Tag Archives: steampunk

Serial Novels

Continued from earlier this week, when I discussed the Serial posts that were also writing how-tos.

I’ve been writing a long time, with some publishing success, and long years of drought. I’m not going to say, “But the things that didn’t get published are still good!” If you have been reading Serial, you already know that.

Here is the full list of my novels, not counting fragments.

Contemporary novels: Spirit Deer, Symphony in a Minor Key, and Raven’s Run.

Science fiction: Jandrax, published 1979,  A Fond Farewell to Dying, published 1981,  (and the novella To Go Not Gently which was extracted from it in 1978) and Cyan which is presently available

Fantasy: Valley of the Menhir, Scourge of Heaven, and Who Once Were Kin.

Steampunk: The Cost of Empire and Like Clockwork.

The Cost of Empire is freshly finished and looking for a publisher. Like Clockwork is in progress as we speak, and a little more than half done. You won’t be seeing either of them in Serial, but I’ll tell you when to start looking at your local book seller.

Valley of the Menhir and Scourge of Heaven are a single story, long enough for two novels, with a natural break in the middle. You won’t be seeing them here. 

488. The Cost of Empire 3

This is the third of four posts from The Cost of Empire. Click here for post 1.

Another repeater above their heads spun, giving the tillerman a new bearing. He released the stop and heaved the chest high lever to his right. A linked lever in front of Daniel moved with it and he grabbed hold to add his strength. The tillerman could move the great ship’s rudder alone, but in time of need the Eye officer’s added power made things move faster.

Of course, faster is a relative term. Old Ugly never maneuvered with anything like speed. Now her bow swung slowly to starboard. Daniel could feel the increased trembling in the platform underfoot as her engines quickened far below and behind him.

Daniel’s arms felt the jolt as Jons locked the lever. Following the course was Jons’s duty; taking bearings was Daniel’s. Now he said, “Commander, the shark is moving parallel to the convoy, at high speed. Specification follows.”

David’s hands went to the sides of the cage surrounding his helmet, playing the levers there. He focused on the shark’s fin, set a lever, waited a slow five count, focused again and reset. Then he reported, “Twenty-nine knots, Sir.”

He heard the Commander acknowledge, then add, “Farragut class. We are honored by their newest.”

That didn’t require a response, so Daniel kept his mouth shut. They were moving to cut the sub off. Fat chance! The new diesel engines in that sub were much more powerful than the naphtha vapor engines in the Anne of Cleves, but also much too heavy for an airship to use.

Now the shark’s fin turned toward the convoy. Daniel had been waiting for any change in velocity. He took a bearing as it turned, counted a slow five, took another, and said through the speaking tube, “Changing course toward the convoy. New bearing coming on repeater. New speed — twenty-seven knots, but accelerating.” Daniel was taking readings continuously now. “New speed — twenty-nine knots. New speed — thirty-one knots. New speed — thirty-one knots. He seems to have maxed out.”

Daniel gritted his teeth at having added that unnecessary interpretation. The Commander didn’t need him to state the obvious.

“Thank you, Mr. James.” There was a judiciously measured touch of ice in Commander Dane’s voice and Daniel felt a flush in his cheeks.

He swallowed his embarrassment and continued taking bearings. The dirigible had made two more course changes; he had not aided Jons because all his attention was on the oncoming shark’s fin. The Anne of Cleves was small and slow, but she had an advantageous position.

Far below, Lieutenant Ennis and a crew of men had dragged up a spherical object, and now crouched around an open hatch. Commander Dane was calculating and estimating, based on Daniel’s continuous barrage of information. He ordered the drop.

Daniel saw a small black object fall into his field of vision, locked his monocular on it, and followed it down. It hit the water a dozen feet behind and to the left of the fin. He reported, then grabbed the linked lever. The sub has passed out of sight and the new bearings meant turning Old Ugly almost completely around. He and Jons fought the massive force of the rudder, and the dirigible slowed perceptibly as it swung onto its new course.

Through the strain on his body and the pounding of his heart, Daniel heard the Commander’s voice:

“A good try boys. When we bombed the Germans we usually hit our targets, but a stationary target is different from a moving one. It would have felt good to see a bladder of seawater burst on that American’s control deck. Still, we can console ourselves with the idea that they’ll wonder what we actually dropped.”

Jons snorted, and said, “Seawater, my ass, Sir. Brinley has been collecting urine all week. Now I know why.” more tomorrow Click here to jump directly to the final post.

487. The Cost of Empire 2

This is the second of four posts from The Cost of Empire. Click here for post 1.

Submarine wasn’t entirely a proper term for the American craft. It had started as an improvement on their Hunley types, using the new engine devised by Rudolph Diesel, but because the engine had a hunger for air, they rarely submerged. The British called them sharks, because the only part anyone ever saw was the narrow fin that stuck above the water. The whole British Navy knew from direct experience was that they were fast while on the surface — faster than any ship in the British fleet.

Her Majesty’s Navy hated that.

America was not an enemy nation — technically. They had taken neither side in the German War. British-Americans and German-Americans had each lobbied Washington, but America had opted for neutrality. Actually, they acted more than a little holy about that.

That didn’t stop American sharks from harrying British convoys. There was no reason for it. It was just another game in which America flaunted her independence and self-righteousness. And any game that the British enter, they have to win. For Queen and Country. And just to prove that they are the best — especially Sub-Lieutenants.

Daniel tossed his canary to David and went down the starboard ladder in the unapproved manner, hands and feet outside the rungs, using friction to keep his descent just short of free fall. He hit the lower catwalk at a run and sprinted forward, past the last gas bag and up a sharply slanting ladder to the Eye of the ship. That was his battle station in this week’s rotation.

The tillerman was already there, of course. When not at battle stations, he stood his watch alone, translating the Commander’s orders into vertical and horizontal movements of the control surfaces. It was no easy task, and the ratings who qualified for the duty were uniformly big men, with bulging thighs and massive deltoids. Daniel slapped the tillerman on the shoulder to squeeze past him. He was a rating whom Daniel knew only as Jons, since his Welsh first name was unpronounceable. Jons nodded and eased aside. There was barely room for the two of them.

The Eye was in the foremost part of the ship, a tiny platform studded with ratcheted levers designed to allow one man’s unassisted strength to move the great rudders and elevators back at the rear of the craft.

Daniel struggled into the half-helmet and fastened the strap beneath his chin. Now his left eye was covered by a powerful monocular and his right eye was free. He could shift from detail to panorama by changing eyes. It took some getting used to, since opening both eyes at once caused a visual blackout. An hour in the half-helmet meant a headache that would last the rest of the day.

“Sub-Lieutenant James reporting, Sir,” he said into the speaking tube at his chin.

Commander Dane’s voice echoed in his ears, calm as always, “Daniel or David?”

“Daniel, Sir. Sorry.”

Jons pointed off the starboard bow, keeping him from a second embarrassment. Daniel managed to focus on the shark by the time the Commander asked, and was able to answer instantly, “I have it in sight, Sir. Bearings follow.”

He reached overhead and pulled down a head cage of silver, brass and mirrors. He slipped his half-helmet into the cavity and magnets snapped it into place. David looked at the ten foot red band on the flagmast of the nearest cargo vessel, set his verniers, chose another ship further back and to his left and repeated, then focused on the moving fin and pressed a button to finalize. The cage had monitored his head movements with great accuracy. Now the hundreds of gears in the babbage spun and sent the result down to the repeater in the control car. more next Tuesday. To jump straight there click here.

486. The Cost of Empire 1

These next two weeks I am devoting four posts to an excerpt from my new steampunk novel The Cost of Empire.

Chapter One — Tick, tick 

There was a light haze over the sky above. The sea five hundred feet below sparkled, but the glare was easy on the eyes. It was typical North Atlantic weather for May, in the Year of Our Lord 18—, and of the Reign of Queen Victoria, year forty-seven, aboard Her Majesty’s Consort Class Dirigible, Anne of Cleves.

Daniel and David James saw none of this. They were busy clambering over, under, and about the two McFarland engines, looking for cracks or pinholes, and sniffing for the distinctive smell of leaking fuel. It was a bit of tricky business, since the engines continued to snort and whirl all the while. They were a maze of polished brass and shining gears, with shafts of oiled steel feeding power to massive cranks that sent power to the air screws. You could lose a finger — or a head — if you put it in the wrong place while crawling about.

The inspection never took less than twenty-five minutes, and they repeated it every three hours. There was no slacking of discipline as Her Majesty’s airships, filled with hydrogen and fueled by naphtha, were floating bombs.

Daniel climbed the short ladder to the catwalk as David did the same from the other side. Their first words were scripted by discipline. Daniel, who was senior by one week, asked, “Starboard engine report?”

David replied, “Starboard engine clean and tight. Port engine report?”

Daniel said, “Port engine clean and tight.” And he added, “Tick.”

David grinned and mimicked, “Tick.”

The ratings below glanced up from their work. Two smiled and one shook his head. The two cousins moved forward to a pair or racks and picked up canaries to continue their inspection. Canaries were not birds, although canaries in mines had carried out the same function fifty years previously. These canaries were thirty foot long poles of hex bamboo, with heavy glass syringes capped with valves, on one end. Daniel and David ascended the port and starboard ladders, with one hand for the rungs and the other for the canary, and managed to turn their ascent into an entirely unnecessary race.

Sub-Lieutenants are more than a little like puppies when no higher rank is watching. When they rejoined at the upper catwalk, David, who had arrived half a rung sooner, said, “Tick,” and Daniel responded in kind. They separated, Daniel going forward and David aft, then worked back toward each other.

The ring ribs divided the dirigible into many small coffers, any one of which might accumulate hydrogen leaking from a gas bag. The upper catwalk was high enough that the canaries would just reach the upper arch of the ship. Daniel dropped the lower half of his canary over the handrail so that it rotated to vertical, then shoved it up to within an inch of the outer skin. He pulled the lanyard connected to the syringe and it sucked in whatever gas was at that high arch. He then lowered it to his level and triggered the sparker inside the syringe.

Ratings called this making the canary fart. If there was leaked hydrogen in the heavy glass syringe there would be a brief, contained explosion; then everyone would be on instant alert until the leak was found and fixed.

No explosion occurred. It almost never did, but vigilance never let up. Daniel moved to the next coffer to repeat, and shouted down the catwalk to David, “Tick.”

The reply he got was unexpected. Full Lieutenant Ennis, all of twenty-seven years old and called Grandpa behind his back by the Sub-Lieutenants, stuck his head above the upper catwalk and shouted in his quarterdeck voice, “Damn your ticks, Mr. James. We all know we are on a vessel full of hydrogen and naphtha. We don’t need your infernal tick, tick, tick to remind us that we live inside a bomb. Now get below, stow those canaries, and man your stations. We’ve sighted a sub.” more Thursday. To jump straight there click here.

485. Uhura With a Dagger

Imagine Lieutenant Uhura in a different outfit, with a dagger at her belt, looking even sexier than usual. Actually, you don’t have to imagine, just check out Mirror, Mirror, which is simultaneously a pretty good piece of original Star Trek and one of the worst Star Treks ever.

How’s that? From the viewpoint of drama Mirror, Mirror is good television. From the viewpoint of logic, it stinks. Even though the alternate universe version of the Federation is completely changed and utterly barbaric, every member of the Enterprise crew is still at the same post, and the Enterprise is still in orbit of the same planet, going about the same business on the same day. Really?

Usually I don’t worry too much about accuracy in Star Trek. It is best viewed as  allegory, or as an attempt to make a decent SF program with minimal cost. I forgive a lot, but this one keeps me groaning more loudly than most.

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As Mirror, Mirror shows us, building an alternative universe is no occupation for the lazy. But it sure can be fun. And if that universe has a steampunk attitude, all the better.

I spent the last half of last year writing a steampunk novel called The Cost of Empire, set in an alternate world in “the Year of Our Lord 18—, and of the Reign of Queen Victoria, year forty-seven”. It could be called an alternate history, but I made sure that most of the alternatives taste like steampunk, even though it doesn’t have werewolves or zombies or Jack the Ripper. Or automatons, although the sequels will. In fact, the whole intent was to provide a steampunk world that doesn’t depend on magic or unsupportable science.

Here’s the setup. After the Austro-Prussian War (real, 1866), a ruthless English businessman named McFarland (imaginary) stole an obscure type of engine (real, but forgotten today) which allowed him to produce useful dirigibles long before the Germans. He also started an organization of spying, disinformation, and assassination (imaginary, we hope) which allowed him to provoke and win a war with newly unified Germany, bringing England to universal power. In the process of suppressing German inventors, McFarland has skewed the course of science, prolonging the age of steam and clockwork.

To make this work, I had to shift a few dates, but not many and not by much. That is the reason, besides mimicking Victorian style, for the vague 18— date in the quotation. The challenge I gave to myself was to make big changes through the introduction of a single character.

So our story begins with England as the world’s most powerful nation (even more and sooner than in our reality) but hated by everyone, and with a fatal hidden flaw at its heart. England’s fleet covers the oceans, with dirigibles as eyes-in-the-sky above.

Our hero is about to fall afoul of the secret organization of assassins, escape, and spend the rest of this and hopefully several other novels fighting to free his nation from their grip.

The next two weeks will be devoted to the opening pages of that novel here in A Writing Life. As has happened a few times before, Serial will be tied up with other things.

484. Steampunk Anglophiles

I have come to the conclusion that most steampunk fans are also Anglophiles. That isn’t really surprising, but it puts me in a bit of an odd position, since I am not.

It’s not an aversion to England; I’ve been there several time and it is full of wonderful things. However, I have a disinterest in many of the things Anglophiles find interesting. Downton Abbey bores me silly. I don’t care who lives Upstairs or who lives Downstairs, and I really couldn’t care less about Elizabeth Bennet and Mr. Darcy.

One reason for my disaffection with a certain kind of English literature comes from being forced during high school to read Great Expectations. It was enough to put a person off reading altogether. With some exceptions (to be fair, probably quite a few), the recommended cannon of English literature, 1750 to 1900, is a litany of insipid characters, dull plots, uninteresting situations, and tales of a tedious and self-destructive culture. Thank God for Shakespeare and science fiction, or I might be illiterate today.

English history is fascinating, but I found my interest in English literature only on the periphery. First came Robert Louis Stevenson. I’m not talking about Treasure Island, which made him rich and famous. I mean, primarily, Kidnapped, and its almost forgotten sequel David Balfour (also published as Catriona). They are two halves of the same story and form a true classic. Critics see them as children’s books, but together they are the tale of a young man who successfully fights his way to become a morally responsible and honorable adult.

Of course, Kidnapped/Catriona is really a Scottish novel.

As an undergraduate, I studied India, one of England’s major victims. That inoculated me against Kipling style jingoism. My wife’s ancestors were Scottish and that led me into a study of Scottish-English relations — another complicated and ugly story. It also led me to two incredibly talented Scottish authors, Neil Gunn and George Mackay Brown.

Nevertheless, I did find English literature to love — even Victorian/Edwardian English literature to love — but not in the official cannon. First came Sherlock Holmes. I found a copy of the two volume Doubleday version when I was in my twenties and I have read it to shreds. I really need a new copy. That led me to Chesterton’s Father Brown; the real one, not the imposter on PBS.

Through my interest in small boats, I stumbled onto Riddle of the Sands, with two of the most English, most honorable, most fun heroes ever. I also found author John Buchan, who now occupies two feet packed tight on my library shelf. Buchan finally showed me inside the minds of some British imperialists whom I could respect, and even identify with.

Finally, the musical Scrooge led me to the non-musical adaptations of A Christmas Carol, and they led me to the novella itself. What a revelation. Dickens is wonderful, despite the agony of being force-fed Great Expectations while still too young.

So I ended up with a balanced view of England. England is the origin of our civilization and also the meanest SOB on the block. England both destroyed and preserved the great civilizations of the past wherever they conquered; and that was pretty much everywhere. English literature is both fascinating and as dull as a downstairs maid polishing the silver. England brought modern mechanized civilization and increased poverty to most of the world.

So I came to steampunk from out of left field and it shows in my new steampunk novels.

In The Cost of Empire (written in 2017 and looking for a publisher as we speak) the hero is a farmer/fisherman from the fens who is on the rise as an officer in Her Majesty’s Air Service (dirigibles, of course). He is a defender of the empire, but he begins to have doubts when he comes to know Amir Kalinath, an advocate of Indian independence. I have a long excerpt from the opening chapter scheduled here shortly.

And Like Clockwork, presently more than half finished, is a deeply weird take on Old London. It started out by imagining what would happen if the toy shop in Scrooge (the musical) was real, and it’s proprietor had built those incredible clockwork toys himself. I’ll say no more, since even I am not sure how this one is going to turn out.

479. Snap at his Bench

Here is a peek at Like Clockwork, the steampunk novel I’m working on now.

Snap worked every day in his shop, sometimes on maintenance, sometimes on new toys. Day after day, the children cleaned and polished and wound the mainsprings on the toys that he had already built. It would have been cacophony if all the toys had all run all the time of course. Even a good thing can be overdone. Still, every day at least ten of the clockwork toys whirred, clanked and blatted (if it was a clown) or sang (if it was a doll).

The ships whose sails shifted with the wind were entirely Snap’s. So were the several kinds of self-bouncing balls, and the elfin forest of trees that waved their branches to an unfelt, fairy wind. The toys which had faces were his and hers — the mechanism was by Snap and the wood or porcelain flesh came from Pilar’s hands. The dolls which cooed and snuggled in a child’s arms had hands and faces of of clay that Pilar had moulded, fired, and glazed.

Every iteration of the year, a dozen new creations were added. Hundreds of toys lined the shelves and a few each day clanked, chirped, crawled, waltzed, rolled with laughter, and bounced in acrobatic arabesques. Their motion came from Snap; their expressive faces came from Pilar.

Rarely did anyone buy them. Once a year, perhaps — almost never twice in one twelvemonth — someone from the other London made his way to the street outside, saw the sign that said Like Clockwork, looked through the window at the wonders inside, and entered. Then one of Snap’s and Pillar’s clockwork offspring would reach the outer world, and for a time there would be meat in the pot, and new brass, paint, clay and springs for future creations.

Their daily bread came from Pilar, who worked alone in a back room with a spring pole lathe and carving tools, making nutcrackers, jester’s heads and crudely carved puppets. She had no more than six or seven patterns, and she produced them quickly in the time she could spare from other work. They sold for a shilling, but they sold. There were thousands of children in Luddie London without toys, and a few parents who would set aside a penny here and a penny there until they could buy one of the toys Pilar made.

Eve, Lispbeth, and Pakrat were an integral part of the enterprise. Snap called them his sweepers and dusters and winders. They kept the place spotless. The delicate machinery of the toys demanded it, and Pilar demanded it. The children worked continuously, but joyfully. No one made them come each morning.

Outside the toy shop lay hunger and cold, fog and soot, bullying and torments. In the streets and alleys and tenements life was lived by the law of strength, augmented by the rule of want.

Inside was warmth and kindness. Even Pilar’s stony look seemed a mask over a beating heart — but it was such a good mask that the children were afraid to take chances with her wrath. Snap was a massive presence at the workbench, short and thick with muscle, with fingers that were always bleeding a little from scrapes and punctures given to him by slivers of brass or steel or wood, but ignored in his fierce concentration. From time to time he would look up and smile, at Pilar or one of the children, but his eyes always turned quickly back to his task.

Inside there was food, simple and not plentiful, but always there, always to be counted on.  And work, unending, undemanding, unpaid. In the mind of each child there arose a formula, as sure and unrelenting as algebra — work equals warmth, work equals food, work equals safety from the world outside the shop, work equals acceptance.

Work equals self-worth.

How to Get Readers for Your Blog

I have discovered the secret to getting readers for my blog, and I hate it.

On November 29th I posted a blog called Machine Porn. It was about an episode of a PBS show that showed lots of old sewing machines, and it used that as a springboard for talking about the clockwork aspect of steampunk.

If you are a guitarist, you know that guitar porn doesn’t mean naked women with guitars, it means cool looking guitars. If you are a motorcyclist, you know that motorcycle porn means pictures of cool looking motorcycles. In either case there may be naked women, but that is incidental. By machine porn, I meant that the PBS show in question had lots of cool looking old machines.

So far no one has “liked” the post. That is appropriate; it was a very minor effort. But hardly a day goes by without someone, somewhere opening that post. It probably has more hits than anything else I have done.

I’m sure they must all be terribly disappointed. I refuse to visualize what they think they are going to find.

UPDATE. This is what I added to the post in question after it continued to bring about unrequited lust.

               Friends, I am amending this post as of June 1, 2018. I am changing it’s title from Machine P o r n. I have had more hits on this post than on anything I have written, but I have obviously just been generating frustration among those who clicked on purely because of the word P o r n. You will notice that I have also hidden the word itself from the view of crawlers.
I like hits as much as the next blogger, but I’m not into misrepresentation. I am leaving the post otherwise intact, since it does have something non- p or n ographic to say.

It is now called Machine P, and I don’t expect any more unhappy visitors.

471. Sunshine Blogger Award (2)

JM Williams nominated AWL for the Sunshine Blogger Award, which he and I both consider a chance to give a shout out to bloggers we follow. I started on Monday, and ran long, so here is the rest of the story.

There are four rules to the SBA. I took care of two of them on Monday. The remaining are:

Answer the 11 questions sent by the person who nominated you.
Nominate 11 new blogs to receive the award and write them 11 new questions.

I only nominated four blogs, and only wrote three questions. Michael, Thomas, Joaquin and James, the questions are at the bottom, should you chose to accept. (There is no penalty if you don’t. This post will not self destruct.)

 JM Williams’ questions to me were:

1. When did you start writing?   In the early seventies I started by writing a few articles for magazines. I started writing fiction in 1975. not counting the answer to question five.

2. Which genre do you prefer to write? To read?  Fantasy for both.

3. Which genre do you actually write most often? It is about equal between fantasy and science fiction, with a few contemporary novels as well, but only SF seems to sell.

4. What is your favorite piece of work and why? By other writers, A Wizard of Earthsea by Ursula Le Guin. From my own work, a short story The Prince of Exile. Of everything I’ve written, that was the only story in which I had no idea where it came from, nor where it was going while I was writing it. On the inspiration-perspiration continuum, it was way to the left.

5. Where is the most interesting place you came up with a story idea? This is not so much a where as a how.

A couple of years before I started writing fiction, I was with my wife in the stacks of a library. I had finished for the night and she was still working, so I took down something to read. The only tolerable book in the area was Beowulf. I flipped it open to a random page and read, “All that lonely winter . . .”

A vision exploded in my head, of a young boy, at an open wind hole in a castle, looking out over a snowy scene. He was living with relatives who had taken him in after his father was killed. They expected him to grow up and avenge his father’s death, but he had no interest in revenge. He just wanted to be left alone.

I saw him and his situation with instant and absolute clarity.

The next day I wrote the first chapter of the novel the incident called out, then put it away. Four years later, it became my third novel, but it remained unfinished for decades. Now it has grown into a three book series, and if I ever find a publisher, I’ll announce it here.

6. If you could win any writing award, which would it be? The Nebula, of course. A Hugo wouldn’t be bad either. I can’t hope for a Nobel Prize since I can’t sing, play guitar, and blow harmonica at the same time.

7. Do you associate with other writers? Are they at the same level as you? My level  is totally weird. I have been published since 1978, but I went unpublished (and unknown) for a long time after, and now am published again. I work strictly alone. I loved meeting writers at Westercon this year, and I love meeting them on the internet, but there is a huge generational gap.

8. What’s one of your writing goals for 2018? I have two actually. I want to see my recently finished steampunk novel find a publisher, and finish the second steampunk novel I am working on now.

9. Are you a plodder or a plotter? 100% plod. I outline very little. When I was a teacher, I was always in trouble because I refused to write lesson plans. I carried everything in my head, and that scared the principal half to death.

10. Where do you currently live, where are you originally from, and have you ever lived in a foreign country? I live in the foothills of central California, on three acres with wild turkeys and bobcats. I grew up on a farm in Oklahoma. In between, I lived in cities and hated it. When I became a teacher, and finally had a dollar in my pocket and summers off, my wife and I spent six summers living in a tent and subsisting on bread and apples, four in Europe and two in Australia. You can go far on little, if you want to badly enough.

11. If you could travel anywhere in the Universe, where would it be and why?   If?  What do you mean if?  I travel everywhere in the Universe I want to. Why else would I be a writer?

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Now the questions for my nominees. Three instead of eleven, and loosely organized at that.

1. List your favorite authors. Length of list is your choice. A reason for the choices would be nice as well.
2. List your favorite books (That’s not the same question, since it it quite possible to have a favorite book by someone with only one great book.) Again, reasons would be nice.
3. List your favorite genres (or sub-genres, if you that works better for you) and tell what you look for as a sign of quality in that particular genre.

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I had a great time doing this exercise, but my nominees may not feel the same way. If they don’t respond, no problem. The reviewers in particular have a tightly formatted product that might not work well with the Sunshine Blogger Award.

The main idea is to send them some new customers.

A Timely Note

I found it amusing to set my clock to Daylight Savings Time on Sunday, then turn on the computer and write a critical chapter in my new novel about a device called The Great Clock. That entity is also known as The Enemy, The Clock That Swallowed Time, The Clock that Put Time in a Cage, and quite a few other names.

I’m about a third of the way through the book, and it finally has its proper name. It’s called Like Clockwork. Of course. I should have known that from the beginning.

My computer must have been amused as well, because as I was typing in the title of this note, I hit a wrong key and it activated Time Machine, which is Apple’s name for the backup program I use.

Although — can there be any irony without surprise, and can there be any surprise in a multiverse where everything that can happen, must happen?

Yeah, it’s that kind of book. I have a short excerpt scheduled for April 11.