Showing posts with label science fiction. Show all posts
Showing posts with label science fiction. Show all posts

03 June 2020

Time Share


I have a story in the June issue of Mystery Weekly Magazine, and for that I must thank Barb Goffman, who was my inspiration.  Sort of.

I came up with the idea and the title for the story decades ago but I couldn't see a market for it so I never bothered to write it.  Then, last year, Barb announced that she was going to edit an anthology called Crime Travel, featuring crime-related tales of time travel.

And I realized my old idea fit. Sort of. It was about a physicist who hoped to invent time travel, only to discover that that is impossible - however, it turned out that he could travel through an apparently infinite number of universes.

I asked Barb if that concept might fit in her book, and she said it might.  So I wrote the story.  And Barb rejected it, as she had every right to do.

But heck, I had my story now.  Might as well look for a market.  Mystery Weekly Magazine had published one of my stories last year, a tale with a science fiction bent.  So I sent it to them and voila.  Decades after it was first dreamed up, "In Praise of my Assassin" is available now for your reading pleasure.

It's about time.

18 September 2019

All the World's a Con, Dublin Style



by Robert Lopresti

Two weeks ago I wrote about my recent trip to Ireland.  We finished up at the World Science Fiction Convention in Dublin.  Imagine 5,000 plus dedicated fans spending five days discussing books, movies, writing, science, and related issues.  Bouchercon on steroids.  So here are some highlights, and a few, uh, sidelights.

As it happened the first panel I attended was "A Portable Sort of Magic: Why We Love Books About Books."  Oddly enough, it turned out to NOT be about books.  It was mostly psalms in favor of libraries; not that I complained about that.  Genevieve Cogman writes a series of books called the Invisible Library, which (as I understood it) features people collecting books from around the universe.  A.J. Hackwith has written The Library of the Unwritten, about the place that books go if their authors never get around to writing them.  Tasha Suri, who is also a librarian, made useful distinctions between a library and an archive (briefly: an archive stores the only or original copy of something).

She also pointed out that those beloved "little libraries" that pop up on so many street corners are not libraries either.  They are book swaps.  Not that there is anything wrong with that, of course.  And I learned that almost every bus in Hamburg, Germany, has a book swap shelf.  What a great idea!

For some reason I wound up seeing a lot of panels featuring editors, and they were full of startling moments.  For example, one important book editor was not familiar with the phrase "Kill your darlings," which astonished me.

At one panel someone mentioned elevator pitches and editor Patrick Nielsen Hayden quoted what seemed to be a standard joke pitch for (I assume) a TV series:  "He's a chimp.  She's the Pope.  They're cops."  I'd watch that!

There was a panel of anthology editors and I asked: when they solicit stories from authors, what do they tell them about payment?  The editors seemed astonished.  "Nothing!" they declared.  Apparently science fiction authors are much less tied to petty materialistic things than mystery writers...

But the highlight for me was when I attended a panel featuring Wataru Ishigame, who edits science fiction for Tokyo Sogen.  Afterwards I went up to introduce myself and explain our connection but I never got the chance.  As soon as he saw my name tag he said "We publish your books!"  So we had a lovely chat.

I attended interesting science panels on "The Future of Food" and on DNA testing.  I won't attempt to summarize that stuff.

But honestly I didn't attend as many panels as I hoped because the Convention Centre Dublin was overwhelmed.  If you wanted to attend a session at noon you had to forgo any 11 AM session and get in line by 11:30.  It was that kind of crowding.  And the security staff was pretty unbearable, especially on the first day.  (The week before had been Comicon and I wonder if they were, in effect, fighting the last war?)

My favorite example of the problem.  My wife had been waiting in line for half an hour when a security guard came up and told her she was facing the wrong way.  Not that she was in the wrong place.  Not that she was in the wrong line.  But that she had to turn around and face the same direction as everyone else.  Daring rebel that she is, my wife said "No," and the guard backed down.  But, sheesh.

One more story.  I volunteered to work at the Registration Desk on Wednesday and Thursday morning.  During my four hour shift on Thursday my daypack vanished.  I didn't think any member of the public would have been able to steal it so I figured one of the other registration mavens had relocated it.  But no one could find it.

The good news is, it turned up on Saturday, literally minutes before I was going to leave to try to purchase a replacement.  I am very grateful to everyone who hunted for it and made an effort to get it back to me.

But, as they say in management school, it is possible to distinguish between process and product.  While the product was great (got my daypack!) the process had a few bumpy patches.  To illustrate, let me imagine a discussion that must have occurred.  I will try to refrain from sarcasm.

"Hey! Here is the daypack that charming and devilishly handsome volunteer was looking for.  I will take it across the foyer to the Lost and Found desk."  
"No, don't do that."
"Ah, I understand.  Because it is the end of the day you think I should take it directly three flights up to the Ops Office where lost objects are locked safely away for the night."
"No, don't do that either.  I happen to know that that volunteer's wife was working in the Finance Office, so take it up there."
"Are you sure she will volunteer there again?"
"No, but it stands to reason if she did one shift she will do another, doesn't it?"
"I suppose so.  Very well.  I will carry the daypack up the five flights and leave a note for her so she  knows it's there."
"Don't be silly!  No need to waste trees with paper notes. Just tell whoever is in the Finance Office about it and if/when she returns I'm sure one of the people you mention it to will happen to be there at the same time, will recognize her, remember what you mentioned, and be able to find the pack in the office, which, of course, is not set up to store missing items."
"Yes, that makes perfect sense.  But first I will stroll over to the Lost and Found Desk and tell them so they can stop looking for the pack and delete it from their database of missing objects."
"Again, why this obsession with direct communication?  I'm sure if we simply float happy thoughts in their direction they will grasp that the object has been found and make the corrections to their files."
"Thanks.  Now I understand.  I will  carry the daypack up five flights on the overcrowded escalators the nice security guards asked us not to overuse, rather than simply walking across the foyer to the Lost and Found Desk where any sensible person would expect a missing object to be returned."

Possibly a smidge of sarcasm slipped in there.  I hope you didn't notice.

To be fair, a Worldcon attendee whose opinion I greatly respect told me she would have also decided to bring the bag up to the Finance Office.  I replied: would you have told the Lost and Found folks that it had been recovered?  No, she said, but it would have been a good idea.

I think so too.

Those of you have seen my reports on other events can guess that I am about to include some quotes from panels.  There aren't so many this time because of the issues described above, but here you go...

"We can't put stuff back in Pandora's box but we can slip a warning label on the side." - Aimee Ogden

"A library is essentially a place of possibility." - A.J. Hackwith

"He's the sort of person you have to go into business with or you have to have him killed." - Patrick Nielsen Hayden

"When I originally wrote that novel I had a main character who I fired.  We had a labor dispute." - Benjamin Rosenbaum

"If your voice goes up at the end that doesn't necessarily make it a question." - Ginjer Buchanan

"I love that book.  It should not work.  It annoys me that he's that brilliant." - Laura Anne Gilman

"I am a science fiction writer and that is why I'm not having my DNA tested." -Aimee Ogden

"You have to blame something and it can't be me." - John R. Douglas

28 April 2018

When is a Mystery not a Mystery?


Homeless. Not me, luckily. I still have four walls and a roof plus dog on the couch. But my kick-ass story, A Ship Called Pandora, that had a wonderful future and clear economic security is now homeless.

The genres are tricky things. If I write a mystery and set it in the past, it’s considered a historical mystery. So, if we are classifying it, we would call it a Mystery first, and then Historical, as a subgenre of mystery genre. Everyone’s happy.

But what if I set it in the future?

This is exactly what has happened to me recently. For the very first time, I was asked to write a crime story for an anthology, without going through the usual submission process. The anthology had the delightful premise: anything goes. That is, I could write any subgenre, and set it anywhere, anytime. *rubs hands in delight*

A particular story had been percolating in my brain for weeks, pounding to get out. My friends and readers know that I like writing from the other side of the crime spectrum. In The Goddaughter series, I write from the point of view of a mob Goddaughter who really doesn’t want to be one, but keeps having to pull off heists to bail out her family. The books are fun, and weirdly, justice is done by the end, regardless of her family connections.

So this new story was going to feature a kick-ass female marshal from the witness protection program. Her job is to arrange the ‘hide’ after someone has testified in court. Thing is, the transportation is by space travel, because the plot is set far in the future.

I sent it to the anthology editors. They loved it. One of my best twists ever, they said. They liked the fact that it was hard-edged – unusual for me. I breathed a sigh of relief. And then two months later, they came back. The publisher was having second thoughts. He thought the science fiction setting would not be a good fit for a mystery anthology. *author reaches for gun*

So they asked if they could reprint one of my award-winning stories instead. I gave them a favourite (Hook, Line and Sinker) that was also hard-edged. This is the one that had me sharing a literary shortlist with Margaret Atwood (Atwood won.) It would have a second life, which is always nice.
Meanwhile, I had this story on my hands, one that everyone loved, written especially for an anthology, that was now homeless. *pass the scotch*

This was the time of Bouchercon 2017 in Toronto. I was hanging with the AHMM gang, who were recording me reading my own work, Santa Baby, for a podcast to go up on their site. (It’s there now *does happy dance*) So I asked if they would be interested in reading it.

Sure, was the answer. Sometimes they publish stories set in the near future. I didn’t think this one would qualify. I was right.

They didn’t take it. But they did suggest sending it to their sister Dell mag, Asimov’s Science Fiction Mag.  I might. But I'd rather have a mystery market.

My point is this: Usually, we classify a story as a mystery if the plot is a mystery. The setting comes second. A historical mystery is still classified as a mystery. A mystery with a strong romance element is still a mystery if the plot is a mystery plot. But in the case of a future setting, it doesn’t matter what the plot is. The setting is key to the classification.

I probed a bit among my author contacts. One said that he had written a series billed as sci-fi mystery, and this was his baffling and witty conclusion: he managed to alienate the mystery readers, and confuse the sci-fi readers. Sales were a lot better when they reclassified the thing as sci-fi only

So to answer that initial question: When Is a Mystery not a Mystery? When it’s set in the future.

What about you? Have you come across this before? Any suggestions?

UPDATE:   The intrepid editors at Mystery Weekly Magazine say they love A Ship Called Pandora.  It comes out soon. 

CODE NAME: GYPSY MOTH
on AMAZON


Here's another fun scifi crossgenre book: CODE NAME: GYPSY MOTH
It isn't easy being a female barkeep in the final frontier… especially when you're also a spy!
(Good thing I had a traditional publisher for this one. Because I have NO IDEA where to promote this.)

31 March 2018

Space Opera and Horse Opera


Those who know me know I like to write--and read--mostly mystery stories. As for the writing part, my "genre specialty" is made easier because almost any story involving a crime can be considered a mystery.

Today, though, I want to tell you about two pieces of fiction that I recently discovered from other genres, and they're stories that I found exceptional. One's a western and one's science fiction, but both are chock full of crime and deception; does that mean they could be loosely defined as mysteries? Probably not. But I liked 'em anyway.

The first is a Netflix Orginal series called Godless. And I need to clarify that a bit. A lot of TV shows that I've watched lately, like Goliath, True Detective, Fargo, etc. (and unlike Longmire, Game of Thrones, Stranger Things, House of Cards, and most others), have been what's become known as "limited-series" presentations--stories that are told start-to-finish in one season. There might be some degree of similarity and continuity between seasons, but mostly the story ends when the season ends, and you wind up with what amounts to a single seven-to-ten-hour, full-character-arc movie. I usually binge-watch them.


Godless is a western, and one of the best I've seen. It features a few familiar faces like Jeff Daniels and Sam Waterston and a bunch of lesser-known actors that have become better known as a result of their being cast here. The story involves a legendary outlaw in pursuit of a former friend who betrayed him, but the strangest thing about the show is that it takes place in the fictional La Belle, New Mexico, which is a town of mostly women--all the men have been killed in a catastrophic mining accident. I won't get into too many details here, but this seven-episode series is truly well done, in every way. The writing, the acting, the direction, the cinematography, everything just works. By the way, any of you who might still think of Jeff Daniels in Dumb and Dumber or Michelle Dockery in Downton Abbey will barely recognize them here. Daniels is as good in this as he was in the HBO series The Newsroom, and that's saying a lot.

My other recent discovery was a novel called Artemis, by Andy Weir (who also write The Martian). I loved The Martian--book and movie--and I thought this second novel was just as good. The protagonist, a young woman named Jasmine (Jazz) Bashara, is as tough and resourceful as any hero/heroine I've seen in a long time, and outrageous as well. At the start of the book Jazz is a wannabe tour-guide for some of the attractions around Artemis, the first and only city on the moon, and since she can't seem to pass the test to become a guide she makes a living smuggling certain items when they arrive from Earth to her customers here in space. Long story short, because of her lack of funds and need for employment she finds herself a part of a get-rich-quick scheme that instead gets her into deep trouble, including dealing with hitmen who are sent from Earth sort of like the four gunmen in High Noon. You'll wind up cheering her on, while you learn (or at least I did) a lot about life on the Final Frontier.


That's my sermon for today. And don't get me wrong, I've watched a lot of other good movies lately--Wind River, Baby Driver, Arrival, Logan Lucky, Gerald's Game, Hell or High Water, No Escape, Wonder Woman, Bushwick, Mudbound, The Last Jedi, Get Out, Blackway, Bullet Head, Three Billboards Outside Ebbing Missouri--and I've read some other good novels too--The Cuban Affair, The Fireman, The Girl from Venice, Dragon Teeth, Home, Gwendy's Button Box, World Gone By, Blackjack, Mississippi Blood, Sleeping Beauties, Goldeline, Fierce Kingdom, El Paso, The Midnight Line, Paradise Sky, The Big Finish, A Column of Fire, etc.--but I believe these two stories were as good as any of them, and better than most. If any of you have seen Godless, or read Artemis, please pass along your thoughts.

I also wouldn't mind some recommendations. I've been devouring collections of short stories lately, mainly those by Bill Pronzini, Charles Beaumont, Ray Bradbury, John Cheever, Richard Matheson, Fredric Brown, Annie Proulx, and (believe it or not) Tom Hanks. I need to get back into some novels.

Meanwhile, happy reading, and viewing.

24 April 2017

Perspective


by Janice Law

Few things are harder than one’s own – or indeed one’s society’s – unspoken assumptions, biases, and thought patterns. Having just made my way though more than 1200 pages of the Chinese science fiction trilogy, The Remembrance of Earth’s Past, I have been struck by how ethnocentric much of our own popular writing is and also how easily good fiction can be constructed out of different materials and ideas.


Cixin Liu is a popular and award winning science fiction writer in the People’s Republic of China. Except for some short stories, his wildly ambitions trilogy about earth’s encounter with an alien civilization was American readers’ introduction to his work. Launched with The Three Body Problem, the trilogy begins with a scientist with a justifiable grudge. After her family was persecuted during the Cultural Revolution, Ye Wenjie was disheartened about humanity’s prospects and willing to explore radical solutions. Sounds familiar at the moment!

When a message from an alien civilization appears on her monitor, Ye Wenjie hits the reply button and unleashes a host of troubles, the most insidious of which are the sophons, super sophisticated spy equipment that is launched at earth. Worse follows.

A Western reader inevitably thinks of Pandora, but in her Chinese version, she is no curious girl but a brilliant physicist and theorist of what comes to be called the Dark Forest view of the cosmos. Given Western assumptions about women and science, it is striking to see the range of female scientific and engineering talent that Liu includes in the novels.

There are some gender differences, however, although they do not necessarily fit our own stereotypes. Cheng Xin, the young aerospace engineer who is the protagonist of Death’s End, the last of the novels, has indeed the feminine virtues of compassion and caution, virtues admirable but, in the novel, only helpful in the short run. On the other hand, the macho Thomas Wade, one of the few important Western characters, is effective in many ways, but his aggression and violence also prove ultimately inadequate.
The two people who come closest to solving the problem of a hostile universe are both unlikely and quite unlike the typical Western heroes. Luo Ji, who temporarily staves off disaster, is a bit of a slacker. Appointed to work on global solutions to the alien crisis, he goofs off in Scandinavia and appears to waste the time that should be devoted to intensive research. I can’t help thinking that he is a modern version of one of the Daoist sages, in tune with the universe and destined to achieve success through a sort of focused passivity.

Even less likely is the second possible savior of humanity, Yun Tianming, an ineffectual young man dying of lung cancer and awaiting euthanasia. When he comes into money at the last minute, he buys a star (don’t ask, it’s complicated) for a woman he’s admired from afar, Cheng Xin. She, in turn, recruits him for what will be a dangerous, decades- spanning mission to the alien civilization.

Like Liu, Tianming with his modesty and lack of ambition (but notice that romantic gesture with the star) proves to be a remarkable individual with a combination of ingredients superior in a crisis to either stereotyped masculine or feminine behavior. His gesture of affection for Cheng Xin, by the way, is the closest the novel comes to sex of any kind. And this too seems rather traditional, like the film Cheng Xin admires about lovers who are separated by the length of a great river and never meet. Real love is poetic, spiritual – and often doomed.

Similarly, the other great staple of our popular literature, violence, is treated in a different way. I think two people are shot during the trilogy and a couple more are murdered by a robot. But fights and quarrels and car chases and the like are definitely out. On the other hand, the body count is tremendous. Whole civilizations are destroyed and the relatively comfortable eras in earth’s history come after terrible population crashes.

The whole history of the earth, the solar system, the galaxy, and ultimately the universe is Darwinian, a matter of the survival of technologically-advanced and lucky civilizations. Nature, itself, hides nasty surprises like the multiple dimensions that can collapse with disastrous results.

Ye Wenjie’s physicist daughter, Yang Dong, even becomes disillusioned by physics, which is as close to a belief system as most of the characters have. She had thought that “The World of our everyday life was only froth floating on the perfect ocean of deep reality. But now, it appeared that the everyday world was a beautiful shell: The micro realities it enclosed and the macro realities that inclosed it were far more ugly and chaotic than the shell itself.”

This melancholy conclusion is more than borne out by the sprawling novels that reach from our Common Era to a scene toward the end of the universe. The latter is more than a little reminiscent of Doctor Who, perhaps because Cheng Xin and her companions are able to time trip, not like the Doctor with a reversible Tardis, but via a combination of hibernation and light speed travel.

Ultimately Cheng Xin and her friends concede that all things must end, but the conclusion of this wildly ambitious and imaginative novel is that the universe can collapse and be reborn, a hope that comforts Liu’s protagonists perhaps more than a Western audience used to heavier doses of positive thinking.

09 April 2017

The Expanse


by Leigh Lundin

A month ago, when Barb Goffman wrote about new television shows, she touched on the sci-fi series, Timeless which, in my opinion, is pretty good as long as they keep SOS out of it.

Becoming an adherent of hard science fiction was foreordained– my first or second adult novel in the third grade was Fritz Lieber’s Gather Darkness (serialized 1943, published in book form 1950). I still keep that novel. Part of its technology of light wave cancellation is under study ¾ of a century later– Harry Potter’s cloak of invisibility could become a real thing one day.

Mysteries and sci-fi formed two great genre loves, and their golden ages lived for me. Blade Runner, The Man in the High Castle… stories like those formed the bookscape of middle and high school.

Soft on Hard Fiction

The term ‘hard’ science fiction defines the purest form harking back to the golden and silver ages. At one time, adherents adopted ‘SF’ to distinguish the real stuff from the lighter fare enjoyed by science fantasy and space opera (e.g, Star Wars) fans, but others resented the co-optation of sci-fi.

This may surprise to those who aren’t yet fans: Hard sci-fi isn’t about monsters or wookies or paranormal. Hard science fiction is about society and ‘what’s possible’ propositions.

The Science of Imagination

One unspoken maxim rules sci-fi… the science must either be real or at least possible. That’s why Superman would be classified more as science fantasy because the physics doesn’t compute. Writers can exploit an exception– they may devise a universe with its own physics as long as the science can logically and consistently be extrapolated.

Consider Michael Crichton’s Jurassic Park (1990). Dinosaurs in modern times? What could be sillier? Except Crichton knew his biology. He delved into considerable detail (in a clever Disney Epcot-like presentation) how dinosaur DNA might be trapped in amber. DNA has also also been recently found in mammoth bone marrow, so these ideas lie within the realm of possibility.

Likewise, Crichton’s 1999 Timeline might seem preposterous to congressional and cabinet appointees to science and environmental committees, guys who failed sixth grade Creationism in the Classroom. Facing a career as vacuum cleaner salesmen, they opted to enter politics specializing in the myths of global climate change and those unexplained mysteries of female fertility. Crichton, in fact, based the premise on actual physics experiments of space-time teleportation.

Those then-current experiments in space-time underlaid “Think Like a Dinosaur”, a subtle, almost tender, bitter-sweet episode of The Outer Limits, (2001, S07E08) which had nothing to do with dinosaurs. The program explored ethics and commitment through a vehicle of love and quiet despair.

Hard-Boiled Directives

Dashiel Hammett’s and Raymond Chandler’s stories touched upon socialism and capitalism gone bad. We’ve read that Ross MacDonald’s works were a commentary on the indolently wealthy 1%, and Dennis Lehane writes about a civilization uncaring about about cops, crime, and corruption. These societal undercurrents– intended or not– are a side-effect of their crime writing. In contrast, the best science fiction centralizes social themes as the core thrust.

For example, 2001, A Space Odyssey reimagined evolution of the human species. Soylent Green and one of my favorites, Silent Running, dealt with a society increasingly indifferent about pollution, over-population, and food shortages. Why fictionalize these issues? The creators want you to care while largely avoiding the politics of the day.

No Expanse Spared

The Expanse
My attention was drawn to the 2015 SyFy television series, The Expanse. Sporting a title in homage to Star Trek, it’s based on the novels of James S.A. Corey, nom de plume of writers Daniel Abraham and Ty Franck. (Their pseudonym combines their middle names.)

The Expanse skipped 2016 but returned this year for a second season, which is running now. A third series is in the works for 2018.

The Expanse… within thirty seconds it hooked me. The music… the dark theme– trust me, this program is so Stygian, it makes noir look like Easter pastels in kindergarten.

The cast includes an intriguing classic detective, Josephus Miller, who channels the quintessential Marlowe and Spade. Another fascinating character is the assistant undersecretary to the UN, Chrisjen Avasarala, played to perfection in the smoker’s voice of actress Shohreh Aghdashloo. A third complex character is Colonel Fred Johnson, former UN Marine and accused war criminal who runs a ship-building base at Tycho Station.

And then we have the crew of the Rocinante, kind of a Firefly on steroids. (Firefly was a great but short-lived sci-fi series also made into a movie.) The crews take a while to set aside their trust issues and realize the innate decency of the others.

To my surprise, I came to like the character of Amos Burton, a marine and mechanic, extremely devoted to his colleague Naomi Nagata. ‘Character’ is the key word. Appearing as a man of deceptively simple outlook and tastes, Burton wins over the audience and crew thanks to his private code of loyalty, decency, bravery, and level-headedness. He’s the kind of guy you wouldn’t want to marry your sister until you suddenly realized how wrong you were and what a great man she’d miss out on.

A kind of perfect resolution unexpectedly came about in the midst of season 2 titled “Home”. (S02E05) It achieved an unheard-of 9.6 rating in IMDB. At the moment, I’m enjoying a break from viewing, savoring the episode.

The Science of Silence

Last week, John wrote about guilty pleasures. I can’t say space battles do much for me, but The Expanse is enjoyably different. Mainly, it’s much more realistic. For example, rail guns, capable of high ‘muzzle’ velocities, are a real ‘thing’. The US Navy electromagnetically launched projectiles without the aid of chemical propellants or explosives at 8600kmph, seven times the speed of sound, double the speed of a very fast bullet. Think of a hi-tech slingshot powered by magnets.


The shows contain a few mistakes, including a deliberate one. Like every movie and television show ever filmed, you hear the roar of rockets, the sounds of gunfire, and the boom of explosions in outer space. Except… space is absolutely silent. Alien capitalized on this with the tag-line, “In space, no one can hear you scream.” Space movies would be boring without sound effects and a lot of foley artists would find themselves out of work, so phony sfx are forgivable. (2001 might have used silence in the outdoor scenes.)

And so?

Earlier, I rattled on about societal themes in hard science fiction. What are the underlying social issues of The Expanse? Politics, greed, exploration and exploitation, war and weaponry. Look for a scathing side note vis-à-vis the amoral symbiosis of Werhner von Braun-type Nazi technocrats as exploited by Germany and then the Allied Powers.

Like I said it’s all about society.

30 December 2016

George Alec Effinger


George Alec Effinger was a great New Orleans writer and should be recognized as we recognize William Faulkner, who wrote his first novel while living in Pirate Alley in the French Quarter, and Lilliam Hellman, who was romantically involved with Dasheill Hammett and wrote THE LITTLE FOXES and WATCH ON THE RHINE and Truman Capote , who was born in New Orleans, and even Tennessee Williams who wrote A STREETCAR NAMED DESIRE while living on St. Peter Street. George lived quietly on Dumaine Street and other areas of the city for over thirty years and penned some of the best science-fiction short stories and novels of the late 20th Century. He took a young writer (me) and taught me how to write a short story. FYI: I've been able to sell over 300 short stories and win the SHAMUS Award for 'Best Private Eye Short Story' and a DERRINGER Award for 'Best Novelette'.

George Alec Effinger and Harlan Ellison
at the 1990 Tennessee Williams New Orleans Literary Festival

George was recognized by his peers, winning science-fiction's prestigious NEBULA Award, HUGO Award, and Japan's version of the Hugo, the SEIUN Award. There are no more clever, well written books than George's SF-mystery novels WHEN GRAVITY FAILS, A FIRE IN THE SUN and THE EXILE KISS. He even wrote straight mystery novels, SHADOW MONEY and FELICIA.

An SF-Mystery Novel

Living in constant pain from lingering illnesses most of his life, George died in near poverty. It took nearly 20 years for the New Orleans literary community to even acknowledge a writer of his stature was living and working here and even after, he was labeled a 'New Orleans based writer' because (as most New Orleanians know) if you weren't born or raised in New Orleans you're not a New Orleanian no matter how long you live here. George arrived as an adult. That label bothered him. For someone who laughed so much and brought laughter to his friends, his was not a happy life.

The final insult came from our local newspaper (a paper who neglected him for most of his life) who described him in their obituary as a Cleveland native. The accident of a man's birth does not make him a native of that location. George was from New Orleans, man, like few others.

Effinger's Futuristic French Quarter - another time - another place

Here's another irony. I've read many books by New Orleans writers acclaimed by critics and reviewers with far less feel for our city that Effinger did transposing the French Quarter to a futuristic  Arab world. Take a walk along the dusty, Raymond Chandleresque streets of the dark Budayeen, starting with WHEN GRAVITY FAILS. This a unique mystery series.

Thank you, George. You are remembered and your writing cherished. Inshallah!

24 November 2016

Messages in a Bottle, or Notes from the Pen


For the next several days, our band of authors will be writing about writing— for magazines, especially non-mystery magazines. We’ll have a couple of surprises and a lot of expertize. Thanks to Eve for kicking off the program with non-traditional penmanship. You'll see.
—Velma
by Eve Fisher

I just got back from a weekend workshop at the local penitentiary, which (as always) was full of interesting moments, hard work, and definite characters.  If nothing else, the weekend confirmed (even if I do say so myself) that I really nailed the young meth-head who's the centerpiece of my latest story, "Iron Chef", in the November, 2016 issue of AHMM.  ("He thinks he's a lady's man because he wants to get laid," and more here...)

I did not tell the guys that.  Actually, I don't tell them much about my writing, because (1) That's not why I'm there (I'm there to facilitate an Alternatives to Violence Project Workshop, not talk about myself all the time) and (2) most of them don't really want to hear it.  Including the writers.
(Sometimes especially the writers.  Recent dialog between myself and an inmate:
Me: "There's a place on-line that lists publishers and -"
Inmate (interrupting): "I HAVE an agent. Or I will soon."
Me: "Okay."
Inmate: "Yeah.")
And there are a lot of writers (and artists) at the pen.  Interestingly, I haven't met one yet that writes mystery or crime stories.  I'm not sure if that's because it doesn't interest them, or they don't know how to do it, or if they're afraid if they put anything in writing, it might be held against them in a court of law.  Like a confession or a plan for future criminal activity...  Anyway, most are poets and/or songwriters.  Some write sci-fi and/or supernatural/horror. And a few write autobiographies.

Getting prison writing published is easier than you might think, thanks to the internet.  Here are just a few of the on-line resources for magazines, newsletters, anthologies and e-zines dedicated to prisoners' writing:

From South Dakota, The Prisoners for Prevention blog.
The Prisoner Poetry Page.
The on-line Prison Poetry Workshop podcasts.
The Prisoner Express which publishes poetry, journals, essays, etc.

One of the main problems, of course, for prisoners is that these days so many places only accept on-line submissions, and access to the internet is hard to get in the pen.  And sending out ms. in hard-copy is expensive when you only make 25 cents an hour.  (Not to mention that getting access to a typewriter is hard to come by, too.)  And almost all of the markets specifically set up to publish prisoners' work are non-paying.

In the search for paying markets, Writers' Digest is invaluable to prisoners:  I'd bet there's a (more or less) old, battered copy in every prison library.  I know inmates who've sent stories to Glimmer Train, Analog, Asimov's Science Fiction, and Playboy.  (No, I don't know any who've been accepted yet, but at least they're trying!)  I've read a couple of the stories, and even given a critique here and there. When I am specifically asked.  Again, not every inmate wants to hear any opinion other than that it's a great poem/story/song.  For that matter, not every writer OUT of the pen wants to hear anything else...

Doing Time: 25 Years of Prison Writing from the Pen ProgramAnother place where inmates writers can get published is with the PEN Prison Writing Contest. Prizes and publication in an anthology make this very prestigious.
And, for all of us, let's not forget sites like Angie's Desk and My Little Corner, both of which list anthologies and markets of all genres (although primarily mystery and science-fiction/fantasy).  Thank you, ladies!  Your hard work has opened up markets for us all!

Most of the work the inmates finally do get published is and has been edited by someone outside for content.  What gets passed around in the tier, chow hall, and our sharing circle is unedited, raw, and cannot be reprinted on this family blog.  Besides the poems of suicidal despair (since this is NOT the Gingerbread House of Corrections)

http://rhymeswithorange.com/comics/november-20-2016/
gangsta rap is HUUUUUGE.  Personally, I get bored with gangsta rap, because they all say pretty much the same thing:  ultra-explicit rap symphonies in F Major on drugs, bling, fights, arrests, killings, and sex.
(It's like the prison tattoos:  the first few times you go in the pen, you see these guys who are absolutely COVERED in tattoos, and it's hard to look away.  But after a while, you realize that they're mostly skulls, naked women, snakes, names, etc., in endless repetition, and the only reason you study them is to figure out what gang they're in.)
But there are those stories that show real creativity and thinking, and poems that take your breath away, like the following from PrisonerExpress.org/?mode=poetry

The thirteenth amendment, Amended

by Name Withheld by Request
A coffle of state slaves shuffles
Slowly into the radiant rays
Of dawn's early light.
Spartacus nowhere in sight.
Flight scarred all, and bone
Weary from strife and stress,
Destined to toil under the sun til
Twilight's last gleaming brings rest.

The tools are issued:
One hoe per man, each
Dull the blade, each
Seven pounds of sweat-stained misery,
Each, in proper hands,
Seven pounds of peril.

Let there be no peril today, we pray:
No quick and vicious fights, where, sweat stinging,
Fists flying, we cull living from dying:
No riots fought for fast forgot reasons__
Swinging steel scintillating in sunlight,
Blood gouting from the too slow heads__
Brown, black, white___
Our blood ruby red and thick with life,
No respecter of color or creed.

Let there be no peril today, we pray;
No dry crackling reports of leaden soldiers,
Chasing wisps of smoke from forge fashioned barrels,
Speaking the ancient tongue of Authority;
Guns guardgripped fast by bossfists,
In confederate gray cloths,
Their fire felling friends, freeing foes.

Let there be no peril today, we pray:
Today only__hard work, for no pay.

"Neither slavery nor involuntary servitude, except
as a punishment for crime whereof the party shall
have been duly convicted, shall exist within the
United States or any place subject to their jurisdiction."

So let it be rewritten.
So let it, at last, be done.


05 October 2016

The Way It Wasn't


by Robert Lopresti

A month ago I noticed that my wife was reading The Underground Railroad by Colson Whitehead.  What made that particularly interesting was that I was reading Underground Airlines by Ben H. Winters.

Both of them fall into the genre of Alternative History (AH), which is usually considered part of science fiction.  Science fiction, more than most forms of fiction, is all about "What if?" and AH  asks "What if events didn't turn out as they did?"

The oldest example of AH we know of is about 2100 years old.  The Roman author  Livy pondered the question: What if Alexander the Great had gone west (toward the still developing city of Rome) instead of east?

Let's jump ahead past a few medieval examples and land in 1931 when John Squires published  If It Had Happened Otherwise, a collection of essays by different authors, speculating on how various turning points of history could have turned out differently.  One of them, "If Lee Had Not Won At Gettysburg," is a double twist (as you can probably tell), being written from the point of view of a historian in a world in which the South did win the Civil War.  He tries to speculate how things would have turned out if the North had conquered.

You may have heard of the author of that clever essay.  He later won the Nobel Prize for Literature, but Winston Churchill was better known for other accomplishments.

You may be surprised that an Englishman like Churchill should have chosen the American Civil War as his subject but that event seems to have an obsessive interest for alternative historians.  Remember those books my wife and I were reading?  Even The New Yorker  recently took note of our country's obsession with the Underground Railroad.

My favorite AH writer is Harry Turtledove and he was inspired to get a PhD in Byzantine History by an AH novel by L. Sprague De Camp called Lest Darkness Fall.  Turtledove's masterpiece is The Guns of the South  (Yup, that War Between the States again).  It starts with a real event: Robert E. Lee writing to Jefferson Davis in 1864 to say the Confederacy could not win.  Except in Turtledove's book the letter is interrupted by some strangers with funny accents who want to sell the South some new weapons called AK-47s.  You see, some Afrikaaners got their hands on a time machine and decided to nip Black aspirations in the bud by saving slavery.

You can argue that that is not pure alternative history since it involves a science fiction concept like time travel.  In that case you might prefer another  Turtledove novel - and it's a mystery! -  The Two Georges, co-written with, of all people, the actor Richard Dreyfuss.  The heroes are cops in the 1960s, but in this world King George III never went mad and when his colonies started protesting his policies he invited the leaders to England to discuss it.  The result is that George Washington became the first Governor-General of British North America.

Some of you may have seen the recent TV series, The Man in the High Castle, which is based (loosely, I hear) on a classic AH novel by Philip K. Dick.  It explores a world in which the Axis beat the Allies.

To my mind, there are two essential elements to an AH fiction: How did things turn out this way (as opposed to the way we know they did)?  And what would happen if they had?  At its best, AH becomes a thought experiment: If Nixon beat Kennedy, how would the sixties have changed?  What if the Spanish Armada had won?

I have had three fantasy stories published and while none of them are pure AH they all, shall we say, partake of its nature.

After George W. Bush became president, Edward J. McFadden III and E. Sedia proposed Jigsaw Nation, a book of stories that asked: What if the blue states seceded from the nation?  My story, "Down in the Corridor," takes place in the  narrow strip of land between Mexico and the Pacific States of America, connecting the USA with the Pacific.   Yes, it's a crime story, but it's not true AH because it was imaging an alternative near future, not a past.  (Recently Andrew MacRae came up with a similar idea for an anthology about post-current events.)

"Letters to the Journal of Experimental History" appeared in a short-lived humor webzine called The Town Drunk.  It's based on the multi-verse theory of time travel; that is, if you go back in time and, say, kill Hitler, it doesn't change our universe, it merely kickstarts a new one.  You can read it here.

And then there is "Street of the Dead House," which appeared in nEvermore! (and has been reprinted in Best American Mystery Stories 2016 and Year's Best Dark Fantasy and Horror 2016, he said modestly.)  This one is Alternative Literature, reinterpreting (without changing) a classic Edgar Allan Poe story.

Anyone out there like this genre?  If so, tell me your favorites.










12 February 2016

A Second Wind from Television


In The Man in the High Castle, the Axis won WWII,
partitioning the U.S. between Nazi Germany and Imperial Japan.
A certain "banned" media is circulating, however.  This provides a mystery
around which the book is centered. (This pic is used in intro to TV series.)
On a recent trip to my local bookstore, I looked for a copy of Philip K. Dick's alternate history novel The Man in the High Castle, only to discover something that should have been obvious to me.

I couldn't find the book among his others, in the fiction section. Disappointed, I asked if they might be able to order a copy.  The answer surprised me. You see, they had the book in stock, but it wasn't located with the other P.K. Dicks.

It was on the bestsellers shelf!

When the bookstore employee handed me the book, I asked, "Isn't this a pretty old book to be on the bestsellers list?"

"Well, yes," she responded.  "But, then the TV series came out, and now everybody wants to read the book."

I nodded and eked out a chagrined smile.  You see, I like Philip K. Dick and I have for a long time. I've read a lot of his work, both novels and short stories.  While some of it may be a bit too metaphysical for my taste, I really do enjoy his science fiction elements -- particularly those that pose the question: Is this world we perceive around us really the world we inhabit?

Yet, here I was: a man who had schlepped down to my local bookstore to look for a book because I'd seen a television show that told me it existed -- just like the rest of the herd.

And, that herd was sizable.  This book, which won the 1963 Hugo Award for Best Novel, achieved the No. 4 spot among paperback fiction, on the December 13th, 2015 Los Angeles Times Best Sellers List.  And it stayed within the top ten for four weeks.  I'd say that's pretty good for a book more than 50 years old, which most readers probably hadn't heard of before the television show came out.



Which is what set me to thinking about the way TV shows can lend a second wind to author's sales, much in the same way movies do.

A friend of mine recently loaned me Wild Cards 1, a book of linked short stories by several different writers, edited by George R.R. Martin.

For those unaware: Martin is the author of the fantasy book series Game of Thrones, which HBO turned into a hit show.  Some readers may decry the fact that the series doesn't quite mirror the book series, but I don't think that's hurt Martin's bank account.

Though Wild Cards 1 has nothing to do with Game of Thrones, I think it has a lot to do with the manner in which the book came into my friend's (and then my own) hands -- even though Martin didn't write this book.  He edited it, and wrote one of the stories.

Originally released in 1987, however, the book is back on store shelves -- along with other installments in the series.  And, if you think the editors aren't trying to capitalize on Martin's HBO-associated fame, just take a look at the print size and fonts on the book cover in the pic to the right.

Not that I think this is a bad thing.

Which is actually my point.

I wanted to read The Man in the High Castle for several reasons:
  1. It's a Philip K. Dick novel, and I've learned that many consider it his best.  I wanted to read it, because I like much of his writing.
  2. The plotline intrigued me.
  3. In the TV series, the banned media is a collection of 16mm movies, which show the Allies winning WWII.  I had a feeling that this had been changed, because the medium had been changed: from print media (a book) to visual media (TV).  And, sure enough, in the book: the banned media is a book that describes how the Allies won the war.
  4. I get the idea that Philip K. Dick would have understood the idea and accompanying actions of paranoia.  And, paranoia is pretty close to what an underground organization has to practice, in order to stay alive.  I get a kick out of the lax security practiced by members of the Underground Unit in the television show, however, and suspected Dick would have handled it a bit better.  I wanted to find out. 
BUT:  If I hadn't seen that TV show, when would I have realized this book existed?  I'm not sure it was even in print, because I tend to haunt several specific parts of the fiction shelves when I visit the bookstore, and the PK Dick section is one of these.  I don't recall having seen the book in the past.  (On the other hand, it wasn't there this time either.)

I really enjoyed the book.  Yes, it was quite different from the television series, but in a good way I felt.  I'm not sure where the TV series is heading, but the book had a definite conclusion -- posing a question I particularly liked.  I've enjoyed mentally strolling among the juxtaposed possibilities suggested by that conclusion, ever since I finished the story.  If you've read The Man in the High Castle, I invite you to contact me (by email or comment) to discuss the ending's potential ramifications: for both/either the characters or for us "real" people.  If you haven't read it, you might think of doing so.

Meanwhile, here's to hoping some TV producer notices your book or short story and turns it into a hit.  Soon, avid fans might descend like locusts, buying up anything and everything you've ever produced.

It would be nice, wouldn't it?

See you in two weeks,
— Dixon

16 September 2015

Alien Fires 2


Continuing my report on Sasquan, the World Science Fiction Convention, held in Spokane in the middle of a wildfire disaster last month.

To the best of my knowledge the biggest squabble that ever occurred in the mystery world happened in the 1980s when some people complained that women were underrepresented in reviews, sales, and awards.  This was one fact that led to the creation of Sister in Crime, and caused MWA to change the way they formed award committees.

Well, trust me, that struggle was a pebble compared to the Mount Rushmore that hit Worldcon this year.

If you want details search the internet for "Sad Puppies."  As I understand it, one group of SF readers/writers was unhappy about what they saw as the field becoming more political and favoring certain stories and authors.  Frankly, to my ignorant outsider eyes it looked like they were complaining that an insufficient number of straight white men were being nominated.  But what do I know about science fiction?

In any case, they created a slate of candidates for the Hugo nominations and, in a quite legal way, gamed the election. The Hugo Award nominees and winners are chosen by people who register for the con (like our Anthony Awards), but for $40 you can buy a supporting membership.  That doesn't entitle you to attend, but it does let you vote.  I am told that approximately 400 people bought memberships so they could support the Sad Puppy slate.

One hundred and sixty grand can build an awfully high spite fence.

In some categories all the chosen nominees were part of the Sad Puppies slate.  (And some of these writers chose to remove their names from the ballot, rather than be associated with the Puppies.  Imagine waiting for years for a nomination and then feeling you have to turn it down!)

It got even weirder.  One writer on the Sad Puppy slate wrote to the Spokane Police Department, warning them that one of the guests of honor was "insane" and might incite violence.  (This wasn't a secret, by the way: he announced on a podcast that he did this.)  He later apologized.

The actual  Hugo Awards voting is complicated and allows for No Award (i.e. none of the above).  In five categories the voters rejected all the candidates, and in no cases did anyone supported by the Sad Puppies win.   Now the fans have to figure out a way to clean up the mess and I hope that none of this will repeat net year.

Oh!  Remember the con?  Panels and stuff like that?  Let's talk about that, shall we?  I will stick to stuff that can reasonably be tied to mystery fiction.

I had the chance to hear Connie Willis, one of my favorite SF writers,  read from her next book, Crosstalk.  It is a romantic comedy about telepathy.  (Think about that one for a moment.  The essence of romantic comedy is misunderstanding between sweethearts.  If they can read each other's minds... She set her self a challenge didn't she?)  But Willis also announced that for a future project she is rereading all of Agatha Christie.  She is convinced that Dame Agatha left clues behind concerning her famous disappearance in 1926.  I look forward to Willis's future reports.

There was a panel on fantasy and horror noir which I enjoyed a lot although there was the usual confusion between hardboiled and noir. Panelist John Pitts made the proper distinction, although he later blotted his copybook by calling Han Solo an anti-hero.  A rogue is not an anti-hero.

I attended a memorial for Stu Shiffman, a friend of mine who died last fall.  He was a wonderful graphic artist who worked in both the mystery and science fiction fields.  Attached is one of the many covers he did for Margo Power's late lamented magazine.

I attended three panels on short stories.  It was at one of those that I picked up the best piece of writing advice I heard that weekend, from Daryl Gregory: "Stop just short of the ending.  If you act like Tom Sawyer and let your readers do the rest of the work, they'll be more connected to the story, and thank you for it."

And speaking of quotations, here are a few gems I picked up.  As usual, if you want context, you're on your own.

"Style is what the writer does.  Genre is what the marketing department does."  - Richard Vadry


"Why is some short fiction better than novels?  Because it's riskier."  -Stefan Rudnick


"Other people have 'Do Not Resuscitate' orders.  I have 'No One Edits My Manuscript.'" - -Connie Willis.

"There's no platonic ideal of story."  -C.C. Finlay

"Every other writer's process is sort of vaguely scary and appalling." - Daryl Gregory.

"I can't say hello in less than five thousand words." -Mark J. Ferrari

"What relationships need is less communication, not more." -Connie Willis.

"I vote for more pretty boys reading the weather." -Janet Freeman-Daily

"'Theme' is what the critics use to describe what you did." - Eileen Gunn

"Writing a short story is a tightrope walk.  The craft is getting from one end to the other.  The art is doing a backflip in the middle."  - C.C. Finlay

"We need eco-zombies." - Gregg Castro

"The literary market does not believe in money.  At least, not for you." - Mir Plemmons.

"The happy ending is sadly underrated.  But it has to be earned." -Connie Willis.


02 September 2015

Alien Fires


by Robert Lopresti

Two weeks ago my family cruised across Washington state to Spokane to attend Sasquan, the 73rd World Science Fiction Convention.  It was quite an experience, not least because it was the first such con to be held in the middle of a federal declared natural disaster.  On the way out through what has never been more accurately described as the Dryside of the Evergreen State we were listening to NPR.  The announcer came on and, quite out of the usual calm public radio persona, announced "The towns of Winthrop and Twisp are being evacuated.  If you are in Winthrop or Twisp head south immediately." We were already one hundred miles south.  That was the day three brave firefighters died.

The night before this I realized that I was coming down with a cold so, hoping to spare my car-mates my germs, I picked up a box of paper masks like the one above.  Little did I know that I had scored the most popular fashion accessory in Spokane that weekend. All the members of my group were wearing them and people were asking where they been acquired because the city was sold out.

This is what the view from the Conference Center is supposed to look like:

And here is how it looked on Thursday afternoon just after I left a panel on climate change:

My first thought was, jeez, the panel was convincing enough without the visual aid.

But this is supposed to be a blog about crime fiction, so I want to concentrate on the difference between the mystery fan world and the science fiction fandom, which is larger and has been around longer.  You will notice that some of these differences relate to each other (especially to the first)..

* The median age at a Worldcon is much younger than at Bouchercon.
*  There is much less emphasis on books.  I would estimate that at last year's B-con seventy percent of the energy (panels, special events, etc.) went into fiction with ten percent going to true crime including forensics), the same amount to media (film and TV), and ten percent to other.  At Worldcon I would estimate forty percent was about fiction.  The rest was scattered among real science, media, gaming, art, costuming, etc.
* Speaking of costuming… At B-con you will see a few trenchcoats and fedoras, some deerstalker hats, and occasionally a woman dressed for tea in St. Mary Mead.  But at any given moment at Worldcon at least twenty percent of the crowd was in costumes ranging from full Boba Fett armor to fairy princess complete with wings to a simple set of wolf ears poking out of one's hair.
* Free food is much more plentiful at Worldcon.  In orbit around the main hospitality suite were rooms for gluten-free/vegan, nutfree, kosher, and simply overflow (That's where the hot dogs were turning on rollers.)
* They have tech problems just like us!  I walked out on one panel because there were no microphones and I couldn't hear a thing.
* The swag bags are much better at B-con.  There you expect to find free magazines and half a dozen books you can swap at the multiplying freebies tables.  Nothing like that at Worldcon.
* A few times a year (like B-con and Edgars Week) the mystery writers and readers turn into a community.  But science fiction fandom is a culture, all year round.  There were actually workshops on the history of fandom, to help newbies get on board, and separate discussions of what should be collected now so that fen (SF people like their deliberate alien-y misspellings) in the future will have a record of fandom in the dim distant past of 2015.

And speaking of culture, every family has its feuds and this year a big one broke out.  Next time I will talk about that, and some of the panels as well.

04 June 2015

Science Fiction Fantasy Mysteries


I just got my copy of the July/August Alfred Hitchcock Mystery Magazine, and (no surprise, folks!) SleuthSayers is well represented:
  • Robert Lopresti's "Shooting at Firemen" just knocked me out. I already knew to look out for it from Rob's blog here (http://www.sleuthsayers.org/2015/05/telling-fiction-from-fact.html) and it's a wonderful story about riots, politics, and race.
  • David Edgerly Gates gave us "In For a Penny", and what the cover says is true: The graft is greener at the border.
  • Janice Law's "A Domestic Incident" - besides being a harrowing account of betrayal on almost every level - raises the question, "what would/should I have done?"

Congratulations to all!

Another great story is Donald Moffitt's "A Handful of Clay". Sadly, Mr. Moffitt died just before publication. He was a multiple science fiction/fantasy/ and mystery writer. I love this story, both as an historian (setting a story in ancient Sumeria - 4500 years ago - and getting the details right without bogging down in them while keeping the universal humanity of the past, now that's an achievement) and as a mystery buff (love the plot). And it also got me thinking about the way so many people have shifted between sci-fi / fantasy/ mystery / horror without missing a beat.

First, some BSP:


Yes, that's me on the left, and later on the right, at the reception and panel discussion for the Startling Sci-Fi anthology that was held on May 16th in Greenwich Village, NYC, NY. Yes, I got my 15 minutes of fame. We answered questions, posed for photos, and signed books. We signed a lot of books. (Huzzah!)

It's a darned good anthology, if I do say so myself: My story, "Embraced" is a black comedy of lust, obsession, war, prophecy, and resistance during the apocalypse, as told by Yuri Dzhankov, who is, unfortunately, having the time of his life. Jhon Sanchez' "The Japanese Rice Cooker" may be all things to all men (and women), but is it the right thing? And Daniel Gooding's "Cro-Magnum Xix" is one of the best takes I've ever read on poor planning in the search for eternal life. And many, many more.

Copies can be purchased here.

This isn't the first of my sci-fi/fantasy work. "Dark Hollow" appeared in the Fall, 2000 issue of Space and Time, and its semi-sequel, "At the End of the Path", in the July/August 2002 issue of AHMM. And I've written a few others that have showed up in various places.

But here's the thing, innumerable authors, far better than I, have done the same thing. To wit:

DoAndroidsDream.png
a/k/a Bladerunner
  • First off, I would argue that every ghost story is also a mystery story - why are they there? Why won't they leave? Why won't they leave us alone? What do they want? Etc.
  • "Dracula", in case you've never noticed, is a mystery as well as a horror/fantasy story. It's not my fault that Jonathan Harker is a lousy detective, at least compared with Van Helsing.
  • Isaac Asimov - who wrote about freaking everything (says the owner of his "Annotated Gulliver's Travels", which I highly recommend) wrote 66 stories about the "Black Widowers", mostly published in EQMM. There's also The Caves of Steel, introducing policeman Elijah Baley and robot detective R. Daneel Olivaw.
  • Ray Bradbury's work switches regularly between fantasy (he himself claimed he never wrote science fiction) and mystery/horror (Something Wicked This Way Comes).
  • Len Deighton's alternate history novel SS-GB, about a British homicide detective in Nazi-occupied London.
  • J. K. Rowling's Cormoran Strike mysteries (which, to be honest, I have not yet read...) The Cuckoo's Calling and The Silkworm.
  • Douglas Adams' Dirk Gently's Holistic Detective Agency. (Delicious!)
  • Stephen King has been writing horror/sci-fi/fantasy/and now Westerns, so you figure it out.
  • Our own Melissa Yi recently posted about being a finalist for the Roswell Award for Short Science Fiction http://www.sleuthsayers.org/2015/04/the-writers-dilemma-risk-vs-reward.html
  • and Melissa just posted about some modern mash-ups of mysteries and werewolves (and other creatures) in Monday's post: http://www.sleuthsayers.org/2015/06/would-you-like-little-werewolf-in-your.html
  • And my personal favorite: that unique, beautiful, crazy, hilarious, and haunting mash-up of history, mystery, fantasy, and Chinese myth, Barry Hughart's Bridge of Birds: A Novel of an Ancient China That Never Was. I read it in one gulp at a library and went out and bought it that afternoon. (Can you tell that I used to teach Chinese history?)
    • Best quote: 'Immortality is only for the gods,' he whispered. 'I wonder how they can stand it.'
    • Seriously - go buy it, read it, just revel in it. An amazing work…
Anyway, I think this sort of switching between genres is pretty normal and fairly common. When you're killing people [fictionally] for a living, sometimes you need a wider horizon, or a shift in time, or a shift in dimensions in order to get the point sharpened, the point across, the point driven in.

And really, given the basic universals of pride, anger, envy, greed, lust, gluttony, and even sloth - and yes, I remember reading, long ago, a sci-fi story about murder by betrayal being done because of sloth - Anyway, given these universals it just doesn't matter about ages, universes, or much of anything else. It can always work. Anything is possible. Or at least wildly improbable.


And keep writing.

23 May 2015

Worst Typos Ever - Take 2!



It happened again, and this time it was my fault.

You know how it happens.  Spellchecker has an evil twin that changes your word by one letter, and you don’t notice it until it goes to print.  

Public becomes Pubic.  Corporate Assets becomes Corporate Asses.  The Provincial Health Minister becomes Provincial Health Monster.  We’ve all been there.

Readers may recall that last year, I wasn’t too happy when the virtual blog tour company paid by my publisher changed the title Rowena and the Dark Lord to Rowena and the Dark Lard.  Sales were not stellar.  However, the hilarity that ensued was probably worth the typo.  Seems there were all sorts of people willing to suggest alternative plot lines for a book about Dark Lard.  Many were a mite more entertaining than the original concept (she said ruefully.)

Here’s a small sample:
Protagonist moves back to Land’s End and opens up a bakery.

Protagonist and love interest return to Land’s End and become pig farmers.

Protagonist messes up another spell that causes all who look at her to turn into donuts.

It’s enough to make a grown writer cry.

Well, this time I did it to myself.

REALLY not cool to request a formal industry review for a book and misspell the title.

No matter how it reads, "Cod Name: Gypsy Moth" is not a tale <sic> about an undercover fish running a bar off the coast of Newfoundland...

That wasn’t enough.  People were quick to respond with suggested plot lines on Facebook.  Other authors (22 in fact) had to wade in <sic>.

he'd have to scale back his expectations - a bar like that would be underwater in no time.

and here's me waiting with 'baited' breath

Readers will dive right into that

That's a whale of a tale

that book will really "hook" a reader

Smells pretty fishy to me

definitely the wrong plaice at the wrong time.

We're really floundering here; no trout about it.

Okay!  In the interest of sane people everywhere, I’ll stop on that last one. 

The real name of the book? 
CODE NAME: GYPSY MOTH
“Comedy and Space Opera – a blast to read” (former editor Distant Suns magazine)
“a worthy tribute to Douglas Adams”  (prepub review)

It isn't easy being a female barkeep in the final frontier...especially when you’re also a spy!
Nell Romana loves two things: the Blue Angel Bar, and Dalamar, a notorious modern-day knight for hire.  Too bad he doesn't know she is actually an undercover agent. 

The bar is a magnet for all sorts of thirsty frontier types, and some of them don’t have civilized manners. That’s no problem for Dalamar, who is built like a warlord and keeps everyone in line. But when Dal is called away on a routine job, Nell uncovers a rebel plot to overthrow the Federation.  She has to act fast and alone.

Then the worst happens.  Her cover is blown …

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