Star-gazing in Seattle

 

In August my family went to Seattle for the World Science Fiction Conference. Worldcon is a huge annual event (more than 6,000 full members, plus hundreds more who dropped in for at least one of the five days).

A few of the panels I attended: *Why Anthologies?, *No Wrong Way to Write Folk Songs, *Bring on the Bad Guys,  *Alternative Histories from Outside the West, *Cascadia's Many Climates, *Growing Food and Eating in Space, *The Sounds of the Sound,  *An Hour of the Strange, Unusual, Creepy, and  *Home Recording for Non-Techies. 

A lot more than rehash discussions of Star Trek, huh?

I spent a few hours on the Information Desk answering questions for attendees (often the answer was "I don't know." Communication in an ever-changing environment of 6,000+ people is a challenge).  Notice in the picture that some brilliant soul wrote out all the FAQ's, and even put them in alphabetical order.  My people!

One of my favorite totally random moments: I was on an escalator going up while a man going down yelled at his phone: "Stop autocorrecting piroshkies!" Very good food around the Seattle Convention Center, by the way. And speaking of food, Anne Harlan Prather passed on a bit of advice she received for people with a lack of appetite: Eat brightly colored things. They are full of anti-oxidants. 

The Hugo Awards were given out.  They are similar to our Anthonys, voted on by the convention members. I mention this because the winner of Best Novel was The Tainted Cup by Robert Jackson Bennett, which was also a finalist for the Edgar Award for Best Mystery Novel, and how often does that happen?  I read it and it is terrific.  Think Nero Wolfe on a planet where most of the technology is based on vegetation.

Some actual titles panelists mentioned: Lesbians in Space: Where No Man Has Gone Before, 101 Horror Books to Read Before You're Murdered, Thyme Travelers, "Syphillis Sysiphus," My Tropey Life: How Pop Culture Stereotypes Make Disabled Lives Harder, and Unidentified Funny Objects.

A few panels deserve more discussion. One was "Is it Appropriation? Writing the Other."  Moderator  James Mendez Hodes said "A cultural consultant is when you hire someone to tell you you're a racist." Hodes is, of course, a cultural consultant. Panelists talked about outsiders "wearing the culture as a costume."

When asked for an example of cultural appropriation Annie Carl talked about  able-bodied actors playing disabled characters. (She noted that the blind engineer in Star Trek: Strange New Worlds was played by a blind man. I might note that panelists also enthusiastically supported Killers of the flower Moon and Chief of War.) Gregg Castro talked about "Indian shopping," which is when writers looking for a Native American who will approve whatever they hope to write. Panelist K. Tempest Bradford runs an educational website, Writing the Other.  She noted that after a certain Beyonce song came out White friends asked her to explain it. "Am I the Beyonce whisperer?"  Shay Kauwe said, approximately, that writer friends will ask her "Can I do this?" when they should be asking "Should I do this? Why am I doing it?" 

I loved the Editing Pet Peeves panel.   Elektra Hammond won my heart by saying her number one complaint is authors who give characters similar names.  Yes!  Another panelist mentioned an author who sent a book pitch to 100 authors - listing them all in the "To" line.  There was a lengthy passionate discussion of hyphens vs em-dashes and en-dashes.  Heather Tracy: "When in doubt ask your copy editor. They will be happy to talk to you for an hour about em-dashes." Editor Atlin Merrick: "I have had new writers treat me like a servant." Also Merrick: "Read the guidelines and you're in the top 30%. Be easy to work with and you're in the top 10%. Send me humor you're in 5%."

The panel on anthologies was particularly interesting. One panelist called them "curated collections." Publisher William C. Tracy pointed out that they are more expensive, since so many writers need to be paid. A lot of them in the science fiction field are funded by kickstarters, with an average of $7500 being raised.  

Oh, and as for payment, here's a shocker.  Reckoning Magazine pays 15 cents per word, Clarkesworld almost as much. 

Come back in two weeks for my favorite quotations from the con.  Until then, keep watching the skies!

Who Ever Imagined?

 
I don't suppose what follows is much use except as an exploration of how a writer's brain works.  How this writer's brain works, at least.

I have mentioned before that I listen to a lot of podcasts from the BBC.  They occasionally do radio episodes of the TV show Doctor Who.  (If you are not all familiar with the show I have prepared a brief primer in the sidebar.)

Why go audio with a video show?  For one thing audio is a helluvalot cheaper.  (Compare the cost of building an alien courtroom to the cost of having an actor say "Gosh, this seems to be an alien courtroom.") But it also allows actors who have "aged out" of their parts  to return.  Fans can visualize what they looked like many years ago.

Some Doctor Who episodes involve actual events in Earth's history (I don't know how many explanations we have seen there for the destruction of the dinosaurs).  A few years ago there was a nice one about Rosa Parks.  Of course there had to be a science fiction element - in this case a space-bigot who wanted to prevent the Civil Rights movement.  I noticed the show runners were very careful to avoid suggesting the Doctor and companions had influenced Parks' actions (They didn't want anyone saying: "It was actually White British aliens running things all along!")

So, one day I was listening to yet another BBC podcast, this one about history and I thought "Hey, that would make the perfect setting for a Doctor Who episode!"  So I started figuring out the premise.

And then for the next two days as I pedaled around town on my PlotCycle(tm) I figured out how the science fiction element fit in.  Finally I had it perfect!

And then what?

Then nothing.  Because I have never written a radio drama, have no connections with the BBC, and I don't write fan fiction.

All of which I knew when I first had the idea.  But I still had to prove to myself that I could work the whole thing out, because that's how a writer's mind works.  At least this writer's mind.

Now, back to a project I can possibly sell.

A Case of Scotch

Stirling Castle

 My family recently returned from a trip to Scotland, which we mostly took to attend the World Science Fiction Conference in Glasgow.  Here are some highlights of the trip.

Stirling.  We spent the first few days in Stirling, a city with about 50,000 people, and a ton of ghosts. I say that because it is one of those places where  history kept piling up.

If you happen to be in England and you want to take 

Stirling Beheading Stone. Step right up.

your  army into the Scottish highlands for a little light pillaging and looting you pretty much have to find a way past Stirling.  That's why the battles of Stirling Bridge and Bannockburn loom large in the nation's history (and are inaccurately represented in Braveheart.)

It's a fun city to visit, with an amazing castle.  Mary Queen of Scots was crowned there, to name just one event. Those of us who are crimey-minded should also visit the Old Town Jail where costumed actors give you a tour of the building built in 1847 to replace "the worst prison in Britain." 

Oh, Stirling is also home to Bloody Scotland, the International Crime Writing Festival. Unfortunately for me, it doesn't happen until September. 

Edinburgh. Truth is, we hadn't planned on visiting Stirling, instead expecting to spend a few days in the nation's capital, one of my favorite spots in the world.  Then I literally woke up in the middle of the night 

Fringe Mob

thinking: "The Fringe!" In August Edinburgh hosts five international art festivals, but they pale beside the Festival Fringe which seems to bring every comedian, musician, and drama group in the British Isles to Auld Reekie.  Rooms are famously expensive and hard to find.  So we made a day trip by train from Stirling.  We had a good time, even fighting through the crowds which seemed to consist of equal parts tourists, buskers, and people handing out pamphlets for shows.

Glasgow.  Eventually we went on to the main event.  As I have said before, Bouchercon, the biggest event in our field, could hide in one pocket of Worldcon without being noticed.  For example, you could fit ten Bouchercon dealer rooms in this year's Worldcon book room, and that doesn't even count the equally large space holding exhibits from universitiies, literary and scientific societies, and food trucks (yes, inside).

And this goes on for five days.  Even friends much younger than me said it was exhausting. So here are a few of the exhausting categories of events.

* Readings.  I attended a reading by John Scalzi who specializes in humorous science fiction.  He was nominated for the Best Novel Hugo Award this year for a book with criminal connections.  Starter Villain is about an unemployed journalist who unexpectedly inherits his uncle's business, as a James Bond-style evil genius.  It also involves talking cats. Why not?

Scalzi read from his next book, When The Moon Hits Your Eye. Halfway through  he reveals the book's insane major premise. Then he gave us a devilish smile and said "I wrote this! And I bleeping got away with it!" I look forward to reading the novel when it comes out.

I have mentioned Jo Walton before.  She wrote the best alternative history mystery novel I have ever come across.  She read part of an essay called "Why I Read," which was terrific. 

* Table Talks, At a table talk,  ten lucky attendees got to sit down for an hour chat with an author.  I put in my name for several and was selected to meet with Ellen Datlow, a major editor of science fiction and horror anthologies.  I learned a lot.

* Workshops. E.M. Faulds and T.H. Dray ran a useful  workshop on reading out loud for authors.  Everyone got to do a brief reading and get critiqued.  My favorite comment was: "Emphasize the right words. No Shatnering." 

* Panels. There were dozens, if not hundreds. Some I attended: Ancient Cultures, Religion in Science Fiction, and Alternate History,

I also saw one on Fairy Tales. This included a discussion of queer interpretations of the stories. ("The Little Mermaid" may have been inspired by Hans Christian Andersen's love for a man, for instance.)  Then there's the eastern European tale "The Girl Who Pretended to be a Boy." Let's not tell certain parents groups about that one.  

Me on the last day

They also discussed something I had heard before:  the oldest story we have any record of may be "The Seven Sisters." (Seven maidens are pursued by a hunter and escape by turning into the constellation known as the Pleiades.) This story has been found all the way from Greece to aboriginal Australia, and usually includes seven stars, although only six have been visible for tens of thousands of years.  Cool, huh?

I also attended a workshop  on  Jim Henson.   Someone pointed out that one of Henson's recurring themes is found family (think of Kermit gathering up his tribe in the Muppets Movie, for example).  

During the question period an audience member told us that she had worked at the studio that made the Muppet Show and assured us that all those people loved each other just as much as you hoped.  

She also said that she would often see a director talking about a scene with a puppeteer. Then the puppeteer would raise his arm and the director would start speaking straight to the Muppet.

By the way, some of the panels were videoed so we are still enjoying them at home.

* Volunteering. I spent an hour in a green room fetching drinks for panelists, and another handing out info packets to panelists and Hugo Award nominees.  Each volunteer hour earns you a groat, a plastic card that most of the dealers accept as two pounds.

* Parties!  Every night featured parties sponsored by committees hoping to have future Worldcons in their cities.  (Next year will be in Seattle. 2026 in Los Angeles.)

I was also invited to a party for Flame Tree Press authors.  They produce mostly horror and science fiction, plus collections of ancient legends ("Story-telling from the distant past to the future"), but I managed to sneak into their Chilling Crime Stories volume.

Okay, that's way more than enough.  Next time, as you may have guessed, I will provide some words of wisdom from the panels.

Quotable Chicago... In Space!

 

As promised last month, here are some quotations from Chicon 8, the World Science Fiction Conference which I attended in Chicago in September.  Unfortunately, all context for the quotes had be quarantined due to covid concerns.

 "Science fiction is about upsetting society.  Mystery is about restoring it."        - Roberta Rogow

"I wrote this book but in a way the book wrote me.  It was cheaper than therapy." - Shelley Parker-Chan

"Every medievalist's favorite movie is Monty Python and the Holy Grail.  It's the only accurate one." - Jo Walton

"Terrorists are political illiterates." - David Gerrold

"Neil Gaiman could write a haiku about his intestinal issues and it would be made into a hit movie about one man's struggle with colitis." - John Scazi

"Writers have a sort of Stockholm Syndrome with the protagonist." - James Patrick Kelly

"A lot of scriptwriters think of a published novel as a piece-of-shit first draft they can work from." - Meg Elison

"I can really sell integrity." - Adam Stempel

"How does time work?  Ask your grandmother.  She's seen more of it than you." - Joe Haldeman

"I have a five part answer to that.  The first part has sixteen parts. " - John Scalzi

"Rule Number One: Do not time travel to a war." - Connie Willis

"I'm a child skeptic.  Do they really exist?  They're always fuzzy in photographs." - Paul Calhoun

"Use problematic authors as a motivation to write a better book." - Suzanne Palmer

"Who among us has not wanted to be a pregnant horse?" - John Scalzi

"You hear about someone who does bad things and it turns out they had a bad childhood.  So what?" - David Gerrold

"The urge to always have novelty leads, ironically, to the oldest conspiracy theories." - Kenneth Hite

"The current scam is  cryptocurrency.  It's tulips." - Connie Willis

"My mother was a car and we lost her in a terrible space rotary accident." - Suzanne Palmer 

"I have a hard time watching Star Wars.  Those poor stormtroopers.  Did they all volunteer?" - James Patrick Kelly

"How do you write time travel stories?  With a manual typewriter." - Joe Haldeman

"You can put whatever you want in a burrito.  This is a free country." - John Scalzi

"If not us, who?  If not together, how?" - Suzanne Palmer

Outer Space and Eastern Illinois

 

A week before the mystery community headed to Minneapolis for Bouchercon, I, contrarian that I am, went to Chicago for Chicon 8.  That was the 80th World Science Fiction Conference.  As I have written before, science fiction fandom is our field's bigger and older sibling. Chicon went for five days, had about 3,400 attendees, and had 1,404 events listed.  Impressive as all heck. 

First thing to say is, they took covid VERY seriously.  Everyone had to have proof of vaccination and had to stay masked.  The photo above shows me wearing my volunteer vest, walking around looking for trouble (literally), which included reminding people to wear their masks.  (I encountered three people who needed the hint, and all complied without argument.)  In spite of this, the Con management informed us that 60 attendees reported to them testing positive within five days of the convention. That's about 1.8%.  Does anyone know the number for Bouchercon?  

Let me tell you about some highlights of a few panels I attended.

Best Science Fiction / Fantasy Murder Mysteries. I added a few titles to my Must Read list. (See the covers of some of these titles on this page.)  

Roberta Rogow made an interesting argument: It is easier to write genre-crossover novels these days because, unlike brick-and-mortar bookstores, online stores are happy to place a volume in as many places as it belongs.

Someone on the panel quoted Walter Mosley as saying mystery is simile and science fiction is metaphor.  That requires some contemplation, I think.

At the end of the panel Mark Painter said he had been trying to remember the earliest example of an SF mystery he had seen in a visual media.  He decided it was "The Conscience of the King" from the first season of Star Trek.

Someone replied: "What about the one where Scotty was accused of murder?"

"'Wolf in the Fold," said Painter.  "And the one with Elijah Cook, Jr."

"'Court-Martial,'" I called from the audience.  And added: "How do we remember this crap?"

Fortunately everyone laughed.  And speaking of Star Trek...

Remembering Nichelle Nichols.  The actress who played Lieutenant Uhura in the original series died last month and fans met up to say how much she meant to so many people.  (Whoopi Goldberg at age five: "Mommy, there's a Black woman on TV and she's not a maid!")

David Gerrold, who started his career at age nineteen by sending an unagented script to Star Trek ("The Trouble With Tribbles") was friends with Nichols for half a century and said she "moved in a bubble of charisma."

I highly recommend the documentary, Woman In Motion, which tells how NASA recruited Nichols to encourage women and people of color to apply for the space program.  Amazing story.

The Origin and Evolution of Conspiracy Theories.  Kenneth Hite says the oldest example of conspiracy theory in the West was the Roman hunt for followers of Bacchus, 2d century BC.  This same pattern was later used for persecuting the Christians, who copied it for attacking the Jews.  He also says forget about QAnon; the highwater mark of conspiracy theories in the United States was the Anti-Masonic Party, which ran candidates for president.

Time Travel.  The legendary Joe Haldeman, born in 1943, explained "I am from the past."

Connie Willis, one of my favorite SF writers, said that on a panel she once explained how she uses time travel in her books and a physicist complained "'That's wrong.  Time Travel doesn't work that way.'  I said: Has there been a breakthrough since this panel started?"

What happened After My Story Got Optioned.  John Scalzi reports that a producer once tried to option one of his books to prevent other companies from making it and competing with the producer's film based on another book. Another of his books has been optioned continually for fourteen years.  "It paid for my daughter's college education."

Meg Elison had her book optioned by a screenwriter who only heard of it because one word in the title matched the title of a TV the writer had been streaming, so Amazon suggested it.

The Middle Ages Weren't Bad.  Several historians argued that the so-called dark ages get a bum rap.  Ada Palmer, who studies the Renaissance said:  "My period  was mean to your period and I'm sorry."  She said there is a lot more Renaissance art than Medieval art because we destroyed so much of the latter.  During World War II the allied pilots were forbidden to bomb Florence, to protect all that pretty stuff, but cities with older art were fair game.

When did the Early Modern period begin?  Palmer says there is a disagreement of 400 years depending on which field you ask, because they all want to claim their favorite work as modern, not part of that tacky ol' medieval stuff.

David M. Perry said medieval people loved democracy.  They formed groups, created complicated by-laws, and voted on stuff.  They just weren't allowed to run their governments that way.

Palmer recommends historical fiction about Europe written by Asian authors, who look at things quite differently than us.  

Morally Ambiguous Characters. James Patrick Kelly invoked our field for this one, saying his favorite morally ambiguous hero is Sam Spade.

David Gerrold said the morally ambiguous character does the right thing for the situation, although in another situation he would be horrified by it.    

And just for giggles, here are the names of some panels I did not attend:

* More than Sexbots and Slaves

* If It's Not Love, Then It's The Bomb That Will Bring Us Together

* I'm Trapped Here For An Hour!  Ask Wes Anything!

* Why is the U.S. Banning and Challenging So Many Books?

* Werewolf Torts and Undead Tax Liabilities

* Abolition and Our Future: Imagining a World Without Police

* Let's Talk About Consent, Baby

Next time I will offer some of my favorite quotes from the Con.  Until then: Keep watching the skies!

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.

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

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. 

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.)

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.

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.

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

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.

Kids! Build a railgun on your kitchen table!

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.

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!