Elam Stoltzfus
is the creative force behind the tiny, quietly dynamic company known as Live Oak Production Group. Elam brings a broad array of skills and experience as a writer, cinematographer, editor, producer, and director of ? this film studio ? which showcases the great outdoors. ? He is a graduate of Florida State University with a degree in communications and he is married to a native Floridian.

Lynn Wallace
serves as Contributing Editor for the regional literary and arts anthology, Postcards from Pottersville. Originally a native of the American Southwest, he spent much of his youth between the clear sky and the parched sand of desert country. As a balance, he lived for five-and-a-half years in the lush tropics of Costa Rica, a place that continues to provide him with much content and inspiration for his work. After earning an M.A. in Fiction from the Pennsylvania State University, Wallace was awarded a Fullbright Fellowship to Costa Rica (1987-88) where he worked on several fiction projects and taught at the University of Costa Rica. Entering his twelfth year teaching English at Gulf Coast Community College in Panama City, Florida, he lives with his wife and two daughters in Marianna.

After a seven-year stint in the Florida State Prison System, Michael Lister was paroled and began to put pen to paper. The result was gun lit set in the Sunshine State—Florida Noir ( www.FloridaNoir.com )

His first two noir stories, one classic, one contemporary, are featured in the anthology North Florida Noir, which he edited. In a Spider's Web is classic noir featuring PI Jimmy “Soldier” Riley (see below), while Mitigating Circumstances is neo-noir involving the slow burn of a family disintegrating in the small coastal town of Port St. Joe, Florida.

His first noir novel, The Big Goodbye features PI Jimmy “Soldier” Riley, a young knight errant who walks the wartime streets of Panama City, Florida, wounded and woman-haunted.

When asked for a comment, the author said, “It's a bitter little world, baby.”

Michael Lister is also the author of a series of mysteries featuring ex-cop turned prison chaplain, John Jordan (Power in the Blood, Blood of the Lamb, The Body and the Blood), and writes a monthly crime fiction column titled Sunshine and Crime ( www.SunshineandCrime.com ). For more about the author, go to www.MichaelLister.com

Steve Glassman
As a bearded youth in the 1960s and 70s , I supported myself as a labor contractor, fry cook, corn detassler (a sexy job that as we removed the tassel from one variety of corn to allow pollination from a select variety to produce a high-priced hybrid), anthropological research assistant, farm hand, labor contractor, house painter, greenhouse worker, Fuller brush man, light truck driver, salad chef, wholesale flower salesman, snack-bar manager, bellhop.  The latter job was one of my first and did I ever learn a lot about human nature running the elevator--one of the old fashioned jobs that required an operator--and toting bags in a much faded (with all the threadbare trappings right out of the Roaring Twenties) but  one time grand hotel in my home town.  I could have made a small fortune (for a kid) had I indulged the baser yearnings of our guests (although I'd probably now be in jail or otherwise be pursuing an altogether different sort of career.)

The most exotic job of my early years was as a Peace Corps Volunteer in Micronesia, where I lived on an island less than a quarter of a square mile. This island was so close to the Philippines that we were able to receive AM radio from Davao City on the southern most Philippine isle of Mindinao (the station played 1950s top forty hits and the announcers even made like top-forty disk jockeys, all carried on in English if I remember aright). Due south a hundred miles or so lay New Guinea. The islanders, to a person, had an absolute phobia about being cast away to that place. It was an article of faith that any survivor to reach Papua, as it was called, would be eaten by their would-be rescuers. Once an old islander gave me instructions on preparing a human body for eating. For your information, cooking was performed by stuffing fire-heated rocks into all body cavities. From the telling detail of his description it was apparent that a little long pig, as human flesh is known in those parts, had passed pretty close to his personal experience. It was more than three hundred miles to the district center of Koror, Palau, the nearest island with which we were in two-way communication and which had electricity, running water and the possibility of rescue ships and equipment. A supply boat came down every three to six months. Less than a hundred islanders inhabited the isle, but there were thousands of coco palms, a wide sandy beach surrounded the place, and the pupils in the elementary school where I taught were bright and enthusiastic. The sojourn was as idyllic as it sounds. 

Karl Horstmann, Triple Horse President, began his career as an editor working at various post-production facilities in Atlanta. In 1990, he accepted a senior editor position at Turner Broadcasting. During his tenure at Turner Studios, he moved from the editorial staff to the effects department as a compositor, first in the digital linear suites and later as a Flame artist.

He was soon promoted to Composite Department Supervisor and later to the director of the newly formed Visual Effects Division, where he not only managed, but also served as the visual effects supervisor and director. In this position, Karl directed numerous high visibility projects for the Turner Entertainment Group networks, from sports and dramatic program packaging to network branding campaigns to commercial spots.

As head of the Film Effects Division, he spearheaded the company's push into visual effects shooting and production techniques, from extensive motion control to various blue screen matte extraction procedures. The project management, technical problem solving, and creative directorial decision making gained while at Turner gave him a solid foundation from which to build. While still employed at Turner, Karl was allowed to pursue his passion for storytelling by moonlighting as a director, lensing a wide variety of projects. Numerous music videos led to a docu-drama which led to regional and ultimately national commercials.

In early 1997, Karl finished an extensive NASCAR documentary and decided it was time to pursue his directorial calling fulltime. He resigned his position at Turner and focused his efforts toward the building of Triple Horse Productions, the company he and his wife Amy founded in 1992. Since 1997, Triple Horse has experienced tremendous growth with a continuing stream of larger and larger creative projects. Karl continues to grow as a filmmaker with the recent completion of the short film, Cliché, which he wrote, produced, and directed. Currently, he has three screenplays in various stages of development.