Armand Rosamilia: Making A Living Off The Undead

Armand RosamiliaArmand Rosamilia was writing about zombies before zombies were cool. He’s written over a hundred books and short stories in the horror genre, including the acclaimed Dying Days and Keyport Cthulhu series.

His self-published works are constantly at the top of Amazon’s list and he’s one of the most in-demand contributors to horror anthologies.  In this interview Armand talks about writing, building a rabid audience, and horny zombies… Yes, not all zombies just want to eat your brain…

Scroll down for a complete transcript of the interview or click the Play button below to listen to the interview now.

And don’t forget to leave a comment to let us know what you thought of this interview!

Books by Armand Rosamilia


Armand Rosamilia Transcript

Tim Knox: Welcome back to another Interviewing Authors program. Good show for you today. We are talking to Armand Rosamilia who is probably one of the most prolific writers that I’ve had the pleasure of interviewing. He has some one hundred short stories, anthologies, novels out there in the market. He was writing zombie books before there were zombie books. So if you are interested in writing in this genre, the horror genre or the zombie genre, you are definitely going to want to listen to the interview today with Armand. He talks about how he went from 20 years in retail, in the corporate world to being a full-time writer. Started off writing magazine articles, short stories and for the past few years has made quite a nice living as one of the top sellers on Amazon when it comes to zombie and horror fiction. So a great show, lock the doors, bar the windows, look behind you because we’re talking to Armand Rosamilia – the zombie master of Amazon – on today’s Interviewing Authors.

Tim Knox: Armand, welcome to the program.

Armand Rosamilia: Thanks for having me.

Tim Knox: Appreciate you being here. You are going to be my first zombie horror author so we’re breaking new ground here.

Armand Rosamilia: Nice.

Tim Knox: Before we get started tell us a little bit about you.

Armand Rosamilia: I am mid-40s. I’ve been writing professionally, I call it, for three years full-time. I’m originally from New Jersey, living down in here in sunny Florida right now. I do write zombie books. I also write horror books. I write contemporary [cuts out], erotica. I write thrillers. I write whatever I feel like writing is the easy answer.

Tim Knox: You really are one of the more prolific authors I’ve talked to. You’ve got, what, a hundred stories floating around out there on Amazon books?

Armand Rosamilia: Yeah, it’s about 120. Last year I put out 45 things and I will probably put out at least 30, 35 this year.

Tim Knox: How does one get so prolific? I mean, you’ve got to have just an unbelievable imagination to keep churning these stories out year after year. Have you always wanted to be a writer?

Armand Rosamilia: Ever since I was 12 years old.

Tim Knox: What did you do before you got into this business?

Armand Rosamilia: I did retail management for 20 something years and I hated every day of it. 80 hours a week and I swore that someday I would live this dream. I’ve always written whenever I could. I got laid off about three years ago when I was on the wrong side of 40 and trying to look for another job making the good money that I was making. In the meantime I said, you know what, let me really turn this up and give this an honest to goodness shot so when I’m 100 years old I can look back and say well I gave it a shot and I didn’t become a writer but there’s not a ‘what if’ anymore. I found that because I write very fast, because I write what editors call a very clean first draft I was just getting stuff out and getting it sold. I jumped in at a great time with the eBook revolution and I started self-publishing my own stuff now. There wasn’t that stigma like it was in 2004, 2005 when I was putting my own stuff out.

Tim Knox: So let’s kind of back up here. You were in retail management for 20 years, didn’t like it, hated every day of it and when you finally got out of that you just decided to become a writer. It sounds like you really just went for it, if you will. You weren’t really concerned about having a day job to pay the bills. You just jumped right in with both feet writing. Is that it?

Armand Rosamilia: Pretty much. I was still looking for a job halfheartedly. I was in a long-term relationship at that point. I happily divorced twice before that. I was in a relationship and she just did not want me to be a writer. She wanted me to have the 9-5 and all that. It was such a struggle and a fight. You’re talking you’re going from $80,000 to $85,000 a year to $275 a week on unemployment and selling a story for $10 here and there. It was tight. The money was tight. Everything was tight. I just knew at that point that this was what I wanted to do.

It was kind of like a movie because I’d sold a couple things here and there and it had been about maybe not even a year that we were doing it and everything was tight and it was a struggle. She basically quit on me. She basically said I’m gone; you’re never going to make anything. This is always going to be a hobby. She walked out that door and literally 10 minutes later a publisher had called and said we love the way that you’re promoting yourself, you’re branding yourself, you’re putting stuff out and we have an idea for you, a story that is going to end up becoming a movie. Are you interested? We’re going to give you prorate on it. I jumped on it and literally paid every bill I could off of that.

I’ve been very lucky the last three years. I have a structure to my day. Whenever possible I write 2,000 words a day. I can also write four or five or sometimes ten different projects in front of me. I have a dry erase board which is just tons and tons of scribbles of where I am in each book, in each story. I don’t have, there’s no writer’s block. I go to conventions and do book signings and what not and people say well do you have writer’s block? To me, I say is there such thing as farmer’s block? Does a farmer get up and go I don’t want to plow the fields today. To me, there’s no such thing. There’s always something in my head to write. Constantly I’m staring into space all the time. My girlfriend now is extremely supportive. She goes out of her way. I might not be making a million dollars now but she believes that because of the way I’m building the career, because of the things I’m doing now that it’s going to get there. That’s a big part of it to have somebody who… I can say to her, “Hey, I want to do a podcast and I need to spend $400,” and she says, “Okay, let’s see if we can afford it,” rather than, “Are you crazy?”

Tim Knox: That is so important. You have so many people that tell you that you can’t do something and you need to go out there and just get a 9-5 and you stuck with it. I admire you for that. Do you remember what the first thing you sold was and who did you sell it to?

Armand Rosamilia: The very, very first story I ever sold I was I think 19 years old back in 1989 just out of high school basically. It was a Xerox stapled fanzine called Nocturnal Ecstasy. I got one of my short stories called Beastie was printed in that. There was no pay. I got five free copies, Xerox copies but I still have the letter. Actually once I redo my office it will be hanging up in my office. It’s the acceptance letter and I was over the moon that I had gotten accepted. In fact that story I’ve since republished in one of my short story collections called Skulls and Bones, the first four or five short stories that I had ever gotten published.

Tim Knox: It’s like having your first dollar hanging on the wall.

Armand Rosamilia: Exactly right. I’m very good because I’m a pack rat. I save everything. So I still have from my Brother Word Processor, I still have all those stories that I had written back in the day. I’ll go through the box and I cringe when I start reading the clichés.

Tim Knox: I talked to someone the other day and we were talking about the very first thing that they wrote and they wrote it pre-internet and they were just thanking God that it’s not out there on the internet because they didn’t want anybody reading it. So when did you get into this full-time were you writing short stories? Were you submitting to magazines? What were you doing?

Armand Rosamilia: I was mostly writing short stories. I was writing horror. I wanted to be the next Dean Koontz. I wanted to write some books but most of my ideas had been short stories so I started writing those and at the same time I’d come across an idea. I’m in Florida so I was driving down A1A and there’s this gorgeous area called Matanzas Inlet. Matanzas, by the way, means massacre. As I was driving I was looking over at all the kids in the surf and all that and the way my mind works I said, how cool would it be if a zombie just came out of the surf totally unexpected? That became the basis for my Dying Days books, a series which I’m currently writing the fourth one but there’s about 14 releases out right now. So, for me, the zombie stuff came at a really great time because the following year The Walking Dead started and my zombie sales just completely took off. That really helped the zombie stuff. I don’t want to be known as a zombie author but then I am. I say to myself well that’s what’s paying the bills right now too and I still enjoy writing it. There’s still a lot more story for me to write.

Tim Knox: Are you self-publishing everything now or do you have a traditional publisher?

Armand Rosamilia: I do a lot of small press and I do my own. The Dying Days series is published on my own. I have my own publishing company called Rymfire Books. I publish all of those and I also publish my contemporary fiction series, Flagler Beach fiction series, which is more like beach reads. There’s no zombies in it. I publish those myself but I’ve also put out books through other companies, small press companies. I just sold a hard novel to Ragnarock Publications this week. Hazardous Press put out one of my short story collections. I’m trying not to put all my eggs in one basket. I’m trying to get out there. I have a lot of anthologies coming out this year, a lot of invite only ones which is really important for me to take that step and have people come to me and say, “Do you have a story?” So that was important for me.

Tim Knox: So you do a lot of short story writing.

Armand Rosamilia: Most of it is short stories or novella length. My Dying Days stuff is all 25,000 to 35,000 words. The new one, Dying Days 4, will actually be novel length. It will be about 70,000 words just because there’s more of a story to tell. I’m trying this year to get into the longer pieces. I’m trying this year to get more of my novels published because that’s been the area… I have four or five novels that are done. I just haven’t put them out and submitted them and I don’t want to put them out myself. I want to see what’s out there as far as other publishers.

Tim Knox: Let’s talk a little bit about Dying Days because that… was that your first foray into zombies and horror really?

Armand Rosamilia: Well what really started it was there’s a company called ComicPress and they put out a call. They were looking for extreme zombie fiction. I had never written anything zombie before, a couple of flash fiction pieces for myself. So I said alright let me see if I can do this and I actually ended up writing a novella called Highway to Hell. Basically the idea is the premise of the zombies just don’t want to bite you; they also want to sexually violate you.

Tim Knox: So basically we have horny zombies.

Armand Rosamilia: Exactly.

Tim Knox: Alright, I can go with that.

Armand Rosamilia: The opening line is your shocker of somebody getting raped by zombies but then the rest of the story is not about that. It’s about the characters. With the Dying Days series it’s in there but it’s the thoughts in the back of the reader’s head but I don’t actually have people being raped by zombies but it’s in there. But that was the first one, Highway to Hell. It didn’t get picked up by them but they said it was right there. They just could only put out four that year into a collection. So I decided to just for fun put it out myself and I did and it did great. But what happened was I had written a short story called Rear Guard at the end just to add it in to put something new at the end of it. That story was a woman, a female character, Darlene Bobich. Everybody responded to her and they said we want to hear more about her. So that became the premise for the Dying Days series and I did a prequel called Darlene Bobich: Zombie Killer that I did leading up to where Dying Days begins. That’s been the character for me because it’s a woman who’s not a superwoman. It’s not a Angelina Jolie type of character. It’s a chubby plain looking girl who worked at the makeup counter at Macy’s in Maine before the zombie apocalypse happened. She cries, she has panic attacks and so it’s been the progression of the character now through these books.

Tim Knox: As a writer who is definitely male, how do you get into the head of a character like this?

Armand Rosamilia: You know, for me now, the writer writes itself. I know that’s cliché but it’s kind of the truth. I had that idea that I did not want to have that superwoman character but I did not want to have the cliché of the damsel in distress so there was that line between, and I’ve dated a few women.

Tim Knox: Any of them the role model for this one?

Armand Rosamilia: No. Some of the women that were killed along the way might have been my ex-wives over and over.

Tim Knox: You mentioned earlier you were a big fan of Dean Koontz and that genre. What drew you to that? Did you start writing horror before you started doing zombies?

Armand Rosamilia: When I was 12… I have a brother who’s a year and a half younger than me. He and I were horrible. We got in trouble all the time when we were kids. My mother would always separate us. My brother got to stay in our room and play with the toys; I had to go into my parent’s room. My mother’s a huge reader, horror fan, big Stephen King fan. So going in a room with nothing to do, there’s not television back then in bedrooms. All I could do was read and I started reading her Dean Koontz books and absolutely loved them. I started reading every Dean Koontz book and at 12 years old I swore I was going to be a writer and I was going to be successful and live in giant mansions like Dean Koontz obviously was doing at that time.

So, for me, I wanted to be a horror writer. I remember doing… I was 13 or 14 and when we had to do ‘what do you want to be when you grow up’ in school and everybody was saying a fireman and a police officer and a football star. Actually my mother said she didn’t save it but she wish she had that there’s actually a little thing I’d written that says I want to be a horror writer when I grow up. I also tell her that unfortunately I didn’t put in there that I wanted to be a rich and famous horror author. That probably would have been better.

Tim Knox: Sometimes you’ve got to be really specific when you’re setting that bar. You are really prolific. You do the zombie, the horror series, the contemporary fiction. Do you have a favorite genre that you’re in?

Armand Rosamilia: Right now the zombie fiction only because I know the characters so well. When I wrote one of the books, and I’m not going to give spoilers, but one of the main characters dies and people were mad. I hit a nerve and I said, wow, that’s great. Even the beta readers when they read it were like that person can’t die. I’m like they have to; it’s a zombie book. It’s a story.

Tim Knox: Somebody’s got to go.

Armand Rosamilia: Yeah, it just gets boring when everybody just lives. For me, that’s the fun is people really like your characters. I mean I grew up reading a lot of fantasy as well. I was a huge Robert E. Howard fan growing up, Conan the Barbarian books. Game of Thrones when I was in high school was one of the greatest series ever. Again, it’s reading those and stopping and putting the book down and going did he just kill like half of the main characters in two chapters?

Tim Knox: Did they really cut off Ned Stark’s head?

Armand Rosamilia: Yeah, amazing. Last night we were watching. My girlfriend’s trying to catch up so she was watching season three last night. She’s trying to catch up because I’m into this season. I just casually went in there because the red wedding was coming up and when that happened she just paused it and goes, “Seriously? Did they seriously?” Right. “That was in the books?” I said, “Oh yeah, that was in the books.” This is just a great, great series.

Tim Knox: One of the things, speaking of that that Martin talks about in his books, he talks about his characters who initially start off evil but then Jaime Lannister, he saves someone. He has this whole thing of redemption. When you’re writing these kind of books – the horror series, that sort of thing and you have a character that may be evil, in the back of your mind do you ever think this guy may redeem himself someday or do you think characters at that point are just beyond redemption? Once evil always evil.

Armand Rosamilia: Well I think to write a really good character there has to be layers to that character. There has to be a reason. It’s the old comic book cliché. The villain doesn’t know he’s the villain. The villain thinks he’s doing something right. He might not want to save the world but he’s saving himself. There’s a reason he’s doing this. It’s not just I’m going to kill everybody because I feel like killing everybody. There’s a path that that person has taken. I like stories and I like writing stories where you see a character and that character’s like, wow, this is just an evil, evil person but some of the things that they’re doing might still technically be evil but the way they’re doing it or the things that they’re doing goes into conflict with that. Jaime Lannister’s a great example when he’s talking about sworn to being a knight and that means protecting the King but then the King’s telling me to kill the weak so what do I do? It’s that conflict which is amazing.

Tim Knox: It’s that catch 22, especially if you look at the time period those books are set in. It’s not a great time to be around, you know, not a whole lot of nice people. Let’s get back to you. Let’s talk a little about your process. We talked about how you’ve kind of always known you wanted to be a writer. You write all the time. You are in that chair you tell me from dusk to dawn sometimes writing. How do you do that? How do you stay so motivated that you’re there every day writing?

Armand Rosamilia: I’m a creature of habit. I try to get up by 8 o’clock, 8:30. Even though I was a retail manager for 20-something years I’m very creative. So there’s papers on the floor, there’s papers everywhere, there’s books everywhere. Since I’ve been with my girlfriend about a year and a half she has really reigned me in because one of the things was I was writing a short story and I said I got to finish it tonight. She’s like, “Why?” “Because it’s due tomorrow.” “How long did you have?” “I don’t know, a couple of months. I don’t even know.” She’s like, “Well you don’t even know?” “No, I just realized I have to write this story.” She says, “Don’t you make note or write anything down?” “No, why would I do that?” So she made me a spreadsheet with everything that I had coming up, everything I wanted to accomplish and I realized it was about 500,000 words to write in the year. So I said, okay, I’m going to do this. I’m going to do 10,000 words. If I do 10,000 words a week I can do this. And I’m writing 2,000 words a day and I usually try taking one or two days off, usually the weekends. But I usually sneak in 500 or 1,000 words anyway.

But that’s been my goal. My goal is to keep track of what is important, what the deadlines are and stop taking more work on than I can reasonably handle, which is what I was doing. I’m a yes man. If you’re a publisher and you call me up and say, listen, I need you to do a romance about spiders. Can you do it? My answer’s of course I can. Sure I can. That’s not a problem. A great example is I’m not a fan of poetry at all but an editor just came to me invite only and said do you want to do Cthulhu poetry? In my mind I said no but I said of course; give me more details. He named four or five authors that I read growing up that are going to be in this so of course I’ll do it. I spent the morning figuring out how to write poetry.

Tim Knox: So you’ve been sitting there all day thinking of words that rhyme.

Armand Rosamilia: Right, yeah.

Tim Knox: Okay, that’s cool. So you talk about writing 2,000 words a day. That’s a lot of words. That’s a lot of writing in a day.

Armand Rosamilia: Yeah well I try to… there’s a Facebook group that’s called 1,000 Words in One Hour. It’s a writing sprint group and we all jump in there. There’s a couple dozen of us. I’ll say hey I’m starting at 11 o’clock and from 11 to 12 Facebook goes off and we write. I write that 1,000 words in that hour. If I knock a couple of those off, you know, realistically sometimes I write two hours a day for the whole day but I’ve gotten my 2,000 words.

Tim Knox: Do you go back and edit?

Armand Rosamilia: I do not edit anything until I’m done with it or if the story is completely going off the rails. I’ll go back and go you know what would be better is if this character had done that but normally, no. Like I said, I’ve been blessed that my first draft is usually pretty clean. The story is there and it’s formed. I don’t usually have to change a ton of things going on. I did a five part series that became one book called Keyport Cthulhu. Because the five stories had been spaced over like eight months, by the time I got to the fourth story I was like I don’t even remember what’s going on. What did I miss? I don’t outline. I just write. So I had to go back and read the story and go, okay, I totally forgot about this and this.

Tim Knox: Have you ever gotten through a story and go back and read it go okay this is just trash and throw it in the garbage?

Armand Rosamilia: Oh yeah, quite a few things I’ve written and said no. I will remember certain ideas or certain scenes or characters that might appear somewhere else in a future story.

Tim Knox: You mentioned earlier that a lot of the times the characters kind of write the story. Talk a little about character development. How important is it that you have a fully flushed out character? Do you have to go back and give them a history or do you just take them from where we meet them in the book? How much thought do you give to character development?

Armand Rosamilia: I read years ago to give each character – and I don’t know where I read it – three unique things about them. That’s my basis for a character. I know authors who spend days and days writing up their backstory and where they were born. They end up writing another book about these meaningless [cuts out] and all this other stuff. I don’t like that. I want the reader to fill in a lot of those blanks. I’m also not very big, which I used to be, I was very big when I first started writing on a lot of description because I thought the reader was an idiot and they weren’t going to understand that it was important that this person has blonde hair. I did a great taste on my blog when Dying Days 2 came out about two years ago. I said whoever can describe Darlene Bobbich, I’ll give you a prize. I got like 15 different descriptions of her all kind of the same but I didn’t realize that some people thought she was a brunette, some people thought she was a blonde, some people thought she was very overweight, some people thought she was skinner than she was, blue eyes, brown eyes, whatever. To me, as a reader, I look back and you know you want to own a part of that story as you’re reading. I don’t want to force that. I’m glad I read Game of Thrones back when I did because I know if I pick up when the next book comes out the characters I’ve had in my head for 20 years are gone and it’s going to be these actors now that are actually the characters.

Tim Knox: Yeah you’re going to see the actors in your head rather than making up your own description of the book.

Armand Rosamilia: Right. It’s like reading Jack Reacher stories now. I’m going to unfortunately see Tom Cruise in that part even though there’s no way.

Tim Knox: I got to tell you I’m just a huge Reacher fan but I’m with you. Every time I read a book now I think, okay, how would Tom Cruise handle this? It just kind of ruined the entire thing. What’s your opinion on researching things like location and that sort of thing? Your books, do you go deep into location and surrounding or do you let the reader fill that in as well?

Armand Rosamilia: It depends on the book. When I wrote Keyport Cthulhu… it’s set in Keyport, New Jersey, which is a town close to where I grew up and it’s this creepy… I mean, even as a kid reading H.P. Lovecraft I always thought of Keyport because it’s a tiny little fishing village; an old, old place where the people look at you weird if you’re not from there. I lived there for two years. I actually lived in a haunted house that used to be a funeral parlor back at the turn of the century and a lot of freaky – the light switch would flick on and off and I’d hear weird noises. It was great. It frightened the hell out of me but it was great. So there’s a lot of actual Keyport in there. Same with my Dying Days. It’s all set in Florida. So it’s from St. Augustine to Daytona Beach basically. There’s a lot of actual places, there’s a lot of realistic things.

Now other stories I’ll set in a completely different place but I always like to do some research. I always like to talk to somebody. If I’m setting a story in Virginia let’s say, I want to find out who I know from Virginia or who lives in Virginia that I know. Give me some flavor. Point me in the right direction. I don’t go crazy on stuff but I also like beta readers to read stuff because even just minor things like instead of soda saying pop and different regional dialects and what not. I’m an east coast guy. I grew up in New Jersey and I’m down in Florida now. I’ve been from Maine and back 100 times. I’ve only been out to California and those places a few times. In another couple weeks I’ll be out in Oregon for the World Horror Convention. I’ve never been to Oregon before so that will be fun. So as an author you go out and you soak it in and you listen to conversations and you kind of get that feeling. I’m sure at some point I’ll be comfortable with putting Portland, Oregon in a story even in a minor capacity.

Tim Knox: Let’s talk a little about when you’re writing the horror and the zombie books, how much do you push the limits? How important is it to you to just be completely… to just take the reader by surprise and just be as out there as you can be? Or do you feel like you have to reign yourself in?

Armand Rosamilia: Again it’s where the story goes. The creepiest horror, the best horror to me has always been not that there’s a demon under the house or anything but that the demon is your dad or the guy across the street or your neighbor. Those are the creepiest stories for me.

Tim Knox: Yeah, you’re stepdad. Don’t ever have a stepdad.

Armand Rosamilia: Yeah, as 400 movies will tell you. My girlfriend, Shelly, is a very huge… basically she watches Investigation Discovery Channel. That’s on or the baseball network when she’s not home is what I watch. Those are the only two channels we really watch in the house. So just sitting there it’s funny listening to all this true crime stuff that’s happened; that’s the scariest stuff. I get more out of that than reading other people’s zombie books or anything. Somebody gave me a great compliment once in a review of Dying Days. They said, “You go four chapters without mentioning zombies,” but they loved it because it’s about the characters. That’s what it is. For a second they forgot. It was more of a post-apocalyptic book than a zombie book to them because these characters were interacting and just because the world’s ending doesn’t mean that people are suddenly going to be nice to each other. Most people are going to be a lot worse to each other. To me, that’s the fun. The zombies aren’t the scary part. You know what the zombies are. The zombies are just going to bite you and whatever but it’s the guy next to you that’s running out of ammo and you have two apples on you.

Tim Knox: Exactly.

Armand Rosamilia: Is his last bullet going to be for you so he can get your food? That’s the kind of stuff that I explore.

Tim Knox: I think that’s such a great point. I think Walking Dead proves that out. If you watch an hour of Walking Dead there’s a couple minutes of zombies. The rest of it is the conflict between the people left.

Armand Rosamilia: Right and that’s the story. If there wasn’t that, if there wasn’t all the different good guys and bad guys and the levels of them I think you wouldn’t have a story. It’s basically Resident Evil, all 47 Resident Evil movies. I mean they’re running around shooting things and at some point it gets boring.

Tim Knox: Exactly, great point. We’re coming down to the end here. Let me just ask you a couple of other things really quickly. For folks that are thinking about writing in this genre… I almost want to say that you really can’t force yourself to write this. You almost have to have a natural talent for writing horror. Do you think that’s the case?

Armand Rosamilia: I do. I don’t ever sit down unless there’s something specific that I know I have to write like I have a contract for a book or something like that but for me to just sit down with a blank screen and say I’m going to write something, it’s not necessarily always I’m going to write a horror story. I just start writing a story. I put out a book called Death Metal and Sam’s Dot Publishing bought it back in 2009. I tried to sell it as a horror book and they said this isn’t a horror book. This is a thriller. Where’s the horror? I realized, you know what, you’re right. I just wrote the book that was inside me and I got it out thinking the entire time I was writing a horror book. When I really looked at it and thought about it, no, this is actually just a thriller. Just write what you’re writing and don’t try to think, okay, well I can’t put this because it’s not horror or it’s not this. Basically just write the book.

Tim Knox: One thing I think a lot of people do is whatever is hot, that’s what they try to write.

Armand Rosamilia: Which it’s like movies. You write it now that it’s hot but by the time that you’re finished with it, you’re two things past what this is. Everybody who’s putting out vampire books now, you’re too late. It’s pretty much dead at this point. Yet I see a ton of authors that just finished their zombie book and they just finished their zombie book and all the werewolf books are going to be the next thing. You really can’t worry about that. Just write the story. If you want to write a vampire book or a zombie book or a werewolf book, knock yourself out. Don’t write it just to write it because you think it’s going to sell.

Tim Knox: Great advice. Armand Rosamilia, tell us where we can find more information about your work.

Armand Rosamilia: You can find me everywhere on social media. You can basically find me anywhere and you can obviously find me on Amazon. My primary website is


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