This is a guest post by Cedar Sanderson, author of Pixie Noir. Sarah blurbed Pixie Noir thusly: “The unlikely love child of Monster Hunter International and the Princess Bride, this book … is unalloyed fun all the way.” -Sarah A. Hoyt, author of Darkship Thieves
It is an open secret that Cedar is the nice one of Sarah Hoyt’s friends, besides looking like a Heinlein character, red hair and all. But she’s also sensible about things like books.
First, look at the cover. It might look like a child’s rendition, but this doesn’t mean the content is bad. I’ve seen some pretty bad writing under that pretty wrapper. What the cover ought to tell you is a little about what to expect. Not a faithful rendition of a scene, more a feeling for the tale you are about to immerse yourself in. This doesn’t always happen, and it’s something that can be forgiven, like a chocolate bar in a plain brown wrapper.
Next, check out the blurb, reviews, and other details. Are there typos in the blurb? Oh, so not good. Head on to the next option on the shelf/alsobot/list of titles below. Has the book won an award? Then it depends, was it an award given by fans who enjoy good stories? Then feel free to go on to the next step. Was it an award like the Hugo or Nebula, given out for writing approved message fiction? Step away from the book, and maybe do a little squirt of hand sanitizer, just to be sure.
The book has made it past the first steps of scrutiny, now it’s time for the next step. Look at the publisher? Why would you care who published it? Do you read publishers, or authors? No, wait, there is one exception. A certain flaming rocket logo is a good thing to scan for if you’re perusing a bookstore shelf. Online, the Baen cover art is generally a dead giveaway, being reminiscent of a certain scientist’s shirt.
If you’re shopping online, this is the fun part. Scroll down and look at the reviews. Ideally, you’ll see a mix of good and bad, tilted more to the good side. A book with only 5 star reviews should raise an eyebrow. No readers will all love the same book, and the old saying that one man’s trash is another man’s treasure is based in reality, after all. On the other hand, cogently written and on-point negative reviews should raise the other eyebrow, and have you clicking away from this title. Now me, I’m contrary. I have bought books based on negative reviews. Strawman reviews, attacking the author’s politics or perceived ideology are cues that whatever lies between the covers, it’s most likely not dull.
Now, the next step is to crack open the book and look inside. On Amazon, you can do this free and easy with the preview option. In a paper book, you can do what I do, cull a small stack, plop cross-legged on the floor, and start to skim. At home, you can legally do this wearing only a cat. I don’t recommend that in the bookstore.
Generally, Amazon gives you access to the first 20% of an ebook. Speaking as a former slush reader, this is usually plenty of time to get a feel for what’s in there. You want to find a good hook that draws you into the story, not a dull, draggy beginning that makes you feel gloomy. There should be some interesting characters, whom you can connect with. You should be able to immerse yourself in the fictional world and not be thrown out of the story by non-sequiters and egregious research errors. You’ll know when it’s right, because suddenly you’re at the end of the sample and you click the buy button without a second thought.
Now that you’re hooked on a book, what next? Well, read! Enjoy! And when you’re done, remember where you found that one, and come visit us regularly, there are always new titles and authors to discover. Want more? I know, I know, I’m a greedy reader too. Check out blogs to find one that does regular reviews, and the reviews seem to align with your tastes (a good way to do this is to search for a book/author you really liked and find the reviewers who felt the same way).
Speaking of reviews, this is how you tip an author: review their book. It’s not hard to go to Amazon and write a review, it doesn’t need to be long, and it should not be a plot summary (please, for the love of spoilers, no plot summaries!). Or share a link to the book on social media. Or… both. Because you liked that book, and you want to have more, right? Authors need support, and readers need books. It’s a mutual admiration society. Speaking as a reader, I’m always tickled to do something fun to promote a favorite author, whether it’s simply sharing a link, putting the effort into a review, or even further like taking fun pictures of books and posting them to gloat when I have a new release… Ahem. Right. Sometimes I slip into fangirl mode.
So start your book shopping today, with the links below, and remember, escaping the mundane world gives your soul ease and amuses the brain. It’s food for the mind, and doesn’t go straight to your hips.
TARGETS ARE LOCKED!
Five short novels by five masters of military SF capture the excitement, and hell, of fantastic future war—on and off the battlefield. Stories of terrifying monsters, dangerous aliens and staggering cosmic dreadnaughts march alongside far-flung courtroom dramas and cautionary tales involving man and his devices.
Michael A. Stackpole—The Star Tigers are commandeered by a powerful alien overseer on a covert mission to a world long abandoned by an ancient species. There, the ruins of a forgotten war will tip the balance of their war, unless the Star Tigers can prevent it.
(Contains “And Not To Yield”, a novel in the Darkship universe.)
Tiny Sparrowind can’t hunt from the sky, cannot hope to best his siblings in contests of strength, and scrapes by to survive. But in the books stashed in his parents’ hoard of gold and gems he finds a greater treasure: ideals.
Deciding to make his own way in life gives him more hope than he could have if he tried living only by the way of Dragonkind, but can this dreamer of a Dragon find his place in the world?
A delightful tale for all ages, that may be shared by reading out loud – either to a young audience, or those who are young at heart.
When 16-year-old Raina Resnick is expelled from her Manhattan private school, she’s sent to live with her strict aunt, where life becomes a torment. Her sister blames her for her broken engagement, and she’s a social pariah at her new school. In the tight-knit Jewish community, Raina finds she is good at one thing: matchmaking! As the anonymous “MatchMaven,” Raina sets up hopeless singles desperate to find the One – including her alienated sister. A cross between Jane Austen’s Emma, Dear Abby, and Yenta the matchmaker, Raina’s journey is both hilarious and heartbreaking as her life unravels from the effects of firsthand matchmaking.
Tom Ryan, best-selling military novelist, has arranged a ride to familiarize himself with submarines. On August 10, 1991 he arrives at USS Haddock (SSN 621) as it prepares to depart San Diego for Japan. It would be a final deployment before going to the shipyard for nuclear defueling and decommissioning.
The transit is routine with plenty of opportunity for training. It doesn’t stay routine when Haddock is diverted to search for three Soviet submarines that had deployed from their base. Then events in the Soviet Union result in Haddock being given unprecedented orders. As history is made in Moscow events proceed under the ocean.
Join Tom Ryan aboard Haddock and enjoy the ride.
Evil vampires cannot love — can they?
Vampire Gregory Weston loves the tinge of printer’s ink that flavors the blood of those who work with books; printers, publishers, editors and librarians are among his favorite sources of nourishment. Bored and lazy, seeking amusements to fill his endless existence, he has given up his unceasing quest to become human again — until accidentally, he employs Nia, a pregnant librarian. With child? Gregory has never experienced this situation. What a diversion for dispassionate scientific study! That she is beautiful has nothing to do with it.
An age in the past, the world’s two greatest Mages fought a bloody war to a draw that slew them both.
In the time since, the Kingdom of Vishni has known quiet, and the Swarm beyond the mountains has grown in strength and numbers. Now, with the Time of Prophecy at hand, dark forces move to fulfil ancient visions.
Two men, born to poverty but bearing the blood of those ancient Mages, will rise to decide the fate of both Swarm and Kingdom as the fires of this ancient conflict rise anew.
From a haunted old zoo filled with ghosts to a dying starship on its way to a new home – humanity’s final gasp, Quantum Zoo presents a dozen compelling stories featuring a dozen exotic and unusual menageries.
Jack the Ripper arrives for one last murder, while a dinosaur – out of place and out of time – bridges the gap between two poignant lovers in the wonderfully atmospheric England of Hugo- and Nebula-nominated Bridget McKenna.
Quantum Zoo propels you on an enthralling journey through awe and emotion, highs and lows, with tender romance following hair-raising action.
Join some of the hottest independent science-fiction and fantasy authors writing today in the fascinating worlds they create from the zoo!
Can one small good deed offset ultimate destruction?
Mercurio stands watch over the first planet, guiding it through the perils of the void. Part messenger, part prankster, he cocks an eye for danger, but not from afar. Close to home lurks the real risk that his festival for Sol’s 25th anniversary will be a bust.
Failed negotiations with constellations and his fellow guardians send him to the brink of complete frustration…when a beautiful celestial wanderer fetches up at his domicile, seeking refuge.
Her form beguiles. Her mystery intrigues. And Mercurio’s fascination with his visitor poses yet another threat to Sol’s celebration.
Will Mercurio recognize his role as cat’s paw soon enough? Or will a looming menace – more lethal than any of the guardians imagine – threaten the solar system’s very existence?
The higher the peak, the greater the fall.
Twenty years after the Seige of Vindobona, Duchess Elizabeth von Sarmas and her husband Col. Lazlo Destefani stand near the top of their world. But when a Frankonian army refuses to roll over and play dead, it sets off a series of conspiracies within the Imperial court that threated Elizabeth’s marriage, her position, and even her life. Emperor Thomas, young and untried, finds himself matching wits with King Laurence and even Elizabeth may not be canny, or strong, enough to stop Laurence this time.
They say the Age of Miracles is ended, but Elizabeth needs one more than ever!
I’d read that Col. John Nagl’s Knife Fights was coming out, but somehow missed its publication last month. Until just now that is, and its already on my Kindle.
If you haven’t read him, you’ve missed out on the future — and the now — of warfare.
Just get this already.
cross-posted from Vodkapundit
Warner Bros. recently announced an aggressive slate of films based upon DC Comics properties which will share a single cinematic universe, an answer to the successful franchise which Marvel Studios has built since 2008’s Iron Man. The DC slate opens with 2016’s Batman v. Superman: Dawn of Justice, and will continue the same year with Suicide Squad, which director David Ayer recently described as “The Dirty Dozen with supervillains.”
In the comics, the Suicide Squad boasts DC’s B-list villains, characters like Deadshot and Captain Boomerang. However, if rumors now circulating prove true, the cinematic interpretation of Suicide Squad may boast A-list villains like Lex Luthor and the Joker. Reports claim that bombshell actress Margot Robbie has been cast as Harley Quinn, and that Oscar-winner Jared Leto is in talks to play Joker.
In any case, the roster of DC Comics villains portrayed in live-action film is about to explode. Before that happens, let’s consider where the existing rogues gallery ranks. Here are the top 10 cinematic portrayals of DC Comics villains.
#10. Cillian Murphy’s Scarecrow
When it was announced that Christopher Nolan would be rebooting the Batman franchise years after Joel Schumacher piloted it into the ground, no one could have predicted how definitive the result would become. Among the bold moves made in re-imagining the property was featuring lesser known villains, including the Scarecrow.
Actor Cillian Murphy took what could have easily been a camp character and grounded him in a believable reality. Dr. Jonathan Crane served a vital narrative purpose befitting his nature as a criminal psychologist obsessed with fear. Fear stood as the dominant theme in Batman Begins, as Bruce Wayne turned his fear against the criminals holding an unholy grip upon Gotham City.
Let’s you and him fight! That has been the time-honored cry of comic-book fans for decades now, ever since Marvel launched the tradition of super-heroes clashing with one another almost as often as they did with super-villains. And what fans haven’t engaged in the favorite pastime of arguing about whose favorite hero was the stronger?
The hero vs. hero sub-genre began with the classic Torch vs. Sub-Mariner fight way back in comics’ golden age — not coincidentally at Timely Comics, ancestor to Marvel Comics. But aside from that instance, hero vs hero fights didn’t seem to catch fire and languished through the 1950s until Marvel started running super-heroes in its books again beginning with Fantastic Four #1.
Early encounters between the FF and hero/villain Sub-Mariner proved popular so it wasn’t long before Marvel began to regularly feature clashes between its super-heroes, a formula competitors tried to duplicate but never with such soul-satisfying results. The reason? Marvel’s secret weapon was artist Jack Kirby who could choreograph bludgeoning battle scenes better than anybody!
By comparison, competitors like DC were as sedate as a ladies’ sewing circle!
So The Atlantic has discovered women in Science Fiction. To be more precise, The Atlantic has discovered that women are “rising” in science fiction. Again. Apparently they asked Ann Leckie about women and awards in Science Fiction and Leckie, best known for writing a novel in which people have two genders and pretend to only see the female one, explained:
But both Leckie and Hurley express a combination of optimism and cynicism when it comes to whether or not women in the science fiction world are actually making progress, and how quickly. Leckie points out that this isn’t the first time women have been in the spotlight for writing award winning science fiction. “Sometimes I feel very optimistic about it, I say look at this, there are more women getting awards,” she says. “And then I look back and the ‘70s. The ‘70s was a decade that was crammed with prominent women science fiction writers, and a lot of women made their debut in that decade or really came to prominence.”
This was the time of Ursula K. Le Guin and Vonda McIntyre, who both won joint Nebulas and Hugos. Anne McCaffrey, Kate Wilhelm, Joan Vinge, and Marion Zimmer Bradley were all nominated for Hugo Awards that decade. In 1973, the Alice Bradley Sheldon, who wrote under the pen name James Tiptree, Jr. wrote the famous, feminist short story called “The Women Men Don’t See.” Joanna Russ’s feminist science fiction book The Female Man was published in 1975 and nominated that year for a Nebula.
Then, Leckie says, the ‘80s and ‘90s happened. The rate of women nominated and winning awards dipped down again. And today, once again, society has this idea that women who write science fiction are a strange and interesting breed. In other words, today the community is having the same conversation it had in the ‘70s about women writing science fiction.
This is beyond precious. First of all, I’d like to inform The Atlantic that the (ever-shrinking) community they’re talking about is the Science Fiction Writers of America, the same organization that went on the war path against two members for using the word “lady” which is apparently derogatory. Of course, people with such high standards are having the best conversations. At least, they’re having the best conversations, if the conversations you’re looking for are “excuse me, is the sky made of Swiss or Guyere?”
As for Ms. Leckie, I believe she is confused about the history of the field. In fact, women went right on winning awards through the eighties and nineties.
For instance, this is a list of the Nebulas won by women since 1982 to 2011:
- 2011 NOVEL: Blackout/All Clear, Connie Willis NOVELLA: “The Lady Who Plucked Red Flowers beneath the Queen’s Window”, Rachel Swirsky SHORT STORY (tie): “Ponies”, Kij Johnson SHORT STORY (tie): “How Interesting: A Tiny Man”, Harlan Ellison
- 2010 NOVELLA: The Women of Nell Gwynne’s, Kage Baker NOVELETTE: “Sinner, Baker, Fabulist, Priest; Red Mask, Black Mask, Gentleman, Beast”, Eugie Foster SHORT STORY: “Spar”, Kij Johnson RAY BRADBURY AWARD: District 9, Neill Blomkamp & Terri Tatchell ANDRE NORTON AWARD: The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making, Catherynne M. Valente
- 2009 NOVEL: Powers, Ursula K. Le Guin NOVELLA: “The Spacetime Pool”, Catherine Asaro SHORT STORY: “Trophy Wives”, Nina Kiriki Hoffman
- 2008 NOVELLA: “Fountain of Age”, Nancy Kress SHORT STORY: “Always”, Karen Joy Fowler ANDRE NORTON AWARD: Harry Potter and the Deathly Hallows, J. K. Rowling
- 2007 SHORT STORY: “Echo”, Elizabeth Hand SCRIPT: Howl’s Moving Castle, Hayao Miyazaki, Cindy Davis Hewitt & Donald H. Hewitt ANDRE NORTON AWARD: Magic or Madness, Justine Larbalestier
- 2006 NOVELLA: “Magic for Beginners”, Kelly Link NOVELETTE: “The Faery Handbag”, Kelly Link SHORT STORY: “I Live With You”, Carol Emshwiller ANDRE NORTON AWARD: Valiant, Holly Black
- 2005 NOVEL: Paladin of Souls, Lois McMaster Bujold NOVELETTE: “Basement Magic”, Ellen Klages SHORT STORY: “Coming to Terms”, Eileen Gunn SCRIPT: The Lord of the Rings: The Return of the King, Fran Walsh, Philippa Boyens & Peter Jackson
- 2004 NOVEL: The Speed of Dark, Elizabeth Moon SHORT STORY: “What I Didn’t See”, Karen Joy Fowler SCRIPT: The Lord of the Rings: The Two Towers, Fran Walsh, Philippa Boyens, Stephen Sinclair & Peter Jackson
- 2003 SHORT STORY: “Creature”, Carol Emshwiller SCRIPT: The Lord of the Rings: The Fellowship of the Ring, Fran Walsh, Philippa Boyens & Peter Jackson
- 2002 NOVEL: The Quantum Rose, Catherine Asaro NOVELETTE: “Louise’s Ghost”, Kelly Link SHORT STORY: “The Cure for Everything”, Severna Park
- 2001 NOVELLA: “Goddesses”, Linda Nagata
- 2000 NOVEL: Parable of the Talents, Octavia E. Butler NOVELETTE: “Mars Is No Place for Children”, Mary A. Turzillo SHORT STORY: “The Cost of Doing Business”, Leslie What
- 1999 NOVELLA: “Reading the Bones”, Sheila Finch NOVELETTE: “Lost Girls”, Jane Yolen
- 1998 NOVEL: The Moon and the Sun, Vonda N. McIntyre NOVELETTE: “The Flowers of Aulit Prison”, Nancy Kress SHORT STORY: “Sister Emily’s Lightship”, Jane Yolen
- 1997 NOVEL: Slow River, Nicola Griffith SHORT STORY: “A Birthday”, Esther M. Friesner
- 1996 NOVELLA: “Last Summer at Mars Hill”, Elizabeth Hand NOVELETTE: “Solitude”, Ursula K. Le Guin SHORT STORY: “Death and the Librarian”, Esther M. Friesner
- 1995 SHORT STORY: “A Defense of the Social Contracts”, Martha Soukup
- 1994 NOVEL: Red Mars, Kim Stanley Robinson
- 1993 NOVEL: Doomsday Book, Connie Willis NOVELETTE: “Danny Goes to Mars”, Pamela Sargent SHORT STORY: “Even the Queen”, Connie Willis
- 1992 NOVELLA: “Beggars in Spain”, Nancy Kress
- 1991 NOVEL: Tehanu: The Last Book of Earthsea, Ursula K. Le Guin
- 1990 NOVEL: The Healer’s War, Elizabeth Ann Scarborough NOVELLA: “The Mountains of Mourning”, Lois McMaster Bujold NOVELETTE: “At the Rialto”, Connie Willis
- 1989 NOVEL: Falling Free, Lois McMaster Bujold NOVELLA: “The Last of the Winnebagos”, Connie Willis
- 1988 NOVELLA: “The Blind Geometer”, Pat Murphy SHORT STORY: “Forever Yours, Anna”, Kate Wilhelm
- 1987 NOVELETTE: “The Girl Who Fell into the Sky”, Kate Wilhelm
- 1986 SHORT STORY: “Out of All Them Bright Stars”, Nancy Kress
- 1985 NOVELETTE: “Bloodchild”, Octavia E. Butler
- 1983 NOVELETTE: “Fire Watch”, Connie Willis SHORT STORY: “A Letter from the Clearys”, Connie Willis
- 1982 SHORT STORY: “The Bone Flute”, Lisa Tuttle [refused]
- 1981 NOVELLA: “Unicorn Tapestry”, Suzy McKee Charnas
And this is a list of Hugo Awards for the same period:
1981 Hugo Winners
The Hugos were given out at Devention in Denver, CO. 1981 Hugo Nominees
Novel: The Snow Queen by Joan D. Vinge
Dramatic Presentation: The Empire Strikes Back written by Leigh Brackett & Lawrence Kasdan, directed by Irvin Kershner (20th Century Fox)
Fan Writer: Susan Wood
Fan Artist: Victoria Poyser
1982 Hugo Winners
The Hugos were given out at Chicon IV in Chicago, IL. 1982 Hugo Nominees
Novel: Downbelow Station by C.J. Cherryh
Fan Artist: Victoria Poyser
Campbell Award: Alexis Gilliland
1983 Hugo Winners
The Hugos were given out at Constellation in Baltimore, MD. 1983 Hugo Nominees
Novella: “Souls” by Joanna Russ
Novelette: “Fire Watch” by Connie Willis
1984 Hugo Winners
The Hugos were given out at LACon II in Los Angeles, CA. 1984 Hugo Nominees
Short Story: “Speech Sounds” by Octavia Butler
Professional Editor: Shawna McCarthy
1985 Hugo Winners
The Hugos were given out at Aussiecon Two in Melbourne, Australia. 1985 Hugo Nominees
Novelette: “Bloodchild” by Octavia Butler
1986 Hugo Winners
The Hugos were given out at Confederation in Atlanta, GA. 1986 Hugo Nominees
Professional Editor: Judy Lynn Del Rey [Note: Lester Del Rey rejected this award on the basis that Judy Lynn would have objected to the award being given just because she had recently died.]
Fan Artist: joan hanke-woods
Campbell Award: Melissa Scott
1987 Hugo Winners
The Hugos were given out at Conspiracy ’87 in Brighton, United Kingdon. 1987 Hugo Nominees
Campbell Award: Karen Joy Fowler
1988 Hugo Winners
The Hugos were given out at NolaCon II, in New Orleans, LA. 1988 Hugo Nominees
Novelette: “Buffalo Gals, Won’t You Come Out Tonight” by Ursula K. Le Guin
Campbell Award: Judith Moffett
1989 Hugo Winners
The Hugos were given out at Noreascon III in Boston, MA. 1989 Hugo Nominees
Novel: Cyteen by C.J. Cherryh
Novella: “The Last of the Winnebagos” by Connie Willis
Fan Artist: Brad Foster and Diana Gallagher Wu (tie)
Campbell Award: Michaela Roessner
1990 Hugo Winners
The Hugos were given out at ConFiction in Amsterdam, the Netherlands. 1990 Hugo Nominees
Novella: “The Mountains of Mourning” by Lois McMaster Bujold
Short Story: “Boobs” by Suzy McKee Charnas
Fanzine: The Mad 3 Party (Leslie Turek, ed.)
Campbell Award: Kristine Kathryn Rusch
1991 Hugo Winners
The Hugos were given out at Chicon V in Chicago, IL. 1991 Hugo Award Nominees
Novel: The Vor Game by Lois McMaster Bujold
Campbell Award: Julia Ecklar
1992 Hugo Winners
The Hugos were given out at MagiCon in Orlando, FL. Photos from the MagiCon Hugo Exhibit 1992 Hugo Award Nominees
Novel: Barrayar by Lois McMaster Bujold
Novella: “Beggars in Spain” by Nancy Kress
Fanzine: Mimosa (Dick & Nicki Lynch, ed.)
1993 Hugo Winners
The Hugos were given out at ConFrancisco in San Francisco, CA. 1993 Hugo Nominees
Novel: A Fire Upon the Deep by Vernor Vinge and Doomsday Book by Connie Willis (tie)
Novelette: “The Nutcracker Coup” by Janet Kagan
Short Story: “Even the Queen” by Connie Willis
Fanzine: Mimosa (Dick and Nicki Lynch, eds.)
Fan Artist: Peggy Ranson
Campbell Award: Laura Resnick
1994 Hugo Winners
The Hugos were given out at Conadian in Winnipeg, Manitoba, Canada. 1994 Hugo Nominees
Short Story: “Death on the Nile” by Connie Willis
Professional Editor: Kristine Kathryn Rusch
Fanzine: Mimosa (Dick & Nicki Lynch, eds.)
Campbell Award: Amy Thomson
1995 Hugo Winners
The Hugos were given out on Sunday, August 27 at Intersection in Glasgow, Scotland. 1995 Hugo Nominees
Novel: Mirror Dance by Lois McMaster Bujold (Baen)
1996 Hugo Winners
The Hugos were given out on Sunday, September 1 at L.A.con III in Anaheim, CA. 1996 Hugo Nominees
Short Story: “The Lincoln Train” by Maureen F. McHugh (F&SF, April 1995)
Dramatic Presentation: Babylon 5 “The Coming of Shadows” written by J. Michael Straczynski, directed by Janet Greek (Warner Brothers)
1997 Hugo Winners
The 1997 Hugos were awarded at LoneStarCon II in San Antonio, TX. 1997 Hugo Award Nominees
Short Story: “The Soul Selects Her Own Society…” by Connie Willis (Asimov’s 4/96; War of the Worlds: Global Dispatches)
Fanzine: Mimosa (Dick & Nicki Lynch, eds.)
1998 Hugo Winners
The Hugos were awarded on Friday, August 7 at the Convention Center in Baltimore, MD at Bucconeer. Charles Sheffield served as Master of Ceremonies.
Fanzine: Mimosa (Dick & Nicki Lynch, eds.)
Campbell Award: Mary Doria Russell
1999 Hugo Winners
The 1999 Hugos were awarded at Aussiecon III on September 4 in Melborne, Australia. Complete voting records. 1999 Hugo Nominees
Campbell Award: Nalo Hopkinson
2000 Hugo Winners
The Hugos were given out at Chicon 2000 (VI) on Saturday, September 3, 2000. Novel: A Deepness in the Sky by Vernor Vinge (Tor)
Novella: “The Winds of Marble Arch” by Connie Willis (Asimov’s 10-11/99)
2001 Hugo Winners
The Hugos were given out at the Millennium Philcon on Sunday, September 2, 2001. Esther Friesner was the MC.
Novel: Harry Potter and the Goblet of Fire by J.K. Rowling (Bloomsbury; Scholastic/Levine)
Novelette: “Millennium Babies” by Kristine Kathryn Rusch (Asimov’s Jan 2000)
Fan Artist: Teddy Harvia
Campbell Award: Kristine Smith
2002 Hugo Winners
The Hugos were given out at ConJosé on Sunday, September 1, 2002. Tad Williams served as the MC.
Professional Editor: Ellen Datlow
Dramatic Presentation: The Lord of the Rings: The Fellowship of the Ring screenplay by Fran Walsh, Philippa Boyens & Peter Jackson, directed by Peter Jackson (New Line Cinema)
Fan Artist: Teddy Harvia
Campbell Award: Jo Walton
The 2003 Hugo Awards were given out at Torcon 3 on Saturday, August 30. Spider Robinson served as Toastmaster. Photos from Torcon. 2003 Hugo Award Nominees
Non-Fiction Book: Better to Have Loved: The Life of Judith Merril, Judith Merril and Emily Pohl-Weary (Between the Lines)
Fanzine: Mimosa (Richard & Nicki Lynch ed.)
Fan Artist: Sue Mason
Campbell Award: Wen Spencer
The 2004 Hugo Awards were given out at Noreascon 4 on Saturday, September 4. Novel: Paladin of Souls by Lois McMaster Bujold (Eos)
Semiprozine: Locus (Charles N. Brown, Jennfier Hall, and Kirsten Gong-Wong)
Fanzine: Emerald City edited by Cheryl Morgan
The 2005 Hugo Awards were given out at Interaction on Saturday, August 6.
Novel: Jonathan Strange and Mr. Norell by Susanna Clarke (Bloomsbury)
Novelette: “The Faery Handbag” by Kelly Link (The Faery Reel Viking)
Non-fiction Book: The Cambridge Companion to Science Fiction ed. by Edward James & Farah Mendlesohn (Cambridge University Press)
Professional Editor: Ellen Datlow
Web Site: SciFiction ed. by Ellen Datlow, Craig Engler, general manager
Fan Artist: Sue Mason
Campbell Award: Elizabeth Bear
The 2006 Hugo Awards were given out at L. A. Con on Saturday, August 26. Guest of Honor Connie Willis served as MC, aided by Robert Silverberg.
Novella: “Inside Job” by Connie Willis (Asimov’s January 2005)
Non-fiction Book: Storyteller: Writing Lessons and More from 27 Years of the Clarion Writers’ Workshop by Kate Wilhelm (Small Beer Press)
Semiprozine: Locus, edited by Charles N. Brown, Kirsten Gong-Wong, & Liza Groen Trombi
Fanzine: Plokta edited by Alison Scott, Steve Davies & Mike Scott
Special Committee Awards: Betty Ballantine, Harlan Ellison
The 2007 Hugo Awards were given out at Nippon on Saturday, September 1. Toastmasters were George Takei and Nozomi Ohmori 2007 Hugo Award Nominees
Professional Artist: Donato Giancola
Semiprozine: Locus, edited by Charles N. Brown, Kirsten Gong-Wong, & Liza Groen Trombi
Fanzine: Science Fiction Five-yearly edited by Lee Hoffman, Geri Sullivan & Randy Byers
Campbell Award: Naomi Novik
The 2008 Hugo Awards were given out at Denvention on Saturday, August 9, 2008. The Master of Ceremony was Wil McCarthy.
Novella: “All Seated on the Ground” by Connie Willis (Asimov’s Dec. 2007; Subterranean Press)
Short Story: “Tideline” by Elizabeth Bear (Asimov’s June 2007)
Semiprozine: Locus, edited by Charles N. Brown, Kirsten Gong-Wong, & Liza Groen Trombi
Campbell Award: Mary Robinette Kowal
The 2009 Hugo Awards were given out at Anticipation on Sunday, August 9, 2009. The MCs were Julie Czerneda and Yves Meynard.
Novella: “The Erdmann Nexus” by Nancy Kress (Asimov’s Oct/Nov 2008)
Novelette: “Shoggoths in Bloom” by Elizabeth Bear (Asimov’s Mar 2008)
Graphic Story: Girl Genius, Volume 8: Agatha Heterodyne and the Chapel of Bones Written by Kaja & Phil Foglio, art by Phil Foglio, colors by Cheyenne Wright (Airship Entertainment)
Editor, Short Form: Ellen Datlow
Semiprozine: Weird Tales edited by Ann VanderMeer & Stephen H. Segal
Fan Writer: Cheryl Morgan
2010 Hugo Winners
The Hugos were given out at Aussiecon IV on Sunday, September 5, 2010. Garth Nix served as MC. 2010 Hugo Award Nominees
Graphic Novel: Girl Genius, Volume 9: Agatha Heterodyne & the Heirs of the Storm Written by Kaja & Phil Foglio; Art by Phil Foglio; Colours by Cheyenne Wright (Airship Entertainment)
Editor – Short Form: Ellen Datlow
Semiprozine: Clarkesworld edited by Neil Clarke, Sean Wallace, & Cheryl Morgan
Campbell Award: Seanan McGuire
2011 Hugo Winners
The Hugos were given out at Renovation on Saturday, August 20, 2011. Jay Lake and Ken Scholes served as MCs. 2011 Hugo Award Nominees
Novel: Blackout/All Clear by Connie Willis (Ballantine Spectra)
Short Story: “For Want of a Nail” by Mary Robinette Kowal (Asimov’s, September 2010)
Non-Fiction Book: Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It edited by Lynne M. Thomas & Tara O’Shea (Mad Norwegian)
Graphic Novel: Girl Genius, Volume 10: Agatha Heterodyne & the Guardian Misuse Written by Kaja & Phil Foglio; Art by Phil Foglio; Colours by Cheyenne Wright (Airship Entertainment)
Editor – Short Form: Sheila Williams
Semiprozine: Clarkesworld edited by Neil Clarke, Sean Wallace, & Cheryl Morgan; podcast directed by Kate Baker
Fan Writer: Claire Brialey
As you see, women quite disappeared from science fiction and fantasy in the eighties and nineties being kept out by the man. Whoever that man was. (Some men might actually have sneaked into the compilation above because I’m cut-pasting on a faulty mouse. Some women probably got cut out, too. Let me assure you right now that this is a plot of the patriarchy. Your worst fears are justified.) Or perhaps while in other countries women are being enslaved and sold and killed, Ms. Leckie is trying to use the Gramscian tactic of claiming victimhood to make herself look interesting? And therefore tries to claim discrimination that women in science fiction have never actually suffered, much less in the last thirty years? Nah, surely it would never happen. For heavens sake, that’s about as likely as the organization that used to represent all the Science Fiction and Fantasy Writers of America, and which is now determined to represent only the POLITICALLY CORRECT Science Fiction and Fantasy Writers of America voting for all females for an award, and then celebrating the fact that only females won the award and saying that even if the stories aren’t all that good, the males deserve it for keeping women out of the awards women have been winning all along. As we know, that would never happen. Not in a sane world. Or an insane one. Not unless the moon were made of green cheese. Which it’s not, since SFWA has narrowed it down to Swiss or Guyere in their latest important conversation.
And it’s a good thing that never happened, because if The Atlantic – The Atlantic, that’s like a real magazine, right? And they have layers and layers of fact checkers, right? – were to publish an article about how women disappeared from the science fiction and fantasy awards in the eighties and nineties, we’d have to point at them and laugh and make duck noises, which would definitely leads to take them less seriously the next time they make grandiose claims based on the self-serving narrative of a small and vocal group, right.
But fortunately that never happened. Because if Ms. Leckie had said something as ridiculous as:
Leckie agrees, saying that there is a community of women writers who have been bolstered by their ability to find and support one another. “The Internet really lets people connect that wouldn’t have in the past, and lets conversations happen and connections happen. That’s really something that happens, I’m not sure it’s a club with membership cards but I think there’s some kind of community.”
One would be forced to respond, “Oh, Sweet Pea” (totally allowed. After all the Democrats used it in an ad) “A community of women is not in the nature of a writers’ society which, after all, cares more about excellence in writing than about what is between the writer’s legs. A community of women is a sorority, a lesbian dating club or a sewing circle. Given how conventional you all are and how you draw together for comfort and protection, Sweet Pea, I’m going with sewing circle.”
But since that embarrassing article never happened, I don’t have to say that. And that’s good. Imagine if I did have to say it. Why, it would be rude. And I’m never rude. Even when sorely tempted by the self-aggrandizing nonsense of pseudo-pioneers.
The real pioneers are in indie, where we have some recommendations for you today.
Wounded veteran Dev Macquire needs some farm help until he recovers. When his father, Gray, brings home a new hand, he’s dismayed to meet Irina. How can a woman do the rough, heavy work they need? As she works her way into their life, and into his heart, he’s faced with a new dilemma. Can he persuade her to stay, and to accept a new role in his life?
Irina took the job on a whim. She just wanted to work hard enough to forget why her life was on hold and her future uncertain. Daily reminded of a brighter past, a childhood spent on horseback…but her new feelings for Dev were definitely not sisterly. At the end of the summer she’d leave, it was too dangerous to risk staying near him.
As a wildfire threatens the countryside, racing toward the Macquire place, Dev and Irina discover what true partnership can feel like, working together to find the arsonist who is responsible. When the fires die out, are there embers left smoldering in hearts?
Only $0.99 through 11/9/14!
Cowboys and gunslingers meet wizards in this high fantasy series set in a world inspired by the American Wild West. Silas Vendine is a mage, a bounty hunter authorized by the Mage Council to hunt down and stop renegade wizards. He’s also a freedom fighter, committed to protecting the non-magical people of the Wildings from the overreaching ambitions of the mages. It’s a dangerous life, and Silas knows it. Still, when he comes to the town of Bitterbush Springs and meets Lainie Banfrey, a young woman born in the Wildings who is both drawn to and terrified of her own developing magical abilities, he finds far more trouble and excitement than he bargained for…
Wendy Jarrett is smart, tall, and lonely. Adam Lewis is tall, gorgeous, and available. They meet at the funeral for Adam’s crazy uncle Sheldon, and seem made for each other. But there’s a catch.
Sheldon was previously married to Wendy’s overbearing mother, and leaves the only possession in his estate—an ugly old Victorian house in Cape May—to her. This causes a serious rift between Wendy and Adam.
Wendy must take charge of the situation and learn the secret of the old house—and what she finds there may cause her to lose her chance at true love.
Duty calls. Honor demands action.
Major Ashlyn Shaw has survived false accusations and a brutal military prison. Now free, she finds her homeworld once again at war with an enemy that will stop at nothing to destroy everything she holds dear. Duty has Ashlyn once again answering the call to serve. She has seen what the enemy is capable of and will do everything she can to prevent it from happening to the home she loves and the people she took an oath to protect.
But something has changed. It goes beyond the fact that the enemy has changed tactics they never wavered from during the previous war. It even goes beyond the fact that there is still a nagging doubt in the back of Ashlyn’s mind that those who betrayed her once before might do so again. No, there is more to the resumption of hostilities, something that seems to point at a new player in the game. But who and what are they playing at?
Will Ashlyn be able to unmask the real enemy before it is too late?
Men on Strike has a new cover and preface and is coming out in paperback soon. Thanks to everyone who bought the book and made it successful enough to come out in paperback.
Debbie Harry’s ex-boyfriend and Blondie co-founder Chris Stein has just released a photography collection, featuring his lifelong muse.
And why not? No less an authority than rock photography guru Bob Gruen famously said, “You can’t take a bad picture of Debbie Harry.”
Unfortunately, Stein marrs the collection with a stunningly multi-level-stupid comment, regarding his famous picture, above.
UK tabloids don’t push the limits of credibility any more than their American counterparts, but in a way they got there first. Here, Debbie is reading about sexism under the ayatollah.
Get it? Decades of well-documented, sharia-inspired violence against women in Iran was probably exaggerated, according to Stein, because it was reported by a lower class “red top” English tabloid back in the 1970s.
Stein further ingratiates himself with his British host by slagging stupid, hysterical American “yellow journalists,” too, for no apparent reason.
Factor in the word “sexism” as his mealy-mouthed synonym for “rape, torture and murder,” and it’s quite breathtaking how much smug “enlightened” ignorance Stein managed to squeeze into two just sentences.
Especially the same week that Iranian authorities executed a woman for killing her rapist.
All this from a man I feel safe in presuming voted for Obama twice, and whose views on every subject are reliably, predictably “progressive.”
But of course!
But today the economic action isn’t in Chicago, or L.A., or even Honolulu. It’s gone so far west, it’s back in the East. Asia is where the growth is, and everyone wants to know why. Author Joe Studwell has an answer, and a warning.
Studwell is a journalist who’s lived and worked in Asia for decades. His most recent book, How Asia Works, aims to divulge the recipe for that continent’s economic success. And, of course, it’s important to note that Asia isn’t uniformly successful; it hosts its fair share of failing economic states. Studwell also explains why that’s the case.
“There are three critical interventions that governments can use to speed up economic development,” Studwell writes in his introduction. These could be boiled down into three Fs: farming, factories and finance.
Hi, this is Sarah. Today we have a guest post by my friend Amanda Green.
Who is the Real Monster in Publishing?
I don’t have time and I don’t have the spare brain cells to move away from final edits into blogging. Unfortunately, the idiots just won’t let me alone. Okay, maybe I shouldn’t have gone to Facebook to check out what was going on. But, really, is that so bad as I have my last cup of coffee of the morning?
Anyway, I wander innocently — quit snickering — into one of the groups I belong to and find this waiting for me. Now, I know the Telegraph isn’t the most unbiased reporting site on the net. But it tops even the Guardian with this piece.
Let’s start from the beginning. . . .
Amazon is like Isis, says literary agent.
Wow, nothing like hitting a butt-ton of hot buttons right off the bat. Funny, you’d think with all the media coverage of the evil that is Amazon (yes, I’m being sarcastic), someone would have picked up the stories of the corporate troubleshooters going around beheading folks who it saw as being wrong. Hell, they’d have started with more than a few publishers and agents long ago. Funny, but I haven’t seen anything about that. Have you?
The online retailer has long been accused of making it nearly impossible for authors to earn a living.
What?!? Uh, not only no, but HELL NO.
Before Amazon started the KDP program, there was very little an author could do to get their work into the hands of the reading public. We vied for a very few slots available for new authors, sending our work out first to agents. Why first to agents? Because the vast majority of “real” publishers wouldn’t look at anything that didn’t come via that route. Then, if you were lucky enough to find an agent — who would take at least 15% of anything you earned plus expenses — your work was submitted to publishers. There was never any guarantee that you would be picked up by a publishing house and, if you were, you’d get your advance and probably never see another penny from your book.
Why? Because publishers, even after the Digital Age began, continued to follow the same business plan they had had since the invention of the printing press. For every book sold, the publisher received anywhere from 70% or more of the monies made plus expenses. The rest was divvied up between the author and his agent. Oh, one other little accounting anomaly they don’t talk about in mixed company — they use the figures from BookScan to determine how many books were sold. In case you don’t know what what BookScan is, it is the Nelson ratings for books. You know Neilson. That’s the company that puts little boxes in a small number of homes across the nation and the networks use hand-wavium to determine, based on that small number of “randomly selected” homes, what shows are popular and what are not.
But Amazon, the company that gave authors the first viable avenue to get our work directly into the hands of the public and that pays us up to 70% of monies earned, keeps us from making a living writing.
American agent Andrew Wylie “condemned the ‘brutality’ of Amazon’s tactics. . . .”
Sigh. Amazon is so brutal it offered to pay Hachette authors for sales made during the contract negotiation period. Hachette is the side in the dispute who declined. Even when Amazon said it would solely be responsible for payments to the authors, the publishers stepped in and, citing how evil Amazon was, declined this offer of help for their authors. But Amazon is brutal.
Oh, I know. Amazon is brutal for taking away the pre-order button on Hachette titles. Hmm, titles it may not be allowed to sell when they are published. Titles Hachette may decline to send to Amazon because they are still in contract negotiations. But Amazon is brutal.
“I believe with the restored health of the publishing industry and having some sense of where this sort of Isis-like distribution channel, Amazon, is going to be buried and in which plot of sand they will be stuck, publishers will be able to raise the author’s digital royalty to forty or fifty percent.”
Hmm, why can’t they pay that sort of royalty on e-books now? Major publishers don’t have to re-edit, have new art done, store, transport, etc., e-books. All they have to do, if they know their jobs, is convert the file for digital release, resize the cover image and then save it in the appropriate format. Then they hit a button and upload it to the appropriate stores. They don’t even have to change the listings for the books because, duh, they have already set the listings up for the print version. The only thing that costs extra in the digital conversion is their idiotic belief that they have to include DRM.
So tell me again why authors aren’t making 40 – 50% royalties on e-books right now? Especially when mid to small size presses are already paying their authors up to that much?
“Writers will begin to make enough money to live.”
Pardon me but Bullsh*t!
The way they have the system gamed, there is no way most writers will ever make enough money to live. I’ve seen too many statements from writers I know, I’ve talked to too many others who get what can only be called works of fiction when it comes to their royalty reports. If the publishers can’t present accurate sales reports now to their authors, why in the world would anyone believe they would do so after they managed to crush Amazon — hahahahahahahahaha! — and the authors no longer had a viable alternative to what is, at best, voluntary indenture?
[He] went on to urge publishers to form a united front to turn the tide against Amazon. Only then, he said, could authors begin to profit again from sales of their books.
No, only then would publishers convince themselves that they were once again profiting from the sales of their books. Look folks, publishers want to return to the agency pricing model that the courts threw out. There were plenty of contracts signed with authors during that time and I don’t recall the publishers touting how they were increasing royalties for authors because now the publishers were free to set their own e-book prices. Oh, there was a slight increase in what some authors made but no where near what this almighty agent who has been drinking his own Kool-Aid seems to suggest they will become. And why? Because the publishers didn’t have to increase royalties. If they get their way with regard to Amazon, I guarantee they won’t do so unless forced and who is going to force them?
According to Wylie, Hachette is the great hero for standing tall against the evil of Amazon. Why? Because Amazon no longer offered the deep discounts for Hachette books and slowed shipping times, etc. Well boo fracking hoo. They are in contract negotiations. Amazon is a company out to make a profit. Guess what, boys and girls, so is Hachette and it makes that profit on the backs of authors.
Let’s be real for a moment. Amazon is no angel. But it is the height of hypocrisy for an agent to get out there and proclaim that all it will take is for Amazon to go down for authors to start earning a living wage from their work. For one, Amazon is the main distributor of books, print and digital, to the reading public. For another, raising prices for books — which is what the publishers want to be able to do at their whim — will not lead to an increase in sales. At least not an increase in sales for their authors. It might lead to one for those of us who are either hybrid-authors or indie authors. Finally, Wylie needs to climb out of his ivory tower office, quit hobnobbing with the publishing elite and get down in the trenches. He needs to talk to all those authors who have been orphaned by their publishers or who have been on the receiving end of what are obviously fictitious royalty reports but who have been too scared to challenge them because their agents have said the author would never again get a contract with any publisher. Add to that the need to listen to the authors when they discuss just how much more — chuckle — they would make with the royalty increase on e-books. We are talking pennies per copy, not big bucks. And remember, all that is after Wylie and agents like him get their cut, which very likely would go up as well, and after the publishers take out their cut. Wylie also needs to talk to the reading public and, more importantly, he needs to listen to it.
So, on this All Hallows Eve, Amazon is not the big bad monster. It is, in fact, the gladiator that came in and opened the market for authors in a way it has never been opened before.
Amanda Green is older than 20 and younger than death and that’s all you’ll get from her about her age. After all, it’s not polite to ask a woman how old she is. She’s a mother, a daughter and was a wife. She’s spent most of my life in the South and loves to travel. She’s also a writer, among whose works can be counted Nocturnal Origins, Nocturnal Serenade, and Nocturnal Interlude. When not writing under her own name, or under Ellie Ferguson or Sam Schall, she’s known to make trouble for the proponents of gynocracy, the defenders of the traditional system of publishing and other pesky critters online.
The shared colony planet of Forge is at the crossroads of three great peoples: the Scotian Realm, the Xern Cluster, and the Tormin Accord. Only a few know that Forge is also in the crosshairs of imminent invasion.
On Forge, a mindblind and amnesic Scotian labors under the whip of his Tormin master. Tazhret wants to believe the beautiful dream woman who whispers hope to his harrowed heart. But is she real, a memory of his forgotten past? Or merely the single bright thread in the grim visions induced by the same hallucinogen that took his Elemental talents and put him in the chains of indentured servitude.
Real or vision, Tazhret loves her just the same, never dreaming they share a dark future pitting them against their Scotian high king, and the predatory psychics of the Khevox Dominion…with the fate of the three peoples hanging on the thread of their love. An Instapundit reader recommendation.
Thirteen-year-old Col Adair doesn’t realize the petty hostilities of young Duke Arran are only a screen for a dangerous foe, targeting Col, Clan Adair, and the Scotian Realm they serve. When an assault leaves Col alone to defend the lives of his family, will victory cost him his future?
It’s easy to believe that one person can’t make a difference. Joe never believed he would, and neither did eight-year-old Charlie. She didn’t believe in Santa, because they were all over, and never brought the Christmas Present that she really wanted. Neither knew what would come from their meeting, nor the lives that would be changed. Joe would have a bigger “family” than he ever expected. Charlie would get more than she ever dreamed of, when her “wish” was finally granted.
Like Charlie, maybe the next time you see a “Santa Claus,” you may be seeing a real one.
With the first of what he suspects will be many favors completed, William finds himself busy with important tasks back at his home on Saladin. Queen Rachel has several jobs she needs him to do, and Feliogustus has similar tasks in mind for him as well. All in all, it seems easy enough to Will, it’s not like he’ll be fighting in any wars, or traveling across the infinite on a strange quest after all.
But things aren’t always as easy as they might seem, and both politics, as well as the other gods, aren’t going to ignore Will, or the tasks he’s been set to complete. And is if dealing with that isn’t problem enough, when the time comes to do some serious diplomacy between Hiland and a neighboring Kingdom, a deadly problem comes from a most unexpected quarter, forcing Will to take immediate action to payback both his, and his God’s foes.
Here’s a find for my fellow ghost story lovers, just in time for Halloween. Wandering aimlessly about the internet, I stumbled on a British site called The Fiction Desk. They apparently run an annual ghost story competition and then publish the winners as an anthology. So okay, for eight bucks I’m game. I downloaded last year’s book — New Ghost Stories — to see if there was anything worth reading.
And yes, I’m delighted to report there very much is! The ghost story is hard to do and I’m a connoisseur and very particular. A good ghost story doesn’t horrify but is marked by a shudder at the crisis point and a fine long chill afterward. M.R. James did it routinely; E.F. Benson and E. A. Poe both did it spectacularly a few times; Stephen King is a modern master when he puts his mind to it. There are many others less well known, but my point is, it takes real skill to pull it off.
All the stories in this anthology are skillful. All are well written. Most are pretty spooky. Some are very good. One — Chalklands by Richard Smyth — is downright excellent: beautifully written, wonderfully imagined, expertly constructed — and it delivers a genuine long-lasting eerie scare.
I’ve read a lot — a lot — of anthologies that include the most famous living names in the genre. This anthology can stand up with any of them. I realize eight dollars isn’t chump change, but these lesser known writers could all use support. So if you have the coin and enjoy a good ghost story, this is a solid anthology and good bedtime reading for the 31st.
Anticipation following the first Avengers movie was so thick you could cut it with a knife.
That anticipation was dimmed somewhat when it was learned that Thanos, who appeared for all but two seconds at the very end, was not slated as the villain for Avengers 2. Instead, he appeared next in the surprise blockbuster Guardians of the Galaxy helping to underscore one of the exciting things about Marvel Studios films (as opposed to Marvel films from other studios): their interconnectivity, the ingredient that catapulted tiny Marvel Comics ahead of giant competitor DC Comics in the early 1960s.
Where will Thanos appear next? Who can tell?
The point is, the Marvel movie universe isn’t dependent on any single ingredient. Not Thanos, not Tony Stark, not Captain America, not SHIELD. Something to keep in mind as Avengers 2 rolls around along with rumors that major characters (driven by the expiration of standing contracts of the actors who play them) are soon to fall by the wayside.
Tony Stark may go off into the sunset, Cap may be killed off, Thor may end up in Valhalla leading to a possible reorganized and reconstituted Avengers team much like the epochal events that took place in Avengers #16 when Iron Man, Giant-Man, and Thor quit and were replaced by Hawkeye, Quicksilver, and the Scarlet Witch, the latter two perhaps not coincidentally, set to be introduced in Avengers 2.
Which brings us to the new, recently released Avengers 2 trailer which, if it accurately presages the events in the film, raises the bar as well as the stakes for the new film, one that promises to meet if not exceed the colossal earnings of the first.
With so much riding on the new film, not least of which is the expectation that its content tops the first, the trailer hints at less than perfection. Yeah, there seems to be plenty to like in the sample footage, but there’s also stuff that makes discerning viewers stop and wonder. Thus, in the interests of keeping fans fully informed (in no particular order) here are some reasons why they should look forward to Avengers 2 as well as a few to inspire doubt.
Amanda Green’s incredulous piece at Mad Genius Club, together with Sarah Hoyt’s fully compatible fulmination here at PJ Lifestyle, have cast an unsavory light on what remains of the “conventional” publishing industry…or, as they prefer to call themselves, the “creators of real books.”
Apparently, the “creators of real books” are somewhat put out at Amazon, now the largest outlet for reading material in the world…indeed, the largest such outlet the world has ever known. You’d think those “creators” would be leaning over backwards to please so important a conduit for their wares. You’d think they’d be straining to learn from Amazon’s success, and to copy whichever of its tactics they could. And you’d think they’d be examining their own practices critically, especially in light of the eBook explosion that’s been so important a component in reducing their market share.
Well, maybe some of them are doing one or more of those things. But some prefer to attack those who are doing it better than they.
Plus ca change, plus c’est la meme chose.
Why, yes, Mark Steyn does mention me in his new book, thanks.
But leaving aside pages 228 and 409 for a moment:
Why (else) should you read The (Un)documented Mark Steyn?
Because a “greatest hits” collection — and that’s what Steyn’s new book is — is an ideal way to either introduce yourself to an artist’s work, or have all the “good ones” in one convenient package.
So no more having to google “Martha + Stewart + coxcomb + topiary” when Christmas rolls around.
If you’re looking for that pithy Mark Steyn quote that you just know will be perfect for your next best man speech or poli-sci 101 term paper, you’ll probably find it in here.
Hi, this is Sarah, and I’m a writer. Yes, I have actually tried to give it up, but the longest I lasted was two weeks, and then my sons and husband got together to beg me quite eloquently (which was a miracle as the younger kid was then one and a half) to go back to writing, because what I did instead of writing (obsessive cleaning and minding THEIR business) was driving them nuts.
I’ve been a writer since then, nineteen years woman and… woman.
Which is why there are some things that have the ability to make my blood boil, make me foam at the mouth. This happened when I read my friend, Amanda Green’s post on our shared writers’ group blog, Mad Genius Club this week.
Let’s start with this article from USA Today. I knew from reading the headline that it was probably something that would have my blood pressure rising. After all, how else would I react to “Real books can defeat Amazon and e-books”?
Wait! What? Real books?
Then I started reading and I realize the headline was only the beginning.
And then she quotes the article. Oh, my, does she quote the article.
The book business believes that Amazon is unfair in the way it sells books. It believes, in fact, that Amazon in its sales practices — pressuring the book publishers to lower their prices and profits — is the enemy. Amazon’s ultimate design, publishers believe, is to ruin them or to wholly shift the center of gravity in the business from the creators of books to Amazon, the dominant seller.
You should probably read all of Amanda’s post, but this is about the time that I turned Green and started stomping around the room, screaming “Sarah Smash.”
It might not have been so bad if it weren’t for an experience my friend Cedar had this week. Cedar Sanderson is a young and upcoming writer. I’ve been mentoring her for the best part of – eep – thirteen years, back when all she wanted to do was write some inspirational essays. Well, a couple of years ago she started writing books, and now she has four in two series out and this year she’ll make in the low five figures from them.
She was talking to me about this a few weeks ago and said “I know it’s not much” which is when I told her the first time I made 15000 came when I’d been in the business for ten years, and had written ten books. Oh, sure, I get almost that per advance, but advances aren’t paid outright. They’re paid in three (sometimes four) installments linked to signing, delivery, acceptance and, sometimes, release of the book. It’s amazing how many years that can stretch across.
Oh, and I was in the business four years before I got my first royalty check, after which the book was immediately taken out of print, because in the then-model, the publisher didn’t count on paying royalties. Not to midlisters. (Unless the publisher was Baen. Which is why I’m still with Baen.)
Well, last week, Cedar went to a panel at the university she attends and was talking about career prospects. The doyenne of the assembled group was an elderly woman staunchly against self publishing, who just loves her publisher and all its works (and all its empty promises – oops, sorry, thought I was in church for a moment.)
When it came Cedar’s time to talk, she said something about hoping to be able to make a living from writing. At which point the elderly love-my-publisher writer laughed and said, “Honey, you can’t make a living from this. I’ve been writing for twenty years and I’m not even close to that.”
That is not only factually wrong, (ask Chris Nuttall, Peter Grant, Doug Dandrige and a dozen more I can’t call to mind right now) but it is also morally wrong.
When I was a kid in Portugal, during the revolution, there was a whole lot of screaming about “the land to them who work it.” This was mostly in the South where, since Roman times, the land has been held in a system of Latifundia. And the cry to expropriate the owners and hand out the parcels to the workers was wrong on several heads: first because most of them wished to form collective farms, aka going broke on the installment plan; second because the land in the South of Portugal is so poor that even if you dolled it out into little parcels, each person would starve. By having the huge farm, the owners made it possible for their various hired hands to make a living from farming.
When I read that journalist above talking about the publishers as the “creators” of the book, I thought of the same “The books to them who create them.”
Except the publishers don’t create the books anymore than those hired hands each farmed a parcel of land.
The publishers used to be an essential part of getting the book to market, pre-amazon. They printed large numbers, publicized, acted as an intermediary between the writer and their public.
They were, in that sense, good hired hands.
And then the costs of producing a book and getting them to market, through print on demand (which according to my Berkley editor they were using in 03) dropped. Electronic typesetting dropped it more. Publishers outsourced the search for books to agents (all but Baen, which still has a slush pile.) And then they had the bright idea of making the writers publicize their own books.
This would be like the hired hands taking a break and demanding the owners of the fields use robots to do all the work, but they still expect to be paid. What do you think would happen? Well, it happened.
With the market in a shambles, with publishers using their power to bring to market books they thought were socially relevant and not what the readers wanted to read, Amazon gave writers a chance to go to the public directly.
Which brings me to what a publisher can do for you, which is… Give me a minute… Other than Baen which has a brand that will bring you at least a few thousand readers, like that, with no effort… what the other publishers can do for you is… uh…. Yeah….
Oh, yeah. They can fudge your statements and take your money. There I knew they did something. Fortunately writers who used to work from Harlequin have won the right to class action suits this week, which means more will follow.
And at some point, will stupid journalists realize they’ve been sold a pot of message and that publishers as they exist now are as essential to the book business as a bicycle to the fish?
I doubt it. They’re too busy putting playing cards in the spokes of publishing, because they like the noise so much.
As for the rest of us, we have work to do.
We work for a living. And making a living from our hard work is a beautiful thing.
And as a final musical interlude, to remind you of what mainstream publishers REALLY do, by and large, sang to the tune of “Putting on the Ritz”
Have you seen the well to do?
Walking down Marx avenue
Crying that everything’s unfair
While their butlers do their hair
Condoned with lots of dollars
Spending every dime
Made on other guy’s lines!If you’re blue, and you want dough
Why not lean on someone you know
In the pubbing biz?
Robbing the midlistDifferent types will write a dystop-
ian cliché or bash on the pope
It all fits
When you’re robbing the midlist
Cashing in their six-figure advances
Even if their book has got no chances
Of a profit
Come let’s mix where pampered authors
Politic to get job offers
Hope they’re picked
For robbing the midlist
Tips the scales to favor their own voices
Tries to “Push” to cover their bad choices
Disappoint usNYT Bestsellers topping the list
Make readers stop or numb their wits
Robbing the midlist
Robbing the midlist
Robbing the midlist!
“Mercury retrograde” is the term used in astrology for the times when the planet Mercury appears to be moving backwards against the “fixed stars”. According to astrological lore, during periods when Mercury is retrograde, matters of communication, information, and relationships are impaired. Computers and networks are more likely to fail. Mail may go astray.
Mercury went retrograde on the 4th of October this year. I am a scientific materialist and of course don’t believe in this astrology stuff, but Mercury goes back prograde on the 25th of October. And not a minute too damn soon.
So, if you want to get your book plugged on Book Plug Friday, send an email to firstname.lastname@example.org.
But maybe wait until tomorrow.
In Avalon, where the world runs on magic, the king of Britannia appoints a witchfinder to rescue unfortunates with magical power from lands where magic is a capital crime. Or he did. But after the royal princess was kidnapped from her cradle twenty years ago, all travel to other universes has been forbidden, and the position of witchfinder abolished. Seraphim Ainsling, Duke of Darkwater, son of the last witchfinder, breaks the edict. He can’t simply let people die for lack of rescue. His stubborn compassion will bring him trouble and disgrace, turmoil and danger — and maybe, just maybe, the greatest reward of all.
Nevermore is a dark, historical fantasy filled with romance, southern charm, and all the trappings of a classic historical romance. Walking the line between the occult, the paranormal, and the reality of 1800s life in The Great Dismal Swamp, Nevermore is also chock full of action and adventure. Follow Edgar Allan Poe and Lenore into The Great Dismal Swamp and experience one version of the birth of Poe’s famous poem, “The Raven.”
Satire, politics, geekery, and dogs.
“In Jenna Vincent’s Romantic Suspense novel, Rae Vigil stumbles into an ugly case of domestic violence with a young child caught in the middle. The parents are very powerful and the police are powerless. Torn between saving the child and professional confidentiality, every instinct tells her not to get involved, but sometimes instincts are wrong.”
Jim Reade, a volunteer Texas Ranger, is the sole survivor of an ambush in the contested Nueces Strip. Rescued by Indian scout Toby Shaw, the two pursue a mysterious wagon carrying a cursed treasure. Sworn blood-brothers, Jim and Toby meet with other challenges and mysteries, including a trove of documents sought after by spies of three nations and a den of murderous robbers on the Opelousas Trace. The classic Wild West rides again, in this collection of adventures intended for younger readers by the author of the Adelsverein Trilogy.
The Son Also Rises . . .
On a near future Earth, Good Man does not mean good at all. Instead, the term signifies a member of the ruling class, and what it takes to become a Good Man and to hold onto power is downright evil. Now a conspiracy hundreds of years in the making is about to be brought to light when the imprisoned son of the Good Man of Olympic Seacity escapes from his solitary confinement cell and returns to find his father assassinated.
But when Luce Keeva attempts to take hold of the reins of power, he finds that not all is as it seems, that a plot for his own imminent murder is afoot—and that a worldwide conflagration looms. It is a war of revolution, and a shadowy group known as the Sons of Liberty may prove to be Luce’s only ally in a fight to throw off an evil from the past that has enslaved humanity for generations.
Sequel to Sarah A. Hoyt’s award-winning Darkship Thieves, and Darkship Renegades, this is Book One in the Earth’s Revolution saga.
At the publisher’s request, this title is sold without DRM (DRM Rights Management).
Fox’s Gotham has been running for a few weeks now, and it’s off to a bittersweet start. The Batman show without Batman serves as a prequel to the mythology we know.
There’s a lot to like in Gotham. It looks great, shot in New York and enhanced with seamless visual effects. The performances are solid, often transcending weak scripts.
But overall, Gotham suffers from an identity crisis. This show can’t decide what it’s trying to be. One scene evokes the grounded tone of The Dark Knight. The next evokes the camp of 1966. Here are 10 hits and misses in Gotham’s first five episodes.
5. Miss: Fish Mooney
The Portrayal: Jada Pinkett Smith lends the series its greatest star power. Her character, underworld player Fish Mooney, was conceived for the series as a new addition to the Batman mythology. Mooney serves as a lieutenant in the Falcone crime family. She despises her boss and aspires to replace him as the dominant figure in Gotham’s underworld.
Why It’s a Miss: It’s fitting that Fish Mooney was created uniquely for this show, because she personifies its tonal inconsistency. It’s unclear whether we’re meant to root for her or against her. In one scene, she’s ordering the brutal torture and execution of police officers, as if it’s no big deal. In the next, she’s helplessly browbeat by Falcone and proven largely impotent. Pinkett Smith chews the scenery, evoking the camp of the 1960s television show. Her portrayal has been described as an “Eartha Kitt impersonation.”
I am reading Russ Robert’s new book How Adam Smith Can Change Your Life: An Unexpected Guide to Human Nature and Happiness and it is quite informative. Roberts is an economist at the Hoover Institution at Stanford and he delved into Smith’s less famous book to gain insight into life and human nature and shares it with readers in simple, straightforward style:
Adam Smith may have become the patron saint of capitalism after he penned his most famous work, The Wealth of Nations. But few people know that when it came to the behavior of individuals—the way we perceive ourselves, the way we treat others, and the decisions we make in pursuit of happiness—the Scottish philosopher had just as much to say. He developed his ideas on human nature in an epic, sprawling work titled The Theory of Moral Sentiments.
Most economists have never read it, and for most of his life, Russ Roberts was no exception. But when he finally picked up the book by the founder of his field, he realized he’d stumbled upon what might be the greatest self-help book that almost no one has read.
In How Adam Smith Can Change Your Life, Roberts examines Smith’s forgotten masterpiece, and finds a treasure trove of timeless, practical wisdom. Smith’s insights into human nature are just as relevant today as they were three hundred years ago. What does it take to be truly happy? Should we pursue fame and fortune or the respect of our friends and family? How can we make the world a better place? Smith’s unexpected answers, framed within the rich context of current events, literature, history, and pop culture, are at once profound, counterintuitive, and highly entertaining.
By reinvigorating Smith’s neglected classic, Roberts provides us with an invaluable look at human behavior through the lens of one of history’s greatest minds.
I was most interested in the sections on being “loved and being lovely.” Smith says “Man naturally desires, not only to be loved, but to be lovely.” The author interprets this quote as “Smith means that we want people to like us, respect us, and care about us and take us seriously. We want them to want our presence, to enjoy our company.”
Smith also says that we dread being hated and hateful. Perhaps this explains why people are so afraid when it comes to politics. If you have the wrong political bent these days, you are seen as hateful and hated. Most people don’t seem to be able to tolerate being hated. Being hated is no fun, but pretending to go along with the PC crowd that is ruining our country has to be worse. Smith believes that true happiness comes when we earn the admiration of others honestly “by being respectable, honorable, blameless, generous, and kind.”
Yet how can you be those things in a society that does not value these traits? Our society rewards extroversion, hypocrisy, political correctness at all costs, and phony fads. How can one be genuine, authentic, and truly kind in today’s world? To do so is often to be hated, something Smith says that we dread. Is being hated that awful? Maybe we need people in this society who are strong enough to be hated in order to make significant positive changes in politics and society.
Seven years ago, the pages of Marvel Comics’ universe were rocked by a sweeping story arc across dozens of books, culminating in the death of the iconic American hero Captain America. Recently, the popular Marvel Cinematic line of films, also produced by Marvel Studios, announced that the “Civil War” arc will be the foundation upon which the next Captain America film will be based.
“Civil War,” a “crossover” series which began in 2006 under the pen of Scottish comic book writer Mark Millar, starts with an induced public panic over the supposed unaccountability of individuals with superpowers.
In-universe, the world was just beginning to recover from the aftershocks of United States government agent Nick Fury’s actions — think of the agency he runs, Strategic Homeland Intervention, Enforcement and Logistics Division (SHIELD), as a sort of Department of Homeland Security, hopped up on the drug known as “Kick” — including sparking multiple violent intergalactic and inter-dimensional incidents such as the “Secret War.”
The American public, we’re told, has become tired of their cities being trashed by the battles between gods and demigods such as Thor, Apocalypse, or the Beyonder. The final straw, we’re told, is what is referred to as the “Stamford Incident,” in which a team of inexperienced supers, the New Warriors, are, effectively, egged on by their reality-show handlers to surprise a band of villains hiding out in a quiet New York town.
In the chaos of the televised ambush, Nitro — a villain whose exactly-what-it-says-on-the-can power is “blowing himself up” — detonates himself, taking 600 civilians with him… 60 of whom are school children.
I just read Atlas Shrugged. It was my third attempt in 20 years. It took me five weeks of fierce determination. If you’ve mulled reading the book, I may be able to add precious days to your span on this mortal coil. (WARNING: The rest of this little essay is pure, unalloyed spoiler.)
Dagny Taggart runs a transcontinental railroad company. Dagny is slim, elegant, bold. In her spare time, she’s writing a 1,168-page novel in which she has sex with three different slim, elegant, bold men. She’s not a slut, mind you, nor horny as a rabbit during the rut.
No, she has sex with each man because she agrees with his philosophy, best summarized thus: I am the most important being in the universe, and my pleasure is the goal of the universe, so leave me alone.
Dagny has sex in her youth with Francisco D’Anconia, heir to an historic copper fortune and the richest man on earth, who’s also writing a 1,168-page novel.
Dagny has sex repeatedly with Hank Rearden, a rich (unhappily married) steel magnate, who, in his spare time, is writing a 1,168-page novel.
And finally, Dagny has sex with John Galt, the most interesting man in the world (who’s not pushing Dos Equis), but who IS writing an 1,168-page novel which, like the others’, contains a mix of economics, philosophy, daily news and sex. It’s basically the Huffington Post, in book form.
Galt has worked as a laborer for Dagny’s company for 12 years, in the same building as she, though Dagny doesn’t know it. In his spare time, Galt works to shut down the economy of the entire world by getting a handful of effective producers to abandon their life’s work and to defect to Galt’s Gulch, an idyllic hideaway in the mountains.
Is it just coincidence that each svelte, ingenious, wealthy member of this foursome has all of this amazing perfect sex while running his or her massive business, and writing a 1,168-page novel?
No, not coincidence: It’s Ayn Rand.
Miss Rand (whose first name is pronounced any way you please) is the author of a 1,168-page novel called Atlas Shrugged. She’s her own inspiration for each of these characters. So, in a very real sense, Atlas Shrugged is about a svelte genius who wants to be left alone, to fantasize about an industrial Utopia while having sex with herself.
Although some have argued the case that science fiction began with stray stories about nutty inventions from ancient Greece to the time of Louis Quatorze, the truth is that real SF really got off the ground beginning with Jules Verne, who took decidedly fact-based premises upon which to build his novels of inner space, round-the-world travel, and subsea exploration. But despite the popularity of Verne’s stories, they served primarily as the buildup to the arrival of H.G. Wells, an author who was more reader friendly and who had the advantage of writing in the same language as that spoken by the huge American market.
Wells’ first foray into science fiction was with The Time Machine (1895) that was soon followed by The Island of Dr. Moreau, The Invisible Man, War of the Worlds, When the Sleeper Wakes, and First Men in the Moon among others. With each novel, he staked out new territory in the landscape of science fiction, inventing sub-categories within the genre that generations of SF writers would spend decades exploring.
But Wells wasn’t the only person writing SF at the turn of the century; so were the likes of Robert Hugh Benson, M.P. Shiel, Edwin Lester Arnold, and E. M. Forster. These authors, following the earlier impetus supplied by Jules Verne, placed science fiction firmly in the mainstream of reader interest (although to be sure, the genre wasn’t recognized as “science fiction,” in fact, it wasn’t differentiated much at all from the regular run of novels).
But then something happened on the way to public acceptance. Even as various authors continued to treat the genre seriously, the rise of the pulp magazines in the United States offered the opportunity for anyone with an active imagination and a hankering to write to enter the field. Although such magazines as Argosy and All-Story offered a venue for the occasional SF story, it wasn’t until 1926 when publisher Hugo Gernsback gave imagineers their first all science fiction outlet with Amazing Stories. By then, the field of literary SF had divided into high- and low-brow fare with authors such as Wells and later Olaf Stapledon working the more prestigious book markets and upstarts like E.E. Doc Smith, Jack Williamson, and Edmond Hamilton cranking out spacefaring fodder for a penny a word.
However, after such critically acclaimed writers as Wells and Stapledon ended their association with the genre, science fiction was left to the pulps, leading to an infantilization of the field. With the lurid covers of scantily clad females and threatening BEMs, the SF pulps did little to improve their reputation as nothing more than entertainment for young boys. But those boys would eventually grow into men even as their favorite authors improved their skills as well as their perspicacity. Thus when the day of the pulps ended and the day of the paperback dawned, science fiction writers would be poised to make the transition into a format more acceptable to mainstream adult readers.
But that would happen in the 1960s. In the second decade of the century, modern science fiction was still in its infancy, and still divided between book and magazine publishers who were just beginning to realize the saleability of science-based tales of the fantastic. And because of that, every entry in this period, it seemed, broke new ground or further popularized the genre in a way that made it more accessible to the average reader. Entries such as those collected here, in a list of the ten most influential science fiction stories of the 1910s.
Well ahead of the modern science fiction movement, Murray Leinster was in at the beginning launching his SF career in 1919 with a short story called “The Runaway Skyscraper” about a Manhattan building caught in an earth tremor that somehow drives it back in time by thousands of years. Before the hero finds a way to reverse the process, the building’s office workers must cooperate in a struggle with day-to-day survival thus finding themselves in a truly fantastic and exciting SF tale first published in Argosy magazine.
It was November again, and the voice of NanoWrimo was heard in the land…
What is NanoWrimo and why am I touting it?
NanoWrimo is National Novel Writing Month. The first draft of Darkship Thieves was written during NaNoWrimo.
What you’ll hear about NanoWrimo:
- No professional writers take part in NanoWrimo
- It’s impossible to write a good novel in less than a year – or two, or according to a friend of mine, five.
- If you do NanoWrimo you must be involved in all the groups and all the social activities, and then you’ll have no time to write.
- The goal to win NanoWrimo is to have written 50 thousand words and that’s not enough for a modern novel.
- I belong to several writers lists online, all of them chockablock with professional writers. Many of them take part in NanoWrimo every single year.
- Not only is it not impossible, but the history of literature is full of novels written in a month or less. On the Road, for instance, and The Prime of Miss Jane Brodey and A Study in Scarlet and almost anything Rex Stout ever wrote.
My own claim to fame in the area of fast writing is Plain Jane, written under the house name Laurien Gardner (the house owns the name. This means the other books under the name aren’t mine.) I could only write it that quickly because my name wasn’t on the cover.
I have no idea how good it is, but of all my books, despite a relatively low royalty rate (it was a work for hire) it has made me the most in royalties.
The truth is that the more you write the faster you get at writing. This is the same as any other skill. For instance, by dint of typing a lot I can type about 150 words per minute, or could the last time I was clocked ten years ago. For all I know it is faster now. Does this mean my typing is inferior to the hunt-and-pecker beginning typist who only types 20 words a minute? As someone who was once that typist, let me assure you it isn’t. I was also far more likely to typo back then. Being slow didn’t make me better, just slower. And being faster doesn’t make me worse. I’m simply enjoying the wages of practice.
I’ve never done what could be called “NaNo for public consumption.” Part of this is because the first year I did it, when I wrote Darkship Thieves, my husband was working out of town, and the local group met five miles away for dinner. I’m night blind, and also I had a toddler and an elementary-school-kid I couldn’t leave with anyone. So my challenge/support group was my husband and a couple of friends, who were also doing it.
It worked just fine. Having a small group, or even reporting your daily wordage on Facebook can give you as much momentum as going to dinner every night with a group of strangers. More maybe, as the people cheering you on know you better.
Eh. I wrote 120 thousand words in a month, and my husband wrote 90 thousand. We wrote in fact full functional novels in a month. Of course, they each underwent a couple of revisions afterwards, but it’s much easier to revise when you have something to revise. At any rate, in the world of indie, fifty thousand words is a marketable novel.
So, why don’t you give NanoWrimo a try? The worst that can happen is you fail, and you know what, if you don’t try you’ll fail anyway. I belong to a group called Novel in a Week. All professional writers. I haven’t managed to do it yet, (when I did the novel in three days I was not a member) but some of those people do.
Now, that’s crazy daredevil writing. Writing a novel in a month is tame by comparison.
[Charlie sez:] Okay, yes, Book Plug Friday is coming on Sunday this week. It’s like this: Thursday night I tried to upgrade to Mac OS/X 10.10 “Yosemite”. It did not work out. After leaving it at “2 minutes remaining” overnight, I finally interrupted and tried to restore from Time Machine.
No success: most everything from my Applications folder that started with a letter higher than “I” was gone. Including some useful things like, say, “launchpad”. And all the Apple utilities.
So I tried rebuilding again. Still no job. I tried installing 10.10 from recovery. Nope.
I finally downloaded and reinstalled OS/X 10.9 and got a marginally working system again, but all my applications were still gone.
I set up a chat with Apple Support. The guy I talked to, “Brian,” was sympathetic and honestly pretty well-informed for first-tier support. But honestly, he could offer me only two things:
- The suggestion that I completely wipe the disk and completely reinstall.
I’ve pretty much spent the intervening weekend reloading applications, such as, for example, Sublime Text, the editor I use to do the links, and the various templates and such I use to build the links. It’s now Sunday afternoon and I’m finally able to actually work.
And that’s why Book Plug Friday came on Sunday this week.
Lyllith, last of her royal line, has become the rightful war-prize of her kingdom’s ruthless conqueror. The choice she faces—being wife to the man who ruined her land and murdered her father, or death—is no choice at all. Imprisoned in a lonely tower on a deserted headland, she waits to die as though waiting for an old friend.
But when a strange young boy appears in her cell one night, Lyllith is offered the only thing still worth living for: revenge. Accepting the chance plunges her into a contest thousands of years in the making, for the boy is not what he seems, her new freedom is illusory, and she is the unwitting heir to an ancient legacy with the power to destroy the world.
Baron Lucius Giovanni has managed to buy the human race a brief reprieve from the two alien races which seek humanity’s extinction. In the process, he has become the leader of a new nation and the commander of a powerful fleet. However, victory comes with consequences. Without an imminent threat, old feuds have sparked back to life and tenuous alliances falter. There are also old enemies who cannot forget that Lucius has what they want. He must find a way to hold off scheming rivals, sociopathic psychics, and even former friends. If he can’t do all that and take the fight to humanity’s true enemies, billions may die under alien servitude.
We lived in a house in the woods when I unwrapped the large, flat Christmas present. I just stared, then looked up at Stephanie, her eyes twinkling to shame Santa. I cradled a copy of the screenplay for The Princess Bride, with the autographs of all the actors.
“That’s for the whole family,” she said.
At night, we’d all pile in bed — my bride, my two young boys, and Haleigh, who was perhaps 10 at the time. She read the part of Buttercup. I did all of the other characters, with appropriate voices.
“Now this did happen once upon a time
when things were not so complex.”
— Mark Knopfler, “Storybook Love” (from The Princess Bride)
Cary Elwes, the immortal Westley from the classic film, handles the story like a grandfather with a new baby — with the kind of care that inspired William Goldman to write the story for his daughters, and with the joyful love with which Rob Reiner brought it to the screen.That’s probably why I was so moved these last two days while reading As You Wish: Inconceivable Tales from the Making of The Princess Bride
There’s no good reason why a man of 53 years should puddle up every page or two when reading about movie making, but I did. It was jarring to discover how much The Princess Bride means to me. I rejoiced in the fun, and the love, and the devotion to excellence poured into this film like ingredients into a family cookie recipe.
As You Wish lets you see your favorite movie through the eyes of a then-23-year-old actor whose career, and whose life, it would change forever. But it’s also seasoned with production photos and remembrances from Reiner, Robin Wright, Mandy Patinkin, Christopher Guest, Wallace Shawn, Christopher Sarandon, Billy Crystal and Carol Kane among others. André the Giant, who played Fezzik (a giant), passed away in 1993, but his legacy lives on in every chapter of this book.
It reads like a fairy tale about the making of a fairy tale — that is to say, it’s funny, and touching, and thrilling and, yes, magical.
See more of my friend Bosch’s great art work at his blog and follow him on Twitter. Also check out my article “10 Badass Moments from Bosch Fawstin’s The Infidel #2.”
Sometimes we need to get back to the oldies but goodies. For me, right now, the proximate cause of this is that this week someone sent me two articles by Lawrence Block.
Combined, these articles constitute such a close mimicking of my own experience as I became aware of indie and started publishing in it that it could have been written by me three years ago.
And I don’t think you can find two writers more different than Lawrence Block and me.
In “Are you sure Knopf started this way?” he chronicles the experience of self-publishing back in the eighties, when the world was new and self publishing was not only the worst possible of all alternatives but – at least by the time I came along in the nineties – often amounted to career suicide.
From the article: For many self-publishers, the alternative is no publication at all. Writers turn to self-publishing when they’ve been unable to interest commercial publishers in their work.
But do go and read the whole thing, including the unloading and storing of trucks-full of books from the publisher.
In “All changed, changed utterly,” he describes his experiences with self-publishing after Amazon and realizing the potential out there.
To me the salient section of it is this:
3. A few years ago I led a seminar at Listowel Writers Week, in Ireland’s County Kerry. There were ten or a dozen participants, but I’ve forgotten everything about all but one of them. She was a young Englishwoman whose stories just sprang off the page at you. And she was a demon for work, too, with a trunk full of unsold novels.
After class I took her aside and told her how much I liked her work, and that she’d probably have a hell of a time getting published. Her stories were a mix of genres, all the products of a wholly original imagination that defied categorization. But if she kept at it, I said, something would resonate with the right person, and it would all Work Out Fine.
We’ve stayed in touch. A few times I’ve suggested she try this editor or that agent, and nothing’s ever quite come of it. She got a gig writing a pair of biblical romance novels, and they’re better than they have any right to be, but her own work hasn’t made anyone stand up and salute.
She emailed me last week, and here’s what I found myself writing in reply:
“Have you thought about self-publishing? It seems to me you’re a great candidate for it, with a stack of unpublished books waiting to be shared with the world. I know that you know how much the publishing world has changed, and that self-publishing does not have the odium that once attached to it. And I know you know, through personal experience, how the gateway to commercial publication keeps narrowing—and what’s on the other side of it isn’t so great, anyway.
What strikes me as wonderful about self-publishing is that it allows material to find an audience. What struck me about your work way back in Listowel was the originality of your voice and vision; I think I said then that it might be a while before you found an agent and/or an editor who shared it. (It’s taken rather longer than I thought it would!)
In fact, self publishing or indie publishing with smaller presses removes the fetters from your imagination. If you can think it, you can publish it.
Even supposing that big publishers weren’t politically motivated in what they push and what they fail to push (hey, indulge me, okay, I write fantasy!) there would still be some blinkered decisions, because you see, publishers don’t view books the way you do. They tend to shove them in categories whether they belong there or not. Say you write regency romances, with little on-screen sex (or none). You are going to get compared to Heyer, even if your work is far more introspective and contains, say, a murder mystery. (Or a dragon – but I view being compared to Heyer as a compliment.) If you write Mil SF then Drake or Weber will come up, no matter how differently nuanced you are.
And the problem with this is that they’ll then decide that your book will sell or not based on how those do. Take a friend of mine who wrote a mystery with gay characters. He couldn’t get them published even though the house loved the book because “we published a book with a cross dresser before and it didn’t sell.” The differences between those, and the very different audiences they’d attract were completely non existent to publishers.
Or take my book Witchfinder. While it is nothing new to science fiction/fantasy readers, the book takes place mostly in a parallel world that is stuck at a regency level while the main female character was raised on our Earth and is a computer programmer. My agent (back when I had one) wouldn’t even send it out, because “we don’t know if it’s science fiction or fantasy. It involves machines and spells.” (No, really, mostly it involves spells and magic. The woman is a computer programmer, that’s the extent of the tech involved.)
So after years of the proposal sitting, I finished it on my blog in weekly installments and it’s doing quite well on Amazon. (Though not this month. Nothing is doing well for me this month. Really, guys, good escapist fun!)
Indie in fact, allows the renaissance (naissance?) of new literary movements that the publishers would stomp on pretty hard. You heard of Human Wave, right? It now has a sister movement called Superversive. Read about it here.
The difference from Human Wave is pretty obvious here.
I don’t want to give too much away about Winter’s Tale, part of the wonder of the story is that everything is so unexpected. But I think I can describe this scene without ruining too much of the joy.
Crime boss Pearly Soames approaches another man in 1915 New York, reminding the second man that he owes Pearly a favor. He asks for help in his plan to kill Beverly Penn. The second man wants nothing to do with it, but Pearly calls the debt and insists.
Then, suddenly, in the midst of this intrigue scene, Pearly says:
I’ve been wondering.
With all these trying to go up…and you come down.
Was it worth it, becoming human? Or was it an impulse buy?
You must miss the wings, right?
Oh, come on. You must.
And in that instant, you suddenly realize that something very different is going on that you first thought, and it opens a glimpse into some greater working of the universe, a glimpse that makes you pause and think…about heaven and fallen angels and what it means to be human and whether it is a good thing or no.
And that, my friends, is Superversive.
Can you write superversive Human Wave? I don’t know. Why don’t you give it a try? There’s an indie for that.
Of course I still (also) publish traditional and so if you like my short stories be on the look out for the Baen Big Book of Monsters, in which I not only invented a very odd monster but returned to some of my favorite obsessions. Also, consider preordering Shattered Shields, in which I also return to one of my favorite obsessions: the Red Baron. (And no, this doesn’t make the story Word War Two, no matter what a reviewer thought.)
And now I’m going to go back to writing Through Fire which is proving more difficult than any book has the right to be. Catch you next week.
Free from Friday Oct 10 through Oct. 15
Two people who share a common plight… His magic holds the key to release both of them, but first, she has to steal it back. It’s a good thing she is a professional thief, but it’s a bad thing that her target is a witch.
“The Speedy Journey” adds a footnote to the history of both science fiction and astronomy by publishing the first English translation of what may be the first fictional account ever written about a trip to Mars, or at least one of its moons. A German astronomer thought he had made the discovery of a lifetime in 1744 — a previously unseen Martian moon over 130 years before any were officially discovered. Instead of announcing it the usual way, however, he wrote a pioneering science fiction story about it. This edition includes historical essays putting the story in the context of its times, including a possible solution to the mystery of what the astronomer actually did see, as well as both new and vintage artwork.
A generation has passed since asteroid scares led the United States to launch its first and only interstellar starship. The ship returns and announces the discovery of another Earth. People are star-struck, crowds form in Washington, DC, and a boy from Alaska and two lawyers fight for the chance for ordinary people to emigrate to the stars.
This is bourgeois, legal science fiction with a hearty helping of space policy wonkery.
Exiled to the far reaches of Empire, Brad Guthrie must take office as Superintendent of a backwater district to stake his last claim on a chance at redemption. He knows nothing of the oppressed natives, the failing economy or the plantation holders who cling desperately to power, willing to sell him cheap if it lets them hang on for just one more season. When the ancient past demands payment in the present, only Brad has a chance to answer for the sins of empire. Drawing strong parallels from our own history, Superintendent is science fiction, whodunit, and social commentary about the little people on whom history hinges.
William is just your typical engineer fresh out of college with a stressful job, a boring life, and not a lot of prospects of anything better in the future.
Until one weekend while hiking in the woods he stumbles across a portal to another time, or perhaps another place. The more he investigates this new world the more he realizes that it may just be able to offer him a lot more than the one he’s been living in.
However, there are forces at work beyond anything that Will has ever come across before and the local Goddess seems to have taken a liking to him. Will may soon find himself getting an offer he cannot afford to refuse.
Sci Phi is an online science fiction and philosophy magazine. In each issue you will find stories that explore questions of life, the universe and everything and articles that delve into the deep philosophical waters of science fiction universes.
A short story about two kinds of giants. One of stature and one of courage. Told in a steampunk setting a young boy is raised by a father with an indomitable spirit. Together they face the worst terror on the planet, a rampaging giant.
The Italian proverb says: “Hold your friends close, but your enemies even closer.” Sometimes you must hold family closest of all. Volume 2 of Coming of Age follows John Praxis and Antigone Wells as they benefit from regenerative medicine to enter that unknown space beyond the traditional three score and ten—only to discover that the endless conflicts of family, business, and politics still pursue them. They must cope with familial treachery, political reverberations from the Second Civil War, dislocations from a Bay Area earthquake, and societal collapse following a mid-continent volcanic eruption and foreign invasion.