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Derek’s Ridiculously Late 2016 Year in Review, or Book Deal!

Derek’s Ridiculously Late 2016 Year in Review, or Book Deal!

The Quantum Magician - Cover 2, May 2017
Cover art! By Justin Adams

Black Gate readers were very supportive when I reported the start of my 2-year experiment as a more present parent and as a full-time writer in June of 2015. I am happy to announce some of the fruits of that experiment 23 months into this leave from work.

First of all, my son is now 12 years old and is a wonderful human being. He cares about others, listens more, has more self-possession and seems successful enough socially that girls keep calling him. I can of course, only take half the credit for that, but even if the only thing I accomplished in the last 23 months was my contribution to raising a responsible person, I would have called it a very successful sabbatical.

However, while he was at school, I went to the library to write or edit, and some good things have come of that too.

Last night, at 7:30pm, 6 May, while I was reading at Ad Astra, Toronto’s premier fan convention, a very dedicated but surely sleepy-eyed gentleman in Oxford was posting the press release announcing my first novel! The world English rights to the The Quantum Magician sold to Solaris Books in the UK in November, via my excellent agent Kim-Mei Kirtland, but the news has been under embargo for the last six months while cover art was being developed by the extremely talented Justin Adams.

The Quantum Magician is an sf heist story, basically Ocean’s Eleven meets Guardians of the Galaxy. I took many of the elements of hard sf and aliens that are found in my short fiction pieces “The Way of the Needle,” “Persephone Descending,” “Pollen From a Future Harvest,” “Schools of Clay” and “Flight From the Ages” and found something I’m really excited about: stealing things.

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Breaking Into Comics as a Writer: Mucho Opportunities

Breaking Into Comics as a Writer: Mucho Opportunities

Fantastic Four Ego the Living Planet-small

I knew I wanted to be a writer basically when I learned how to write in English. That might have been as young as grade two, but certainly by grade three (I was in immersion school so we learned to read and write in French first).

My mother gave me my first four comic books in the summer between grades four and five, and I remember making plans with my best friend Eric (who liked to draw) about us making comics together.

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Worldbuilding a “Star Punk” Future

Worldbuilding a “Star Punk” Future

Star Punk?
Star Punk?

You know the genre I mean. It’s the one that takes in Firefly, Dumarest… it’s Space Opera’s Sword & Sorcery. It’s Han Solo: The Early Years or Indiana Jones does Hitchhikers Guide to the Galaxy, or Almost Any Clint Eastwood Movie Ever But In Space. It’s what Traveller RPG supports in all its incarnations

It doesn’t have a name, so I’ve taken to calling it “Star Punk.” Here’s how I  tried to define it in my guest post for uber SF meister Charles Stross:

They are all set in spacefaring civilizations where technology has somehow — with an authorial handwave — and my handwave is particularly cunning and internally consistent — failed to eliminate the human element, where you still need a human to pull the trigger or pilot the scout ship, and where nanotechnology, 3D-printing and vertical farms have neither eliminated trade, nor ushered in a crime-free post scarcity society. They all involve individuals or companions — adventurers, traders, investigators, contractors — pursuing goals of only local significance.

In other words, they could all be transcripts of particularly good Traveller campaigns.

Writing Star Punk, as I discovered when I started planning The Wreck of the Marissa, poses certain worldbuilding problems. (And, yes in this case, I really mean “universe building” but worldbuilding now has a specific technical meaning for writers and other creatives.)

The issue is this bit: where you still need a human to pull the trigger or pilot the scout ship, and where nanotechnology, 3D-printing and vertical farms have neither eliminated trade, nor ushered in a crime-free post scarcity society.

In a nutshell, any realistic starfaring future is unlikely to be like this. In fact, our technology is already breaking the Star Punk future.

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Things Your Writing Teacher Never Told You: The 9 Aspects of Story Promise

Things Your Writing Teacher Never Told You: The 9 Aspects of Story Promise

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At a novel writing boot camp I attended many years ago, at our first gathering, opening scenes written by each participant were read anonymously. One has stayed in my mind. It was a humorous gross-out scene that was literally bathroom humor. It was crass, and nearly everyone found it hilarious. I was one of the few who didn’t love it. At the time, I couldn’t explain what bothered me about it, beyond the fact that I don’t care for gross-out stuff or bathroom/body-fluids humor. Though I couldn’t find the words at the time, it wasn’t the indelicate content that was ultimately bothering me.

Only years later did I have the vocabulary and technical understanding I needed to put it into words: I doubted that it was an accurate Story Promise. Was the rest of the book going to be that scatological? Could the author maintain that high-energy gross-out humor for an entire novel? (Certainly, there are authors who can, but it’s a rare gift.)

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A Rose By Any Other Name . . .

A Rose By Any Other Name . . .

AlicePeople can have all kinds of reasons to use another name, or to change their names permanently, for that matter. There are personal or family reasons, like marriage or adoption. There are political or social reasons, like marking a religious conversion, or immigration – though that last’s not as common now as it was in the early to mid-20th century. My own father, for example, changed his name to Malan because British authorities – to whom he had to report regularly as a displaced person after WWII – suggested that he try to sound less Polish since he was planning to stay in England. He chose a name much in the news at that time, and that’s why my brother and I are often asked if we’re South African.

Setting these examples aside, however, actors and writers are probably the next large group of people who frequently change their names – or at least use other names as a pseudonym, or nom-de-plume, if you prefer. (A friend of mine once referred to her real name as her nom-de-nom.)

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Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Folksy Narrator/ Storyteller”

Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Folksy Narrator/ Storyteller”

Discworld-small

This is part 10 in the Choosing Your Narrative Point of View Series.

This style is most often seen, within the fantasy genre, in fairytales, fables, and humorous fantasy by authors such as Terry Pratchett, Neil Gaiman, and others.

It is not unusual to see this technique used in other genres and subgenres, as well. It is characterized by a distinctive, often folksy, voice that clearly establishes an additional “character” in the narrative, who usually does not take part in the action. It is often, quite literally, a disembodied voice. This is true in Pratchett’s Discworld.

A good example of this is the oft-used introduction to Terry Pratchett’s Discworld. The version shown here is from the opening paragraphs of The Fifth Elephant.

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Dark Dreams in Red Dirt

Dark Dreams in Red Dirt

Chicken Fried Cthulhu

It started with Arkham House, of course. The original Tales of the Cthulhu Mythos anthology strove to collect, and maybe even codify, the various stories written by Lovecraft’s contemporaries during their heyday; Robert E. Howard, Clark Ashton Smith, Frank Belknap Long, Robert Bloch, August Derleth, and others. That was back in 1969, right in the middle of the epic fantasy and sword and sorcery boom. Other anthologies of a similar nature followed, attempting to trace antecedents and well as descendants.

When the horror boom swept in during the 1980s, authors like Ramsey Campbell and Robert Bloch were releasing collections of nothing but their mythos stories. As the popularity and notoriety of Lovecraft’s works increased, smaller publishing efforts like Chaosium’s early collections themed around a particular Great Old One — The Azathoth Cycle, say — sold briskly.

Then things got a little nutty. Sherlock Holmes vs Cthulhu. Hardboiled Cthulhu, Frontier Cthulhu, High Seas Cthulhu, Cthulhu in Space, Cthulhu in the Future, and even erotic Cthulhu Mythos fiction (you’re on your own, there, pardner). There’s a List Challenge you can take, if you are so inclined, to see how many of these books you own or have read. I’d be very surprised if you have read them all. I’m into this stuff, and there’s a bunch I haven’t even heard of.

So, with all that being a given, why on Earth are we trying to publish Chicken Fried Cthulhu? What’s so special about the Southwest, anyway? It’s a great question. Let me give you the short answer: Joe R. Lansdale.

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Things Your Writing Teacher Never Told You: Researching the Tropes

Things Your Writing Teacher Never Told You: Researching the Tropes

Sun Wu-small

My Fantasy Writing Workshop (Columbia College Chicago) starts each semester by writing a shared private encyclopedia of genre tropes. Each week has an assigned category. The categories are: monsters or magical creatures; gods, demi-gods, or powerful spirits; magical artifacts or prophetic techniques/devices; and historical people. The students each write one entry per category, then the following week, all the entries in that category are part of their assigned reading.

For each category, I’ve compiled a list of at least fifty potential subjects with short descriptions taken from across the world cultures and mythologies to get them started. Many of the entries have alternate spellings, and some reference books contradict each other, so students are required to use more than one source in their research.

Here’s a list of a few of the monsters/creatures in the first unit.

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Off to a Writing Retreat in Cairo

Off to a Writing Retreat in Cairo

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On the left is the anthropoid coffin of Wenmontu, of the 22nd or
23rd dynasty (944-716 BC). To the right is the coffin of Mesiset,
late 22nd to early 25th dynasty (c. 750 BC). These are in the
archaeological museum of Bologna, which has an excellent
Etruscan collection I wrote about in a previous post.
Photo copyright Sean McLachlan.

I’m stepping out of the blogosphere for the next couple of weeks to do a writing retreat in Cairo. As Black Gate regulars know, I usually go to Tangier, but now that my Tangier novel is out, I’m changing location to work on a new project.

It’s a neo-pulp adventure novel tentatively titled The Masked Man of Cairo: The Case of the Purloined Pyramid and follows the adventures of a disfigured World War One veteran turned antiquities dealer who gets tangled up in the machinations of the Thule Society in 1919. And yes, a pyramid really was stolen from Giza! Well, sort of.

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What Black Sabbath Can Teach Us About Writing

What Black Sabbath Can Teach Us About Writing

Sabs

The world got some sad news last week — Black Sabbath just played their last concert.

OK, that’s small potatoes compared with all the other crap going on, but it was the end of an era. I bet I’m not alone among Black Gate readers and writers in being a Black Sabbath fan. Unfortunately I never got to see them in concert and now I never will.

They did teach me a lot about writing, though. As an author I get tips and inspiration from lots of different sources, not just other writers. Sure, I have a fondness for the great prolific authors and the literary giants, but I often learn more from the greats in different arts. Perhaps that’s because there’s a certain distance that allows you to see what they do more clearly. With other writers I tend to spend a lot of time looking at the nuts and bolts of their work, while with musicians and painters that’s not the case. I know very little about playing the guitar, and nothing about painting a landscape, so I focus more on the philosophy behind the work rather than the techniques of the work itself.

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