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Author: Derek Kunsken

Basic Dungeons and Dragons is Still Kicking: An Interview with Module Writer Geoff Gander

Basic Dungeons and Dragons is Still Kicking: An Interview with Module Writer Geoff Gander

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To_End_the_Rising_Web_CoverGeoff Gander is a dark fantasy writer and D&D module-creator living in Ottawa, Canada. Geoff and I met over early morning coffee to talk gaming.

Derek: So, you write Basic D&D modules. You’ve had 2 modules printed by Expeditious Retreat Press. Even when I was a small town teenager, I could still get my hands on a variety of role playing games, especially AD&D, making Basic seem like yesterday’s news. Now, twenty-five years later, people are paying you money to write modules for Basic. Where’s that market coming from?

Geoff: We’re seeing the rise of old school gaming in classic pen-and-paper RPGs as well as computers. Many old schoolers who played D&D and similar games in the 80s are now introducing the games to their children, or they may have followed the general flow of gaming culture towards the latest products on the market, and have grown nostalgic for what got them into the hobby in the first place.

There are also people like me, who grew dissatisfied with the quality of mainstream gaming products and stayed with the systems they enjoyed, long after they went out of print.

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Voices in Fantasy Literature, Part III

Voices in Fantasy Literature, Part III

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Sir_Hereward_and_Mister_Fitz_by_Garth_Nix_200_294This is the third installment in a series of posts highlighting fantasy short fiction (here are Part I and Part II).

Over the course of the last eight years, I’ve read or listened to a lot of short fiction and the variety out there is astonishing. And I love to try to introduce new readers to some of the stuff that impressed me. This week, the three stories I picked were by Garth Nix, Nancy Hightower, and Daniel Abraham.

“Hereward and Mr Fitz Go To War Again,” by Garth Nix, appeared originally in Jim Baen’s Universe,  then in Podcastle (where I heard it), and then in a collection by Subterranean Press (ebook available here). This is one of three Sir Hereward and Mister Fitz stories I heard and I absolutely fell in love with the weird swashbuckling world Nix created.

Hereward is a knight, artillerist, and swordsman, as able with gunpowder as with the blade. Fitz is an animated wooden puppet and dangerous sorcerer, whose sorcery is structured around sewing and knitting, with his accouterments being needles, thread, and sometimes a portable sewing desk. Their job is to enforce a treaty against rogue gods that is so old that some of the nations to the treaty no longer exist.

This is pure buddy picture story, a grand adventures against old gods. Loads of fun and the Sir Hereward and Mister Fitz stories are now available as an ebook, so no reason not to check it out.

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Voices in Fantasy Literature, Part II

Voices in Fantasy Literature, Part II

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Apex Magazine August 2013-smallI sometimes give writing workshops in the Ottawa area and mentor local writers. One piece of advice that I feel comes off as a broken record is that there is *so much* good short fiction out there, for readers to taste and for writers to learn from.

Not everyone is into short fiction. My formative reading experiences were novels and comic books, two media that lend themselves to very long arcs with exploratory digressions. Only after largely failing at two novels (consuming ten years of writing time), did I finally take the old science fiction advice: work my writing career up to novels through short fiction.

Although I didn’t appreciate it then, short stories really are their own medium, with conventions and beat structures that take a lot of time to internalize. I forced myself to read a lot of short fiction, from Year’s Best collections to Hemingway and other Nobel winners. I didn’t enjoy the form for about two years, until I stumbled upon an editorial taste that worked for me, and that happened to be Escapepod, and then Podcastle.

Consistently listening to several stories a week gave me such a broad view of the kinds of writing out there and what I liked and how the different forms connected to each other and what rules each played in, or broke, as the case may be. So, I’m a late convert to short fiction and I feel the missionary need at times to show people just how much range and quality is out there. I picked three stories I wanted to recommend to the world.

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Is Fantasy Inherently Not Political?

Is Fantasy Inherently Not Political?

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51JxxayJXkL__SY344_BO1,204,203,200_51j4q19higL__SY344_BO1,204,203,200_Recently, a columnist in The New Yorker discussed how literary work has ceased discussing politics and has accepted the prevailing economic assumptions and political models. He noted that the political discourse that is happening in literature is happening in science fiction and went on to illustrate forward-looking political principles featured in Kim Stanley Robinson’s Mars series.

It’s easy to think of other examples of science fiction as a vehicle for political argument, all the way back to H.G. Wells and into today with the Unincorporated Man by Dani and Eytan Kollin, or Saturn’s Children by Charles Stross, or too many to list. The Libertarian Futurist Society even offers the Prometheus Award annually for libertarian science fiction.

A small Canadian publisher, Bundoran Press, is starting to carve itself out a niche with its concern with science fiction as a vehicle for political discourse with an Aurora-winning anthology called Blood & Water*, about the resource wars to be fought in the 21st century, and a new one, already available for pre-order, called Strange Bedfellows: An Anthology of Political Science Fiction. So, without a doubt, science fiction is actively and increasingly involved in political discussion.

So, does the same go for fantasy? On Wednesday, Black Gate columnist M. Harold Page tackled the question, with his article Why Medieval Fantasy is Not Inherently Conservative (or Inherently Anything Political).

What about more contemporary fantasy? I tried to think of some examples, but I’m not sure the zombie apocalypse can count as a legitimate part of a political argument. I asked David Hartwell, who has experience anthologizing the year’s best science fiction as well as the year’s best fantasy. He viewed fantasy as being more concerned with pastoral situations and identity politics.

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Space 1999: The Fantasy in Your Mirror May Be Closer Than It Appears

Space 1999: The Fantasy in Your Mirror May Be Closer Than It Appears

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Space 1999When I was a kid, hurling rocks at dinosaurs and running away, there were not many otherworldly shows on TV. Battlestar Galactica ran for two years and then Buck Rogers for about the same, with some incomprehensible Land of the Lost or Dr. Who thrown in at seeming random. Saturday mornings were a rich source of imagination, with Tarzan, Space Academy, Jason of Star Command and Flash Gordon, but unfortunately, in my day, Saturday mornings were only on Saturdays.

Every so often though, I’d find Space 1999 in the TV Guide; it was pretty cool. The sets and ships were pretty different from the sleek models in every other scifi show, and the space suits and the Moon seemed so alien. Twenty-five years later, armed with a couple of science degrees, I ordered a season for nostalgia’s sake.

O. M. G.

It was awful. Aside from the terrible writing and passive characters, and the apparent scattering of Caucasian British humans throughout the cosmos, I could do nothing but choke on the science and toss this drivel into a corner (actually, I think I left the boxed set in Havana, but that’s a story for another time…).

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Voices in Fantasy Literature, Part 1

Voices in Fantasy Literature, Part 1

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Apex Magazine March 2013-smallI have gone through phases of reading adventure fantasy, planetary romance, smoke and sorcery and epic fantasy. These sub-genres pack serious power.

Adventure fantasy is an adrenaline hit. Planetary romances like A Princess of Mars are shots of heroic wish fulfillment. And smoke and sorcery wallow in the grit of a spaghetti western.

I also go through phases where I’m looking for the emotional power and the subtle voice and character work of more literary fantasy. I recently read three pieces of short fantasy that hit me hard for different reasons. All are available online for free.

The first was “If You Were My Dinosaur, My Love” by Rachel Swirsky, Apex Magazine, March, 2013. Swirsky’s whimsical voice captivates the reader with a sing-song charm, but subversively so. The very brief story rolls faster and faster down a hill, on its way to a powerful cliff.

Here’s a sample to give you a taste of its romantic, earnest strangeness:

If you were a T-Rex, then I would become a zookeeper so that I could spend all my time with you. I’d bring you raw chickens and live goats. I’d watch the gore shining on your teeth. I’d make my bed on the floor of your cage, in the moist dirt, cushioned by leaves. When you couldn’t sleep, I’d sing you lullabies.

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Some Comments on the SFWA Rate Increase

Some Comments on the SFWA Rate Increase

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SFWA logoSo, I saw that SFWA (the Science Fiction and Fantasy Writers of America) is raising their qualifying payrate from 5 cents/word to 6 cents/word. This rate is part of SFWA’s formula for determining whether a market or an individual sale is a professional sale for the purposes of qualifying for SFWA membership. With some other minor details, a writer can qualify for full SFWA membership with three professional short fiction sales, or the sale of one novel at professional pay.

The last time SFWA raised its qualifying rate was nine years ago, when social media was less developed than now, and I’ve already seen some reactions about what this will mean for magazines that qualify right now at 5 cents/word. Short fiction economics being what they are, a few magazines will be at a decision point. Do they incur the costs of raising their pay rates and remaining SFWA-qualifying markets, or do they remain at 5 cents/word and possibly lose out on that part of the author population that is looking for SFWA membership? Many magazines are volunteer-run operations (bless them!) and/or are running losses, and/or are making ends meet with grants and kickstarter campaigns. Publishing is not a business you go into to make money. Hayden Trenholm, publisher of Bundoran Press, often tosses out the old saw that the way to make a small fortune in publishing is to start with a big fortune.

Writers (and publishers) are human beings. They pour their hearts into acts of creation in defiance of odds and common sense (once again, bless them, and me, who participates in the insanity of creation against all advice just as much as anyone else). We all ache for acceptance and recognition of our art, and SFWA is powerful professional recognition. Someone is saying “You are good, we welcome you to our group.” Heady stuff for any artist, although that’s not exactly the wording on the acceptance note. Whether or not you subscribe to the whole professional association thing, our reactions as artists are very much human.

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