housekeeper, that she doesn’t like fantasies or “strange ideas,” which she says the children entertain. But the children are closer to the truth—Anne, especially—than their mother is. Anne hears and sees “others” in the house, including a boy named Victor. Yet even the girl is in the dark about the reality of the afterlife.

Who are they? “Ghosts?” her little brother asks. She tells him they’re not ghosts. “Ghosts aren’t like that,” meaning people—like the kids, mother, and servants. Rather, ghosts “go about in white sheets and carry chains.” This is simply more misinformation that blinds them to what the afterlife and spirits really are like.

When Grace herself hears evidence of others in the house, she rushes into the “junk room,” where everything, like ghosts, are covered with sheets. She finds a Victorian photo album of the dead, its subjects all with closed eyes, and begins to see the light.

Grace determines to leave the house for town to fetch the priest, but on her way, she becomes lost in a fog so thick she cannot see where she’s going. Miraculously, she meets Charles returning from battle. Because he is so shell-shocked, he’s unable to shed any light on their situation—until Anne tells him the truth. Although viewers are still kept in the dark about this secret, the result is that Charles departs.

Things come to a head when Grace awakes in horror to find that all the draperies in the house have been removed, spirited away. The house is filled with light, ghastly light. The “others” are forcing her to see the light. Upon searching the house, she discovers a photograph in the servants’ quarters. All three of the servants are dead. She’s been entertaining departed spirits.

During the climax, Grace and the children at last find the “others” sitting in an upstairs room. The old woman, the “witch” that Anne sketched, is engaged in automatic writing, scribbling words she hears from the other side. Words that Grace and her children are screaming: “We’re not dead!” This is a primary tenet of Spiritualism: the dead are only so-called, for “We affirm that the existence and personal identity of the individual continue after the change called death” (https://nsac.org/what-we-believe/principles/).

I love how the books and movies required for my MFA course are tying into everything I’ve studied. I’m impressed with the writers’ knowledge of Spiritualism. For example, when Anne is dressed in her communion gown (looking like a ghost), her change into the blind old woman is a reference to trance mediumship and the Spiritualist phenomenon of transfiguration. This scene foreshadows the end in which the séance reveals “the other side of the story.”

Although the medium is blind to the physical, she sees in Spirit. Because of her contact with the other side on behalf of the living, Grace and the children do see the light. But only concerning their current state: they are dead, this is what ghosts are like, and the house belongs to them. Instead of allowing the light of their new understanding to enable them to move on like Charles, they determine they will never leave. The final shot of the gates being chained indicates that what remains within are only ghosts.

Grace and her children’s situation depicted in The Others is a problem I discuss in my book How to Tell If Your House Is Haunted:

To disembodied souls, the “soul body” is just as physical and solid to them as their physical bodies were, and instead of moving on (because they don’t know they’re supposed to), they remain on the earth plane among people who are still physically embodied.

The only problem is that disembodied souls usually cannot make themselves seen or heard by those still living. When loved ones and helpers in the spirit world come to escort them away from the physical realm, they refuse to go because they don’t believe they are “dead” (physically) and have no concept or belief in an afterlife.

The danger for these souls is becoming stuck on the earth plane instead of progressing to the joys of life in the higher astral realms.

Lee Allen Howard, How to Tell If Your House Is Haunted

How to Tell If Your House Is Haunted: And What to Do If It Is reveals what happens when you die and where you go. It’s available for Kindle and in paperback. Happy hauntings!

February 3, 2022

Third Person Subjective Omniscient POV in Hell House

This post is part of class requirements for a “Readings in the Genre” (RIG) course I’m taking toward my MFA from Seton Hill University. This RIG is subtitled “The Haunted,” taught by Scott A. Johnson, MFA. This term, I’m expanding my knowledge and practice of POV, especially omniscient. So, as long as my assignments include books written in omniscient, I’ll blog about it here.

Richard Matheson’s 1971 novel, Hell House, is a nasty little haunted house story. It’s a harrowing, action-filled tale stuffed with debauchery and sex about “the Mt. Everest of haunted houses” (Matheson Hell House 17).

Like Shirley Jackson’s The Haunting of Hill House, Hell House is written in third person omniscient. Unlike Jackson’s book, which is limited third omniscient, focusing on protagonist Eleanor Vance, Matheson encompasses all the characters with third person omniscient.

The subjective omniscient narrator

The primary difference between omniscient and other POVs (first or close/intimate third) has to do with the narrator.

Every story has a narrator, but with first and close third, the narrator is one of the characters in the story. With omniscient, the “narrator is not a character within the story but is positioned as an all-knowing… external narrative voice that provides a ‘god-like’ or ‘birds eye view’ perspective of the events within the story” (Cabal How to Write in Third Person Omniscient PoV, emphasis mine).

An objective omniscient narrator reports only what characters do but never what they think or feel. A subjective omniscient narrator can report both what characters think and feel, as well as what they do. Matheson’s omniscient narrator is subjective; we get the thoughts and feelings of all the characters.

Reading to discover POV

How an author handles POV isn’t always readily apparent. Sometimes, you must read a few chapters to fully discover the approach and techniques the author is using.

In the opening scene of Hell House, Matheson’s first line could belong to several POVs: “It had been raining hard since five o’clock that morning” (9). The second sentence provides the first real POV clue: “Brontean weather, Dr. Barrett thought” (9). In omniscient, character thoughts are usually presented indirectly, with a tag. (“Filtering” is acceptable in omniscient and actually necessary from an external viewpoint.) But we can’t be certain of the POV until we read further.

By the end of the first page, Matheson reveals another hint: “[Barrett] was a tall, slightly overweight man in his middle fifties, his thinning blond hair unchanged in color…” (9). We know the author is writing in third person. However, this outsider’s description of the doctor indicates that the narrator is telling the story from an external perspective.

Another clue on page 12 tells us, “Barrett looked appalled.” A close-third character/internal narrator would not describe himself in these ways. After a few scenes, the writing confirms that Barrett’s actions, thoughts, and feelings are reported externally.

As we read through the chapter dated December 20, 1970, we find Florence Tanner introduced in third person (20). Edith Barrett is introduced next with third person that seems closer than the previous two characters’ POVs. Fischer follows with another third person POV (23). By now, we’re able to determine that Matheson’s use of POV is subjective third person omniscient, which he applies to multiple characters.

Techniques belonging to omniscient POV

Omniscient is confirmed on page 27 with a description of multiple character action: “All of them gazed at the hill-ringed valley lying ahead…” (emphasis mine). This is direct reporting from an external narrator. On 29: “The cold was numbing, a clammy chill that seemed to dew itself around their bones (emphasis mine).”

In the December 21 chapter, the scene headed “2:21 p.m.,” the internal thoughts of Fischer (43) and Barrett show up in the same scene (44). At this scene’s end, Edith reads a list of psychic phenomena observed in the house, and the narrator expresses her thoughts (46). Here, we have the POVs of three characters shared in the same scene. This can only be done with subjective omniscient.

“Head-hopping,” as it’s called in literary circles, continues in many scenes (81). (And, contrary to popular belief, there’s nothing wrong with head-hopping—if it’s done right.) Matheson pulls it off skillfully. He even enters three heads in the same short paragraph: “Barrett… had not been aware… Florence sat stricken… Edith felt a rush of pity for her” (228).

Florence tells Fischer “the secret of Hell House”: “Controlled, multiple haunting” (174). Perhaps this is why Matheson used controlled third person omniscient POV to tell this ghostly tale…

I’ll be looking for more contemporary novels to study omniscient POV. I’ve included a short list at the end of this post.

A word on Matheson’s portrayal of Spiritualism

Not many know this, but I studied Spiritualism intensively for five years, achieving the equivalent of a masters-level education through completing a year’s study with the Morris Pratt Institute, the educational branch of the National Spiritualist Association of Churches. I also attended a two-year ministerial program at Fellowships of the Spirit in Lily Dale, New York, what many consider to be the Spiritualist capital of the Western world. I practiced mediumship for several years. (Here’s a video I made about developing clairvoyance.)

As I read Hell House, I was impressed with Matheson’s knowledge of parapsychology and Spiritualism. His mention and portrayal of mental and physical mediumship; the use of a cabinet (an enclosed space to keep light out and energy in); Florence’s devotion, beliefs, and practices; and Fischer’s description of his boyhood abilities all rang true to my studies.

Other practices Matheson accurately mentioned include: psychometry with Daniel Belasco’s ring (130), Florence’s funeral prayer (129), her mention of guides and spirit doctors (131–132), the renowned physical mediums Daniel Dunglas Home and Eusapia Palladino (136), physical phenomena such as ectoplasmic masking (162ff), the difference between mental and physical mediums, and, sadly, Florence’s channeling of Red Cloud (64ff).

Matheson’s research on Spiritualism and the afterlife in Hell House was probably a carryover from his 1978 novel, What Dreams May Come, which I recommend for a Spiritualist portrayal of “life on the other side.”

Sources:

Contemporary books written in omniscient:

• Good Omens, Terry Pratchett and Neil Gaiman
• Beartown, Fredrik Backman
• A Game of Thrones, George R.R. Martin
• Station Eleven, Emily St. John Mandel
• Crazy Rich Asians, Kevin Kwan

July 27, 2013

Cemetery Photo Shoot

I love cemeteries. Always have. It’s part of my creepiness, yet as a Spiritualist, I find them not morbid, but peaceful, places. So being a Spiritualist, a medium, and a writer of dark fiction, a cemetery was the perfect place for a recent photo shoot.

You’ll see one of the finals in the right column of my site here soon. In the meantime, say, “Cheese!” and smile pretty!

John Colombo: http://www.johncolombo.com/

June 27, 2013

The Importance of Research in Fiction Writing

This article first appeared on Anne J. Fotheringham’s site, Book Editor Plus.

 
Although fiction is a product of the imagination, if it’s set in the real world at least partially, there will be some real-life things you must get right. This means being accurate with your facts. In a contemporary story, if you’ve got a seasoned outdoorsman who drinks water directly from a still pool in a stream, you haven’t done your research.

Water can be contaminated with a variety of things risky to health and isn’t safe to drink without some kind of treatment, including filtration, chemical disinfection, or boiling. Boiling is best. If this isn’t possible in your story, you’ll get points for realism and accuracy if your character knows the dangers and does his best to mitigate them. If you don’t know your outdoor lore, readers who do will detect your gaffe and call you on it. (They may also quit reading or complain in a review.)

So it pays to know your facts when you write. And that’s where research comes in.

For instance, in DEATH PERCEPTION, my latest supernatural crime thriller, protagonist Kennet Singleton runs the crematory at a local funeral home. When I first got the idea about a young man who can discern the cause of death of those he cremates by toasting marshmallows over their ashes, I knew nothing about funeral homes or cremation.

One of the first things I did was conduct a general Internet search to acquaint myself with the processes of cremation and embalming. Then I went to visit a funeral home with a crematorium. A friend arranged for me to meet the funeral director, and I spent an hour there one afternoon learning about their process.

Being a technical writer, I took copious notes and made sketches. I even tape-recorded the session so I could go back to it if I later couldn’t make sense of my notes. Back home I typed up the document, making computer diagrams from my sketches, and ended up with a 15-page document that I later referred to when I wrote scenes in which cremation took place.

I also read a lot of books on the subject of death, funerary tradition and processes, and cremation. I still have a carton containing these titles:

• Purified by Fire: A History of Cremation in America by Stephen Prothero
• Cremation in America by Fred Rosen
• Corpses, Coffins, and Crypts: A History of Burial by Penny Colman
• Round-Trip to Deadsville: A Year in the Funeral Underground by Tim Matson
• What Happens When You Die: From Your Last Breath to the First Spadeful by Robert T. Hatch
• I Died Laughing: Funeral Education with a Light Touch by Lisa Carlson
• One Foot in the Grave: The Strange But True Adventures of a Cemetery Sexton by Chad Daybell
• Cemetery Stories: Haunted Graveyards, Embalming Secrets, and the Life of a Corpse After Death by Katherine Ramsland
• Death to Dust: What Happens to Dead Bodies? by Kenneth V. Iserson, MD

Some of these books were more useful than others, but I gleaned something from all of them. I used this knowledge to build a foundational structure based on facts about death, embalming, cremation, funeral homes, and cemeteries.

I likewise did research on personal care homes. And more on marijuana growing, poisons, prescription drugs, sexual fetishes, crime, guns, and police procedure. (Yes, all of these are in DEATH PERCEPTION.)

Did I get it all right? I suppose if an expert in any of these areas reads my book, she might find a flaw. But I performed due diligence and did my best to accurately ground my fiction in fact. Even much of the Spiritualism and Kennet’s psychic abilities are based on research and experience.

All this said, must you know everything about everything? No. You can’t. Other funeral directors may do things differently in their places of business, and that’s okay. But my facts are accurate according to how one funeral director operates his crematorium.

Although you can’t know everything, it pays to do your research in as many areas as possible. Then have knowledgeable beta readers check your work for accuracy. Sound research lends authority and realism to your writing, and these are what loyal readers enjoy.

DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub) at https://leeallenhoward.com/death-perception/.

June 25, 2013

Using Your Day Job in Your Writing

This article first appeared on Sally Bosco’s site.

June 14, 2013

My Path to Publication

This post first appeared on the site of horror writer Joseph A. Pinto.

As a creative exercise in second grade, Teacher had her pupils write a story. “Be as creative as you can be, children.” I penned—penciled, rather—my debut horror fiction on a ruled school tablet. Teacher, ostensibly pleased with her prodigy’s genius (more likely concerned with a tow-headed eight-year-old’s mental health), passed my work to the elementary school principal. (“Children, ‘principal’ ends with P-A-L—the principal is your PAL.” Keep reading, and then decide…)

Unknown to me, Principal Sprunger, also the president of the local Lions Club chapter in Berne, Indiana, read my story to the men of our little Swiss community and then in good humor fined my father a dime because the preacher’s son had written such an “awful tale full of skeletons, witches, and blood.”

That is the story of money first changing hands in relation to my fiction. (That dime never found its way into my pocket. If it had, I would have biked down to the White Cottage and bought myself a small soft serve cone, for sure.)

I continued to write through elementary and high school. The Brookville, Pennsylvania, Jeffersonian Democrat newspaper printed our school newsletter, for which I’d written a grisly Halloween story. They decided to reprint my story in the town newspaper. This should have overjoyed me, but they printed it anonymously and didn’t pay me for it, either. Bastards.

I placed a short story and some poetry in Indiana University of Pennsylvania’s New Growth Arts Revue. I stopped writing for a few years, but started again when I envisioned a scene about a young man who had been shot in the stomach and stumbled into an alley to die. I developed this into my first suspense novel for the Christian market, WHEN THE MUSIC STOPS, long out of print.

After completing my master of arts in Writing Popular Fiction from Seton Hill University, I entered the publishing arena and compiled a trade paperback anthology of shorts based on the Ten Commandments. THOU SHALT NOT came out in 2006. It’s a great collection of horror and dark crime. Check it out.

I’ve placed a few short stories for pay in the past decade, but after hundreds of rejections, two years ago I decided to take a different route.

One of the reasons I’ve had trouble in placing my work, especially novels, is because they don’t cleanly fit into a genre slot. Why is this important? Because brick-and-mortar bookstores need to know where to shelve a book. So part of the writing-for-print-publication process is writing for a shelf spot. (And length requirements in genre fiction in part are based on how many books will conveniently fit in a cardboard carton for shipping.) I think that’s just ridiculous.

I had been working on a novel proposal for Dorchester Publishing/Leisure Books. But after the debacle with their selling ebooks without remunerating authors, I stuffed that idea down the disposal.

In a nutshell, since second grade, I’ve learned that publishing by the traditional route is inorganically restricted and highly improbable. The royalties paid (if they pay)… well, suck.

So I recently published my second novel, THE SIXTH SEED for e-readers and trade paperback. It cost me nothing to post it, and I’ve been selling downloads at a 70% royalty. And I can add meta tags with no concern for a shelf spot or how I will otherwise categorize “a dark paranormal fantasy fraught with suburban Pittsburgh horror—family drama with aliens.”

I followed the same path for DEATH PERCEPTION, my latest supernatural thriller tinged with horror and peppered with dark humor:

Nineteen-year-old Kennet Singleton lives with his invalid mother in a personal care facility, but he wants out. He operates the crematory at the local funeral home, where he discovers he can discern the cause of death of those he cremates—by toasting marshmallows over their ashes.

He thinks his ability is no big deal since his customers are already dead. But when his perception differs from what’s on the death certificate, he finds himself in the midst of murderers. To save the residents and avenge the dead, he must bring the killers to justice.

DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub) at https://leeallenhoward.com/death-perception/.

June 11, 2013

The Ghost of Backstory in DEATH PERCEPTION

This post appeared originally on the blog of Jason Jack Miller, author of The Devil and Preston Black, Hellbender, and The Revelations of Preston Black. Check out his site.

The Ghost of Backstory in DEATH PERCEPTION

Backstory is everything that happened to the protagonist before the story begins. In The Anatomy of Story, John Truby calls this the “ghost.” The ghost is usually some negative event from the past that still haunts the protagonist in the present. This past trauma is the source of the hero’s current psychological and moral weakness. It’s his internal opponent, what Truby describes as the “great fear that is holding him back from action.”

In DEATH PERCEPTION, my just-released supernatural thriller, young protagonist Kennet Singleton’s backstory ghost is his father’s drunken violence, resulting in his father’s death and the loss of his mother’s eye. Lack of a good role model has crippled Kennet from striking out on his own; at 19, he still lives with his invalid mother in a personal care home and holds only a part-time job at a local funeral home.

However, Kennet’s natural hypersensitivity toward his father’s moods and abusive behavior birthed a psychic gift that blooms when an old prophetess lays her hands on him. Later he discovers that he can discern the cause of death of those he cremates—by toasting marshmallows over their ashes.

When he begins believing in himself and using his gift to avenge the spirits of those who have been murdered (ghosts of a different sort), Kennet finds the courage to stand up for himself and forge his way toward independence.

Good stories dramatize the process of a flawed character overcoming past wounds on the path to wholeness. Even in a tale of horror and supernatural crime, Kennet’s “ghosts” find justice—and peace.

DEATH PERCEPTION is available in trade paperback, Kindle (.mobi) and Nook (.epub) at https://leeallenhoward.com/death-perception/.

June 10, 2013

Malina Roos Reviews DEATH PERCEPTION

Malina Roos, book reviewer for Hellnotes, reviews DEATH PERCEPTION. (I copied this from her Facebook post.)

Lee Allen Howard is quickly becoming a huge favourite of mine. He crafts his characters so well and gives them depth, flaws and realism that you expect from a much more seasoned writer.

DEATH PERCEPTION is smart, funny, engaging, and endearing. A true work of art. I love this book and I hope there will be many more Kennet stories.

June 8, 2013

Writing Characters with Psychic Abilities

This appeared originally on the blog of Hunter Shea, author of the dark and paranormal. Check out his site.