Books, Books and More Books

Better than water, water everywhere, which is what our plumbing is threatening to give us. While we're trying to nurse a failing drain along until we can get a plumber out here to work on it, here are some delightfully spooky reads for Halloween.



Rachel and the Many-Splendored Dreamland by L. Jagi Lamplighter

It’s Halloween at the Roanoke Academy for the Sorcerous Arts, and Rachel Griffin is stirring up the dead!

All her life, Rachel has wanted to visit Beaumont Castle in the kingdom of Transylvania, the last known location of her hero, librarian-adventurer “Daring” Northwest. Only falling out of the land of dreams onto her face was not how she had expected to arrive.

Now, the castle is right there, looming over her. Only her best friend, the Princess of Magical Australia does not want to go in, so as to avoid an international incident. But what if the castle holds some clue as to her hero’s final fate?

And who was that mysterious figure hanging by the neck she glimpsed in the dreamlands, just before she fell. Could the Dead Men’s Ball, where the spooks and ghosts of the Hudson Highland gather once a year on Halloween to dance to the music of some very unexpected musicians, be the key to discovering the hanged man’s identity?

(The third in the Rachel Griffin series, which began with The Unexpected Enlightenment of Rachel Griffith and continued in The Raven, the Elf, and Rachel, it will be on sale October 31 for Halloween.)



Cobweb Bride by Vera Nazarian

Many are called... She alone can save the world and become Death's bride.

COBWEB BRIDE (Cobweb Bride Trilogy, Book One) is a history-flavored fantasy novel with romantic elements of the Persephone myth, about Death's ultimatum to the world.

What if you killed someone and then fell in love with them?

In an alternate Renaissance world, somewhere in an imaginary "pocket" of Europe called the Kingdom of Lethe, Death comes, in the form of a grim Spaniard, to claim his Bride. Until she is found, in a single time-stopping moment all dying stops. There is no relief for the mortally wounded and the terminally ill....

Covered in white cobwebs of a thousand snow spiders she lies in the darkness... Her skin is cold as snow... Her eyes frozen... Her gaze, fiercely alive...

While kings and emperors send expeditions to search for a suitable Bride for Death, armies of the undead wage an endless war... A black knight roams the forest at the command of his undead father… Spies and political treacheries abound at the imperial Silver Court.... Murdered lovers find themselves locked in the realm of the living...

Look closer—through the cobweb filaments of her hair and along each strand shine stars...

And one small village girl, Percy—an unwanted, ungainly middle daughter—is faced with the responsibility of granting her dying grandmother the desperate release she needs.

As a result, Percy joins the crowds of other young women of the land in a desperate quest to Death's own mysterious holding in the deepest forests of the North…

And everyone is trying to stop her.



Blood Spirits by Sherwood Smith

Everyone's favorite sword-wielding California girl returns-from the author of Coronets and Steel.

With the man she loves set to marry a look-alike princess, Kim Murray returns to California from the magical country of Dobrenica to heal her broken heart. But family politics soon have her leaving for London, where she is forced into a duel with a Dobrenican nobleman. He reveals that her great sacrifice, leaving Alec, was a disaster. To fix her mistake, Kim returns to Dobrenica, but what she finds there is far more shocking and dangerous than she ever imagined. Not just politics and personalities but ghosts and magic, murder and mystery, await her as she struggles to understand the many faces of love. Once again Kim has to take sword in hand as she tries to make peace and learn the truth. Only, whose truth?

(The sequel to Coronets and Steel, it delves deeper into the supernatural elements of Sherwood Smith's Ruritanian kingdom of Dobrenica).



Steampunk Cthulhu by Brian Sammons and Glynn Owen Barrass, editors

"We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.”

So said H.P. Lovecraft in the first chapter of his most famous story, "The Call of Cthulhu" (1926). This is also the perfect introduction to Steampunk Cthulhu, for within these stories mankind has indeed voyaged too far, and scientific innovations have opened terrifying vistas of reality, with insanity and worse as the only reward.

The Steampunk genre has always incorporated elements of science fiction, fantasy, horror and alternative history, and certainly the Cthulhu Mythos has not been a stranger to Steampunk. But until now there has never been a Steampunk Cthulhu collection, so here are 18 tales unbound from the tethers of mere airships, goggles, clockwork, and tightly bound corsets; stories of horror, sci-fi, fantasy and alternative realities tainted with the Lovecraftian and the Cthulhu Mythos. Here you will discover Victorian Britain, the Wild West era United States, and many other varied locations filled with anachronistic and sometimes alien technology, airships, submersibles and Babbage engines. But the Victorian era here is not only one of innovation and exploration, but of destruction and dread.

(This anthology includes my own short story "The Baying of the Hounds," which features Gilded Age heroes Nikola Tesla and Thomas Alva Edison).



The Shadow over Leningrad by Leigh Kimmel

In Stalin's Soviet Union, Tikhon Grigoriev lives a precarious life. He knows too much. He's seen too much. A single misstep could destroy him, and if he stumbles, he will take his family down with him. With Leningrad besieged by Nazi armies, the danger has only increased.

He's not a man who wants to come to the notice of those in high places. But when he solved a murder that seemed supernatural, impossible, he attracted the attention of Leningrad's First Party Secretary.

So when a plot of land grows vegetables of unusual size and vigor, and anyone who eats them goes mad, who should be called upon to solve the mystery but Tikhon Grigoriev. However, these secrets could get him far worse than a bullet in the head. For during the White Nights the boundaries between worlds grow thin, and in some of those worlds humanity can have no place.

(The sequel to "Gnawing the Bones of the City," which was published in Fiction Vortex).

If you'd like to have your works included in future promo posts, let me know at leighkimmel@yahoo.com

Crossposted at The Billion Lightyear Bookshelf and The Starship Cat Blog.

Promo Awaits

I'm busy getting ready for Grand Rapids Comic Con, including catching up on some bookwork. So I wanted to get this week's promo post out before the day slips away from me. Enjoy, and hope to see a least some of you at the con.



The Unexpected Enlightenment of Rachel Griffin by L. Jagi Lamplighter

Roanoke Academy for the Sorcerous Arts – A magic school like no other!

To Rachel Griffin, Roanoke Academy is a place of magic and wonder. Nestled amidst the beauty of New York’s Hudson Highlands and hidden from the eyes of the Unwary, it offers everything a young sorceress could desire—enchantments, flying brooms, and the promise of new friends.

On her first day of school, Rachel discovers her perfect memory has an unexpected side effect. She can see through the spell sorcerers use to hide their secrets.

When someone tries to kill a fellow student, Rachel investigates. She soon discovers another far-vaster secret world that hides from the Wise the way the Wise hide from mundane folk. Rushing forward where others fear to tread, Rachel bravely faces wraiths, embarrassing magical pranks, mysterious older boys, a Raven that brings the doom of worlds, and at least one fire-breathing teacher.

Described by fans as: "Fringe meets Narnia at Hogwarts", The Unexpected Enlightenment of Rachel Griffin is a tale of wonder and danger, romance and heartbreak, and, most of all, of magic and of a girl who refuses to be daunted.

Curiosity may kill a cat, but nothing stops Rachel Griffin!

"Lamplighter introduces many imaginative elements in her world that will delight..." VOYA

(The first of a series that currently stands at three volumes, with more to come).



A Diabolical Bargain by Mary Catelli

Growing up between the Wizards' Wood and its marvels, and the finest university of wizardry in the world, Nick Briarwood always thought that he wanted to learn wizardry.

When his father attempts to offer him to a demon in a deal, the deal rebounded on him, and Nick survives -- but all the evidence points to his having made the deal.

Now he really wants to learn wizardry. Even though the university, the best place to master it, is also the place where he is most likely to be discovered.



Wren Journeymage by Sherwood Smith

The first summer of peace brings Wren on her weekly visit to the young Queen Teressa, where she encounters the derisive, upsetting Hawk Rhiscarlan riding in! Wren races to warn Teressa, to discover he's expected, which causes the girls' first argument. Tyron gives Wren a chance to leave Meldreth by sending her on a new journeymage project--to find Connor, who had wandered off to the Summer Isles. When Wren vanishes, her scry stone abandoned, Teressa veers between regret over the argument, worry about Wren, and the beguilement of attraction as Hawk skillfully upsets her court. Wren has just made friends with some young sailors when they are captured and forced on board a shady smuggler, where Wren learns all about the sea. When pirates attack, Wren does magic, which leads her straight to another confrontation with the villain she hates most, aided by the boy she . . . what do you call these feelings? Once again the four--Wren, Teressa, Connor, and Tyron--find themselves deep in adventure, as they try to navigate the treacherous waters of growing up.

(The first three Wren books were originally published by Jane Yolen's YA imprint with Harcourt. When Harcourt discontinued the imprint, it left the series orphaned with the fourth book unwritten. Sherwood Smith has reissued the series through Book View Cafe, a writers' co-op. It begins with Wren to the Rescue and continues through Wren's Quest and Wren's War.)



The Sun Never Sets by Joseph T. Major

A passionate defense of an exiled prince leads to changes that shake the course of European and world history, and lay the stage for a wider and wider yet monarchy.
In our world, the Electress Sophia of Hanover, sister of the gallant Prince Rupert of the Rhine, was made heir to the British throne, only to die just too soon, leaving the succession to her son. Once, though, she got a little too exercised about the poor exiled Pretender . . . and if she had been just a little more exercised, William of Orange might have changed his mind.
Such a change could put a strange and striking monarch in reach of the British throne. But the heirs of the Stuarts were not yet gone, and they could strike back. The result of this bold decision would mean wars across the world, involving people from lands spreading from Poland to Virginia, from Scotland to Naples. It would mean battles in the Cockpit of Europe, in the wilds of Saxony, and indeed on the green fields of England itself.
Not all is war. Literary figures such as Swift,Johnson, and Voltaire have strange and different meetings. The universal genius Benjamin Franklin, Printer, has an entirely new field of endeavor.
The opposed royal houses, and the other princes of Europe, face off in new and strange alliances in this novel.



Historical Lovecraft by Silvia Monero-Garcia, editor

Historical Lovecraft, a unique anthology blending historical fiction with horror, features 26 tales spanning centuries and continents. This eclectic volume takes the readers through places as varied as Laos, Greenland, Peru, and the Congo, and from antiquity until the 20th century, pushing the envelope of Lovecraftian lore. William Meikle’s inquisitor tries to unravel the truth during a very hostile questioning. Jesse Bullington narrates the saga of a young Viking woman facing danger and destruction. E. Catherine Tobler stops in Ancient Egypt, where Pharaoh Hatshepsut receives an exquisite and deadly gift. Albert Tucher discovers that the dead do not remain silent in 10th century Rome.

These are tales that reimagine history and look into the past through a darker glass. Tales that show evil has many faces and reaches through the centuries. Tales that will chill your heart.

Join us in our journey through horror and time, if you dare.

Stories by: Regina Allen, Jesse Bullington, Nathalie Boisard-Beudin, Mason Ian Bundschuh, Andrew G. Dombalagian, Mae Empson, Nelly Geraldine García-Rosas, Orrin Grey, Sarah Hans, Travis Heermann, Martha Hubbard, Nathaniel Katz, Leigh Kimmel, Meddy Ligner, William Meikle, Daniel Mills, Aaron Polson, Y. Wahyu Purnomosidhi, Alter S. Reiss, Josh Reynolds, Julio Toro San Martin, Bradley H. Sinor, Molly Tanzer, Albert Tucher, E. Catherine Tobler, Bryan Thao Worra

(Contains my short story "Red Star, Yellow Sign," which is tied to my indie short stories The Other Side of Midnight and The Shadow over Leningrad



All the Little Hedgehogs" by Leigh Kimmel

The Lower Volga Special Bio-Research Laboratory is one of the Soviet Union's most closely guarded secrets. Yona Feldberg didn't even know it existed until the day Academician Voronsky arrived at the Suvorov School and took him away from the austere life of a military cadet.

Here Yona learned why he, the son of a KGB labor camp commandant, should have been placed in a school to train the Soviet Army's future officers: he is a clone of one of the Red Army officers murdered in the Great Terror. However, his extraordinary talent for genetics makes him more valuable as the Academician's personal student, learning the technology of gene splicing alongside the Academician's adopted son.

But privileges can be revoked, as Yona discovers when he runs afoul of the local guardians of propriety. Now he will get a different kind of education, in teh darker secrets of the Soviet cloning program.

(Another story set in the Soviet Union, in the Gus on the Moon timeline).

Over at Sarah Hoyt's blog, the Free Range Oyster has even more cool books. In the comments you can also find a story beginning of mine, for another story in the Gus on the Moon timeline.

I also have some new in-depth book reviews up at The Billion Light-Year Bookshelf.

As always, if you'd like to have your works included in future versions of this promo post, please let me know at leighkimmel@yahoo.com. Because I'll be setting next week's promo post up while I'm at Grand Rapids Comic Con, they'll stand a better chance of being included in it if sent earlier.

Crossposted at The Billion Lightyear Bookshelf Blog and The Starship Cat Blog.

Making Time for Promo

I'm between events right now, but it doesn't mean I'm not busy. There's merchandise to manage and bookwork to do. And there is my other business, developing and maintaining AdSense websites, which has suffered from lack of attention for far too long. So it's easy to let the day slip away and discover it's gone and I still haven't done the promo post this week.



The Bandit Steals a City by Joseph T. Major

Ordinary worlds have problems with fanatics. So do faerie ones. The faerie worlds have ways to deal with them, but some may be very mundane and ordinary. And then there is the problem of cleaning up afterwards.
Our bandit and her husband the scholar have to deal with a family crisis, an evil that masquerades as good. Not to mention having to raise more of their kind, understand how their lives work, and provide for family of all sorts. There are so many things that go into life, and having it for longer only makes them accumulate.

(The second in the Lady Was a Bandit series, which began with The Death of a Bandit)



Pride and Platypus by Jane Austen and Vera Nazarian

From the critically acclaimed author of Mansfield Park and Mummies and Northanger Abbey and Angels and Dragons...

Pride and Platypus: Mr. Darcy’s Dreadful Secret

When the moon is full over Regency England, all the gentlemen are subject to its curse.

Mr. Darcy, however, harbors a Dreadful Secret...

Shape-shifting demons mingle with Australian wildlife, polite society, and high satire, in this elegant, hilarious, witty, insane, and unexpectedly romantic supernatural parody of Jane Austen's classic novel.

The powerful, mysterious, handsome, and odious Mr. Darcy announces that Miss Elizabeth Bennet is not good enough to tempt him. The young lady determines to find out his one secret weakness -- all the while surviving unwanted proposals, Regency balls, foolish sisters, seductive wolves, matchmaking mothers, malodorous skunks, general lunacy, and the demonic onslaught of the entire wild animal kingdom!

What awaits her is something unexpected. And only moon, matrimony, and true love can overcome pride and prejudice!

Gentle Reader -- this Delightful Illustrated Edition includes Scholarly Footnotes and Appendices

(Who ever thought lycanthropy could be funny?)



The Trouble with Kings by Sherwood Smith

“With music you can tell the truth about human experience.”

In this romantic fantasy set in the same world as Crown Duel, Flian is an ordinary princess who would rather be left with her music, but gets abducted not once, not twice—three times.

What is a civilized princess to do? Especially when she can’t tell which prince is the hero and which the villain!

Re-edited and reissued by Book View Cafe

(If Jane Austen were to write a novel in Sherwood's Sartorias-deles universe, it would look like this).



Lazarus Risen by Hayden Trenholm (ed.)

Dreams of immortality and eternal youth are almost as old as human culture itself. But what would the world look like if everyone could live and be young forever? What would it look like if only some of us had that privilege? Lazarus Risen presents sixteen stories from around the world that explore the economic, political, social and psychological consequences of life extension, human cloning, the hard upload and other forms of the biological singularity.

Stories by Brent Nichols, Sean McMullen, Teri Babcock, Nancy SM Waldman, Brad C. Anderson, Fiona Moore, Felice Picano, Matthew Shean, Matt Moore, Suzanne Church, Peter Wendt, Holly Schofield, Deborah Walker, Kevin Edwin Stadt, Leigh Kimmel, and Andrew Barton.

(This anthology contains my story "Phoenix Dreams," a companion story to The Crime and Glory of Antonia DeVilbiss.)



The Moon Mirror by Leigh Kimmel

Chelsea Ayles dreamed of going to the Moon since she was a child. Now her dream job at NASA has turned into a nightmare, thanks to those many blood-sucking arachnids. Yeah, politics, as in a Senator accusing her of destroying America's priceless heritage because she chose the moonrocks that were used to make a proof-of-concept mirror segment for a lunar telescope project. Now the mirror sits in her office like a bitter mockery of what might have been -- until the day her reflection turns into a handsome stranger who calls himself the Man in the Moon and offers her visions of a world that might have been. Visions that ignite a longing of an intensity she hasn't known since she was in grade school and watched videos of the Apollo lunar missions in science class.

(Another story that involves the Gus on the Moon universe).

Over at Sarah Hoyt's blog, Free Range Oyster has more interesting books for you to check out.

To get your book in next week's promotional posting, send me a note with the title and publication information atleighkimmel@yahoo.com

Crossposted at The Billion Light-Year Bookshelf and Through the Worldgate.

The Magnetic Attraction of Old Words

One of the most difficult things in a rewrite is actually making serious changes. You know the existing text isn't right, but is it enough to just  make a few little nips and tucks here and there, or does it need a complete reworking from the ground up?

And even when you do, you'll often find that you're going right back to the same old phrasing, especially if you're looking at the original text as you're rewriting. It's so bad that some writers have even suggested that you should put your first draft aside, then summarize it from memory and write the new text afresh.

I'm noticing this problem myself as I'm rewriting The Steel Breeds True yet again. For instance, there's a scene that now happens in a different place than in the earlier version of the story. I was trying to just rewrite it line by line, but as I re-read the new version, I'm realizing that it's just not working this way. And as I keep struggling with it, I'm coming to the uncomfortable conclusion that the only way to fix it is to write a completely new text. A lot more work than just changing wording here and there, but the only way to make the changes that need to be made.

Like Grains of Sand

It's said that a few grains of falling sand can set an entire dune face into motion, even create a catastrophic slide. And similarly, a relatively small change in a novel can have enormous effect as they percolate through the storyline.

As I've been rewriting The Steel Breeds True, I did a little tweaking related to the majors of several of the key characters. At the time I didn't think it would have much impact -- but as I've been working on it, I keep discovering places where I have to rethink whole scenes, including the rationale for those characters to be present at a given place.

As a result, it's turning out to be a lot harder to rewrite this thing than I'd expected. I'm starting to wonder how much longer it's going to take.

Fear Is the Mind-Killer

Years ago, when I first discovered Dune, I was blown away by the intricacy of the worldbuilding and the depth of the concepts. In many ways, it completely rearranged my worldview, to the point that I began seeing my everyday life in a completely different light.

And recently I had an experience that made me recall Dune and the ideas I discovered in it. I was working on a short story for a contest, on a tight deadline, and the words didn't want to come. It was almost as if the story were fighting me. I tried the usual tricks -- writing by hand, jumping ahead to the next scene, etc. and while I'd get progress for a while, soon things would jam up again and I'd be staring at page or screen, unable to get things flowing.

Finally I was down to the last hour before the deadline, and I had a couple of scenes that I just couldn't get to write. It was like the creative part of my mind had frozen up solid.

And then I realized I was literally afraid to write them because they touched on a Sensitive Subject. Not the SJW issues that the notorious Requires Only That You Hate used to reduce writers to gibbering wrecks at the keyboard, but I was still afraid that they would bring down the terrible hammer of disapproval, the accusation that I hadn't just written badly, but also revealed myself as a Horrible Person.

The story's set in an alternate timeline in which the Apollo 1 astronauts got out in the nick of time, and although they bore the scars of their narrow escape for the rest of their lives, they got to have lives. It's now several decades later, and the Second Mars Expedition is returning to the Earth-Moon system to spend their quarantine period at the moonbase -- and the mission commander is Roger Chaffee. And deep in my gut, I was afraid that someone would see that as gratuitous, a thoughtless slap on an old wound, that by showing the world in which he survived as one with a more advanced space program, I was saying that he died for nothing, and therefore I was a horrible, thoughtless person.

And once I realized that was what I was afraid of, I faced it squarely, told myself that nobody had ever said anything of that effect about A Separate War or Holovideo. I'd even made combox posts on various blogs to the same effect without anybody bringing down the hammer of condemnation, so surely I wouldn't get attacked for a story. And then I was finally able to write those scenes and get the story in. Not my best effort, but in by the deadline.

So yes, fear is the mind-killer.

Working with Old Materials

Right now I'm looking at very similar problems with both of my current novel projects -- in both cases, I'm working with old materials. I'm trying to write Holovideo from an outline I wrote in the early 1990's, an outline in which I assumed a lot of stuff that never got onto the page, but have since forgotten. And while the current text of The Steel Breeds True was written in 2001, right after the 9/11 attack, the storyline goes back even further, all the way to the second half of the 1980's. As a result, there are a lot of unexamined assumptions in that text, things that I carried over from the earliest versions of the story without really thinking about.

So while on the surface it might seem like most of my work has already been done for me, there are ways in which it's actually almost harder to work with this old material than writing afresh might be. I'm stuck on Holovideo because I reached a chapter in the outline in which there's just no there there, nothing to unpack into text. And The Steel Breeds True is turning into a real uphill struggle because of the continual fear that the whole story is rubbish and there's just no salvaging it, and if I do put it up on KDP, everybody will laugh and point.

Which means that I'm having to put a lot of emotional energy into overcoming my own doubts and keeping pushing forward. As a result, I really fell behind when I was having to deal with two back-to-back conventions and all the bookwork that comes with selling at them.

However, we're now out of convention season, and as I'm switching our sales to online mode for the winter, I'm hoping that I can get some serious forward motion happening on both fronts.

Stuck

If you've been following Holovideo on JukePop Serials, you may be wondering when the next chapter will be coming out. It's going to be a while, because there's a problem. I'm stuck.

It's not the kind of stuck where the writer has no idea what happens next. I have a complete chapter by chapter outline. The problem is this: it's twenty years old. I originally started writing Holovideo way back in the early 1990's, when I was working at a community college and a local collector brought in a bunch of memorabilia from the early days of television. That got me to researching, which led to a number of story ideas, Holovideo among them. I wrote out a complete outline and the first several chapters, then lost interest and moved to another project.

So when I decided earlier this year to pull it back out and serialize it at JukePop, I thought it would be an easy task. After all, it was a pretty straightforward story, so all I'd need to do was unpack each chapter from the outline into a developed text, polish it, and post. What troubles I did have in keeping to my publishing schedule mostly involved external crises -- a death in the family, conflict over the estate, business activities taking over my schedule and leaving no writing time.

Once I got those out of the way, I thought I'd be back on track. Chapters seemed to be flowing reasonably well, even if I didn't seem to be getting all that many +votes. And then I started in on Chapter 20, and looked at the outline and realized there was just no way I could get a complete chapter out of what was there. Obviously my twenty-something self had an idea there, but my forty-something mind could no longer get into that headspace.

Which means that I need to take some serious time to re-reading the existing nineteen chapters, figuring out where the story needs to go, and reconstructing the outline to get me to that end. And that means some serious unbroken thinking time, which has been scarce on the ground of late.

I'm hoping that once I get these last two conventions of the year done, I may finally get the time I need. It may depend on what the Thanksgiving holiday is like, but with a close family member in precarious health, I may end up spending a lot more time visiting with them than writing. So I'm not guaranteeing anything in terms of schedule, just that somehow I am going to see this novel through to the end. It may take me a month or two to fight my way through to the end, but I'm not going to just leave it dangling forever.

Shadows of the Past

When I first got the idea of pulling out The Steel Breeds True and getting it ready for publication on KDP and other online e-book platforms, I thought it would need little more than a quick polish to get it into shape. Maybe a few changes here and there to bring it in line with some developments in some other novels, particularly in the relationships between some of the people in Tsar Joseph's court. And I figured it'd be good to break up some of the really long chapters for online reading. But I was pretty sure that I'd left it in decent shape when I last sent it out to a novel market in 2003.

But when I got it out and started working with it, I was astonished to find that it wasn't in nearly as good of shape as I'd remembered. The first couple of scenes in Chapter 1 weren't bad, needing only a couple of names changed. By the time I came to the third scene, I knew I was going to need to do some substantial work, and in later chapters I found whole scenes that needed to be restructured or cut altogether and summarized in some other scene.

By the time I got to the seventh chapter, I decided not to even try to plan in detail. There was a very real possibility that major changes in an earlier chapter would invalidate everything I was planning for later ones. So I decided to focus on doing the detail rewriting.

And in doing so, I realized that I was going to need to do some thinking about the deep-level concepts. The Steel Breeds True is one of my oldest novels. Although the current text dates back to the early 2000's, having been begun shortly after the September 11 attacks, I originally started writing it way back in 1995, when I was a freshman at the University of Illinois (where it's set). When I first wrote it, I thought it was going to be a short story, but it soon grew, drawing in more and more characters and goings-on around it, at least partly in response to various issues in my own life at the time.

In 1990 I finally ended up setting it aside, thinking it unsalvageable. It was partly the result of a particularly blistering critique, complete with snarky and condescending comments that seemed deliberately intended to wound rather than just to point out problems. But a big part of it was the changing world, which I thought had left it behind so thoroughly that it simply no longer had a market, and thus there was no reason to even try to do another rewrite. Better to just put it away and move on to other projects, of which I had plenty.

When the crumbling of the Soviet Union turned into full-out dissolution and the various union republics became fully sovereign states, I was certain of that judgment. Not just about the novel, but about the entire world in which it was set. Even when I wrote stories that were supposed to be part of the same continuity, I tried to minimize or conceal the connections. In the early 1990's, when I wrote Shapeshifter!, set in the middle of the Sharp Wars era, I avoided any mention of the Russian political landscape. Instead, Japan became the principal external enemy of the dictatorship that had taken over the US, a state of affairs that perfectly suited a story in which the protagonist takes the form of a World War II admiral and the antagonists are constantly making references to events he was involved in. Of course it helped that the first-person protagonist was a teen and thus not particularly aware of the world scene.

Yet it was still there at the back of my mind, even when I carefully avoided mentioning the Russian monarchy or anything that might draw awkward attention to what had become Yesterday's Future. Hardly surprising, considering that the world in which The Steel Breeds True is set was already several years old when I started writing that novel.

The Lanakhidzist Revolution timeline had its beginning when I was in junior high, when it still seemed unimaginable that the Soviet Union could fall from within. It was too strong, too well controlled by the iron fist of the Communist Party. If it were to be brought down, it would have to be by military force, which might well mean nuclear war and the post-apocalyptic future that was featured in so many books ranging from the hopeful Alas, Babylon through the grim Canticle for Liebowitz to the downright hopeless On the Beach. And through the 1980's, it was still possible for me to write it as a future history, although as Gorbachev's Perestroika progressed, it became increasingly Zeerusty. But when the Wall fell and when the Soviet Union dissolved, I could no longer imagine anybody buying it as science fiction.

When I did finally decide to pull it out and tackle it afresh as alternate history in response to an online discussion in the aftermath of the September 11 attacks (basically, the thesis that old-style Cold War novels might well have a sudden resurgence in the market, either as straight-up historical fiction or as alternate history, as comfort reading for people longing for the certainties of a faceoff between two nation-states in this uncertain new world of non-state actors carrying out attacks in secret, without allegiance or accountability), all that internal history was still bubbling under the surface. All that unconsidered stuff left over from my high-school exuberance, which was then overlaid with an only slightly more mature exuberance of my college years, particularly when I was studying Russian.

And now, as I'm pulling The Steel Breeds True out yet again, I'm seeing places where stuff established way back in high school was simply assumed as background. Now, looking back with the eyes of a middle-aged married woman, I find that a lot of it just doesn't hold together under closer examination -- yet I have no idea what should be put there in its place.

I'm finding that I have a great deal of sympathy for JRR Tolkien's struggles to put The Silmarillion into publishable form after the success of The Lord of the Rings. How could he reconcile the sometimes whimsical elements of his youthful exuberance with his new stature as the author? In his case, death cut short his dithering and the process of putting his papers into order was left to other hands, not always in a completely satisfactory fashion. Which on reflection could serve as a warning against letting the best become the enemy of the good.

Considering Strategies to Proceed

Right now I'm at a point where I need to decide how best to allocate my writing time, especially now that I'm trying to maintain some level of forward motion on my book reviewing site, my jobhunting site
and my economic awareness site. I have a number of writing projects in various states of completion, and I need to decide how to prioritize them.

I have multiple novels jockeying for my attention. I've been serializing Holovideo at JukePop Serials, and I'm rapidly closing in on the ending. My original outline from the early 1990's called for 28 chapters, but I've just combined chapters 19 and 20, and I'm looking at the possibility that several other planned chapters should be combined because there just isn't enough material in them individually to make a solid chapter. That means I may well have no more than 25 chapters, and if I do the remaining ones on a weekly basis, I'll be done with the novel by the end of the year, leaving me with the question of what (if anything) I want to serialize next.

However, interest in Holovideo has really fallen off. I'd had some good interest in September, but since the beginning of October I've posted three chapters and haven't received a single +vote on any of them. This lack of interest may be partly the result of new-chapter notifications not getting to the people who've put it on their bookshelf (I have not received a single notification for it, and neither has a friend who has it bookmarked), but it's not exactly conducive to enthusiasm about getting Chapter 20 written.

Meanwhile, I've been wanting to try out KDP and some other e-book programs that some friends have been having good success with. Rather than try to write a complete new novel from scratch, I had decided to rewrite an old novel, The Steel Breeds True, on the theory that it would be easier to spiff up something that already had a complete text.

However, I've been rather surprised to find out just how bad the existing text looks after ten years. It's going to take more than just a little surface spiffing of the text to get it into shape. A lot of the chapters need to be broken up into shorter chapters for electronic reading, and there are places where scenes need to be presented in a different order, and a few scenes may well be eliminated altogether or reduced to a quick summary at the beginning or end of another chapter.

So it's going to take a lot more time than I'd anticipated to get it done, and with all the trouble I'm having with Holovideo, I'm not able to give The Steel Breeds True nearly as much time as I'd like. So what I thought would be a quick and easy polish has turned into a stalled major reconstruction job.

Not to mention Last Moondance on Farside, which I was making such good progress on back in 2013, but then stalled on me when I needed to take care of other projects, particularly a couple of short stories for invitation-only anthologies (both of which were subsequently rejected, and I've been shopping around in hopes of finding some home for them). Chelsea Ayles and her adventures among the community at Shepardsport keep tugging at the back of my mind, wanting to be finished, but I keep feeling that my first obligation needs to be to finishing Holovideo.

And speaking of short stories interrupting novel progress, I'm working on a short story for an anthology with a deadline at the end of this month. I've got a full outline for it, and I've got it moving, but it's still time I don't have for any of the novels. And there's another, related story I want to write for the Jim Baen Memorial Science Fiction Contest. That's not due until the beginning of February next year, but it just keeps tugging at the back of my mind, wanting to be told, to the point it's a distraction. So I'm wondering whether it'd be better to just give in and get it written, then hang onto it until closer to the actual deadline so I could look at it with fresh eyes and give it a really good polish.

So that's where I stand right now on my writing projects.

The Gnawing Porcupine of Self-Doubt

In the beginning of The Steel Breeds True, Amanda Lordsley-Starcastle is struggling with her internal editor, who has taken to carping criticism and faultfinding instead of anything useful. He alternates between two forms, sometimes appearing as a tiny Nikolai Yezhov and at other times as a literal hedgehog.

Since there are no native hedgehogs in North America, mine takes the form of a porcupine. And unlike the insectivorous hedgehog with its generalist teeth, the porcupine is a rodent, with specialized gnawing teeth. And oh gods, but does mine ever gnaw at everything. Sometimes just getting words on paper is an uphill struggle as he gnaws away at every word, every phrase, every image.

And now that I'm beginning to prepare The Steel Breeds True for indie publication, it's getting even worse. Not just is my writing good at the word and sentence level, but is the story any good? What if the whole thing is so stupid that people will laugh and point?

It's the problem of finding the balance between being relentlessly self-critical in order to attain our best and being able to believe in ourselves when nobody else does. I wish I could offer a nice pat answer for everybody out there who's struggling with the same problem, whether in the form of an unending stream of say-nothing form rejections or a serialized novel posted to a reception of such utter indifference that one is left almost wishing for a blistering review because it would mean that someone actually cared. But all I can offer right now is fellow-feel, the knowledge that you are not alone in your uphill struggles, and at least now you do have options beside struggling to fit through the narrow door that is so carefully guarded by the gatekeepers of traditional publishing.

Obscurity and Indifference

Writers worry about a lot of things, but oftentimes we end up worrying about the wrong things. We minutely agonize over word choices when we need to consider whether we're telling an interesting story. We worry about writing the perfect cover letter for the market when we should be considering whether the markets we're looking at are even worth bothering with. We worry about piracy when we should be thinking about the problems of promotion. And we fear a hostile reception when we should be concerning ourselves with obscurity and indifference.

Recently I began serializing a short novel, A Separate War, at JukePop Serials. When I took that first chapter live, I felt more than a little trepidation. I'd heard all the horror stories about writers offending someone and having their e-mail inboxes fill with angry messages, even outright death threats. And I could see all the possible things that could set someone off: would someone accuse me of spitting on the graves of the Apollo 1 astronauts because I portrayed a world where they escaped in the nick of time as one with a more expansive and advanced space program, including a moonbase by the 1980's and at least one trip to Mars? Would someone find my portrayal of the Muslim police officer as less than perfectly deft and accuse me of racism?

Instead, I got nothing. No angry diatribes, no nasty accusations of hidden wickedness revealed through my prose. It was almost as if my novel were invisible -- in fact, even a sharp criticism would've been welcome because it would've showed that someone cared.

It got to the point that I had to really struggle to keep writing further chapters, when the initial few +votes were not followed up with subsequent +votes on new chapters. I wondered why I was getting so little response, so little evidence that anybody was even reading my novel. Was it falling under their radar, and if so, what could I do to increase its visibility without becoming shrill and turning people off? Or were people finding it and deciding it wasn't something they wanted to read -- or something they didn't want to make an issue of, lest the Streisand Effect make it a success? With no response, I was operating in a vacuum, so I began to second-guess myself.

After much struggle and toil I finally completed A Separate War, and moved on to another novel, Holovideo. I'd chosen it specifically because it would be similar to several other novels that were enjoying success there, so I was hoping to see interest pick up on it fairly quickly.

However, it too has been slow to attract attention, and I have no idea whether it's staying under the radar of potential readers, or if they're finding it and not liking it. It's a very frustrating situation to be in, but it's a very real proof of the problem of obscurity, and the need to break into people's awareness -- but without turning them off in the process.

Pulling Teeth

That's how it's felt to write the latest chapter of A Separate War, which I've been serializing at JukePop Serials. My plan was to put new chapters up on a Monday-Wednesday-Friday schedule, but Friday night I was still stuck so hard on it that I could tell there was no way I'd get it done in time. I didn't even know how I was going to get it done at all.

So I printed it up and decided to take a second look at it, away from the computer. Sometimes looking at the text in different format will shake something loose in the subconscious and the words will start flowing again.

After a little consideration, I realized I needed to redo the beginning. Instead of having Nora and Deniz get the water rescue call in the middle of the chapter, it would start out with the call coming through and them racing off to respond.

However, although I got some good momentum going Saturday afternoon, I couldn't maintain it all through the evening. I'd been hoping to get the chapter done and up by Saturday evening and be able to start on Chapter 6 Sunday, preserving some semblance of my MWF schedule. But that wasn't happening, so I decided to give this one some extra time and make it my Monday posting.

So I'm now a little behind, but it's not a disaster. I'm hoping the next several chapters will prove less difficult to get written.

Assuming of course I don't have to deal with Life Happening.

Bummed about Space

Ever since the end of the Space Shuttle program last July, I've been feeling glum about America's space future. Right then, I was so bummed out that I couldn't even imagine a future for American space flight, to the point that I was imagining a scenario in which aliens arrived and told us that our status in their polity would depend on our ability to travel to another world. We point at the Apollo moon landings and are told no, they don't count, because we no longer have the capacity to do it.

Although my initial idea was unpublishable (other than as Real Person Fanfic), I realized it could be done as steampunk. So I jotted down some ideas for a Gilded Age version of Apollo, with the UK as our adversary in an alternate Space Race, and some decades later the elderly moonwalker is visiting the Smithsonian before testifying to Congress, only to have the aliens arrive and announce that no, that decades old landing doesn't count unless they can replicate it Now. So our aging moonwalker, after his initial outrage, buckles down to lead the new effort to get back to the moon -- but where does the story go and how? Is it a short story, or a novel, or a whole series?

But even as the effort peters out, I begin to see the possibilities of the Lanakhidzist timeline. I'd made some cursory mentions of there being US and Soviet space stations and a moonbase at the time of the Lanakhidzist Revolution, but had never really developed it, because my interest was on terrestrial events. However, even in my earliest versions of the Lanakhidzist universe, I knew that America's slip-slide into dictatorship was ended with a confrontation between the Administration and America's permanent space settlements.

So since then I've been working on the rocketpunk side of the Lanakhidzist universe, how the moonbase grew into a full-fledged lunar settlement, and how others developed, how the first expeditions to Mars led to a personal base, etc. It's interesting to see a completely different side of that world -- although frustrating that most of these stories are bouncing around from one market to another, and the one that has been published is the one that has no obvious alternate-historical content, and is recognizable as part of the Lanakhidzist universe only if you read other stories in which those characters show up, and in which clearly Lanakhidzist elements like human cloning as a Cold War secret project are mentioned.

And now I get the news that Neil Armstrong has passed away, and I'm even more bummed about the future of space exploration here in the Primary World. And worse, I feel weird about writing Lanakhidzist space stuff, because in that world Gemini VIII went very differently, and as a result Neil Armstrong isn't the icon he is in this timeline.

Oh, Rocketman!

It's now official. My short story "Tell Me a Story" will be appearing in Rocket Science, an anthology of hard science fiction.

This story has a rather interesting genesis. I originally wrote it for the September 2001 On the Premises contest prompt. However, I apparently screwed up the submission process, because a completely different story showed up in the listing at Submishmash. Don't ask me how I managed to goof it up that bad. The other story sort of fit the prompt for that contest, but not as well. So I now had a story that needed to find a home.

Meanwhile, I had tried several different story ideas for Rocket Science, and none of them were working out. Worse, all of them seemed to fall into thematic zones that were already well covered by the existing submissions, so I wasn't sure if I wanted to spend a lot of time wrestling a story into shape only to have it rejected because it was too similar to stories already accepted.

In writing "Tell Me a Story" I drew upon my background as both a librarian and a historian, not to mention my own personal experience of being a small child and having my parents read to me. Telling the story through the eyes of successive generations of children gave me an opportunity to take a new look at humanity's future in space, not to mention showing how the historical memory can become confused as events recede into the past.

Rocket Science is scheduled to be released in April, with a big party at the UK convention Eastercon. It will be coinciding fairly closely with ConGlomeration, a convention in Louisville, Kentucky, which I'll be attending, so I may try to do some promotional activity for it there.

The Length Problem

After getting a personalized rejection on "The Angry Astronaut Affair" (the first three were form rejects), I'm thinking that I need to give it a serious rewrite to expand it. When I originally wrote it, I was aiming it at a contest with a 4000-word length limit. In order to make it fit, I had to leave out several elements that I really wanted to get in, because I could tell that nips and tucks in the wording wouldn't bring it back down if I added those things.

However, on retrospect, I think that letting them fall by the wayside actually hurt the story more than I realized. Yes, people do miss them, even if they don't know what those specific things were supposed to be. There's still a gap that leaves the reader less than satisfied.

And I'm thinking that I really need more than one POV. Reggie Waite's a difficult character, and in this story he really comes off as a jerk, which is probably making it difficult for him to be the story's protagonist. But if he could be seen through other eyes, so that the reader gets more of a sense of his complexity, it might get past the reader sympathy problem. The Jerkass Hero is a recognized trope, after all, and it's common enough that it obviously does work.

And sometimes a story really does need to be allowed to find its own length, instead of being forcibly crushed down to an arbitrary length.

Just Lovely

As I'm trying to hash out the problem with "The Man I Love Is on the Moon," I'm becoming increasingly convinced that I'm going to have to completely tear out the existing beginning and redo it from scratch. I guess it's better that it's just three handwritten pages I need to toss. It could be 300 double-spaced MS pages on the computer, as happened to one writer I know.

And worse, I think I really need to give more thought to several of the characters before I can really push the story forward. Which means it may need some back-burner time to let the subconscious mind work on it.

At least that will give me some time to focus on getting "The Shadow of a Dead God" ready to send to its intended market.

The Proto-Draft

Sometimes it's called scaffolding. It's that stuff that you've got to write to make part of a story clear in your own head, but doesn't work as finished story. Stuff dealing with the background of character relationships, or (in speculative genres) the hows and whys of the technology, magic or creepy stuff that's essential to making the story work.

In a novel, it may be possible to have an infodump work, especially in relatively hard sf. A lot of readers of Heinlein, Weber, Kratman, etc. actually enjoy those solid blocks of information about the hows and whys of the science, technology and political systems that make the world work. It makes the imagined world read more real for them.

But that's not true for all readers -- I know some readers who absolutely will not read some of my favorite authors because of their information-feed techniques. And a short story won't have room for all of that information, so you have to very carefully choose what's the absolutely essential parts that must be explicitly presented to the reader and find ways to salt them into the story.

As I'm working on "The Man I Love Is on the Moon," I'm running into that problem -- I've just written a lengthy passage in which the protagonist is reflecting upon how the current situation makes her think of a similar space disaster when she was a kid. It's important stuff, both the backstory (which is so critical to how Kitty Strowger became who and what she is) and the current events on the world scene. But it's just her telling the reader all this information directly (since it's written in first person), and I'm not sure that it works as a short story. I've seen plenty of first-person novels that stop the action so the protagonist can directly address the reader and tell about how he or she became interested in a line of work, or suchlike (the one I'm currently reading, Travis S. Taylor's Warp Speed, does, and it really gives you a feeling of this down-home sort of guy sitting there and telling you the story over a couple of beers). But when you've got only a few thousand words, can you spare the room for recollections?

I'm hoping that, as I get a completed text, I'll be able to see how to get the critical information woven into character interactions so it isn't just a big lump of the protagonist telling the reader Important Stuff.

Genre Expectations and the Problem of the Cross-Genre Story

Recently I started writing a short story for a horror fiction contest. I decided to draw upon the image of a faceless colossus in an ancient desert from the list of HP Lovecraft's unused ideas in A Commonplace Book of the Weird: The Untold Stories of H.P. Lovecraft. To make my story distinctive from the one in that book, I decided not to set it on any earthly desert, but on the Moon.

But as I'm writing my story of my astronaut hero's desperate trek across the lunar regolith, heading toward his encounter with the ancient and menacing colossus, I realize that this story is reading more and more like hard science fiction rather than cosmic horror. But I really don't see any way around having the technical details of the problem at the mining outpost, the operation of the hopper he's supposed to be taking to get help from a larger settlement, or how he jerry-rigs parts of it with an old Apollo lunar rover -- it's essential to the growing sense of menace to understand why he's in deeper and deeper trouble, and I don't know how many horror readers are familiar enough with issues of astronautics to intuit how dangerous the lunar surface is, even for someone with equipment half a century more advanced than what the Apollo astronauts took to them, without it being explicitly laid out for them.

At the same time, I'm constantly aware that if it doesn't read like horror, a lot of the gatekeepers are apt to assume that someone sent a straight-up hard-sf story to them by mistake, or without bothering to read the guidelines, and never even get to the point where the protagonist encounters the terrible faceless colossus and all its existence implies, or the terrible effect it has upon his mind.

Of course at least part of this problem could be the problem of being a beginner. When one has established a reputation in the business, there's an implicit trust that one knows what one is doing, that just isn't there for a beginner. The established figure is assumed to know what he or she is about, and is trusted until it becomes clear the story is simply not suitable. By contrast, the beginner, or relative beginner, has to prove up front that yes, he or she is worth being given the time of day.

All Is Grist for the Mill

I got into a lengthy and rather heated discussion on issues of race and privilege when I really should've been working on Children's Crusade, and as it rapidly went south, I realized that it's quite possible that some of these same patterns will come into play in the huge discussions after the Lankhidzist Revolution about the proper role of the various clones, especially those of Stalin's henchmen.

I can completely imagine Kolya Vornosky, faced with someone harping at him about the terrible crimes of Nikolai Yezhov and privilege derived from Yezhov's role in Stalin's crimes, firing back, "And what am I supposed to do about it?" And the other person becoming angry about his even asking, treating it as just this sort of affront, a presumtious demand based upon privilege, and assuming that he is acting in bad faith -- which is of course going to succeed only in getting his back up and ensuring that the discussion will devolve into an ugly confrontation that will resolve absolutely nothing and lead to even worse bad feelings.

The biggest question is whether this happens before or after his biggest and messiest political antic.