Just a geek who lives in Olympia, WA with my wife, son, and animals, writing fiction that he hopes will make the world a better place someday.
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A recent commission I did for a couple! …except I changed...

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A recent commission I did for a couple! …except I changed the words here because their words were for them, and these words are for a whole lotter other people.

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Even More Obligatory Author Shilling

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Harry Connolly posting again, while Charlie hammers away at his work.

I'll confess that I was startled when I saw Elizabeth Bear's earlier Obligatory Author Shilling post. Sadly, my first thought was "Is that even allowed?"

As in: Are we allowed to confidently tell readers about our books? Are we allowed to talk about our books as though they're good things that readers would enjoy, without a whole shitload of fancy footwork first?

What can I say? The Imposter Syndrome is strong with me. But I'm going to follow Bear's excellent example and write a straight up post about my new book, which drops today.

It's an urban fantasy called A Key, an Egg, an Unfortunate Remark and it's the last fiction stretch goal for my Kickstarter.

Here's the cover:

Key/Egg cover
Art and design by Duncan Eagleson

Readers familiar with my Twenty Palaces novels be warned: this isn't that. Key/Egg is a pacifist urban fantasy. In a genre where protagonists routinely behave as though they live in a lawless frontier where every problem must be solved with a bullet from an enchanted Glock, this is a book where problems are solved through diplomacy and trickery.

Also, in a genre filled with 20-something ass-kickers, the protagonist is a woman in her mid-sixties who's a cross between Auntie Mame and Gandalf. Why should older characters be constantly relegated to expository roles?

The story is set in modern-day Seattle, and involves one of those murders that Leads to a Larger Scheme. If you're a long time reader of James Nicoll's LiveJournal and you read to the end, you'll know why I thanked him in the acknowledgements.

Anyway, after the bleakness of the Twenty Palaces novels, I wanted something light and fun. This is it; a thriller without violence.

Check out some sample chapters here. Thanks.

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pawnstorm
83 days ago
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This looks awesome.
Olympia, WA

The Illusion of Ability

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Talent, or ability, by itself, is overrated. So is pure intelligence. Over the years, I have seen so many people with great talents, and others with incredible intellectual brilliance, fail, sometimes catastrophically, in a range of fields and occupations. I’ve seen executives who not only knew their market, their customers, and their products, but who could explain and sell, stall in dead-end positions. I’ve seen brilliant attorneys crash and burn, and literally destroy their lives and themselves. I’ve known talented writers who flamed out, never to be heard of again. I’ve met singers with incredible voices, good looks, and great stage presence who never even made the lowest rungs of an operatic career.

A failing I’ve seen far too often over the years is the tendency of people with great natural ability or intelligence to reach for “short-cuts” of various sorts. From what I’ve seen, the tendency to want to shortcut the path to success is, for some reason, highly linked to people with great natural abilities, almost as if they have the feeling that, because of their talents, they really don’t have to learn what other people do. That’s exactly why most of those who try the short-cut route fail… because the shortcutters don’t learn enough to handle the situations in which they find themselves as a result of their initial – and often short-lived – success in obtaining what they sought.

Yes, every once in a great while a short-cut succeeds, or someone reaches great heights in their field on pure ability, and little else – and manages to hold on, but the odds are a hundred to one against either.

Talent, ability, intellectual capability… these are absolutely necessary components of success, but in today’s highly competitive society, where almost half the work force in the United States possesses a college degree, and close to fifteen percent has a graduate degree, and in a world economy, those are far from enough to assure success in any field, let alone outstanding achievement.

As I’ve mentioned before, dependability is a vital necessity, as is a modicum of congeniality, or at least moderate sociability… and, of course, the understanding that, no matter what the field, there is always a certain amount of just plain hard work involved, often nit-picking drudgery. I started out as a low-level economist, long before computers provided neat and nifty analyses of numbers and statistical patterns. I had to calculate the statistics from raw data, and I learned a great deal about statistics and numbers. From what I’ve seen over the years, as computers can do more and more, most “analysts” seem to know less and less what the numbers and computer-generated statistics actually mean… and what they represent.

I’ve watched with amusement as politicians, executives, writers, and business people delegate more and more of that “drudgery” to computers, subordinates, or consultants, and then discover that somehow their position, success, power, are slowly slipping away.

While some delegation is necessary, especially the higher one gets in an organization, every delegation results in a greater removal from the world, and that reduces one’s understanding of that world.

There are no good short-cuts, only short-run expedient short-cuts with longer-term and higher costs.

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Lockstep makes Locus's Recommended Reading List

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Once again, Locus Magazine has put me in their annual Recommended Reading List. This time it's for Lockstep (which will be out in paperback in March) but, in a twist, they've included me in the Young Adult category rather than Science Fiction.

I don't know how to feel about that.  I'm flattered to be told that I'm a success in the YA category, and I sort of understand why I'm there, in that Lockstep's protagonist is not an adult, there's no sex or graphic violence, and all ends well.  But since when were those things required to make something an "adult" book?  I wasn't writing a book to exclude a young audience, but then, I wasn't writing it to exclude an adult audience either.  When I was growing up, these categories weren't so distinct and the result was I was reading books like The Worm Ouroborous and Dune when I was twelve.  And why not?  My nephew read Ventus when he was the same age and had no difficulty with it; so what's with this YA stuff? 

I wrote Lockstep to consciously hie back to the classic space operas of the 1950s and 60s, but updated and--unlike every book that's used faster than light travel to generate its galactic empire--scientifically possible with what we know today.  That was all.  Whether kids read it or adults wasn't the point.

All of which means I'm overjoyed to be selected again for the list, and not at all upset to be in the YA category.  I just don't really understand why the category exists.  It's worrisome in that many potential adult readers who might really enjoy it may not even consider the book because of that categorization. That would be a shame for everybody involved.

Ah well.  Thanks, Locus, and everybody who's enjoyed the novel--whether you consider yourself an adult, a "youth" or (and this is what I hope) another kind of person who falls into no marketing category:  namely, a reader.

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kickingcones: Boop. Bringing this back. Let’s make the...

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kickingcones:

Boop.

Bringing this back. Let’s make the New Year an unexpected boop from all the poop. 

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Writing… and the Reading Comfort Zone

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One of many things I’ve learned in over forty years as a published science fiction and fantasy writer is that while readers span a great range of interests, backgrounds, and enthusiasm for the printed word, and some of those readers enjoy varying types of work, a great many readers have a fairly narrow comfort zone. Years ago, when I wrote The Towers of the Sunset, my editor, the venerable David Hartwell, asked, “Could you write this book in the third person past tense?”

“Why?” I asked. “It’s a better book in the third person present tense. It wouldn’t work as well in the past tense.”

“Because most readers are more comfortable reading books written in the third person past tense, and you’ll lose readers if this book is published as you wrote it.”

I persisted; David accepted the novel as written in the third person present tense, except he did want an expansion of the last part, and he was definitely right about that. He was also right about a number of readers not liking the use of present tense, especially when the book was first published, but those who liked the use of the present tense really liked it, and, as a result, I’ve gotten the impression, over the more than twenty years since Towers was published, that it has tended to be a reader’s most favorite or least favorite book in the entire Saga of Recluce, despite the fact that, since then, I’ve written other Recluce novels in present tense as well.

Then a number of years later, I wrote another book – Archform:Beauty – in which I told the story from the viewpoints of five different characters – in first person past tense. It got great reviews… and sold only moderately well. At times, a differing approach upsets both readers and reviewers, as was the case with Empress of Eternity, where the interweaving three narrative lines set in vastly different future time periods is based on an actual theory of time [not mine] suggested by Einstein’s work.

Readers also have expectations of a writer, and this was made very clear by the five books of the Spellsong Cycle and by Arms-Commander, the sixteenth book of the Recluce Saga, all of which were told from the female perspective, and all of which sold at lower levels than comparable books of mine told from the male point of view. I actually got comments and emails from male readers saying that they just couldn’t identify with a female point of view, that they weren’t comfortable with it.

Over the years, I’ve done a number of books that have incorporated, shall we say, departures from standard third person, past tense, straight line narrative, and there’s a definite bottom-line cost to continuing to write such books.

In general, the greater the degree of separation from “standard narrative,” the lower the comparative sales numbers were. For those of you who bemoan the “sameness” of so many books, you might bear in mind that professional writers do need to make a living, and when innovation reduces the publisher’s income, and correspondingly, the writer’s income, both tend to become more conservative. There are, of course, exceptions to this, but not, generally, among writers whose works support them. In fact, I’m probably one of a very few self-supporting full-time writers who produces a relatively divergent range of books, under the same name. I know a few other writers who try to avoid the sales drop-off and market to distinct classes of readers by using different pen names for different kinds of books, but I guess I’m just a bit old-fashioned, because, to me, that’s catering a bit too much to readers’ comfort zones.

In the end, I not only want to entertain and hopefully enthrall my readers, but also at least edge them out of their comfort zone to some degree, if not more, to get them to consider anything from a slight to a far different perspective, and like all writers, I doubtless have mixed success. But it’s still worth trying.

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