Tag Archives: science fiction

727. The Arts of Self Publlishing

 

Here are some changes, if you are keeping track.

In November of last year, I explained that I had plans for self-publishing. Those plans are still firmly in place, but the schedule has changed — again.

The schedule for the five novels of the Menhir series were posted tentatively in November of last year. They were pushed forward in December. The first novel was planned to arrive this May, and that clearly isn’t going to happen. Now it seems that they are going to begin arriving about April of next year.

On the other hand, Learning from the Masters, originally scheduled for March of 2027, now looks likely to arrive this fall. The book scheduled for next February is still scheduled for the same month.

Well, I warned you. I said this in April —

My job should be to write books and leave the teases, the blurbs, and the come-ons to the publisher, but life never did give anyone what he wanted without some pain attached. Self-publishing is basically everything I never wanted.

I have been writing novels for fifty years, and I have gotten better over time. I’ve learned my trade, but self-publishing is different trade. Some skills translate. Most don’t.

I’m fortunate in one thing at least; I have also been painting all my life. Not frequently and not steadily, but enough to gain some skills. I can paint a duck that looks like a duck, but not like a duck painted by a real artist.

Fortunately I mis-spent by college days doing a lot of drawing; I was a Marvel comic artist wannabe. That will help. Also fortunately, I have been using vector graphics since 1986. I see my way forward as a mixture of drawing, painting, and captured photo images all turned in to a computer collage.

The roughout of Morning of the Gods above is what I’m talking about. There are two figures still to be placed in the foreground, mostly complete now but not perfected. He is painted, with added digital chain mail. She is digital and semi-translucent since she is invisible in the story. We’ll see.

I could just buy cover art. There is plenty of it around, but it not only has to look good, it also has to fit the story. It also doesn’t help that I am a perfectionist.

We’ll talk about cover art during the next few posts. For now, here are the specifics of scheduling.

The core Menhir series consists of five short novels — short by modern standards, that is. When I began writing, 40 to 50 thousand words was normal for a science fiction paperback. If it went much longer than that, it was hard to sell to a publisher for reasons revolving around the price of paper. I started Menhir in those days, and continued writing into the modern era when 100,000 words seems normal.

It never did see normal to me. I began in an era of brevity, and I still prefer it. The Menhir series has to be planned for a months long space of time. It needs four to eight weeks between books, but I could never keep up with a four week schedule because of the covers.

I have an unrelated book scheduled for next February. It really needs to be published at that time, so I am tentatively moving the Menhir novels into 2017. They should start in April and end in December, with eight weeks between each. I think I can manage that.

That leaves the rest of this year, but it’s no problem. All my books are finished, corrected, polished, and ready — except for covers. My present plan is to publish Learning from the Masters this September. I have that cover well in hand.

I hope.

726. Lassiter Triumphant

Sometime during the eighties as part of Cyan, I wrote the story of Lassiter. He discovered Lassiter’s anomaly, which destroyed the final vestiges of Einstein’s version of the universe. In so doing he invented the space drive that powered all the starships in the novel. He was quite a character, and so much not a hero that he was fun to write about.

Unfortunately Lassiter’s story took up too much space in a novel that was already verging on too big, so I reduced him to 236 words on pages 64 and 65.

I had already made this cut long before I retired from teaching and started using OCR to get the half-completed paper Cyan manuscript into the computer. Lassiter’s complete story remains somewhere in the dozens of boxes from the pre-computer half of my career, but it would be nearly impossible to find him this late in the game.

There are a lot of paragraphs, pages, and chapters like that, irretrievable in the outer world, but still resident in the dust bin of my mind. I enjoy rummaging around there and experiencing them again, even though you can’t see them.

While I was struggling to write Dreamsinger, about 2020, I took the time to resurrect Lassiter from memory so I could include his story in that novel. That may not happen, but at least you get to meet him here.

— << >> —

Lassiter was a funny looking guy who loved women, and had more success with them than you might have expected. He had a big nose, big ears and a receding hairline. He was five feet eight and skinny, but he had a big personality.

His pursuit of women was not predatory, but he always wanted more. As soon as he had enticed one woman into his bed, he was ready to look for another.

Lassiter was also a fine engineer, and in his work he was as steady as he was unsteady with women.

If he had been less of an engineer, he would never have been able to develop a whole new way of looking at the universe. If he had been less horny, he would never have worked as hard at chasing fame.

Lassiter collaborated with an established ghost writer to produce his biography, which they called A Man of Gravity. It was not humility that kept him from writing it himself. Lassiter had no humility. It’s just easier to get away with bragging in third person, with some other person playing author.

For example:.

Lassiter was fuming when he barged into Linda Volstone’s office. She was the vice-administrator of the Lunaire Pile, the Morris reactor which provided power for the entire Lunar colony. Lassiter was the senior engineer at the project, and he was a frustrated man.

“Lin,” he said, “you’ve got to do something about Dahlgreth.”

Volstone was slender with night-black hair. She had shared Lassiter’s bed two — no three — women ago, and she still had a weakness for him. She said, “What is Dogbreath up to now?”

Dahlgreth was not a popular administrator.

Lassiter said, “He still won’t let me publish.”

from A Man of Gravity, page 27

In fact, it is doubtful that this exchange ever took place. The real story was about a diligent engineer who discovered an overage in the power output of his reactor, and could not explain it. It was only a fraction of a percent, but it haunted him. It was real, it should not have been there, and there were no errors in his instruments nor in his calculations. Something was happening that Einstein’s equations could not account for.

After a much research, he concluded that reduced gravity was the reason. Nothing in any theory supported him, and he was all but laughed out of physics, but the fact remained that no reactor on Earth showed the overage, but Lunaire did and the Chinese reactor on the back side of the moon did too.

He published his findings and ran into a wall of opposition. Einstein had been under siege for  decades, but by theoretical physicists, not by some upstart engineer who had a few facts and a theory, but did not have fifty pages of unreadable mathematics to back him up.

A lesser man would have crumbled. So would a greater man, but Lassiter was motivated by something normal physicists would not have understood. He wanted fame. More than that, he wanted to be so rich and famous (and the rich part was extremely important) that women all over the world would throw themselves at his feet.

His biography did not say this, but everyone who really knew him understood.

He made himself famous by presenting himself as the little guy that the establishment was afraid of. He built a brash persona, and then grew into it. He became the relentless voice of what he called simple reason.

He gave interviews. He wrote op-eds. He was a favorite guest on talk shows. Everywhere he appeared he had the same message: — the overage is there and lesser gravity is the only thing different, so let’s outfit a probe and settle the matter.

The probe Dirac settled the matter. As it moved outward from the Sun, the output of its mini-pile grew. Measurements were made, conclusions were reached. It turned out that a larger portion of the reactor’s fuel was being turned into energy the further the probe moved outward from the Sun’s gravity well. Somewhere beyond Uranus, the probe’s reactor could no longer handle the overage and it exploded. The nuclear fireball continued until every atom of the probe was consumed.

Once the metaphorical smoke cleared, it became apparent that anyone who could initiate a reaction beyond thirty-seven light minutes from the Sun would have a self-sustaining nuclear torch that would eat ice, asteroids, cosmic dust — anything.

Gravity was the only thing holding matter together. No one could explain why, but there it was. Start a hot enough fire, far enough from the sun, and Lassiter’s anomaly would bring about the total annihilation of matter.

It would provide a star drive. Not at faster than light speeds, but good enough to allow starships to visit nearby stars. That brought enough fame to satisfy even Lassiter. And enough money. And enough women.

For the rest of his life, Lassiter basked in his accomplishment. Money poured in. Women adored him, or at least adored his money and fame. By the time he was ninety-seven, and still hanging on to life with apparent gusto, he was the second most famous man on Earth and the second richest, both following Saloman Curran.

When the nukes came down, his story ended with billions of other stories, but during his lifetime he lived driven by his gonads and never paid a price for it.

— << >> —

When I was young, probably in high school, I ran across the following observation:

If a race of intelligent beings evolved at the bottom of a sea of mercury, (the element, not the planet) they would be unable to discover electricity because every build-up of charge would be immediately dissipated.

I don’t remember who said that, or what book I found it in. Actually, I have mentioned this before, and asked if anyone knows where it came from. Do you know? I’m still listening.

That observation stuck with me and is the basis for Lassiter’s anomaly.

What used to be called weightlessness, and is now called micro-gravity, is not the absence of gravity, but a balancing act within a gravity well. When we reach the empty spaces between the stars, what will we find there that has always been masked by the gravity that defines our perceptions? Something like Lassiter’s anomaly?

I doubt it, but who knows? And wouldn’t it be fun?

Cyan is still available from Amazon,
as an ebook or as POD.

724. Steampunk, Maybe

Sometime about 2005 I found Kenneth Oppel’s Airborn at a book fair where I was teaching. It appealed to me, enough to think about writing something similar. It was classified as steampunk, a term I had not yet encountered.

I started looking around to find out what this steampunk was, and found the answer confusing. There were dirigibles everywhere in steampunk-world, but you were more likely to run into Jack the Ripper than airmen at work. The fantasy/horror end of the steampunk continuum was not to my liking.

I had plenty of straight fantasy and straight science fiction on my plate, so steampunk dropped down to the bottom of my consciousness where it would remain until the stars alligned, astronomically or astrologically.

That happened in 2017. Cyan had recently been published and I was a speaker at Westercon 70 in Tempe, Arizona. I decided to look in on every panel that had anything to do with steampunk. I wasn’t about to miss my chance to learn from the authors who were actually writing in the sub-genre.

I didn’t find many definiitons; in fact, there didn’t seem to be any boundaries. It seems that steampunk is a culture, or an aesthetic. (As opposed to an anesthetic, which a lot of accepted literature is.) Or maybe it was just a bunch of people having a fun return to the literature of their childhoods. For some, that meant Jules Verne; for others, Frankenstein.

It seemed to be a revisiting of the wonders and  horrors of science, when science was in its infancy. Most of the writers seemed to bunch up at the ends of the continuum — either Verniers or Steiners. I clearly belonged to the Vernier camp.

(Yes, I know Verniers or Steiners is a bad joke, but steampunk is a frequently lighthearted thing, and I’m in a mood today. Get over it.)

I visited a bunch of steampunk related panels, but all I found out about boundaries was that there aren’t any. I liked a lot of what I heard, but I couldn’t find my own place in steampunk. Then I visited a panel called The Science of Steampunk: What Makes the Gears Go Round?

The panel was divided between Verniers and Steiners, all of whom were steampunk authors. The Steiners had less to say, and looked a little bored. I concluded that they really didn’t care much what made the gears go round, as long as they had fun spinning them. The Verniers were looking for “real world” connections.

A series of speculative questions was put to the panel, including, “What real world changes could have kept steam power dominant further into the future?” No one had any great ideas. I suggested from the audience that a country with much coal and no oil would continue using steam for economic reasons.

That’s a probable scenario, but not brillant deduction. Then a bomb went off in my head.

What if that country were Britain?

What if WWI had happend early?

What if British efforts in that war had included an organization of spies, saboteurs, and assassins?

What if that group had assassinated Nikolaus Otto, Gottleib Daimler, and Rudolf Diesel, delaying the adoption of an internal combustion engine, and what if they had continuously sabotaged Zepplin’s work, while stealing his ideas?

What if Britain had another secret weapon, a real-world invention that has been forgotten by the real world?

Now I don’t mean to tell you that all of that came into my consciousness in a heartbeat, but the embryo of it did. I knew the real world situation circa 1860 — 1910 from studying history, including knowledge of the four critical German scientists and inventors.

I also knew about their secret weapon, and it is extremely obscure.

Also silly.

Also an example of a well intentioned law that made a situation worse.

However, that secret weapon could lead to a world where Britain, not Germany, had dirigibles, ruled the world, and was hated by everybody.

It was time to start writing, but I still had a question. Was this novel going to really be  steampunk?

We can talk about that next time, while I am telling you about the secret weapon.

more next week

722. Index to Learning from the Masters

My job should be to write books and leave the teases, the blurbs, and the come-ons to the publisher, but life never did give anyone what he wanted without some pain attached. Self-publishing is basically everything I never wanted. Oh, well.

 

Since I have to tease to get readers, I intend to do it well. Last week I told you about Learning from the Masters which will be coming out in about a year.

Here is an even better tease — the index. 

Yes, I know that is a ridiculous amount of scrolling, but its a large book full of small essays.   

IT STARTED WITH POETRY
Discovering Khyyam

HEINLEIN
Lost Legacy
The Three Stages of Heinlein
Heinlein’s Harems
What’s in a Name: Heinlein characters
RAH and Methuselah’s Children
Heinlein and the Hippies
Opposite visions: Starship and Stranger
Time Enough for Love
Five by Heinlein
RAH: The Man Who Sold the Moon
The Number of the Beast

THE OTHER OLD MASTERS OF SFF
Worlds of Ursula K. Le Guin
Harlan Ellison
Asimov’s Good Life
Arthur C. Clarke: The Two Diaspars
Arthur C. Clarke Invents the Modern World
Arthur C. Clarke and Russia
The Geosynchronous Arthur C. Clarke
J. G. Ballard’s Coral D
Roger Zelazny: Doorways in the Sand
     and Isle of the Dead
Two Times Gordon Dickson
Randall Garrett’s Lord Darcy
Jean Lorrah: Vulcan Academy Murders
Jean Lorrah: The IDIC Epidemic

CLASSICS, MOSTLY
Bob Dylan, Nobel Laureate
A Guest Editorial by Mark Twain
The American by Howard Fast
Books About Books
Great (?) Books
Lost Classics
More Weight: Arthur Miller’s Crucible
The Great American Read
What Moved You on the GAR?

STORIES THAT SING
Fifteen Stories
Ernest Hemingway: The Old Man and the Sea
Keith Roberts: Pavane
A Life of Reading
Richard Cowper: The Road to Corlay
Richard McKenna: Hunter, Come Home
E. E. Smith: The Lensmen Series
Roger Zelazny: Jack of Shadows
Edgar Pangborn: Davy
John Brunner: The Traveler in Black
Sharyn McCrumb: Highland Laddie Gone
John Buchan: A Prince of the Captivity
Erskine Childers: The Riddle of the Sands
Homage to Robert Louis Stevenson
Stevenson’s Kidnapped
Stevenson’s Catriona

DETECTIVES, WESTERNS, AND OTHER GENRES
Mentors in Detection
G. K. Chesterton: Father Brown
Andrew Greeley: Father Blackie Ryan
John D. MacDonald: The Green Ripper
John D. MacDonald: Travis McGee’s Women
Alistair Maclean: The Black Shrike
S. S. Van Dine: The Benson Murder Case
John Buchan: the Hannay Novels
The Thirty-nine Steps
Greenmantle
Mr. Sandfast
Three Hostages
Island of Sheep
John Gierach (What? You’ve Never Heard of Him?)
Looking for Louis L’Amour
Louis L’Amour: The Education of a
Wandering Man
Louis L’Amour: Wandering Quotes
A Perfect Book
And Finally, The Worst Story Ever Told

JUVENILES, MOSTLY SCIENCE FICTION
Apprentice Literature
Boys at Work: Lee Corey
Boys at Work: Howard Pease
Boys at Work: Harold Goodwin’s Rick Brant
Thank You, Harold Goodwin
Who Is This Harold Goodwin
Heinlein’s Starman Jones
Heinlein’s Time for the Stars
Heinlein’s Textbook: The Rolling Stones
Andre Norton: Science Fiction in the Wild
Andre Norton: At Sword’s Point
Andre Norton: Sword Trilogy
Andre Norton: Star Gate
Andre Norton: Beast Master
Guilt: Willard Price’s Underwater Adventure
Two Hands and a Knife
Donald A. Wollheim’s Mike Mars
Great Books for Kids
The Green Hills of Mars

NEW OR NEW TO ME
JM Williams: In the Valley of Magic
JM Williams: The Nightingale
Sturgeon and Steampunk
Michael Tierney’s To Rule the Sky
A PhD in Steampunk: Michael Perschon
Marsheila Rockwell’s Bridges of Longing
Small Gods, Big Issues — Terry Pratchett
Lots of Love  (Nazareth)
A Late Arrival

AND IT ENDS WITH POETRY
Spoon River Anthology

721. Learning from the Masters

   

Much of what has appeared in this blog over the years has been how-to for writers and would-be writers. Those posts have been gathered, reconsidered, sometimes condensed, sometimes expanded, and placed between the virtual covers of two books.

The first book, Learning from the Masters, is a compilation of some of the things I have learned from a lifetime of reading. It is partly a thank you to those who came before me, and it could form a long, annotated to-read list. You could do worse than to look up these old guys (and gals) as your next reads. There is a note below that will tell you more. Learning from the Masters is scheduled for release on March 17, 2027, a little less than a year from now.

The second book, So You Want to Write Science Fiction, is more personal, primarily consisting of things I have learned myself through fifty-plus years on the edge of the publishing industry. It is due for release on July 7, 2027. There will be a heads-up like this one on July 8th of this year to remind you.

— << >> —

What follows here is a note I wrote a few months ago, for inclusion at the beginning of Learning from the Masters. If you were born after 1990, this note is for you.

This book is called Learning from the Masters. You don’t get to be a Master overnight. Even if your first book is a masterpiece, it will probably be decades before they call you a Master.

Most (not all) of the Masters in this book are dead. That doesn’t make them obsolete. Even if you are reading this on your smart phone, you should remember that these visionaries were the primary builders of the world that made that smart phone possible. Even though they lived in your past, their minds lived in the future. Most of what they envisioned is yet to come — unless one of the violent ends to modern culture that they also envisioned happens first.

When they wrote is less important than what they wrote.

There are Masters at work today, and many of them have already been anointed with that title. Some will still be called Masters by your children; some will be forgotten. A few of them are in this book, but the bulk of those I have included are the Masters who helped form my writing life.

My early life was lived with one foot in the past and one foot in the future. I was born in 1947 — a little closer to 1900 than to 2000, and much closer to 1900 than to the publication date of Learning from the Masters..

When I was thirteen, standing in the dairy barn, shoveling cow manure out the door, my soul wasn’t grounded in the muck at my feet. It was riding a multi-colored variform horse across the plains of Arzor in memory of the Andre Norton novel I had been reading the night before. Or it was on the way to the outer planets with the family Stone in a novel written by Heinlein

The Masters in this book, no matter what era they were writing in, faced the same challenges that writers face today. Plot, characterization, backstory, readership, changing tastes, censorship, publication and how to attain it — the questions never change, although the answers often do.

If you are a writer, or want to be — and why would you read this book (or this blog) if you didn’t — these men (and a few women) faced the same challenges you are facing now. Shouldn’t you be . . .

Learning from the Masters

Due for release on March 17, 2027.

711. Backstory, Cyan

Backstory — these are the things a writer has to know about his fictional universe, most of which will have happened before his actual story begins. Some is dribbled out to the reader as the story progresses. Much is never known to the reader, but remains essential nonetheless.

The novel Cyan takes place in the late twenty-first century, but it was written during the last decades of the twentieth and first decades of the twenty-first century. A lot of things changed during those decades, and so did the backstory.

When I started Cyan, the expedition to Procyon was to be mounted by an international body as a cooperative effort. As the story matured in my mind, the notion of cooperation that was so important to the creation of the International Space Station began to fade in the real world. Things got grittier on Real Earth and also on the Earth of the novel.

In that changing backstory, some joker nuked Washington, which ushered in an America First period worse than the Trump era. That wasn’t a prediction. It’s just that the Open Hand and the Closed Fist have alternated throughout American history, and I needed a dystopian, overcrowded Earth to motivate extra-solar exploration.

Cooperation was no longer an option in Cyan; an all-American crew was required. Well, almost all-American, since the new America had gobbled up some of its neighbors as I watched the backstory change.

Due in large part to a disastrous economic downturn in the mid twenty-first century, Canada allowed itself to be swallowed up by the U.S.. Mexico and most of the Caribbean were given no choice. The result was the U.S.N.A., the United States of North America, twice as big with its new capital in Chicago.

Was the downturn due to tariffs? Beats me; all this reorganization of the backstory was finished long before I had ever heard of Trump, and I thought tariffs were a dead issue. After all, they had almost destroyed the American economy during the Jefferson administration, and that was a long time ago,

If this makes Cyan sound depressing, don’t worry. All this has already happened by the time the novel opens. Our ten explorers are half way to Procyon, where none of their problems will be political — at least until their year of exploration is over and they return to Earth.

— << >> —

In the beginning, when the explorers were to be from many countries, I chose their names accordingly. By the time I started reorganizing the backstory, they had already become people to me. I wasn’t going to give up anyone, and I wasn’t going to rename anyone.

Originally Stephan Andrax was Danish, Debra Bruner was American, Petra Crowley was Greek, Keir Delacroix was French, Viki Johanssen was Swedish, Gus Leinhoff was German, Leia Polanyi was from somewhere in the South Pacific, Ramananda and Tasmeen Rao were from India, and Uke Tomiki was Japanese.

Once they all had to be citizens of the U.S.N.A., this might have posed a problem. However, we are a nation of immigrants. Even in 2026, every one of them could have reasonably come from Topeka.

Just for fun — just because I could — and just because it was one of the places I had studied, I chose to let Tasmeen and Ramananda come from Trinidad, the newly admitted seventy-first state.

Yes this is an ongoing advertisement for Cyan,

available from Amazon.

710. Star Gates and Menhirs

Stonehenge: the most famous menhir.

Star gates have been around a long time, often under other names. They have given us passage to elsewhere in science fiction and in fantasy for decades. They seem to work equally well in either genre.

Is a star gate science fiction or fantasy? The term seems to imply science fiction and looks a bit like a wormhole. The concept of a gate to elsewhere, however, could be either or both.

The first time I saw the term was in the title of Andre Norton’s 1958 novel called Star Gate. It was science fiction, but with some magic thrown in. I saw it next as the title of a theatrical movie Stargate in 1994, which had nothing in common with the Norton novel but the title. That movie spun off the television series which everybody remembers. It ran from 1997 to 2007, then spawned numerous additional spinoffs. You can find it on re-run channels any week.

I can’t speak authoritatively of the TV series. Military fiction isn’t in my wheelhouse so I rarely watched it, but I assume the places they were sent to were in our physical universe. That would make it science fiction.

Let’s drop the prefix star and continue.

Heinlein used a teleportation gate to other planets as the basis for his novel Tunnel in the Sky. Gordon Dickson used such a gate in Time to Teleport (a pretty good novel with a lousy title). It’s a fairly common device for authors who don’t feel like inventing a faster than light drive to get their characters to some extrasolar planet.

Also still within science fiction are alternate universes. Sometimes a whole novel takes place in one such alternate without any travel between them. More often, characters from one universe travel to one or more other alternate universes. Sometimes they go in time-space vehicles (example: Heinlein’s Number of the Beast). Sometimes they travel via a gate-like device that sends them directly to their destination.

Andre Norton used such a device in her 1963 novel Witch World to get Simon Tregarth from prosaic Earth to a magical world. Norton would preside over her Witch World as she and a few others spun off novels and short stories for forty years. She referred to the device that transported Tregarth as the Siege Perilous, referring to Arthurian legend, but essentially it was just another gate.

Was Norton’s Siege Perilous scientific or magical? Who knows? Who cares? If you are going in a book to a wonderful place, what difference if you get there by a space ship or you step through a magical wardrobe?

— << >> —

Now, a slight detour. Some time in the mid-sixties I stumbled upon a book. I can’t tell you the title or the author, but if you are a reader you will understand why I can’t remember them all. It explained that for thousands of years there was a culture of menhir builders who left megalithic monuments across Europe and the Middle East. No one knows why these menhirs were built. We now have some notion of by whom, but that wasn’t known when the book was written. It was all a big mystery.

I was intrigued by what I had read. I fantasized about the menhir builders. I wrote an unremarkable short story, then tossed it. Then I more or less forgot about menhirs for a decade, but they didn’t go away.

Years later, I dreamed up this medieval kid whose father was killed, but who didn’t want to seek revenge. I told you about his origin last October fifth.

In 1976 I began to tell his story, and that led me to build a world for him to occupy. Those fascinating menhirs came crawling up from memory and insisted that they become the center of his world. In fact, his world came to be called the World of the Menhir, and I plan to publish the first five novels this year.

The boy’s name was Tidac. I already knew that five minutes after he crawled into my brain in 1972. He had been introduced to me during a seance with a Ouija board in Oklahoma City in 1965. The board (or the lovely and imaginative young lady who seemed to be the one manipulating it) said that I was reincarnated from a Norman prince named Tidac. Who was I to argue with a lovely young lady?

When Tidac crawled out of Beowulf in 1972, I knew him immediately and I knew why he didn’t want to take revenge for his father’s death. He wanted freedom from his father’s shadow. I had wanted my freedom for similar reasons, only a few years earlier.

That’s not coincidence; that’s how a writer’s mind works.

707. A New Start

A New Start

It is already January fourteenth, but the year is still new and the re-start of A Writing Life is still fairly new. It’s time to present something special.

On April 17, 2019 I was trying to write a review of a novel. I remembered the book clearly but didn’t remember enough details, and I needed to explain why I was going to postpone writing about it. What I wrote then does more to tell why I created this blog than anything else I have written.

— << >> —

I have written quite a few books over the years, but it is never enough. Writing books is just too much fun.

The fact is, reading a book is ten times better than watching a movie, but writing a book is fifty times better than reading one. And takes fifty times as long.

Besides the hundred thousand words a modern novel demands, there are the other hundreds of thousands of words you have to go through while getting to the right ones. And there are all those books you have to burrow through looking for just the right bit of information or inspiration to help you understand how that next chapter is supposed to come out.

Just reading a book for fun gets lost somewhere. I read the things I need to read, and late in the evening I read comfort books, like the thirtieth Nero Wolfe, which isn’t that different from the other twenty-nine.

It wasn’t always that way.

— << >> —

I was an only child on a farm in the fifties. We had one black and white TV that got two channels, which my parents watched in the evenings while I read. Of course I became a reader; what else was there to do? From the time I discovered the county library, there was no time I didn’t have a stack of books waiting for my attention.

But I didn’t talk about it.

My mother read occasional romance novels but she didn’t talk about it. My dad read the Bible, but he didn’t talk about it. The habit started early.

I read books about hunting and outdoor life. I already lived outdoors, but on a tractor. I never hunted, barely fished, and I had never seen a tent. My outdoors wasn’t for play, it was for work, and that wasn’t enough to satisfy me.

Looking back, I know that the place I lived as a boy was rather lovely, in a muted sort of way. It was farm country, lightly populated by humans, but with plenty of birds, and occasional coyotes and possums.

Nevertheless, every patch of ground was either under the plow or turned into grazing land. There was nothing wild. I wanted forests and streams, fish and game, and real snow, along with the freedom to wander through them.

That was all available in books, along with a thousand other adventures to be found all over the globe.

My fellow students in my little school read what they had to read — but nobody talked about it. Nobody read science fiction. Nobody wanted to know any more about science than they were required to know. I was reading and studying continuously, preparing to head for college to be a scientist — but I didn’t talk about it, because no one wanted to know.

When I got to college, one of my roommates was a science fiction fan. We talked about it, but only a little. By then, my habit of silence was pretty well set.

A lifetime later I started this blog. For the first time I got to really talk about the books I love and why I love them. Like right here, right now, talking to you, telling you why I had to postpone a review.

Hi. You see, there was this book called The Road to Corlay . . .

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I began A Writing Life in support of an upcoming novel, but it quickly evolved into something larger. It became a how-to, and a “How I did it”, and a “What I’ve learned about how others did it.”

Many of those posts, somewhat modified, are gathered together now in a pair of books for writers called Learning from the Masters (that would be Heinlein, Clarke, et al, not me bragging about myself) and So You Want to Write Science Fiction. Because 2026 will be fully occupied with the Menhir series, they are scheduled for release in 2027. Tentative dates are:

Learning from the Masters

March 17, 2027

and

So You Want to Write Science Fiction

July 7, 2027

705. The Year That Never Ends

The Year That Never Ends

Once upon a time, in tenth grade, they force-fed me Dickens in the form of Great Expectations. No one should do that to a teenager. It put me off of Dickens for thirty years.

Then I discovered A Christmas Carol, and Dickens rose to the top of my pantheon. I loved the book. I loved the other four Christmas books he wrote in subsequent years. I loved the movies made from the book.

I wanted to write the next great Christmas tale. (Don’t we all?) Instead I wrote a novel that was half Dickensian and half dystopian. It centered around the Clock That Ate Time and the Great Babbage, but it did take place in a variant Dickensian London.

The immediate call to write was both visual and visceral. It was a scene from the musical Scrooge, drawn from the book and repeated in most movie adaptations. Bob Cratchit’s children are waiting for him to finish work on Christmas Eve while staring through the window of a toy shop. And what a toy shop, filled to the rafters with all the kinds of toys that rich Victorian children might be given, but which were forever out of reach of poor children like Tiny Tim and his sister. There were even mechanical wonders like the clockwork strongman who suspends himself horizontally using only one hand.

Who was the man who ran the shop? He was nothing in the story that Dickens told, but I wanted to know. Who built the mechanical man? I wanted to know. What possessed the owner to set up a shop in the poorest part of London, where none of the children staring into his windows would ever have a chance to buy his wares? I wanted to know that, too.

Yes, writers are like that. They are likely to stare at a potted rose and wonder what kind of soil is in the pot.

The novel I wrote is called Like Clockwork. The toyshop is there. It is also called Like Clockwork, and it is overfilled with mechanical wonders all created by the man who runs it. His name is Snap. He is the man who built the Clock That Killed Time, although he has lost all memory of building it. He, and everyone else in his pocket London, will live forever — but at a cost. Every Midwinter Midnight, the citizens gather around the Great Clock to watch the year 1850 end — then begin again, invariant forever.

What follows is the Prolog to Like Clockwork, in the form of a note written by Snap’s wife, Pilar of the Sorrows, as the old year closes.

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Prolog. (Or is it an epilog?)

“Tonight Snap has gone down to the Clock for Midwinter Midnight. In just a few minutes, the reversion will occur and I will forget writing this note. It will be midnight of January first, 1850. Not next year, nor last year, but the only year there is.

“It isn’t a bad year and it isn’t a particularly good year, but if it is to be my only year, I want more.”

Pilar laid down her pen and listened, straining to hear the song they always sang at midnight:

The year that ends, but never ends,

That ‘ere again unfolds,

We live that year forever and

We never shall grow old

It was probably her imagination. Surely voices could not be heard over such a distance. She rose to move closer to a window and as she did the note she had written ceased to be. All her memories of the past twelve months ceased to be. Her body sloughed off a year of age and it was January first of the last-this-next-only year.

Again.

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You’ll get a chance to read Like Clockwork, but not for a while. There is strategy and pacing in how I intend to release my novels, and that grand plan calls for Like Clockwork to be published no sooner than 2028.

This isn’t intended as a mean tease; its just that I wanted to acknowledge Midwinter Midnight as, unlike Snap’s world, 2025 rolls over into 2026.

702. Reaching Cyan

Reaching Cyan

The year was 2086, the place, half way to Procyon. Stephan Andrax wrote in the log of the Starship Darwin . . .

There are two chronometers on the bulkhead. One forges forward at the speed of Everyday, ticking off seconds and minutes and hours and days that make sense to the body and soul. The other races. Seconds flitter by. A new day is born every three hours and twenty-two minutes. Einstein told us this would happen, a century and a half ago; when an object approaches the speed of light, time slows down.

Beside the chronometers is a viewport and beyond it are Dopplered stars which sweep through my field of vision as the ship spins. We are nearly six years into our journey. Halfway through our journey. Yet, for me, only a year and a half have passed.

And through all the years and hours of our journey, the smaller, fleeter chronometer will rush ahead at Earthtime while our time is slowed. All those I knew and loved, except my companions here on the Darwin, are aging seven times faster than I am. When we return, my agemates could be my parents, and my parents will be dead.

The mind perceives what the heart cannot comprehend.

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Obviously, one of the joys of writing near-future extra-solar exploration is dealing with the delicious complexities that come from working in a relativistic universe. Thank you Albert Einstein.

The novel Cyan opens with the words of Stephan Andrax, but he will not be the main character. He is the great great (I never figured out how many greats) grandfather of Jan Andrax, who gave his name to the novel Jandrax. I wanted an obvious connection between that novel and its sequel (prequel?), but I kept Stephan mostly in the background by making him the captain of the Darwin.

Imagine that you are planning a ten person expedition to an unknown extra-solar planet. Assume a giant starship, designed for travel only in space, and a landing craft to carry the explorers down to the surface. That seems like how things would actually be arranged. What would happen if all the explorers were killed while going about their business? What if the landing craft were damaged beyond repair leaving everyone marooned on-planet?

Contingencies are what planning is all about. If everyone on the ground were killed or stranded, the knowledge obtained up to that point would still need to be transported back to Earth, so the planners of the Procyon expedition arranged to always have one crew member on board the Darwin. They selected an astrophysicist who would be best positioned to study Procyon’s system of planets by staying in orbit, and made him Captain. He would stay with the ship, just like one astronaut stayed in the CSM while two others descended to the surface of the moon in the Apollo program. That made Stephan important but mostly off camera, which is just what I wanted.

The groundside leader was the character I chose be our eyes for most of the action. Stephan Andrax was Captain in space; Keir Delacroix was “captain” on the ground.

Everyone except Keir had one or more Ph. D.s and was at the top of his or her field. Keir was also highly intelligent, perhaps at the next level down, but his skills came from a life spent in the outback of Australia. He was a rarity on overcrowded Earth, a man who had spent his time in one of the few places that was still wild. Each other crew member had a scientific specialty to bring to the study of Cyan. Keir was there to keep them all alive.

I chose the name Keir Delacroix in tribute to the actor Keir Dullea who argued with the computer Hal in 2001: A Space Odyssey.

Here is the list of the Darwin‘s crew, alphabetically, with their specialties and their alternate fields of knowledge.

Stephan Andrax    captain (spaceside) – astrophysicist
Debra Bruner        microbiologist – astronomer – medic
Petra Crowley       geologist – soils scientist
Keir Delacroix       groundside crew leader – generalist
Viki Johanssen      anthropologist – paleontologist
Gus Leinhoff         zoologist – biochemist – medic
Leia Polanyi          paleontologist – geologist
Ramananda Rao  meteorologist – cartographer – geologist
Tasmeen Rao       first officer (spaceside) – pilot (starship and landing craft) –  engineer
Uke Tomiki           botanist – biochemist – medic

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I have a lot of things to do in this rejuvenated version of A Writing Life, largely having to do with upcoming releases, but I won’t forget Cyan. I will return to talk about how it came to be, perhaps once a month. You can get a jump on all that by typing Syd Logsdon Cyan into Amazon and reading it now.

next week there will be Christmas posts on Tuesday and Thursday