Thursday, April 10, 2008

IGMS - Issue 8

Wow, I thought the cover illustration for James Maxey's story in issue 7 was cool (and it still is), but the illustration for John Brown's "From The Clay of His Heart" in issue eight rocks the house right down to the ground. It only came in two days ago, which is why we're about a little late getting the issue up (you can fudge a lot of things with an online magazine, but the cover isn't one of them) so I'm just seeing this now for the first time and I've gotta say, I'm blown away. And the bigger it gets, the more impressive it gets. Click on the link at the bottom of this post and tell me I'm wrong.



Okay, I'm done being a fanboy now.

Ahem...

Issue eight, available for your reading pleasure, includes:

"From The Clay of His Heart" by John Brown
"The Angel's Touch" by Dennis Danvers
"Accounting For Dragons" by the ubiquitous Eric James Stone
"End Times" By Scott Emerson Bull
"Horus Rising" by Aliette de Bodard
"Limbo" by Stephanie Dray
"The Frankenstein Diaries" (novelette, Part I) by Matt Rotundo

www.InterGalacticMedicineShow.com


Wednesday, April 02, 2008

Dreaming Creek


I just got the the final files from the designer who did the cover for my upcoming novel, Dreaming Creek. I haven't been this excited in a long time; it's gorgeous work. I just wish I didn't have to wait until this fall to hold the book in my hands...

Monday, March 10, 2008

Roads To Writing With Orson Scott Card

Last week I was lucky enough to be invited to do a presentation along with Orson Scott Card (who organized this day-long workshop), Jake Black, and Mette Ivie Harrison. After an introductory panel discussion about how all four of us got started in the business, Scott did his 1,000 Ideas workshop, followed by his structure and viewpoint lecture, all of which he also does as part of the two-day workshop he does before his now famous Literary Boot Camp. Given that the two-day version costs $175 and this one only cost $25, I'd say the 75 or 80 people who came got quite a bargain.

After the lunch break, Mette Ivie Harrison (author of the novel Mira, Mirror, which I am in the middle of and greatly enjoying), did a brave presentation on revision. I say brave because she showed the entire crowd 'before' and 'after' samples from several of her novels. I don't know that I would have the courage to show people 'before' samples of my work, but Mette did, and then explained why she made the changes she did.

Jake was up next, and his presentation was about how to network, as well as the importance of doing so. It was a great presentation--he had everyone laughing and talking the entire hour--and it was also an important one. So many writers are solitary by nature, and that's fine, but you can make it in the business without acknowledging the importance of networking and getting at least passably good at it.

Last up was your truly. My presentation was about the Business of Publishing: where to find markets, what to look for in those markets; the differences between publishing short and long fiction, online vs. print; etc. etc. I also talked about what to look for in an agent and how to spots scams (which there is no shortage of). I had done a similar presentation at UNC in Greensboro about a week before, but it was a two-hour presentation. Then a few days later I taught a five-hour workshop on the same subject and threw in additional material about writing non-fiction books and magazine articles and such. So I cut a lot of material out for my SVU talk for fear of going over -- and ended up running out of new material well before my hour was up. Fortunately the crowd had a lot of questions, and when things seemed like they were slowing down, Scott threw out some new questions that re-ignited the discussion. All in all it went well, and frankly I'm happier having a dialogue with an audience rather than feeling like I'm just lecturing them.

Then we wrapped the workshop up the way we opened it, with all four of us on stage doing a final Q&A wrap-up. Of course the bulk of the questions were aimed at Scott, but he managed to work the rest of us into the conversation very naturally. Despite the opinion that some folks may have formed from his religious and political views, he really is a generous soul.

And to wrap up our night, he took all of the presenters, as well as the professor from the English department who helped organize the workshop, to a fantastic restaurant in downtown Roanoke VA. It was called Metro, and we all ate and ate and talked and ate some more. We were probably in that restaurant for two and half hours, and the time flew. All in all, a very good day.

Thursday, February 21, 2008

Agent Insight

I was recently invited to give a presentation at the the Greensboro campus of the University of North Carolina about publishing science fiction and fantasy. I have to admit, the idea of a university asking me to come in and talk about SF was a pleasant surprise; far too often academics don't take our genre seriously. So I obviously wanted to make a good impression and as I started to prepare, one of the things I did to get good, current information was email Jenny Rappaport, a literary agent with the Lori Perkins agency, and ask her what trends she saw developing with science fiction and fantasy novels. She replied with this, which I thought interesting enough to share with you:


Hi Edmund,

It's really interesting that you ask about this, since I've been having a series of running discussions with Lori Perkins about this. Basically, I think there's an overall trend in publishing right now that's based on the lagging economy; if you compare the number of deals being posted on Publisher's Marketplace now, to the number of deals being posted last summer, they've pretty much been cut in half. This doesn't necessarily mean publishers aren't buying as many books, but it could mean that they're buying them for less money, and thus the agents aren't posting the "nice" deals as often. I don't think the industry has been drastically affected by the economy yet, but I think that if we do slip into a recession, you're going to see that reflected.

In terms of sf/f, I've heard a couple of things floating around. One editor is looking for an urban fantasy, a la KITTY AND THE MIDNIGHT HOUR, with a male protagonist. Another is still looking for sexy vampire and werewolf stories. Overall, I think the trends are definitely going more towards urban fantasy at the moment, particularly because it has such crossover appeal with paranormal romance. And although I'm not sure the publishers are taking this into account, romance and women's fiction sales tend to remain strong during times of economic downturn, so that may be another reason urban fantasies are doing well. Epic fantasies are having more difficulty selling, even when I've felt the books aren't really epic in nature; if the publisher can put that label on it, it's making it harder for the editor to buy it, even if they like the book.

Will any of this change? I think it's cyclical, and that it will eventually swing back around again. I've only talked about fantasy, but science fiction is still being bought and read--just at a much lower consumption rate than fantasy novels. Sci-fi seems to be doing well in terms of military/espionage books, as well as ones that trend in the utter opposite direction, and are uber-intellectual (think Charlie Stross; at least, he seems intellectual to me).

Anyway, I hope this helps you!

Jenny

Monday, February 18, 2008

More Free Stories

On February 1st we made two of IGMS's early stories available for free. Now two more stories, "Xoco's Fire" by Oliver Dale (from issue 3) and "Tabloid Reporter To The Stars" by Eric James Stone (from issue 4, and also to be featured in the upcoming IGMS anthology (next August)), are now also available at no charge. Just go the those issue's respective table of contents and enjoy!

We're also only about five weeks away from issue 8, which will be our first themed issue. More on that shortly.

Wednesday, February 13, 2008

Lost Soul – by Marie Brennan

Sometimes you write the wrong story first.

A while back, I was working on a story set in Tir Diamh called "Returning to the Nest." It was about a minstrel named Tirean going back to her old master Decebhin, whom she had left years before, and having an argument with him about different kinds of music, and the role they play in people's lives. Nice idea, but the story was unfortunately preachy; I submitted it for a while and then trunked it.

But out of that was born "Lost Soul." I wrote it three months after "Returning to the Nest," because I started thinking about what happened to Tirean in between running away from Decebhin and going back. Music means a lot to me; I learned to play piano at the age of six, and French horn when I was eleven. I know that incredible energy you get when a piece comes together, when everything's careening along and you wonder how it isn't falling apart. It really is a kind of magic. And somewhere between her departure and her return, Tirean found that magic. I was curious as to how.

Unsurprisingly, this story has a soundtrack. The five-beat court waltz wasn't anything specific, but the notion of having such a form came out of pieces like "Mars, the Bringer of War" by Gustav Holst and those parts of Andrew Lloyd Webber's Jesus Christ, Superstar that are in 5/4. (It's an odd meter, and one I quite like.) "Flower Face" is essentially a stand-in for "Dulaman," a traditional Irish Gaelic song about talking seaweed. But the most important song, the one I had in mind the characters played "Stone the Crows," comes from the Green Linnet collection Playing with Fire: Contemporary Celtic Instrumentals. Wolfstone has a track on there called "Gillies: The Sleeping Tuna/The Noose and the Gillies," the second half of which is the closest I can come in real life to what the group is playing in my mind.

"Lost Soul" fits into a bigger picture, though, than just a trunked sister story that will never see the light of day. Tir Diamh is part of a broader setting called the Nine Lands, that I created years ago, as an exercise in building a whole world -- that is to say, different countries, each with its own language, religion, clothing, governmental system, cuisine and so forth. For a while I was on a kick of writing stories set in different corners of that world, as a means of exploring it. Some of those stories have been published; others may be someday; a few have been permanently retired.

I'm working on different things these days -- most notably a historical fantasy series that will be eating my brain for the foreseeable future -- but the Nine Lands project is a long-term one for me. I hope to be still playing with it decades from now, because the whole point is to have a world big enough that I can always find something new to do there. And if that happens, you'll see Tirean again -- and Andris, and Ennike -- and yes, you'll get to see Tirean at the satire festival.

Because you know she's going there someday, and something interesting will happen when she does.

Friday, February 01, 2008

Free IGMS Stories

Below is a letter that just went out to our e-mailing list. Apologies if it's something you've already seen. We're making some of our stories free for everyone to read so that people will have an idea of the kinds of things we publish and I thought you all might be interested. And I'd like or as many people as possible to know about this, so feel free to copy and paste my letter anywhere you think appropriate.


To Readers of Science Fiction and Fantasy everywhere,

When you have something great, you want everyone to know. So you tell people about it. You share it. You pass it along to friends everywhere. Well, that’s what we’re doing with InterGalactic Medicine Show. We want to make sure everyone has had a chance to check out what we’re doing, so we’re offering up a sampling of our stories – for free.

During the month of February we are going to make one story from each of our first four issues available at no charge. Two stories will be set free on February 1st, and two more on February 15th. Just visit www.intergalacticmedicineshow.com and explore the table of contents; the free stories will be clearly marked.

Issue one’s free story will be “Trill and The Beanstalk” by Edmund R. Schubert, issue two’s will be “Yazoo Queen” by Orson Scott Card (from his Alvin Maker series), issue three’s “Xoco’s Fire” by Oliver Dale, and issue four’s “Tabloid Reporter To The Stars” by Eric James Stone. Each story is fully illustrated by artists who were commissioned to create artwork to accompany that tale -- as is every story published in IGMS.

“Tabloid Reporter To The Stars” will also be featured in the upcoming InterGalactic Medicine Show anthology from Tor, which will be out this August (we wanted you to get a sneak peek of the anthology, too). However, the other three stories aren’t available anywhere except the online version of IGMS.

It’s really quite simple. Great stories. Custom illustrations. Free. We’re pleased with and proud of the magazine we’re publishing; now we’re passing it along to our friends and telling them about it. We hope you’ll enjoy it and do the same.

Edmund R. Schubert
Editor, Orson Scott Card’s InterGalactic Medicine Show
www.intergalacticmedicineshow.com

Saturday, January 26, 2008

The Smell of the Earth - by Joan Savage

I started writing “The Smell of the Earth” one day when I needed a break from the novel I was working on. I had been exploring, in the novel, how music affects those who play it, as well as those who hear it. So the Jongleurs and their world and their history were already deeply engrained in me, and the problem of music was chasing itself around inside my head.

I had been working on something so large-scale, with such huge problems facing the characters, that I really wanted to play with something more intimate, where the character only had one dilemma to face, one problem to tackle. But the novel was still stuck in my head. I kept mulling over the danger of how music could make its listeners happy but how that power, in the wrong hands, could be turned and used for something quite the opposite of happiness. So I began to wonder. What if another Jongleur had the same musical power as the main character in my novel, but he didn’t have her level of commitment to something beyond himself? What would a fundamentally good but self-centered man do with a power he didn’t see as dangerous? And that was when the protagonist, the Jongleur of this story, stepped onto the stage, and I met him for the first time.

When I write, I feel like I meet characters, not like I create them. It’s as if they already exist without me, and it’s through the process of writing about them that I learn to know them. So this story really began, for me, when I met this Jongleur.

He was sitting in the bar, mourning his dead wife, and I just happened to overhear a wizard ask him what he wanted. Which was exactly the question I wanted to ask him, so I suppose the wizard was doing my work for me. And because I’m a musician I guess I can confess that the Jongleur’s longing for greatness was my longing, at one point in my life (though I’m happy to say it’s not any more!). And his fear is the greatest fear of most of my musician friends—the fear of losing the use of a hand, or a finger, and being unable to play. I think the fear is deeper than the loss of livelihood. I think it’s a fear of silence—the silence of being unable to say the things you need to say.

I wish I could say that, once I had the initial concept and had met the characters, the story wrote itself. (I wish I could say any of my stories wrote themselves!) I knew from the beginning that the farmer’s young wife had traded away the farmer’s favourite pig, but it took me a long time before I knew what she had traded the pig for. (I read somewhere—I’m sorry I don’t remember where—that you should always take the third or fourth answer to a question you ask the story—never take the first answer. I have long lists of possible answers to story questions from this story.) As I wrote, the farmer kept asserting himself and developing a life and problems of his own, until he became a much more important character, and much more interesting to me, than I had originally intended. His life in some ways began to mirror the life of the Jongleur—or at least enough that the Jongleur began to see it that way, and learn empathy.

I have to confess that the wizard and her motivations remained a mystery to me long after I thought the final draft of this story was done. I didn’t find her interesting and, I have to admit, didn’t spend as much time thinking about her as I should have. It wasn’t until someone pointed out to me that she needed a motivation more real than the stock motivation I had assigned her that I went back to the story and began to see the wizard as a three-dimensional character. So I sat down and asked her the questions—who are you and why are you doing this? And I not only learned her story, I also discovered that, if I ever go back to explore this historical period of the Jongleurs’ world, she is probably the character I would most like to follow around and write about.

Tuesday, January 22, 2008

The Unrhymed Couplets of the Universe - by Sharon Shinn

"The Unrhymed Couplets of the Universe" was one of those stories that just comes together for you when the disparate elements of ordinary life suddenly crystallize into a recognizable pattern. My sources were wildly different conversations and interactions I'd had over two or three months with a handful of different people. My friend Mark had been forwarding me junk emails with bizarrely lovely nonsense subject lines. (I quote actual emails in the story, as well as Mark's comments about poetry, which is why I named a character Mark). My friend Laurie had been complaining how her house steals objects from her (in one week, her cell phone charger, her iPod, and her checkbook). My brother Ray had explained how such thefts could be remotely possible, given what we know about quantum physics. I had been in a seminar where the ringtone on a stranger's cell phone was Pachelbel's "Canon." I had recently re-set my mother's engagement diamond into a filigreed white gold ring.

I so often write alternate-world fantasy that I don't get much chance to draw on the mundane details of everyday life when I'm putting together a story. Maybe I enjoyed writing this one so much because all the elements were so familiar. When I read it at the World Fantasy Convention in 2006, someone in the audience asked me if I'd just looked around my house to find the objects I'd described. I admit, I own boxed sets of the first couple seasons of "Moonlighting"…and a purple sweater…but no turtle…

Tuesday, January 15, 2008

"After This Life" by Janna Silverstein

The first germ of this story was planted when I saw a news piece about a prison inmate named Tommy Silverstein. He’s no relation of mine (though the fact of our identical surnames certainly drew my curiosity), but he is the longest held prisoner in total solitary confinement in America, possibly the world, maintained at a supermax prison in Colorado. I was fascinated and horrified by every angle of the story. It led me to try to learn more about him and other prisoners, to read the online diaries of solitarily confined and death row inmates, and to think deeply about how I felt about such treatment.

The second germ of this story came out of the fact that I am an unrepentant fan of Star Trek and have been interested in the idea of teleportation for years. I always wondered, among other things, where the developer of such technology would find human test subjects.

The last germ came from a challenge that writer Michael Heibert and I posed to each other, to write a story in which a coin played a prominent part. I wrote the first draft of this story with these three ideas in mind. I didn’t go into it with the idea that a parent-child relationship would play any role in the story at all. That theme, however, crops up again and again in my writing. I have learned to let it be, so once that element appeared, I knew it was there to stay.

It was science fiction writer Michael Burstein who led me to reading more thoroughly about the theory behind real teleportation. If I was going to write science fiction, he insisted (and quite wisely), the science had to be there. Part of me rebelled; I just wanted to write the story, dammit, and not bother myself with all that pesky research. He was right, of course. The reading was fascinating. In the end, the horror of what I discovered—that every teleportation would be a death—took me that last step toward making this story what it ultimately became when I submitted it to IGMS. Edmund’s insightful revision requests made me think about who would be willing to sacrifice lives to develop such technology.

Friends who read early drafts criticized my softening the details of prison life, suggested that I’d made Jake too smart, too sensitive, too sympathetic. But if I learned anything by reading all those inmate diaries, it’s that prisons are full of people who are intelligent, articulate, sensitive, and very sharp. It’s a frightening thing to consider: that people who share characteristics that we on the outside value highly are incarcerated for committing acts that we could never conceive of committing ourselves. This is the line between us, and it’s a fine one indeed. It wasn’t my intention to diminish the horror of what such people have done with their own hands. It was one of my goals, however, to find the animal commonality between us, to consider what it means to look into the abyss and the possibility of coming out the other side. To suggest that Hell may be what we create for ourselves rather than anything supernatural. If I haven’t dwelled on the details of prison life, if they don’t appear harsh enough, and if I haven’t espoused one position or the other on the question of capitol punishment, well, these issues aren’t really the point of the story.

I didn’t decide to deal with Louisa’s spirituality until very late in the writing process. By the second-to-last draft (and this story went through more drafts than almost anything else I’ve ever written), I found myself wondering if the story shouldn’t have been told from her point of view. Ultimately, she changes more than Jake does. On the other hand, I wanted very much to be inside Jake’s head when the teleportation started, when he faced his own end in the wake of the deaths he caused, to see where his thoughts might lead, to feel the process as it occurred.

If I hope readers come away with anything from “After This Life,” it’s that they find themselves wondering about the costs of technology to our own humanity. It’s also that they find an awareness of how fragile our lives are, how our choices rest on an edge fine and wicked as a paper cut, and ultimately to find some kind of compassion for the people around them, each one being faced with the same decisions moment by moment every single day.

Monday, January 07, 2008

The Braiding - by Pat Esden

I believe that in every profession there are moments when a person stops using logic, truly focuses on their work and acts automatically in a sort of hypnotic state--a state of magic.

It was with this notion in mind that I decided to write a series of fantasy tales about women artisans. Glassblowing, with its intrinsic beauty and connection to alchemy (and because it was an art I knew nothing about) felt like the perfect place to begin. Besides, I was quite sure there had to be more to the art form than sticking a blob of molten glass on a pipe and blowing.

Research is where I began my search for the details of setting and character that I needed to take my story seed and make it blossom. I knew nothing about the history of glass, but I quickly uncovered fascinating details that were beyond anything that I could have created out of thin air.

I don’t want to spoil the story, but I was totally unprepared for the similarity between the freedoms modern day women enjoy and those experienced by woman glassblowers during the early years of the Venetian Republic. Actually, I was shocked to discover women could become master glassblowers. The opportunities available to these women glassblowers (or women fortunate enough to belong to glass blowing families) exceeded those available to other women and most men. They could marry a man of any level of society--even royalty, they were more highly educated than most men . . . but these benefits and freedom came at a cost.

Because glass was the foundation of the Venetian Republic economy, no glassblower could ever leave the boundaries of the Venetian Republic or they would be assassinated out of fear that the secrets of working glass could fall into another country’s hands.

This research into glass working and Venice’s past gave me my main character: Iseau, a creative woman both liberated and imprisoned.

Now that I had the time period and the main character I moved on to learning about the art itself.

Armed with a newly learned and very basic idea of how glass is worked and a mental list of questions I wanted to ask, I drove to Waterbury Vermont where Ziemke Glassblowing Studio is located. By this time, I knew I wanted my main character to make a heart, so that was my first question. Can it actually be done? I also wanted to know things you can’t learn in books: what the furnace’s heat feels like, how much do the tools weigh, how balanced does the pipe feel in your hand? I wanted to watch the glass blower’s movements, see which muscles he used. How strong would Iseau have to be? Would she still appear feminine? Did the work require an assistant . . . little details that make a story come to life.

In my short visit to Ziemke Glassblowing I learned more than I ever could have ever hoped for.

Glassblower, Terry Pagel was working that day. He is not only an amazing artist, but also has a true love of his craft and is a vault of knowledge. He talked about the history of Venetian glassblowing from an insider’s point of view, about early alchemy used to create clear class and other early trade secrets. But beyond that, he gave me a glassblower’s perspective on how writers often misrepresent glassblowing to a laughable degree. Then he did the most amazing thing: he and his assistant created a heart from molten glass while I watched.

I left with my mind overflowing with ideas. Five minutes into my drive home, I couldn’t stand it any longer. I pulled my car over to the side of the road and I wrote the glassblowing scene for “The Braiding”. Watching and talking to Terry Pagel put me into a writer’s “state of magic” and at the same time had allowed me to feel (as much as a non-glassblower can) like I was actually holding the tools and feeling the heat.

So if the history in “The Braiding” feels true and what happens when Iseau takes up her tools feels right, it’s because to a great extent they are accurate. And personally, I like to think that the magic in the story is nothing more than a magnification of what any person experiences when they focus on their chosen profession, relax and let their mind slip into a hypnotic state.

Here’s a link to Ziemke Glassblowing Studio—enjoy.

http://www.zglassblowing.com/glassblowing.htm

You can find another of my woman artisan tales, “Suck of Clay, Whir of Wheel,” at AnthologyBuilder

http://www.anthologybuilder.com/

Friday, January 04, 2008

Silent As Dust - by James Maxey

I grew up in Roanoke, Virginia, in a little house on Courtland Road that was full of hidden rooms. Most adults probably wouldn't have been aware of these rooms; they were really just gaps and spaces leftover by architectural flourishes. For instance, above the front door of the house, there was a little gable in the roof with a window in it. The gable was purely decorative. But, in the attic, where the roof sloped down, there was a paneled wall about a yard high. If you pulled off one of the panels, there was a wedge-shaped crawlspace where my mother used to store Christmas decorations. If you wriggled inside onto the plywood floor, then crawled along it until the plywood ended, you could continue along the rafters until you reached the little gabled room with the window. It couldn't have been more than a yard wide and deep, maybe four feet tall at the midpoint. There were loose boards across the rafters that formed a place to sit. This tiny forgotten room was useless space for any adult, but for a young kid, it was a top-secret clubhouse.

This wasn't the only secret place. There was a pretty cool cave under the basement stairs. There was also the kitchen table with the drop down leaves. With those down and chairs at the ends of the table, it was a practically a fortress. I can still recall being able to crawl under beds, or climb inside kitchen cabinets. The world just offers more spaces for children than adults.

All these hidden spaces were in a little two bedroom house. I haven't been back as an adult, but, if you didn't count the basement and attic (which weren't heated), I'm guessing the whole house was maybe 900 square feet. Growing up, however, it felt like an enormous kingdom that was forever yielding some new secret. I remember digging in the dirt near the front porch and finding a little plastic army man. An archeologist pulling a golden cup out of the sands of Egypt couldn't have been as happy.

"Silent as Dust" has its origins in those childhood explorations. There's a mansion a mile away from me in Hillsborough called "Seven Hearths" that's reported to be haunted, so I loosely based "Seven Chimneys" upon it. And, like the town of Seven Chimneys in the story, Hillsborough is a city where a core of large houses downtown give way to old mobile homes and tin-roofed houses just a few blocks away. I myself live in the tin-roof and mobile home district, in a cinderblock house about 900 square feet in size. I actually have a conventional roof, with a decorative gable above the front door. In the attic, there's a panel that can be pulled aside, revealing the rafters beyond.

Alas, I've never ventured into that dark, narrow crawl space to discover if the tiny gable holds its own secret room. I'm 6'2" and some of the useful spaces of my childhood would be extremely uncomfortable to explore.

Still, I sometimes wonder about that space, and whether any children ever discovered it. If I were ever to crawl into it, I would discover some childhood treasure? Perhaps a green plastic army man, forever standing sentinel over a forgotten kingdom?

Friday, December 28, 2007

A Little Business

Working hard to get issue seven of IGMS out as soon as possible. It should be in the next week to ten days, but it really can't be soon enough for me; I'm really looking forward to getting this issue out there. It's got one of the strongest line-ups of stories we've published yet.

Here's a quick look at the TOC:

Cover story: "Silent As Dust," by James Maxey
"Unryhmed Couplets of The Universe" by Sharon Shinn
"The Braiding" by Pat Esden
"The Smell of The Earth" by Joan Savage
"After This Life" by Janna Silverstein
"Lost Soul" by Marie Brenan
and Part II (and the conclusion) of last issue's novelette:
"The Price of Love" by Alan Schoolcraft

And, as usual, new stories from Orson Scott Card and David Lubar.

And speaking of stories, let me mention a few points to the folks who already have or are thinking about submitting stories:

1) I'm heavily bought on fantasy of all kinds and long stories in both the SF and fantasy areas. My greatest need is for SF under 7,000 words. If you have something long or fantasy that you think is absolutely perfect for IGMS, go ahead and send it in; but know that your best chance of selling me something right now is with shorter SF.

2) I don't remember if I've mentioned this here before or not, but I am also now working as managing editor of a new nationally distributed women's magazine. It's a much better job for many reason than my old one (editing that regional business magazine, which, as you may recall, drove me insane at times). The first issue of that magazine is set to come out in April, but our publisher was recently invited by the NFL to come to Hawaii in February for the Pro Bowl and speak at a luncheon the NFL holds for the wives of the players. It's a fantastic opportunity, but it also means that we're all going to be working like crazy on putting together a smaller-sized sampler issue of our magazine for the publisher to take along with her. Basically that means my time for reading IGMS submissions is going to be severely limited until the end of January. Sorry; I hate making you wait as much as you hate waiting, but it's not everyday the NFL invites someone to speak and we have to make the most of this.

3) If I get a moment to write another of the "Five Things I've learned About Writing" before the next issue of IGMS comes out I will. If not, look for the "Stories Behind The Stories" in issue seven to start here as soon as the issue goes live, and then I'll get back to my "Five Things" when the SBTS have all run.

I hope everyone had a great holiday, whatever holiday it may be that you celebrate. Do make sure you catch the new issue of IGMS when it comes out. I don't say this lightly or often because I want you to take me seriously when I say it, but this is going to be one of the best overall issues we've ever had.

Thursday, December 20, 2007

Metaphors, Similes, and Analogies, Oh My...

One of the (other) things I've learned about writing - especially in the area of non-fiction, is that a good writer will find ways to recycle a piece for more than one purpose. Applying that lesson to myself, I took one of the ideas I had for this blog (and the "5 Things I've Learned About Writing" series I'm supposed to be doing) and wrote a speech for my Toast Master's club about Metaphors, Similes, and Analogies. I mention this upfront because I'm sure you'll notice the voice of this piece is different from my usual posts. When I write a speech for Toast Masters it tends to sound much more like more normal speaking 'voice' than when I write for print.

Metaphors, Similes, and Analogies, Oh My…

I was reading an article in National Geographic this past summer abut the intelligence of swarms. It talked about how any large group - everything from bugs to birds to a herd of buffalo - can take on an intelligence much greater than that of the individual components of the group – and how scientists are applying some of the principals of swarms to solve human problems. Included in that story was an example of a trucking company that had developed a computer model for routing its trucks based on algorithms inspired by the foraging behavior of Argentine ants, a species of ant known for laying trails by depositing pheromones.

Everybody get that? Let me repeat it: a trucking company developed a computer model for routing trucks based on algorithms inspired by the foraging behavior of Argentine ants, a species known for laying trails by depositing pheromones.

Okay, I like to pretend I’m a reasonably intelligent guy, but my first reaction was, “What…?”

But here’s the thing: In the next paragraph, the writer of that article gave me something I could sink my teeth into. He gave me an analogy. He said that what the ants (and therefore the trucking company) were doing was like when someone goes into the forest to collect berries. Over time a path is worn in the ground to the best places to find berries.

Now that I understood. Algorithms and ant pheromones? Not so much. Berries in the woods? Now you’re talking my language. And that’s kind of ironic, really, because, the language we’re talking about is pictures. Word pictures.

Writers (and speakers) are all trying to communicate a message, and to do so as clearly and effectively as possible. So what I want to talk about today is the power of metaphors, similes, and analogies. I’m not going to bore you with dictionary definitions of these terms, but the essence of all three is that they describe something by comparing it to something else.

There are a lot of ways to do this, and a lot of reasons to do this. You might be trying to describe something unusual – Argentine ants and their pheromones, for instance - so you compare it to something people are more familiar with. This helps them understand what you’re saying.

On the other hand, you might be talking about something very basic, like writing, and want to jazz it up. Writing in and of itself isn’t terribly hard; you’ve all been doing it since the first or second grade. But you want to make it more interesting, to catch people’s attention, so you might describe it using cooking terms. You might say that writing a story is like cooking a meal, and that if all you give people is meat and potatoes, they certainly won’t go hungry, but nobody’s going to rave about your cooking, either.

If you want to present a meal that really satisfies, you’ve got to spice it up a little. You’ve got to throw is some oregano, some thyme, maybe a little parsley on the side. Well, okay, skip the side of parsley. Nobody likes that stuff. Using parsley as a garnish is like using clichés in your writing. Don’t waste people’s time.

You also have to be careful not to get carried away. If you noticed, I got kind of carried away with my analogy here and it turned from using cooking to describe writing, into using writing to describe cooking. As with herbs and spices in good cooking, you want to make sure you don’t over-do it. A little salt makes everything taste better, too much and it overpowers the meal. Everything in moderation.

Another advantage of using metaphors, similes, and analogies is this: they help people remember your keys points. By using one of these comparative devices, you are subliminally telling people (by placing extra emphasis on it) what your most important points are. That helps to reinforce those points in their minds.

Let’s say you’re writing a magazine article about gardening, and you’re trying to describe the perfect soil to plant rosemary in. And say the perfect soil for planting rosemary is rich but pale and very dry. Well, that’s not terribly evocative. But if you say it needs to be rich, pale, and very dry – kind of like Bill Gates… Hopefully you’ll get a laugh. But more importantly, you’ve reinforced your point, and made it one people won’t forget.

The last thing you want to remember is to make sure your metaphors and similes work with the subject matter you’re trying to describe. I remember one time a friend told me about someone who came to his writer’s group with a mystery story. And in this story the author had portrayed a particularly gruesome killing. He had the police at the crime scene trying to figure out ‘who done it,’ and suddenly the author describes the fingerprints the detective found like this: “Detective Spade studied the bloody print on the victim’s slashed throat and couldn’t help but notice how much the swirling pattern reminded him of the tiny whirlpool his toilet made when he flushed it.” That doesn’t add anything; in fact, it’s a terrible distraction. It’s counter-productive. You have to make sure your comparative descriptions fit with the tone of the subject matter.

Metaphors. Similes. Analogies. You can call them word pictures if that makes you happy. But I would say that more important than what you call them, or the differences between them, is remembering the power they have when used correctly. The power to clarify, the power to enliven, the power to reinforce. The power to make your writing really stand out – as if it were covered with Argentine ant pheromones.

Friday, December 14, 2007

Would You Stop?

Suppose you were an employee at a bank, and you knew that millions and millions of dollars were kept in that bank. The amount varied, but there was always at least a couple million on hand at all times. Now suppose you found out that not just one or two, but many, many employees were stealing from the bank - on a regular basis. Now take this insane hypothetical situation one step further and suppose you learned that anyone caught stealing from the bank, no matter how much they took, never got a worse penalty than being fired from the bank. They didn't have to serve time, they didn't have to pay back any of the millions they stole; they just couldn't work at the bank any more. And they had to get caught stealing at least three times before they were fired. Would you stop stealing from that bank? Ever?

If this situation sounds more familiar than it does bizarre, I know something about you: You are a baseball fan. Because the situation I just described is the way baseball is dealing with the issue of steroids, HGH, and other drugs banned by all reputable professional sports.

Now I know that most of the folks who read this blog are science fiction and fantasy fans (and/or writers), and baseball is probably the last thing you expect to hear about from me. But I'm interested in other things besides SF/F and baseball happens to be one of them. I'm a big baseball fan, and as such I'm thoroughly disgusted by the response (or lack thereof) from baseball clubs - and especially baseball players - to the Mitchell Report, which came out yesterday. Disgusted, but hardly surprised.

Those hypothetical bank employees I was talking about earlier are the baseball players of the past decade, and until someone (the commissioner, the owners, somebody) gets really - and I mean really - hammer-down, take-no-shit serious about this issue, it is not going to change. And in a further does of ugly reality, change is not going to occur until something hurts the owners or the players where they hurt the most - their bankbooks. And that will have to come from the fans, one ticket at a time. So the question I opened with - Would You Stop? - has as much to do with fan attendance of Major League Baseball games as it does to the players who are cheating to gain a competitive advantage. Because that's the only things that's going to make areal difference.

Are the fans or the players likely stop, or even cut back? I find it less likely than the bank robbery scenario I opened this blog entry with.

My (continued) condolences to true baseball fans.

__________________________

We now return you to your regularly scheduled SF programming...

Saturday, December 08, 2007

First Peek At The IGMS Antho



Got this in the mail today; it's a sneak peek of the cover of the IGMS antho coming out next summer. It's like an early Christmas present, with the lone drawback that it makes me wish the actual book was coming out sooner. C'est la vie...

Friday, December 07, 2007

Write Because You Love To

I debated titling this post "A Harsh Dose of Reality," but that sounded scary and I didn't want to scare anyone off with the title. I thought I'd wait and do it with my first sentence. It's important to note that I'm not here to throw a bucket of ice water on anyone's dreams. It's important to chase your dreams - whatever they may be - with all the vigor and passion you can muster. But there are also certain realities that must to be faced. Arguing with them is like arguing with gravity; you can say as often as you like that you don't believe in gravity, but if you step off that third floor balcony without making the proper preparations, you will have some unpleasant consequences to deal with.

And the first dose of reality is this: publishing is a business. Notice, I didn't say writing is a business. Writing can be a business, but it can also be a lot of other things. That's why you need to know why you are writing. I'll come back to that in a minute.

Publishing, however, is always a business. And your short story or novel or essay or magazine article or whatever it is that you write is a bottle of ketchup to a publisher. It is a product to be marketed and moved and placed and, ultimately, consumed. And with writing, as with ketchup, the better quality the product, the better it is going to sell. So by all means, take all the time you need in order to create the highest quality piece of work you can. Baby that story, love it, agonize over its development.

And then send it out into the marketplace. Because unless you're going to spend your entire "career" writing for your Great Aunt Tilly, that is where your stories are going to have to go. And be prepared to deal with the accompanying realities of said harsh marketplace.

Now, I have a feeling at this point that you're struggling with a disconnect between the idea of stories going out into a harsh marketplace and the title of this post, "Write Because You Love To." Let me connect the dots for you as succinctly as possible, with a series of question and answers.

Do you need to produce the highest quality writing possible in order to get published? Of course.

Are you going to get rejected? Of course.

Are you going to put a lot of hours into writing, hours that could be spent with friends and family; watching TV or movies; hiking, biking, gardening, reading, or whatever else makes you happy? Of course (if you're serious).

Are you going to make a lot of money as a writer (even though you've make all these sacrifices)? Of course NOT.

And what one thing is going to see you through all of this? What one thing is going to ensure that you do produce the highest quality of writing you can? What one thing is going to make you get up tomorrow morning and do it all again? What one thing--

All right, enough already. I'm sure I've made my point.

The answer, of course, is Loving What You Do.

So hold on to that. It's what (I hope) got you started in the first place. The day you start writing only for the money, you're in trouble. I say "only" because there's nothing wrong with wanting to be paid for what you do. The epitome of success is getting paid for doing something you love. But you see, there's that word: Love. Getting paid for something you love requires the love.

And I've learned that you're much more likely to achieve it if you keep sight at all times on the reason you started writing in the first place.

I wish you nothing but success.

Friday, November 30, 2007

Five Things I've Learned About Writing

Here is the beginning of the series posts I promised regarding things I've learned about writing. As I mentioned earlier, after writing a series of excellent essays on this subject himself, James Maxey has issued a challenge to a handful of other writers to do the same.

The topics I've decided to cover are:


Write Because You Love To

Metaphors, Similes, And Analogies, Oh My

The Devil Is In The Details

Always Say Yes

The Best Way To Learn To Write



I'm not promising that I'll deliver them in that order, as this is a rough draft of my plan. But then, isn't the real work of writing in the rewriting. Hmm, maybe that should be on my list, too.

Oh, great. Now you've got me thinking, and that never turns out well...

Thursday, November 29, 2007

New Freak Added To The Show

I’m very pleased to announce that starting in January of 2008,
IGMS’s monthly book reviews will be written by Tobias S.
Buckell. Tobias is a Caribbean-born speculative fiction
writer and
professional blogger who grew up in Grenada, the
British Virgin Islands
, and the U.S.
Virgin Islands. He has
published over 30 short
stories in various magazines and
anthologies. His first two novels are out from
Tor in book-
stores near you, and his third, Sly Mongoose, is
due out in
2008. You can find him at www.TobiasBuckell.com.
Highly qualified, Tobias had previously written book reviews
for Kirkus and his grandmother on his father’s side. He
underwent a rigorous interview process, wherein I said, “Hey,
want to write some book reviews for us?” He replied with a
cagey, “Well…” I countered, saying, “We pay in fame, fortune,
and a player to be named later, but not much cash.” I knew I
had his attention. So we thumbwrestled for it (best of seven,
I took him in six tightly fought matches) and the rest is,
as they say, history.
Welcome, Tobias. We’ll be expecting freakishly great things
from you.

Monday, November 26, 2007

Whateverville

Wow, I can't believe it's been a whole month since I last posted anything on this blog. I was off-line for about a week because of my harddrive crash, and once I got back onto my computer I was so far behind, in so many areas, that I never got close to this blog. The good news is that I did manage to recover nearly everything. The bad news is that "nearly everything" isn't quite the same as "everything," and there doesn't seem to be any rhyme or reason that what got lost and what did not.

I now have a new laptop and a new external harddrive and have become, at least for the moment, the mayor of Backup Town. Hopefully I won't ever need to be prepared for such an event again, but in case I do I now have a 250 GB insurance policy.

Issue seven of IGMS will be out in about four weeks and I'm pretty excited. I think it's one of the best issues we've ever published. If the cover story, "Silent As Dust," by James Maxey doesn't end up in a bunch of Year's Best anthologies, there's something wrong with the anthologists of the world. It's a ghost story unlike any you've ever read before. We also have "Unrhymed Couplets of the Universe," by Sharon Shinn, author of the mega-popular series of books, The Alleluia Chronicles, as well as the conclusion of the novelette begun last issue, "The Price of Love," by Alan Schoolcraft. Add in "The Braiding," by Pat Esden, "The Smell of the Earth," by Joan Savage, "After This Life," by Janna Silverstein, and "Lost Soul," by Marie Brennan, and you've got one heck of a pile of great stories.

Speaking of James Maxey, James has been writing some excellent posts over on his blog, Whateverville, about things he's learned about writing over the years. If you're a writer, or even someone with an interest in the writing process, do yourself a favor and pop over there to check them out. When you're done reading them, you'll notice that James has tagged me to write a series of my own essays on the same subject. In a brief but all-to-common flash of insanity I accepted his challenge and plan to have the first one posted here on Side-Show Freaks by the end of this week. Tune in then for some of my wisdom for the ages (and whole lot of other fertilizer that smells suspiciously like cow manure...)