Recently in Writing Category

image (Picture proves cats like me back).

Something I noticed recently while wearing my (completely invisible but highly attractive) writing teacher chapeau is that the welter of SF subgenres and categories of fiction generally are terra incognita to a fair number of newer writers.

I’m okay with this. We begin as readers and viewers, after all. Many people coming into my UCLA courses are curious about speculative fiction. They aren't necessarily book-collecting, con-going, award-nominating fans. They've watched a fair chunk of genre TV and film offerings; they're up on the MCU, they can tell a spaceship from a unicorn and they even usually know which is the fantasy construct. They might have read a certain amount of fiction within their one or two favorite genres, or at least have read Harry Potter and his ilk to their kids.

A. M. Dellamonica

Hi, everyone! My name is Alyx and I'll be posting the occasional note here over the next few weeks, because Charlie was kind enough to hand me the mic. I thought I'd start with a long, musing whimsical thing about mincing subgenres and the nature of ecofantasy, because my upcoming book A Daughter of No Nation lies within that particular subgenre--when it's not passing for portal fantasy or a pirate story or crime fiction with magic.

Sadly, the opening of that essay is wayyyy too stuffy, at present, and needs to be beaten with a sack of oranges. Don't worry, I'll fix it before you see it. Anyway, I should introduce myself first, right?

So--official details: I'm in Toronto, I have gobs of stories out along with the four ecofantasy novels, the first two of which, Indigo Springs and Blue Magic, are chock fulla magically mutated animals, magical objects and queer folk. Seriously. I mention this last because a) I have the exceptional good fortune to be incredibly gay married to author Kelly Robson; b) my most recent book, Child of a Hidden Sea, was to my utter delight and astonishment nominated for a Lambda Award this year. The above-mentioned A Daughter of No Nation is its sequel. There will be a third; its current title is The Nature of a Pirate.

^^^M Harold Page here! Just to clear up some twitter confusion: I'm the guy currently serialising a Heroic Fantasy versus Steampunk  mashup called Swords Versus Tanks. I'm a bit further down the pecking order than our noble host, but still a professional author with four conventionally published novels and two -- now three -- "indy" ones, plus a book on writing called Storyteller Tools: Outline from vision to finished novel without losing the magic.

Who's poised to embark on NaNoWriMo? Don't worry, this isn't one of those pep talk blog entries (Oh OK. Go YOU! Rah! You CAN do it! RAH! RAHHH!)

I like the idea of National Novel Writing Month. Companionship and a deadline together will motivate you get your ducks lined up in order to tackle a novel, especially if it's for the first time.

However, I don't think focussing on motivation is useful.There is no equivalent to NaNoWriMo for, say, Halo. Nor do gamers generally post on forums pleading for tips about self-discipline.

Yes, you do need some motivation to get started in the first place, to overcome insecurities and to elbow a place in your life in order to write.

Even so, writing itself is a quietly unheroic activity done - like gaming - in flow, "in the zone", and compatible neither with an agitated state of pumped up self confidence nor with taking it in turns to act as online cheerleader.

Conversely, if you are in the zone, motivation isn't an issue and distraction is unlikely; you're lost in your story, so why would you want to be anywhere else?

It follows that the real battle is not about motivation, but rather about getting in the zone and staying there. That's actually a much easier battle to win since the objective is clear and the opposition less nebulous. 

Here's what works for me: 

Or: Recent and Upcoming Debuts in Fantasy and Science Fiction... that just happen to be written by women.

Charlie invited me to come by and join in the posts helping those who may not already be in the know to find the wealth of writers who also happen to be female that they can't otherwise find when they are writing those excellent "where are all the women writers of fantasy and science fiction" posts.

I began to make a list of 'next-generation writers' who also happen to be women. (Since we don't write with our gender identities or genitalia, I figured it would be fine to not modify the word "writer," but for the search engines, I'll add it at in the end, so you know, they can find us. When they look.)

The problem seemed to be that there were so many of us who were otherwise hard to find! The entire list would crash the Internet out of pure hard-to-findness! And so Charlie set me a boundary, limiting me to 20, leaving off many excellent writers. I've thus kept this list focused on 2014 and 2015 English-language debut books in Science Fiction, Fantasy, and YA SFF. Many of these authors have new books coming out in 2015 and 2016 as well. I'll let the comments about those I've not put on this very short list stand as a reminder to you that we are NOT, in fact, hard to find.

  • Andrea Phillips - Revision (Fireside Fiction 2015) Science fiction
  • Zen Cho - Spirits Abroad (Fixi Novo, 2014) Linked short stories/Fantasy
  • Silvia Moreno Garcia - Signal to Noise (Solaris 2015), Fantasy/Slipstream
  • Ilana C. Myer - Last Song Before Night (Tor, 2015) Fantasy/Epic
  • Stephanie Feldman - Angel of Losses (Ecco, 2014) Historical Fantasy/Slipstream
  • Genevieve Cogman - The Invisible Library (Tor, UK) Fantasy/Alternate Worlds
  • Beth Cato - The Clockwork Dagger (Harper Voyager, 2014) Steampunk
  • Alyc Helms - The Dragon of Heaven (Angry Robot, 2015) Fantasy
  • Karina Sumner-Smith - Radiant (Talos, 2014) Fantasy
  • Stacey Lee - Under a Painted Sky (Putnam, 2015) Alt-Historical Western, fantasy
  • Sabaa Tahir - An Ember in the Ashes (Razorbill, 2015) YA Fantasy
  • Jacey Bedford - Empire of Dust - (Daw 2014) Fantasy
  • Susan Murray - The Waterborne Blade (Angry Robot 2015) Fantasy
  • Carrie Patel - The Buried Life (Angry Robot, 2015) Fantasy
  • Heather Rose Jones - Daughter of Mystery (Bella, 2014) Romance/Historical Fantasy/Queer
  • Nicola Yoon - Everything, Everything (Delacorte, 2015) YA Science Fiction
  • A.C. Wise - The Ultra Fabulous Glitter Squadron Saves the World Again (Lethe 2015) Linked short stories/Sci-fi/Queer
  • Monica Byrne - The Girl in the Road (Crown, 2014) Science Fiction
  • Camille Griep - Letters To Zell (47 North, 2015) Fantasy
  • me - Updraft (Tor, 2015) Fantasy

As I stipulated above, this list is defined purely by time, debut-status, and the number 20.

I'd love to add the writers who debuted in the years before us - including but not in any way limited to: N.K. Jemisin, Ann Leckie, Marjorie Liu, Alaya Dawn Johnson, Jodi Meadows, Genevieve Valentine, Justina Ireland, Jaime Lee Moyer, Stina Lecht, Jacqueline Koyanagi, V.E. Schwab, Mur Lafferty, Nene Ormes, Sarah McCarry, Leah Bobet, Natania Barron, Aliette de Bodard, Emma Newman, Alyx Dellamonica, Jaye Wells, Emily St. Jon Mandel, Kameron Hurley, Charlie Jane Anders...

AND the writers who came before that, including Nnedi Okorafor, Elizabeth Bear, Nisi Shawl, Kate Elliot, Kandace Jane Dorsey, Jo Walton, Martha Wells, Laura Anne Gilman, Amanda Downum, Gwenda Bond, Suzanne Collins, Nalo Hopkinson, Mary Robinette Kowal, Sarah Monette, Naomi Novik, Caitlín R. Keirnan, Rae Carson, Linda Nagata, Catherynne Valente, Kelly Link, J.K. Rowling,...

And those who came before that: Emma Bull, Judith Tarr, Elizabeth Lynn, Jo Clayton, Robin Hobb, Suzy McKee Charnas, Pamela Dean, Ellen Kushner, Brenda Cooper, Tanya Huff, Janet Morris, Robin McKinley, Michele Sagara, Tricia Sullivan, Delia Sherman, Sherwood Smith, Jessica Amanda Salmonson, Karen J. Fowler, Cecelia Holland, Nicola Griffith, CS Friedman ...

And the Grands and Great Grands and so on, like Pat Cadigan, Joan D. Vinge, Margaret Atwood, Kate Willhelm, Jane Yolen, Connie Willis, Andre Norton, Nancy Kress, Ursula K. Le Guin, Octavia Butler, Lois McMaster Bujold, Doris Pischeria, C. L. Moore, Carol Emshwiller, Leigh Brackett, Joanna Russ, James Tiptree Jr., Anne McCaffrey, Diana Wynne Jones, Joan Aiken, C. J. Cherryh, Andre Norton ... all the way to Mary Shelley and beyond. AND everyone here:, here:, and here:

AND the coming wave of 2016: here are just a few - Ada Palmer, Laura Elena Donnelly, Mishell Baker, Malka Older... And the editors. And the critics. And the publishers.

And and and... (honestly, I asked five friends to list their favorites and after fifteen minutes had to beg them to stop because my buffers overflowed.)

Oh my goodness, you would think it hard to find women writing fantasy and science fiction given those blog posts and articles.


Filmmaker and comic author Hugh Hancock here again. Charlie's in mid-flight over the Atlantic at present, so I'm here to entertain you in his stead. And I brought statistics.

How many notable feature films can you think of that came out last year? Really good, solid movies?

Take a moment. Count. Maybe make a list.

How about really good TV shows, or computer games? Again, make a quick list.

I'll explain why we're doing all this list-making in a minute.

I've been considering the state of storytelling media in 2015 for a little while now, and one thing keeps cropping up in my personal media consumption: I'm consuming more media that wasn't released in the last year than ever before.

Indeed, my default reaction to something interesting arriving has become "I'll get around to it in a year or so".

So I started digging to find out why.

Filmmaker and comic author Hugh Hancock here again. Charlie's currently locked in his study babbling over blasphemous and forbidden tomes, so whilst we attempt to hack down the door with a fireaxe and get counselling for the guy to whom Charlie explained the hidden meaning of the Nightmare Stacks, I'm here with another blog post.

In the last couple of posts I've made over here (thanks as always to OGH for the invitation), I've been making the point that, both through necessity and lucky happenstance, the themes and subtext of H.P. Lovecraft's Cthulhu Mythos are still very workable in today's world. In fact, they've acquired a lot of resonance thanks to advances in technology and society that run parallel to some of their main themes.

But still, the Cthulhu Mythos' core squamous, eldrich concepts were created just under 100 years ago at this point. They reflect the concerns of the time, like the sudden discovery that the universe is mind-blowingly, terrifyingly huge. And they have a few... issues for modern readers, like inbuilt xenophobia.

So what would a Cthulhu Mythos-equivalent for today, expressing the zeitgeist terrors of 2015 society, look like?

Bloody terrifying, that's what.

Because unlike Lovecraft, in 2015 we have plenty of experience with actual gigantic, inhuman entities with agendas entirely orthogonal to the safety and security of the human race.

My Dark Age adventure, Shieldwall: Barbarians! is Young Adult, meaning, in this case, Sharpe or Conan but without the shagging, and with slightly more moral compass - really you can read it as being "in the tradition of" Harold Lamb and the Pulpmeisters of Yore and ignore the YA tag. When I wrote it, I had in my head "Robert E Howard does Rosemary Sutcliff (but not that way (though they would have made a lovely couple))".

It's also an old-school young officer story, albeit with a barbarian prince as the protagonist, and it's set in the Dark Ages during Attila's invasion of Europe. 

All this seemed like a good idea at the time.

So I have been defending Traditional Eurocentric Quasi-Medieval Fantasy (Traditional Fantasy for short), and in the process growing a thicker skin.

We've done "Piss off, I enjoy this stuff" and why I think it needs saying. The latter  part of that - OMG the Bad People are Beating on the Pixy Folk -- was perhaps a little controversial. However, it's not everyday one gets compared not just to the "puppies"* but also to the "gators"**!

*Black Gate Magazine, where I blog, of course turned down a puppy nomination. It shouldn't take much empathy to imagine how that felt, and how easy it would have been for us to collectively shrug and plaster our stuff with "Hugo Nominated" - this isn't just about getting a pretty badge, it's about how our hard-won careers shape out.

** As for the "gators" comparison; I'd put in some time meditating on my male self-entitlement except I'm too busy keeping house for my more dynamic wife, facilitating my daughter's interest in science and astronomy, and bringing up my son to, among other things, treat people as people rather than "other" them because they have a different perspective.

My next post, "The walls are high, but the sandbox is lovely", being more about literature, led to an interesting discussion with some bemoaning of the way that Traditional Fantasy still seems so dominant (is it dominant?)

Elderly Cynic made a very perceptive comment:

Actually, the modern stories are NOT built on European history, so
much as the tradition of romantic fables ('Arthurian'), and that is
very much a Western European phenomenon.

Charlie said I would talk about self publishing. He also mentioned something about "shameless plugging". So, let me also tell you about writing a metric tonne of franchise fiction, my really very rapid writing process, and why I self published my book Storyteller Tools: Outline from vision to finished novel without losing the magic. I promise it won't be all sales pitch, except for the very last paragraph.

This time last year, I was recovering from having written four short (40K words; about the length of an old 1970s Lin Carter paperback ) franchise tie-in novels at a rate of roughly one every four months. Since each novel had to fit the setting, one of those months went on research.

These days, franchise novels, that is novels "tying in" to an existing story world, typically belonging to a video game, aren't disposable trash (if they ever were).

They're part of both the franchise's brand and that of the author, which is another way of saying that reputations ride on their quality. Not just reputations; nobody sane becomes a writer or an editor unless they like getting books right - there's no point in being (comparatively) skint and if you're not going to have fun!

Many, many, good writers mix franchise with original fiction. Two examples you might have missed are: Paul S Kemp, Star Wars fablemeister who also writes the exquisite Egil & Nix books  (which I will get to in part 3 of my Defence posts); and Howard Andrew Jones who writes Pathfinder adventures, but is responsible for the amazing Desert of Souls, basically Arabian Nights fan fiction and a good example of non-western Fantasy.

There are good reasons for writing for hire.

Over on Black Gate Magazine, I've just reviewed some Osprey "Dark" and "Adventures" books - fictional military history texts from a publisher that usually deals in facts. Two are squarely Traditional Fantasy; one about the mythical wars of Atlantis, the other about Orc warfare , complete with all the tropes: goblins, dwarves, trolls, dark lords and minions.... it could almost be a guide to one aspect of the Oglaf mileu...

And did I mention Oglaf (really very NSFW)? That um... raunchy... webcomic is a romp through a Dungeons and Dragons-esqu world, and derives its humour not from sending up the genre, but from the situations it creates.

Then there's Dungeons and Dragons itself, and a zillion tabletop and screen games that scratch the same itch. Nobody goes, "OMG. 'Mage' Knight. How clichéd!" They're too busy playing. Nor, for that matter, did anybody stop to complain when Terry Pratchett pretty much segued from taking the piss out of what I've been calling Traditional Fantasy, to using it as his sandbox.

Because Traditional Eurocentric Quasi-Medieval Fantasy is a great sandbox. Let me put on my (very minor compared to our godlike host) writer hat... (Clunk! Yes, it is a helmet)... there. OK, here's how I see it...

Charlie blindsided me by promising I'd talk about German Longsword. That's like saying, "He'll talk about his Blues band." 

It's just too big a topic!

So let me turn the tables and tell you about how swords led to me meeting Charlie, and how both Charlie and swords led to me becoming a professional author. The story is not what you'd think.

Back when the world was young, a large Goth (long hair and black clothes, rather than long hair, pointy helmet and lamellar as per Shieldwall: Barbarians!) threw me through a pile of chairs.

As he helped me up, I realised he'd cured the nagging shoulder pain I'd been suffering.

That miracle cure was the least of the many good things that stemmed from that moment. (Though if we'd turned it into an alternative therapy, perhaps we'd both be rich! Stand here madam. Try to relax while Igor lovingly hurls you through our stack of handcrafted homeopathic crystal chairs arranged on a bed of natural herbs according to a traditional feng shui pattern...)

My name is M Harold Page and I recently sold a short story with a dragon in it.

As I wrote the story, I could hear the voices of snarky snobbery in the back of my head:

"Oh look, LOL, you could reduce all Fantasy maps to a blotchy version of Europe but swap in Orks for Mongols.... OMG another book about E'lves and D'warves... (chortle) Historical fiction for authors too lazy to do research."


"Sigh. Isn't it time to explore other cultures?"

Yes it's pretty easy to snark at -- call it - Traditional Fantasy, and also to give it a political kicking critique. It is, after all, a genre in which everything is possible, and yet where it usually delivers European-style secondary worlds and archetypes.

I think the snarks and critiques rather miss the point. However that's for a different blog post. Instead let's consider the short defence of Traditional Fantasy, which is the starkly simple...

Not too long ago, someone in the twittersphere asked, "Whatever happened to psi? It used to be all the rage in science fiction."

The answer, essentially, was that John Campbell died and nobody believes in that crap any more. And anyway, it's fantasy.

Now here's the thing. If you accept Clarke's Third Law, which boils down in the common wisdom to "Any sufficiently advanced technology is indistinguishable from magic," you kind of have to ask, "Do we believe psi is crap because it really is crap, or do we just not have the technology to detect or manipulate it?"

I'm just barely old enough that it's a miracle I survived toddlerhood, having come into existence in the era of child-strangling continuously-looped window-blind cords and child-trepanning lawn darts, guaranteed to come down point first and ever-so-much faster than they went up. This is relevant because it means that when I was in my late twenties and early thirties, and making the first serious, striving steps toward becoming a published SFF writer, the genre discourse was all about the singularity.

A lot of bad advice gets handed out to aspiring writers. One of the crappier pieces that I received at that time was the assurance that I must address the concept of the rapture of the nerds in every science fiction story, to be taken at all seriously. That uploaded brains were where it was at, and if we didn't talk about that, we weren't talking about the Real Futuristic Future™.

It was also at about that time that our esteemed host, Mr Stross, had just published his breakout story "Lobsters," which deals--among other things--with just the problem of uploading brains. And I read that story and was blown away... but I also had the privilege of hearing Charlie speak on the topic of the singularity, either at Readercon in 2002 or at TorCon in 2003--possibly both, looking back--and he said something that made much more sense to me than the idea of one major catastrophic event as singularity, after which would be Humanity v. 2.0 and nothing old would matter anymore.

Charlie presented the idea that history was a series of one-way gates; that every time we passed through one, it was a technological singularity from which there was no turning back. It was just that we adapted to these changes, and considered them commonplace: that the post-human future looked pretty human once you were in it.

At the same time, I had been noodling with some ideas of my own regarding uploaded minds or created artificial intelligences. Some of these appeared in Hammered and the associated novels; some have appeared in Dust and its associated novels.

It troubled me that this idea of a post-human future was so western, so industrial, and so absolutist. I admit to a kind of existentialist bent in my personal philosophy--I call myself an agnostic because I'm not capable of summoning the belief in my own infallibility it would take to declare myself an atheist (I could be wrong! There could be something that looks, from the outside, like a god!)--and I'm exquisitely aware that value judgments are externally exposed and culturally determined.

And the fact that the future is not equally distributed, to paraphrase Bruce Sterling, does not make the lives of the people who still live ten or twenty of fifty years ago--technologically speaking--of less value than the lives of those who--technologically speaking--are living five or ten years ahead of me. (Every time I go abroad, I am reminded of how primitive so much American infrastructure is. Why does the bus stop by my house not tell me when the next bus is arriving? Why do I need to take my credit card out of my wallet to buy groceries?)

Geoff Ryman addresses a lot of these issues brilliantly in his novel Air, set in a future Cambodia. I also think Nnedi Okorafor's Who Fears Death--while not a singularity novel, per se--makes an interesting series of counterpoints to the idea of "a" singularity. It's set in a future Sudan, and the base cultural assumption it makes are very different from those we're accustomed to seeing in western SF.

So I leave the reading of these novels as an exercise to the class, and pass on discussing my suite of issues with the Western-Civ-Centric singularity for now.

Because what I want to talk about today is another problem I have with the singularity as monolithic event. When I first started talking about it online, in 2006 or so, I identified what I was doing as a feminist critique (and to be specific here, I am talking about the uploaded-brain rapture-of-the-nerds singularity, not the augmented-meat/skinned reality brand of singularity. We have so many, these days. It makes one jealous of having just a nice neat three or five or seven branches of Urban Fantasy to fight over and lump-or-split texts into.). At the time, I wrote:

When I first moved to Las Vegas, I used to burn my mouth a lot when I wasn't thinking carefully about what I was drinking, because the air is so dry that you often can't see the steam rising from a cup of tea. After a while, I learned to hesitate, and check the temperature of the air over the fluid with my lip. This isn't something I ever decided to do. Rather, my autonomous systems figured it out for themselves. Because they're smarter than you think they are.

The meat does a lot of our thinking, in other words, when the more advanced electrical systems are busy. An MIT a-life researcher who I quoted in Hammered holds the unpopular perspective that a good deal of our thinking (our consciousness, our sentience) is emotional rather than rational. Chemical, if you will, rather than electrical.

Sarah Monette pointed out at Boskone (2006) that the idea of the singularity is at its heart a denial of the body, and it occurred to me that that could be read, from a feminist perspective, two ways. One, that sex becomes irrelevant, or--and here's the bit I twigged on--that if you squint just right, what you're left with is a very Augustinian refutation of the flesh. In this way, Stross's notorious turn of phrase, the rapture of the geeks, is exactly right. The weak/evil/flawed/excoriated flesh is scoured away, and what is left is divine, improved, elevated, incomprehensible.

Transcendent, if I may.

There's a bunch of talk about how SF has to address the idea of a singularity to be relevant, which to me is bullshit. Augmented intelligence, techshock, sure--but we've been dealing with that as a genre for the last hundred years. Which is why I like Charlie's one-way-gates (the Strossian singularity) as a more useful idea than the Vingean posthuman singularity. (I'm pretty freaking posthuman to a sixth-century Northman, yanno?)

Basically, it's a lovely idea, and there's been a lot of very good SF written about it, but I think allowing this idea of posthumanity to become The Defining Dialogue of "serious" SF is a mistake. (Of course, I'm not much for SF as predictive--we keep missing the big ones, after all, so I don't see why that should change.)

But then, there's this drive to define SF as Apollonian, in contrast to the purported Dionysian bent of modern fantasy, and to thus elevate SF, and I think is some ways that's one element of the whole posthuman thing. Because a singularity is nicely Apollonian. Augustinian. Anti-feminist, if you accept the idea that women's fiction tends to be more concerned with relationship and the negotiation of life and that women are more concerned with the messy bits of being made of meat.

Boy games are still privileged over girl games, in other words. Even when the games are intellectual.

Of course, I don't for half a second think that the male writers playing posthuman games are intentionally setting out to devalue "female" (please note the scare quotes) values or perspectives. I know Peter Watts and Charlie Stross and Cory Doctorow and so on, and a less gender-bigoted bunch of guys would be hard to find. (Actually, one of the things I really like about Cory Doctorow, and a symptom I suspect of how giant and shiny his brain really is, is that he can manipulate "masculine" and "feminine" communication styles with equal facility.) What I'm saying is that if you come at this thing from the right angle, it looks surprisingly like the old logic-trumps-emotion, Apollo-trumps-Dionysius, male-trumps-female, SF-trumps-Fantasy, mind-trumps-meat "moral" argument.

This idea of the meat-puppet as somehow different from and inferior to the mind, rather than the two being an integrated and seamless whole: it's so pervasive in our culture that I think we forget to question it... but there are cultures that could not conceive of the mind without the body. Which is what I mean when I say that the singularity in its Rapture of the Geeks form is Augustinian... but then again, what if it's not a case of the rancid flesh and the incorruptible soul? What if it's a package deal?

It doesn't fit our Western cultural preconceptions, of course. But then, our current Western cultural preconceptions have deep roots in Thomas a Beckett's stinky hair shirt and Calvinist doctrine, the mortification of the flesh for the glorification of the soul.

And that's interesting to think about, from a perspective of regarding unquestioned assumptions.

I still think what I wrote then is broadly true, though I've refined my perspectives somewhat, and started tying it more closely into some of my broad, unified theories of what's afoot in speculative fiction.

The more research I do into human neurology--and writing Dust and the other two Jacob's Ladder books required more about brains than I ever wanted to know--the more convinced I become that we, human we, are not divorceable from our meat. In one of the Jenny Casey books, I have a artificial intelligence researcher protest to her creation that he's nothing but piezoelectrical patterns in crystal; he retorts that she is, likewise, piezoelectrical patterns in meat. And while that remains true... the shape of the circuitry, and the neurochemical baths that wash it, have a hell of a lot of influence over who we are. So I've been playing more extensively with this idea of what the actual practical results would be, if we did have the technology to "upload" a mind, or copy it in some fashion. And possibly download it into another brain.

How does this affect identity? Does identity even exist under those circumstances?

Where's your soul now, Augustus? The machine shapes the ghost as surely--probably even more strongly, given current research into neuroplasticity--as the ghost shapes the machine. Meat hacks mind and mind hacks meat: they are codependent, and cannot exist without each other in any functional form.

They are not, in fact, two separate things. Rather, one is an emergent property of the other.

And that fascinates me. Far, far more than beaming my brain across space into a new body for easy lightspeed travel.

There's a lot of effort expended on identifying The Next Big Thing in science fiction, and arguing about what it should be, and trying to make each of the cresting wavelets into the next big sweeping change. Biotech was supposed to be The Next Cyberpunk; so was quantum physics; likewise the singularity.

Which is why, I think, I felt as an arriving writer that it was being stuffed down my throat.

But Next Big Things, like minds, like singularities, are emergent properties. I don't think they can be prescribed--only identified once they are inevitable.

And I think while we've all been trying to declare one, one has shown up.

Because a thing I notice about "my" generation of science fiction and fantasy writers is that we are different in one particular significant manner from the generations before us, and I think that particular difference contributes to this lack of a unifying Next Big Thing.

The coming revolution in the English-language genre is here. And it's this: we're diverse. I've taken to calling it the Rainbow Age of science fiction, because the one thing I notice about the writers in my cohort is that we are multicolored, multicultural, multinational, multiethnic. We come from a wide range of class and religious backgrounds and life experiences. We do not conform neatly to gender binaries or established sexual identities. You cannot assume that we are male, or heterosexual, or white, or American or English or Canadian, or of protestant or Jewish background, or that we are probably professional or middle class.

The thing--the only thing--we have in common is that we are science fiction and fantasy fans.

And certainly diversity is not new to science fiction fandom, but this mass and breadth of diversity is. This sheer number of intelligent, vocal people who come from outside fandom's established demographics means that the genre club scene is suddenly, vividly alive. Fusion is happening. Creation is underway right here.

It's causing some readjustments of assumptions and it's pushing some people's comfort zones.

And I think that's glorious. I think it's healthy. I think it's blowing the boundaries of the genre wide open, throwing the windows wide, getting the dust off, and leading to some of the most creative and interesting work I've read in years. I think this diversity and multi-threadedness and the power of these arguments is exactly what science fiction needs to make it a vital and enduring and relevant literature for another fifty years.

Because if speculative fiction isn't where you go to envision a brave new world, where the hell is?

Charlie is traveling for a couple of days so I'm dropping by for a quick post. Remember me from last April? Dracula-movie guy? Vaguely familiar?

Anyway, I wanted to kick around a few ideas about ebooks; authors (and some real people) have been talking this subject to death for years--decades, even--so what's new to say?

Well, my book is new. My latest novel came out yesterday and I've been surprised by the way sales are running on It's a huge difference from last year when the early ebook and pbook sales were pretty much neck and neck.

This year it's not even close. Early orders for the Kindle edition of Circle of Enemies have been much, much higher than the physical book. The ebook cracked's Contemporary Fantasy bestseller list while sales rank for the mass market paperback barely moved out of five figures. A number of readers also told me that they ordered digital versions of the book after being unable to find it in a brick-and-mortar store on release day.

I realize this isn't anything like a complete picture of sales trends, but it is interesting in the same way Netflix is moving away from mailing DVDs. is so well positioned to sell digital files that one glance at their list of Contemporary Fantasy bestsellers shows one unsurprising fact: It's not dominated by books put out by New York publishers.

As I write this, the top three books are in the "Vampire for Hire" series, which are self-published, as are seven of the top ten.'s digital customers appear to be moving toward self-published books and away from professionally-published ones.

What does that mean for the future? Well, we're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand.

Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.

We've known each other for so long. Your heart's been aching but, you're too shy to say it...

Okay, yeah, that was a rickroll. Hopefully, you laughed, which is more than you would have gotten out of my predictions of the future. The truth is, I don't know if anyone is really capable of calling the score on this one. Yeah the "book stink" people (the folks who are always talking about the way books smell) are the minority most of us expected, and ebook sales are growing, but the picture is more complex than that. Ebooks seem to be hitting mass market originals (like my books) much harder than hardbacks and trade-sized paperbacks, but how much more of a bite can they take? What happened to windowing? If ebook readers buy even more self-published books, will be less of a problem for brick-and-mortar indie stores? And what about those readers who really make a book into a mega-hit, the casual, two-book-a-year, everyone-else-has-read-DaVinci-Code-so-I-should-too people?

It's fascinating (if slightly painful) and I'm curious to see if the market finds an equilibrium soon. I just wanna tell you how I'm feeling.

ObPlug: Here's a couple of links for those curious about my books: New book, which Charlie has very kindly blurbed | Sample chapter | Entire series.

Thanks for reading.



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