Why I Oppose SOPA

Posted: January 17, 2012 in Uncategorized

My Seattle, the Colosseum Theater

There’s an argument made about the rise of police powers, that you only have to worry about it if you’re breaking the law. I can understand why people would want to believe that. The idea that we live in constant threat of unfair persecution from powers far beyond our control is a terrifying one. But the un-nuanced view that only the guilty are punished and the innocent have nothing to fear is, at best, naive.

To say that government doesn’t have your best interest at heart isn’t paranoid, nor is it unfair. I’d do believe that government in general has what it thinks are your best interests at heart. And they’re going to miss the mark occasionally. And, in several proven incidents throughout history, our government, which is supposed to protect us all equally, has done some really unconscionable things “for the greater good.”

So why do I fear that Stop Online Piracy Act? I’m a creative content provider, after all, right? Don’t I want to stop piracy? Sure. But I think there are much, much better ways of doing it than resorting to jack-booted thuggery.

Surely our nation can do better, right?

I mean, it’s not like we nuked our own country 210 times over the period of 17 years, then tried to cover it up. (Yes, in fact, we did. It might have been at least partially responsible for the cancer that killed John Wayne, the most American of cowboys.)

At least we never secretly conducted experiments on the effect of mind-controlling drugs on civilians. (We did that too, actually. It was called MK-ULTRA.)

So, giving drugs to people, that’s kind of bad. Thankfully we didn’t actively withhold medical treatment by way of experiment. (Holy doodle, we did that too. In Macon County, Alabama, the U.S. Government participated in a 40 year study of syphilis in a poor black community without their knowledge.)

We also imprisoned a large ethnic group for a period of time because we were at war with their native country. But the internment camps weren’t exactly secret. We just don’t like to think about them. Maybe because we don’t want to consider that it could happen again. (While this could be the height of paranoia, the REX 84 plan has been heavily researched and documented. Sure, it might never happen, but it at least looks like it’s been considered as an option.)

And let’s say nothing about the irony of our country waging a war on drugs while flooding L.A. with crack cocaine. Because using drugs to undermine threats has been a proven tactic since Britain did it to China in 1817 through Canton (starting the First Opium War), if not sooner.

So we dabbled in drugs. These things happen. It’s not like we killed or deoposed world leaders to create more favorable diplomatic conditions. (Sigh. Of course we did. The Church Commission uncovered it while looking into the Watergate mess and put together a quite damning report.)

So, the Stop Internet Piracy Act is harmless. As long as we don’t pirate anything we’re fine, right? There are safeguards in place. Not exactly. If someone else posts a link on your site (Google+, Facebook, Twitter, etc.) that infringes on copyright, your site can be shut down from afar. This doesn’t affect real pirates, because the site is taken down by domain name, not IP address, and pirates don’t give a shit about that. Even if it’s not something you’d recognize as piracy, like you singing the latest Metallica song and it gets put up on your site (or again, just linked to your site), you could have 5 comfortable years in prison for the infringement.

And that’s just the tip of the iceberg.

In even the most optimistic reading of the bill, SOPA sucks out loud. In the more paranoid reading, we’re all one bad link away from being bent over the counter by some entertainment lawyer in a Mickey Mouse mask while the government that’s supposed to be here to protect us watches with polite golf claps.

I’m not paranoid.I love my country. I really do. It’s not perfect, but it’s damn near the best game in town. But I know my history, too. And I know better than to trust them blindly.

So my site will be going dark on Wednesday the 18th in protest. I know I don’t get enough views for anyone to care. But that doesn’t excuse me from doing nothing.

 

 

My dressing up as an alien monster days are far behind me.

If your fingers are on the pulse of the RPG circuit, you’ve probably heard that a new, 5th edition of D&D is on the way. Heck, even the New York Times is talking about it. Most of the world will only blink and take no notice. I mean, this game gets revised time to time, right? What’s the big deal?

I’ll wait for the cries of outrage to die down a bit before I continue.

My reason for the post isn’t that I’m outraged. Maybe I’m too cynical for outrage. Or maybe I’ve been involved in the hobby for long enough to be familiar with the evolution of the industry. Let’s take a very quick look at this in a historical context, shall we?

Don’t worry. This won’t be long or detailed. Grab a Mt. Dew and stay with me here.

D&D started in 1974, was revised into Advanced D&D in 1978, and then split into the mutant hydra of Basic, Advanced, Expert, Companion, Master, and Immortals over a period from 1981-86. It was a goddamned mess. That got us AD&D 2nd edition in 1989 which cleaned everything up and more-or-less became the standard for eleven years.

During those eleven years, things weren’t always milk and honey. TSR, the company that created the game, and most would argue, the hobby of Role-Playing, had been struggling. They sold the whole shebang to Wizards of the Coast in 1997, who I would suspect, got about revising the game as soon as the check cleared.

3rd edition came out in 2000, and it felt like a betrayal to a certain core of the players. After all, they had boxes of material that was now useless, and a whole new rule system to learn. I worked at a game store at the time and saw my share of “They’ll get my 2nd edition when they pry it from my cold, dead fingers!” But for every one of those, there were five people excited about the new start.

And why wouldn’t they be? The 2nd edition rules were a nightmare. It wasn’t entirely their fault, I suppose. TSR needed to make money, and they did that by selling product. And over the years they published a glut of new races, monsters, places, and yes, rules. 3rd edition was a great way for new people to jump in. Let’s put a pin in this paragraph. We’ll come back to it, because the economics of the game is important in understanding the hobby from a meta level.

And it worked. It worked so well that Wizards (now owned by Hasbro) revised the rules again, rolling out 4th edition eight years later. Where 3rd edition was divisive for revising old core mechanics, 4th edition was vilified for taking several of the sacred cows of the system and tossing them out entirely. While they tried to keep the spirit of the game the same, key play mechanics reminded people too much of video and tactical gaming. A lot of what they had come to love had changed significantly.

Personally, I was fine with the new additions. Yeah, it meant buying more books, but I was never the collector who had to have every book that came out. There was some genuinely fun stuff in 4th addition. Sure, the rules were different, but at the heart, it was still D&D.

And I’m sure that 5th edition will be much the same.

But I’ll admit I’m surprised and a bit confused over the open playtesting model that they’re doing this time around. It makes me think they’re trying for some kind of collaborative effort, seeking input from the gamers themselves over what they want in the game.

Best of luck. Try getting six people to agree on what kind of pizza they want. My people are fickle and opinionated. I was once part of a game session that fought for seven hours over whether we should turn left or right at a juncture. Now imagine getting hundreds if not thousands of gamers to have input on what is best for their hobby.

Either the input is going to be on the level of “Check these boxes” or “Rate the experience from 1-10,” or it’s going to be a nightmare. But that’s just my thoughts on it.

But why a 5th edition? Surely 4th edition couldn’t have failed so completely to justify that in such a short amount of time, right? Well, yes and no.

See, the dirty secret is, once you have the three core books (Players Handbook, Dungeon Masters Guide, and a Monster Manual), you really never have to buy another product from them again. Back in the old days, D&D wasn’t much more than going door to door in some forgotten place, killing things, and taking their stuff. A person with graph paper could put together their own map, but most people bought adventure modules. And that was the bread and butter.

Get a bunch of seasoned gamers together and ask them what their favorite modules were, I can pretty much guarantee they won’t name a single one from 3rd or 4th edition. Because the game changed more than just with rule tweaks. Dungeon crawling wasn’t enough. Players wanted a big world to stomp around in. They wanted towns and cities and intrigue. They wanted the campaign, a world that centered around them.

But for that, you’re looking at a whole other kind of product–less of an inexpensive adventure, more of a setting book. And the problem is, once you have that setting in place, the characters have an investment in that place, those people, and they aren’t as likely to move on to another. You didn’t have that with dungeon modules. Once you cleaned out the Demonweb Pits, you didn’t buy a pie shop and invest in the community–you went to another dungeon.

For the economic model to work, the publisher needs to keep people coming back buying product that, on a fundamental level, everyone recognizes that they don’t actually need to play the game.

And that’s a dangerous place to run a business from. You need to be able to provide compelling content that makes players want to come back.

And from the get-go, I think they realized that with 4th ed. Last time I checked there were three Player Handbooks, and certain player favorites weren’t available in the first one, nor in the second one. Want to play a Barbarian or Druid? Guess what, Chuckles, you have to buy the second book. But they made it worth it. They put all kinds of useful and fun play info in the books. Likewise with the books detailing powers and features for other classes (Martial Powers, Divine Powers, etc).  From that perspective, they did a great job of monetizing the game.

So, where did they go wrong, and again, why the 5th edition?

While I heard a lot of people bitch and whine about 3rd edition, they didn’t really change core game mechanics that much. Sure, they cleaned it up a lot and got rid of some anachronisms, but it was still the same game–just better presented. But 4th edition took a game that played just fine and made it, from a rules perspective, a different game. (And let us not speak of how they shut the door on 3rd party developers in the process–the genie in the bottle that 3rd edition let out.)

I know several games still running in 3rd (technically 3.5) edition. I can’t say that about 2nd edition. These are games that are doing just fine without ever having to buy another D&D product again (except dice, which Wizards doesn’t make, or minis, which they only do random blister packs for.) To add insult to injury, Paizo, one of the aforementioned  (but not spoken of) 3rd party developers who got screwed in the move to 4th edition, did their own retooling of the 3.5 rules and called it Pathfinder (though it’s essentially D&D 3.75). They’re doing pretty well for themselves.

If I had any advise for Wizards/Hasbro in their time of need, it would be this: go digital, and revitalize your fiction line.

I know you’re worried about piracy, but let’s face it–if you put out a print book, some dick with a scanner is going to make a digital version available for free to anyone with a bit of time on their hands to look for it. If you make reasonably priced digital versions available, people will buy them from you to a) support your product, and b) for convenience.

I may not need every damn book you publish, and I certainly can’t lug that library around from game to game. But if I can pick them up for $10-$15 each for my tablet as a searchable file, I would buy a whole hell of a lot more of them. Heck, sell a digital subscription service to download the books (and I’m not talking D&D Insider–that was some weak bullshit and we all know it.)

And you guys remember the Dragonlance Chronicles? My third wife wrote her college entrance essay about one of those books. Hello Notre Dame! Now, while you do still publish books (and a few damn fine ones–you need look no further than Eric Scott de Bie’s Shadowbane books and Rosemary Jones’ novels for proof of that), it’s almost an afterthought. Editorial staff turns over faster than, well, anywhere I can think of. And I understand, Hasbro, that you’re not in the business of publishing novels. But novels, well marketed and flooding the market, make people aware of the product and the world, and that in turn brings in new players. So I’d suggest you start taking it seriously because it could be money in your pockets.

And I’ll be watching the development of 5th edition. I won’t stop playing in my 3.5 game, and will continue running my 4th edition games. Because the pressure is on you, now. You have to show the gamer community that 5th edition is going to be an improvement to the game–not just an improvement in how you monetize it.

POV in Action

Posted: January 4, 2012 in Novels

The least terrifying bear ever


Remember that post from November about Perspective? (No? It’s okay. I’ve linked to it.). It came back to me after the editing/rewriting I worked on last night for my next novel.

The entire chapter was one scene–a street brawl between one of the three primary POV characters and someone posing a threat to his client. The chapter had originally been written from his perspective. But for logistical reasons, it made more sense to have the scene told from the viewpoint of one of the other primary characters. I rewrote it last year, changing the POV from that of a mature, one-legged former soldier named Franklin, to that of a young teen/failed suicide named Juliet. Then I moved on to the next chapter.

But when I got to the chapter in my massive fine-tuning project, the chapter read flat. The action was all there, and it was, for the most part, clearly narrated. I cleaned up the few confusing bits of action, and did some general tightening up, but it still didn’t sit right with me. That night, when it I was turning it around and around in my head (and, at least in theory, trying to sleep), it hit me. I had removed Franklin’s voice, but Juliet’s was nowhere to be found.

What I had was a relatively cold and distant description of physical activity. It was mechanical. That doesn’t work for sex scenes and it doesn’t work for action either–at least not for long stretches. So I tore the chapter apart again and asked the hard questions.

It wasn’t enough to describe what she saw. She had grown up seeing street brawls. She had an emotional connection to the fight, even if she didn’t have one to the people involved in this particular fight. But these characters will become important to each other later, so by letting her make observations and interpret them through the lens of her own experiences, I got to build that foundation.

It meant taking out sentences where she was too much in the fighter’s heads, second-guessing their motives. Instead, I had to focus on what she saw, what she thought it meant, and why. Every theory she had needed to be backed up with justification–not just simple statements.

The chapter went from showing Franklin overcoming a threat, to Juliet seeing how competently he dealt with the threat. Franklin started off as hero material. But it took Juliet seeing that and understanding why for him to actually reach towards that heroic potential.

The chapter started off as competent.

And competent just isn’t good enough for me anymore. Not when I know I can do better. And I can do better.

And now it’s a hell of a lot better. I might go so far as to say it’s pretty damn good.

Another two or three passes, it might even be great.

After all, isn’t that the whole point of rewrites?

Beginning of the End

Posted: January 1, 2012 in Novels


First off, Happy New Year. Welcome to 2012. If the Mayans were right, the clock is ticking. If basic human biology is right, it’s already ticking–it’s just that we’ll all wind down at different times.

On that cheery note, let me spin you a tale and share what I’m working on for the first part of the year.

Years ago, I had this idea of “What would happen if fictional characters got stuck here in this world and just had to find jobs and fit in?” Would Christopher Robin get his skinny ass killed by a bear in the London Zoo? Would Mary Poppins become a super-spy? You know…the questions of the ages, right?

Somehow, I spun that out into a story called “Ink Calls to Ink,” which I was thrilled to get published in both print and audio format by Wily Writers in February 2009. (It’s also available in their print collection, Night Mantled: Best of Wily Writers Year One. You know, hint hint.) It was a not-surprisingly twisted little tale about the Steadfast Tin Soldier, Goldilocks, and a little bit of ursine vengeance. And reading it for the audio podcast recording, Wily majordomo Angel Leigh McCoy suggested that it would make a great novel.

She’s going down in history as the person that made me write the resulting novel. Especially since it took a long time to wrestle that first draft out and I’m inordinately proud of it. The first draft was done at the end of November, 2010. It’s been sitting for a year. It went out to beta readers, I work-shopped the first chapter, and I got some great feedback. But for the most part, it’s been largely untouched for over a year while I did other things.

Now here, cats and kittens, is the decidedly un-sexy part of being an author. This is the part in the trenches, up on the front lines trying to bring order to the beast with rifle, bayonet, and your very teeth if that’s what it takes. I’m talking about the REVISION STAGE!

And I don’t care how good of an author you are. There is no first draft that wouldn’t benefit from a revision stage. Unless you’re that total freak statistical bit outlying of data who craps gold, you have to revise your novel.

That’s the thing you learn when you mature as a writer. You finish that first draft, aglow with accomplishment. Maybe you even dare to share a chapter with someone. Then you READ it and all you can see are the flaws, the blemishes, the things that NEED to be fixed. Or maybe even just DONE BETTER. That’s a good instinct. It means you’ve grown as an author. It means you take pride in your work.

It means that writing a novel includes a whole metric crap-load more than writing a first draft. Because if you want to DO anything with that novel (short of dumping it out on the internet as an poorly written curiosity for which you will pay, oh yes you will pay), it needs another pass. Then another. Then maybe one more, just to be sure.

I realized when I finished NaNo this year that I’ve written ten novels. TEN. And the last few were just written then set aside. If I were writing just to write, that would be one thing. I could print it up and set it in a drawer and say, “There you go. Get comfy, because you’re never coming out.” But a novel is a big time commitment, even just a first draft. I don’t want to spend that kind of time on something that, if I knuckle down and rewrite, I can actually sell.

And honestly, Ink Calls to Ink is an contemporary urban fantasy that I could sell in the current market. If, and only if, I take the time all books need to get it cleaned up.

So that’s what I’m doing for 2012.

I’m doing the edits and rewrites that Ink Calls to Ink needs, that it’s needed for a year. I’m glad I’ve taken the time to let it sit. I’ve grown as a writer and editor in that year, and those skills will be handy. Plus, I’m not as sentimental about it as if it were new.

Once that’s done, it’s on to either the rough first draft I turned over to a publisher last month for a first look, or to the mystery novel I wrote in 2010. Both will get the rewrites they need this year. It’s just a question of when.

I’m going to try and knock out a short story here and there–hopefully one a month–just to feed that creative need. But from here on out, we can’t stop now–it’s editing country!

The good news, I’m off a strong start. I did a hard two chapter edit already today, and hope to get in another chapter tonight. That will take me one-tenth of the way there.

Speaking of which, time to put on the coffee and get back to it.

The novel is waiting.

Con Planning for the Apocalypse

Posted: December 31, 2011 in Random Geekery


It’s not that I believe that the Mayans had some insider information on when the world would end. If they knew that, surely they would have seen the collapse of their own empire, right? But damned if I don’t love a deadline, even an artificial one. And what’s more of a deadline than the end of the world?

So it is with that cheery thought that I present my planned convention schedule for 2012. Plan to adjust your stalking accordingly.

  • March 30-April 1st — Emerald City Comic Con, Seattle, WA — Timid Pirate Publishing will have a table here, and we’ll be in full pimpage mode. Should be fun. And it’s downtown Seattle, so great after-con food and drink options for people visiting.
  • April 5th-8th –Norwescon, SeaTac, WA — Right after Emerald City, I get to roll into Norwescon, one of the conventions I never miss. I promise to be tired, a bit punch-drunk, and who knows if I’ll be on any panels. But I plan on being there, and staying either at the hotel or nearby.
  • September 21-23rd — Foolscap, Redmond, WA — A nice, quiet convention that feels like a 3 day writer’s coffee klatch. I never miss this one either, and might be taking part in putting together some writing workshop content. The novel outlining workshop I ran last year was a lot of fun for me, and I like to think useful for at least a few people.
  • November 1-4th — World Fantasy Con, Toronto, Ontario — This is the big one, ladies and gentlemen! My biggest convention ever. Come join me for exploring the city that Forever Knight made moderately famous. Land of poutine and maple leaves.

Hopefully I’ll see some of y’all there. I’m very approachable. And I promise to keep the dick jokes to a minimum. I am a professional, after all.

The Game’s The Thing

Posted: December 24, 2011 in Random Geekery

"Nut up or get off my damn ship!"

Here it is Christmas Eve. I’ve got a roast elf cooling on the stove top and a candy cane bourbon smoothie in the blender. Let’s take a moment to talk about games. And by that, I mean Role Playing Games (or RPG to my geeky brethren)

Earlier this year I worked on a role-playing game supplement for Galileo Games. It was pitched and written for their outstanding Bulldogs! RPG (Really, the reviews have been excellent and I’ve played the game myself. Damn good stuff!) Called Ports of Call, this source-book is a plug-and-play accessory that provides info on port cities, new playable species, NPC’s, and plot hooks suitable for any Bulldogs! game.

I’m not the best rules mechanic, but thankfully the system was easy enough to work with that it didn’t break me. Plus, Brennan Taylor and staff really know their stuff. It’s deep in editing last I heard, and they’re acquiring art for the book as I type this. My understanding is that the book is expected out in March of 2012.

You might ask me, (or you might not…you might have tuned out with mention of role playing), “Why write a source-book for an RPG? Aren’t you like a novelist or something?”

My response to that is, “You’ll have to take that up with my Dwarven Barbarian, Oskar.” And I mean it. Oskar is a feisty one.

See, for as long as I’ve been a writer, if not longer, I’ve been a gamer. And in my case at least, I’ve learned that to do something well in one arena pays off dividends in the other. I’m a better writer because I’m a better gamer, and vice-versa.

For instance, I can’t stress how important coherent world-building is when you’re working with really speculative fiction. If you’re not setting your story/game on earth in a recognizable time-frame, you’ve got to create a credible world for characters to go tromping around in. With fiction, it’s easy to just plot out the parts you need for your outline.

In a game, that can get you into trouble, because players are unpredictable. Don’t know what’s beyond that castle wall because you didn’t think you’d need it? Guess what, bucko? Your players are going over the wall, and you can either improvise and hope to make it cohesive, or you can build a world that accounts for these detours and makes sense. And guess what? Doing the same for your novel, while not strictly necessary for that outline, will save problems and questions if things get off track, and will make for4 a richer story even if things don’t derail.

With sci-fi such as Bulldogs!, world building is its own kind of nightmare. If the characters are on a ship that traverses the galaxy, you’re having to create a new world, culture, civilization every session or so. The options are to either do a ton of work every session, limit travel, recycle like crazy, or risk every planet looking just like the last one.

Ports of Call is meant to be a useful tool to help game masters out in this regard. Each entry is only a few pages, and gives them the essentials for a quick stop. It lets a game master throw together a game with very little preparation.

If I’m running the game, it’s exactly the kind of thing I’d love to have. And since I tend to write the stuff I’d want to read, this really shouldn’t come as a surprise to anyone. And something that helps me keep a game fresh is always welcome.

Speaking of keeping games fresh, a bit of a digression.

I’ve run several games over the years. Some last for a few years, some are one-night affairs. I’ve run space opera, spy, conspiracy, epic fantasy, horror, urban fantasy, pulp, and super-hero games. The common thread seems to be that they all end up somewhere dark and a little twisted. Even the epic fantasy has a darker element to it. While part of this is a result of my players, I’m still responsible for setting tone and plotting out the stories.

I was challenged today to consider a game of a different flavor. It got me thinking. Could I put together a game that focused on the lyrical beauty of a fantasy setting rather than the darkness? Could I run a game that was more unicorn than dragon? A lot of that will come down to players, but I think it’s possible. As I sit down to my Christmas feast of roast elf, I’ll turn my mind to the puzzle. And maybe there will be a Christmas miracle and I’ll figure out how to do this.

In the meantime, have a happy holiday. Oh, and baby Jesus called and said he wanted you to get a copy of Bulldogs! for his birthday. Might as well get one for everyone else you know while you’re at it. Heck. As a last minute gift, you can pick it up as a PDF instantly for cheaper than a damned CD!

Beware the wonders you are about to behold!


Pausing on the slow decent into madness that is the holiday season, it occurs to me to take stock. Sure, 2011 isn’t over yet, but I can New Years from my window, so it’s good enough. Anything that comes up between now and then will be a pleasant surprise, the icing on the gingerbread cookie, if you will.

It’s been a hell of a year. If feels like I barely slowed down, and there were legitimate concerns that I was overworking myself. So let’s break it down and see what I got done in 2011.

Short Fiction: I had five stories published this year. Among those, one was a dark little clown noir story in a market I’ve been wanting to crack for a few years. One was the first non-Timid Pirate appearance of a Cobalt City character. One was the lead-off story in an anthology with a great table of contents. While five stories doesn’t feel like a lot, each individual story meant a lot to me. And I honestly didn’t spend much time sending out stories this year, so percentage wise, it felt great.

Novels: I finished my 10th novel last month. That leaves me with three books that I need to do rewrites and polishes on in the coming months. One is for a specific publisher, one is my mystery novel Murder Frontera which I need to polish and get on the agent hunt, and the third is the one I’m taking to World Fantasy in Toronto next year. That’s a lot of editing, rewriting, and polishing. But I have the tools I need and a good start, and I’m anxious to get underway.

Podcasts: We had three six-episode scripts that I wrote for the Cobalt City Adventures Unlimited audio drama podcast get recorded and produced (the third is in production now). And we won the Parsec Award for Best New Speculative Fiction Podcast or Team for 2011, so that’s something to be proud of. I also did several readings for the Wily Writers podcast and had some lovely thanks from two of the authors I recorded.

Publishing: Timid Pirate put out three original fiction anthologies this year. The third one, Finding Home, is not only the largest one we’ve done yet–it’s also got a ton of great stories! I’m super proud of what we’ve been able to do in just our first year, and of the authors for whom we were among their first publications.

RPG Work: I guess this is semi-official because I’ve seen the publisher Tweet about it. I wrote a role-playing game sourcebook for the Bulldogs! RPG earlier this year called Ports of Call. It’s deep in the editing process now, and I don’t know much more than that. But as gamer for the past 30 years, getting to do a sourcebook is kind of living the dream. Even better, it’s for a great game that’s incredibly well reviewed, and published by some genuinely awesome people. If you’re a gamer who likes their sci-fi with a side of blaster pistol, this is the game for you.

Community: Our little writing group that was homeless after a fire late last year at our main venue not only survived but blossomed. We added several new, talented, and dedicated writers to the table, and just expanded to a weekly group rather than meeting every-other week. I’ve said it before and I’ll say it again. Writing can be a shitty, miserable, lonely way to pass the time. But having people around to share that journey makes it all worthwhile.

Personal: I’ve made some good friends this past year, both here in Seattle and around the world. If a person’s wealth is measured by the quality of the company he keeps, then I’m the richest man in Bedford Falls. (Apologies to Jimmy Stewart and Frank Capra.) My health hasn’t been the greatest, but compared to the scare I had last year, I’m in doing great! I’ll take a bout of the flu or a bad cold any day over a massive sub-dermal infection! I’m still gainfully employed and I haven’t been arrested for lewd behavior or being drunk in public, or anything else for that matter.

Now it’s just tying up some loose ends and clearing the decks.

2012 is right around the corner!

Unexpected (Fictional) Deaths

Posted: November 25, 2011 in Novels

Tiberius Kane is coming for you, punk.

I’m the kind of guy who needs to write novels with an outline firmly in place. Now, it’s nothing too super-detailed. In the case of No Escape from Planet Motherfucker, it consists of four pages, and about 1,700 words, a chunk of which is character notes. I have each chapter notated with a few sentences about what I hope to do with the chapter, maybe a line of dialogue if it comes to me in the outlining process.

The point is, it still leaves a certain amount of room for surprises.

For instance, I somehow thought I might build some sort of relationship chemistry between the captain of the ship and the newly hired pilot, a re-commissioned nanny-bot called Anibell. But the problem is, the two of them get split up reasonably early in the book, and both have serious character exploration when they’re isolated. That doesn’t make for relationship material. Meanwhile, I had two support characters who were trying to figure out how to rescue their missing crew members.

But here’s the deal. If the narrative is split into three relatively equal portions, then you don’t have two protagonists and support characters. You have an ensemble cast. I just didn’t realize that when I outlined.

The distinction isn’t a minor one. I had plotted out character arcs for the captain and pilot. They were going to grow and learn and all the things you want from main characters. The other two were comic relief.

Except they weren’t. Not really. In fact, because they had so much time to interact with each other, they ended up developing in ways I hadn’t planned on. One character, a philosopher who has gone through some rough career changes, ended up channeling my father who died about seven years ago. That was weird, but it made sense. They were both philosophers, and they had some similar world views.

Then they came up with pet names for each other: little twig and big blue. Where the hell those came from, I don’t know. But their dialogue came naturally to me, and it carried those names with it.

Then the pair splits to do separate things as we near the big second turning point. He’s already been a bit introspective. She’s enthusiastic. She calls him handsome as she leaves.

And I realized that these two had the budding of a relationship that I never saw coming.

Less than a minute later, I realized that I needed to kill one of them because of it. I had to step away from the computer for bit when I realized that. But it was true. It was right. One of my heroes was going to take a dirt nap by the end of the novel.

Yes. Say it. I know you want to. I’m a fucking monster.

Why can’t I let love live?

Maybe it’s because I’m a heartless bastard who wouldn’t know a healthy relationship if it wrestled him to the ground. Maybe it’s done to respect the source material and show just how dangerous and disposable these character’s lives are. Maybe it’s a direct order from my dark master Joss Whedon. Or maybe, and hear me out on this one, maybe it’s because it makes for the stronger story.

I’ll let you decide when you read it.

And no, I won’t tell you which one I’m going to kill. One, I don’t want to spoil the surprise. And two, I haven’t written it yet and I may surprise myself along the way. Shit. Maybe I’ll kill both of them. How’s that for a giant middle finger to romance?

After all, the books isn’t called No Escape from the Planet Healthy Relationship.

That Late Night Perspective

Posted: November 23, 2011 in Uncategorized

This tree, visible from my window, had been daring me to photograph it for days...

I am occasionally reminded that I truly am my father’s son.

My dad was a complex amalgam of a lot of influences and a lot of labels. We acquire these things as we go through life. Sometimes they define us. Sometimes we let them limit us. Stick a pin in that idea, because we’ll be back to it.

My dad was, among all else, a philosopher. It was what he got his undergraduate degree in. He was, more specifically, an existentialist with a strong interest in Sartre. I can feel your eyes glazing over, but don’t worry. This is a means to an end. This is just a way to discuss perspective.

In a nutshell (and a grossly oversimplified one at that) existentialism says that the individual is solely responsible for giving their life meaning. It is largely about freedom, and being able to find your own truth to live your life passionately and sincerely. I fully expect a philosophical beat-down over that definition, so I encourage you to go to your library (i.e. Wikipedia) to learn more at your leisure.

So here we are. The responsibility of the individual to figure their own shit out. Why is that important? Take something as simple as a tree growing in a park. Two people, standing side by side looking at the tree will not see it in the same way. In essence, they are looking at two different trees. This is because of perspective–both external and internal.

The external one is the easiest to explain. From even a slightly different angle, the light, the shadow, the line of sight, will vary from person to person. Both will see it as a tree, of course. This isn’t a magic show we’re doing here. But this is about more than a tree. This is about your life, so let’s look deeper.

There we find the internal perspective. This is where we go back to that pin we placed earlier. An old man may see the tree as something that grew from a sapling he planted, while a father in his middle years might see it as something he’ll have to rake up after come fall, and a child will see it as a thing to climb. Same tree, but at the same time, very different. I have a very different reaction seeing a maple tree blaze red in the autumn (as evidenced by my photo up top) because we didn’t have those where I grew up. To me, they remind me of my new life here in Seattle, while someone who grew up in Vermont might think of home in the same way an Aspen tree makes me think of home.

Now it isn’t a tree we’re looking at any more. It’s our entire life. It’s the meaning to our entire life. No one has the same perspective on it as you do. So why should you let them define it?

So why is any of this important? Two thoughts, and both a matter of perspective.

One is a lesson. We are bombarded by news constantly in this culture. A good friend who’s opinion I value, had a different perspective on the recent incident at UC Davis. While we were both angered at what happened, we were of two minds on the matter of the responsibilities of the witnesses. Neither of us was Right in an empirical sense of the word. Neither were we Wrong. Because Right and Wrong are ultimately labels, human constructs, moral judgments built on a shifting terrain. (As an aside, being ten and having an argument with your father about Good and Evil and being told that the words don’t actually mean anything will ultimately fuck a kid up in the long run. Case in point.)

What is right is a matter of perspective, filtered through our upbringing and our own life experiences. The take away from this is that it’s real goddamned easy to take the stance of “I’m right and you’re an idiot” without considering that the other person might have a very good reason for disagreeing with you that you never considered because, at the end of the day, he isn’t you. So try and avoid a dogmatic stand if you can. Be open to being wrong, and listening to other people rather than drawing a line in the sand.

Secondly, it’s late where I am. I’m tired. It’s raining heavily, with big fat drops spattering against the window less than three feet from me. And it makes me introspective.

I recognize that who I am, where I am in my life, and what that all means is entirely a matter of perspective. Some people think I really have my shit together, and I don’t know where they get that impression from. Some might think I have a lonely, hermit lifestyle, while others might think I’m a carefree social butterfly. By some people’s standards I’m a failure in a lot of areas, but on some metrics, that’s the exact opposite.

Here is what I know. I am solely responsible for giving my life meaning. For me, at least right now, that means writing, publishing, and helping the people close to me realize their own life’s meaning. It isn’t all there is to life, and I know that, but for right now it makes me happy. I just need to remind myself of that. When I am in the Now, I am at peace.

And that’s a great place to be…

…whether you believe in existentialism or not.

Courtesy of Post Secret

“The tango never stops in Buenos Aires. It goes on and on and we all dance to it in our time, helplessly drawn when fate initiates the cabezazo.” — from “Father Pena’s Last Dance,” Hannah Strom-Martin

Inspired by irrepressible Christine Yant, I have decided to adopt Fan Letter Sunday. And it’s largely because of this story, “Father Pena’s Last Dance” in Realms of Fantasy, August 2010, that I’m doing so.

See, I’ve reviewed books, movies, comic books, even bands–it’s how I share my love for what they’re doing. It’s my way to champion the things I enjoy and encourage more people to experience them. But I don’t really review short stories that appear in individual magazines. I don’t know why. Maybe I need to change that. Part of that might be because I went through a long period where I wasn’t reading short fiction in magazines or online, just anthologies. That changed when I made the decision to subscribe to a few spec-fic magazines for a variety of reasons.

That’s how I was introduced to Hannah Strom-Martin and Father Pena.

If I had come across the story in any other way and heard the words “vampire” or “Tango,” I probably would have just passed it over. And my life would be much poorer for that decision. I don’t care for vampire stories as a general rule. It seems like so much of what I come across is the same series of tired, recycled tropes trotted out one more time, like Halloween decorations a decade past their prime.

But “Father Pena’s Last Dance” is a revelation. Not only does it capture the magic, mystery, and music of Buenos Aires, it reinvents vampires in a way I never could have seen coming. And it made me want to learn Tango. The way you tied the vampires to passion, and through that, dance, was truly inspired. It has an amazing noir feel, a tragic inevitability, and at the same time it is undeniably sensual in a way I find most noir lacks. The day after reading, I was recommending it to anyone I could think of. Over a year later, and I still can’t shake just how much I loved the way this story came alive, shook me, and forced me to look at long-considered myths in new ways.

Thank you, Hannah, for “Father Pena’s Last Dance.” Sorry it has taken me over a year to tell you how much I loved the story. And I hope that, somehow, this fan letter reaches you.

For those of you who have yet to read this story, I encourage you to do so. You can currently buy a PDF of the August 2010 issue for $3.99 at www.rofmag.com and it’s well worth it. You’ll likely enjoy a few of the other articles and stories there as well.