Tag Archives: writing

732. Rebecca Wasson


O beautiful young republic for whom my John and I
Gave all of our strength and love!

The two hundred and fiftieth anniversary of America is nearly upon us. Great things have been done by great people, but I always find myself more interested in those who never made the news, nor the history books. Edgar Lee Master’s must have felt the same way, to judge by his book of poems Spoon River Anthology.

The people that spoke from that town’s cemetery, through Master’s pen, a century ago, have a lot to say to the rest of us. I am particularly moved by Rebecca Wasson, a hundred years old, remembering in her quiet room, and waiting for her husband’s return, which can only come at her very end.

Rebecca Wasson

Spring and Summer, Fall and Winter and Spring,
After each other drifting, past my window drifting
And I lay so many years watching them drift and counting
The years till a terror came in my heart at times,
With the feeling that I had become eternal; at last
My hundredth year was reached! And still I lay
Hearing the tick of the clock, and the low of cattle
And the scream of a jay flying through falling leaves!
Day after day alone in a room of the house
Of a daughter-in-law stricken with age and gray.
And by night, or looking out of the window by day
My thought ran back, it seemed, through infinite time
To North Carolina and all my girlhood days,
And John, my John, away to the war with the British,
And all the children, the deaths, and all the sorrows.
And that stretch of years like a prairie in Illinois
Through which great figures passed like hurrying horsemen,
Washington, Jefferson, Jackson, Webster, Clay.
O beautiful young republic for whom my John and I
Gave all of our strength and love!
And O my John!
Why, when I lay so helpless in bed for years,
Praying for you to come, was your coming delayed?
Seeing that with a cry of rapture, like that I uttered
When you found me in old Virginia after the war,
I cried when I beheld you there by the bed,
As the sun stood low in the west growing smaller and fainter
In the light of your face!

731. Cover Art, . . . the Bad and the Ugly

Again, the five covers at the top of this post represent my five published works, in chronological order. Let’s continue from the bottom left.

It is hard to tell from these thumbnails, but the quality of the “angel” is excellent.  The four “zombies in electronic boxes” are not so easy on the eyes, but I presume that was a deliberate choice by the artist, Kevin Eugene Johnson. I don’t criticize Johnson’s skill as an artist, and I don’t know who chose to use a symbolic representation of the novel, but the result was a killer.

A Fond Farewell to Dying was my second published novel. I was in a good place. After Jandrax sold, I was advised to get an agent and I found Virginia Kidd. You probably haven’t heard of her. Fame is fleeting for agents, but she was top of the line for the eighties. She pitched FFTD to David Hartman and he bought it.

Hartman was at Pocket Books and he was about to launch a new line called Timescape. FFTD was among the first group of books released, but when I saw the cover, my heart sank.

At the top is a banner proclaiming the new imprint. That was a good idea, since everyone was waiting for Timescape to arrive. But the image — it had nothing to do with the story. That’s not unusual, but in this case, it was almost certain to scare off anyone who would have enjoyed the actual story within.

This is about cover art, not blurbs, but I have to tell you what those tiny words just under the trumpet say, because they are a key to the thinking of whoever designed this mess:

WHAT PRICE LIFE?

SURRENDER YOUR BODY! GIVE UP YOUR SOUL!

Nope. Not even close to what the novel contained.

FFTD was a straight science fiction novel about artificial immortality through cloning and memory taping. One of my intentions was to treat the matter accurately. There was no end of cloning stories around in the early eighties, but most of them were, scientifically, pure BS. I wanted to do it better.

There were no zombies. There were no electronic boxes. There was no angel, particularly not an angel with a trumpet sounding out the Last Days.

I did use the interplay between Dave, a lapsed fundamentalist Christian, and Shashi, his lover who was Hindu and a  believer in reincarnation. Their arguments allowed me a deep look into the morality of artificial immortality, but it had nothing to do with zombies and angels of the last trump.

In the weeks after publication, I found a copy of FFTD in a local grocery store, in a dump full of religious books. Based on the cover, somebody had placed it beside The Bible Story Books and The Jesus Generation.

A Fond Farewell to Dying never found its audience. Big surprise.

Things get tangled in the world of publishing. In researching this post, I found out that the same image was used as the cover of Gute Nachrichten aus dem Vatikan und andere »Nebula«-Preis-Stories, which is the name under which the German translation of Nebula Award Stories Seven appeared.

Cover images are frequently recycled. Johnson’s image was a virtual parody of FFTD, but it had nothing at all to do with the Nebula winners. Oh, well. That’s business in the publishing industry.

More irony — FFTD itself sold to Goldman Verlag, another German publisher, in 1984. They changed the title to Todesgesange (Death Song) and chose a cover that looks like tormented creatures in a Hellscape. Take a look at the middle image in the bottom row.

Is that creature in the middle supposed to be a demonic angel?  I never could tell.

Arrrrrrr! You can translate that into your favorite cuss words. I don’t like to use profanity in A Writing Life.

A lot of things changed between FFTD and Cyan, the last thumbnail above. I had a lot of input into the details of publication, including an early look at the cover. I wasn’t always listened to, but that is to be expected. I was pleased with the artwork.

The creature on the cover looks a little too much like an actor in a skin suit, but it is actually a key creature from the story, a para-Cyl. The original Cyl were bipedal, tailless hoppers, sub-human but of relatively high intelligence. Because of (DELETED), one of the crew felt obligated to (DELETED) by means of recombinant DNA. Then she (DELETED) which caused no end of problems.

Cyan is still available from Amazon. When you read it, you will thank me for the deletions.

And when you visualize the Cyl, fold their legs, make their upper bodies smaller, their butts bigger, and their ears longer. But don’t make them look like kangaroos. Cyl don’t have tails, and that changes their whole anatomy.

730. Cover Art, the Good . . .

The five covers at the top of this post represent my five published works, in chronological order. Let’s take a closer look.

The first cover is a magazine, Galaxy, gone now but once highly influential. It was my first publication and I had the good fortune not only to be placed in Galaxy, but to be the cover story.

Just under the magazine title you will see a yellow-orange rectangle which can’t be read because of data loss. It gives my name and the title of my novella, then lists “Greg Benford: The Stars in Shroud, plus Pournelle, Fabian, Walker:.

These five covers are in order of their publication, not their creation. After a first novel which was unsaleable, I wrote Jandrax. Then I wrote the beginnings of the Menhir novels —  about as many words as Jandrax, but only a fraction of what that project would eventually become. Then I wrote A Fond Farewell to Dying.

At that time I was still unpublished. Before FFTD was finished, I had recognized that a chunk out of the middle could be separately marketed as a novella. I extracted it, trimmed it to fit, and sent it to Galaxy, then finished FFTD. They bought the novella, changed the name to To Go Not Gently, and provided the cover art. All I had to do was sign my name to the contract.

I’ve told all this before, but today we are here to analyze cover art. The scene depicted is quite accurate to the story. That often doesn’t happen. The guy in the center is David Singer, aka Ram David Singh, an American biologist working in the post-nuke era when India is the only remaining country which wasn’t basically destroyed by the last war. He is on his way to an important meeting as he passes through the Avenue of Abominations, a street in Bombay where mutants gather.

It is a somewhat old fashioned style of cover art, completely appropriate to a magazine which had been around since the Golden Age of science fiction.

Jandrax came next. I received an acceptance after TGNG had been bought, but before it was published. The sale of TGNG had no influence.

The art, by Doug Bleekman, is superb. Again, I had nothing to do with it. I saw it first when the author’s copies of the book arrived by mail. The creatures are leers, and yes they should be giant birds, and yes they were supposed to be pink. They also had teeth. I knew that brown reads fierce and pink reads silly, but I chose to work against expectations. The fellow with the long hair, leather clothing, and antique rifle is also true to the novel. He is a second generation survivor of a lost and stranded starship.

My first review, a one-liner in Locus, just talked about fierce flamingos. I have to accept that. Covers are completely about snap judgements.

Notice how big the title is, and how yellow. Against the pink sky and above the pink birds, it really grabs the eye. Notice how tiny my name is. That, too, is appropriate. It was my first novel; nobody had heard of me; making my name bigger would not have sold any more books, and it would have detracted from the overall effect.

I loved that cover. I didn’t love the next one, but we can talk about that next week.

More next time.

729. Covers

When you pick up a book that you might want to read, the first thing you see is the cover. It would be hard to overstate it’s importance.

On the Mary Tyler Moore show, decades ago, Mary asked an author in an interview, “When did you know your book would become a bestseller?” He replied, “When I saw that they had put a naked woman on the cover.”

Yeah, it’s like that.

When I was in college in the sixties, I would stop at the State News just about every day to see what was new. I would pick up any book whose cover caught my eye and read the first page. Most of the time, that was enough. It went back on the rack.

Bookstores are disappearing, and we are all on-line now. A few years ago, if a cover caught my eye, I would go to Amazon, check out the read me function and read the first page. Usually that would lead to the same result, no sale. Lately, the name has changed to read sample and it seems to be missing for a lot of the books I want to know more about. I end up chasing reviews.

Covers have become increasingly important in e-life, since they are frequently the only thing the would-be reader gets.

By now you must be wondering about the covers at the top of this post. They represent my five published works, in chronological order. Which one is not like the others?

You might say top left. True, because it is of different proportions, wider for its height. That is because it is a digest size magazine, not a novel.

Second choice? I hope you said bottom right because that cover represents the shift to on-line sales.

At a newsstand, or in a bookstore, or in a dump in a grocery store, (a dump is a temporary cardboard bookshelf provided by the publisher) you only see the cover when it is on the book. It is always full size.

On-line we see thumbnails of covers. The beautiful artwork that used to adorn them, and still does in many cases, requires a microscope to admire. The title and author, however, have to be readable at any scale.

Cyan is primarily an e-book, with POD (print on demand) available for those who don’t want to read on screen. It is not self-published; EDGE of Canada published it. They provided appropriate cover art and made the title and author’s name quite large.

Since I am now in the process of starting self-publication, I have become even more focused on covers. E-book covers are now mostly words. There is usually still cover art and often it is excellent. Once it springs to size on your desktop computer or tablet, you can appreciate it. Not so much on a small screen e-reader, and on your smart phone the cover is pretty much still a thumbnail.

I have seen hundreds of e-covers while doing research. Many put everything in its proper proportion. Many others are basically just title and author’s name, with minimal artwork. Others look like they were produced for the newsstand with nice art, but the title and author’s name are far to small to be effective in a thumbnail.

Nevertheless, the artwork is usually still there, and it can still boost sales if it is eye-catching. It can still kill sales if it is ugly, or inappropriate for the text inside. It’s just harder to deal with now that it is tiny while in it’s native environment, your smart phone.

More on this next time.

728. Wildlife in the Land of Fire

Today is Wednesday, my regular posting day, June 3, 2026. Scheduled in eight hours was 728. Covers, promised last week.

Something timely has come up to shove it and the next few posts down the pipeline by a week. Two things actually, one benign and fun, the other a bit jarring.

I live in the foothills of the Sierras, at about the thousand foot elevation. It is the level that they call the heat zone. I once heard another resident say that where we live, even the rattlesnakes carry canteens. We moved here decades ago to get out of the crowded central valley.

It rains about twelve inches during the winter. Everything is green and lush while the Eastern states are under snow, but from May until October there is no rain. Not a drop. The grasses go brown-golden and crackle in the sun, like tinder.

We came here for the space and the wildlife. Buzzards circle every day. They are quite beautiful, since their odd red heads are hidden by altitude. Occasionally there are bald eagles circling with them, and often red tail hawks, crows, and geese.

On the ground, there are wild turkeys. A few years ago a flock came frequently to our place, to loll beneath the shade trees in the heat of summer. One year an injured adult stayed on our property all summer, recuperating, then disappeared in the fall.

Recently, turkeys have been scarce at our place, but a few days ago a new flock, three adults and about a dozen babies, started coming through. We’ve missed having a personal flock of turkeys.

That is the benign and fun thing. The other is fire — not benign and not fun.

Every summer there are fires, often large, often close by, sometimes on our doorstep. Yesterday, it happened again, and once again we dodged the bullet.

About two in the afternoon, I heard aircraft flying low overhead, and the phone rang with an evacuation alert. We jumped into the car, to be ready for a quick retreat. From the end of the driveway we could see a black cloud of smoke on the next road over. We drove around the twisting roads to visually triangulate the center, pulling off from time to time to let fire crews go by.

It was a small fire by California standards, but just the kind that can spread devastation measured in square miles if allowed to grow. There was a small spotter plane circling high overhead, a helicopter shuttling back and forth to a nearby lake to drop hundreds of gallons of water onto the fire and a larger plane divebombing loads of fire retardant between the flames and nearby houses. The retardant plane is what you see in the photo above.

That’s where I live — full of wildlife, beautiful, dangerous, and often quite lively. When I finish this post, I’ll drive over to see the details. All the roads into the area were closed off by fire crews yesterday.

As nearly as I can tell from Google Maps, the fire was about a half mile away.

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.

725. Steampunk, Maybe Not

If you didn’t read last week’s post, you should do that first. The picture above is a modern enthusiast’s model of Ofeldt’s invention, explained below.

I occasionally keep a digital diary of what I am writing. If I were better at remembering to make entries, my rearward vision would be clearer. This comes from the entries I made in the last half of 2017.

FYI, Durbar is an Indian term for a ceremony of submission to a Raja, which was later taken up by the British. That is real-world information.

— << >> —

The idea for the Durbar novel came at Westercon 70, July 4 weekend 2017. I began plotting as soon as I returned home, but failed to note the day I started writing. I finished the last chapter at 2:32 PM Monday, Oct. 23, 2017.

I sent completed novel, now titled The Cost of Empire, to Gollancz in London on January 2, 2018. On that same day, I began the first page of a novel with the working title Clockwork Christmas.

— << >> —

Clockwork Christmas later became Like Clockwork. We’ll talk about it another time.

2017 and 2018 were exciting years. It was as if the old days were back.

I had spent fifty years on the ever growing Menhir series, half as long as that working out the kinks in Cyan, and the other books I wrote during those middle years were completed in off hours while I was a working school teacher. Now I was free to write without day-job constraints, and things flowed freely again like they had when I first began.

What? You just want to know about the secret weapon
I mentioned last week?

No, I haven’t forgotten. Britain, in the novel The Cost of Empire, had a secret weapon called the McFarland engine. Our hero discovers that the McFarland engine was stolen from a Swedish-American inventor named Frank Ofeldt.

Ofeldt and his invention are part of our real world, and I already knew about him when I had my epiphany in Tempe. He is deeply obscure and his invention was silly, but it provided the perfect catalyst when The Cost of Empire burst into my consciousness. I would never have heard of him, except for my incessant reading in maritime history.

Ofeldt’s invention in the real world. Ofeldt perfected the naphtha engine, which is somewhere between a steam engine and an internal combustion engine. Naphtha (if you were my age I would just say lighter fluid and you would know what I mean) is heated and the naphtha engine uses it as a steam engine uses steam, to move pistons. Even though naphtha is combustible, it doesn’t burn at this stage.

The naphtha is recovered after passing through the pistons, cooled back to a liquid, then burned to heat incoming naphtha. The resulting engine was both weak and dangerous. It should have disappeared from history. Instead, the Federal government saved it — by accident.

The Feds passed a law forbidding steam engines on boats without a licensed operator. The newly rich of the nineteenth century often had twenty foot launches powered by miniature steam engines that they used to carry their rich friends around their private lakes. Suddenly they were illegal. Naphtha engines were not technically “steam” engines so they found a niche market and survived, at least for a few decades.

Ofeldt’s invention in the novel. Steam dirigibles existed early on, in the real world and in the novel. They were never practical because of the weight of water and coal they had to carry. In the novel, internal combustion engine technology had been deliberately suppressed. McFarland discovered Ofeldt’s invention, stole it, and produced functioning, if underpowered, fleet of British dirigibles.

i wrapped all of the other technologies in the novel around the naphtha engine. Our hero is a young airman in the British dirigible fleet who discovers the existence of the spy ring, the theft of Ofeldt’s invention, and the crippling blow that the engine’s weakness inflicts on British security. All this occurs while he is trying to understand why Britain won the German War, but is still the most powerful and hated nation on Earth.

— << >> —

If there is a moral here, it must be that nothing you know is useless, no time spent off task is really off task to a writer’s ravenous subconscious, and if a piece of knowledge is obscure, that just means that you get first crack at using it.

None of this answers the questions implied in the titles of these two posts. Is it really steampunk? Probably not.

I wrote The Cost of Empire and Like Clockwork in search of steampunk. When they were finished The Cost of Empire would probably fit better into the sister category of alternate universes. And Like Clockwork would probably be viewed as a classic time travel story.

Well, they both taste like steampunk to me, and categories are ultimately just a book seller’s concern.

The Cost of Empire
will be published next year
on
May 12, 2027

Like Clockwork is too far down the queue of completed novels to promise its date of publication at this time.

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

723. Humanity

 

Humanity

When it becomes too lonely to be “I”,
All the “I”s become “we”.
That is the beginning of culture.

Being “we” creates “them”.
That is the beginning of war

There were no blacks until white men created them.
They were just people of a darker complexion
on another continent, going about their lives.

Then they were captured,
bound, transported, and reborn in another land.
Abused, held down, tormented, and therefore feared.

Made into a new people.

It didn’t matter that they came from the Bushveld or Karoo,
The Swahili Coast or the Congo, Kalahari or Natal . . .
White people mashed all the Africans into one lump
and called them n—–.

We don’t use that word any more,
but we use the same thinking.

There were no Indians until the whites arrived.
No Native Americans, either.

(Native Americans!
Named after an arrogant map maker,
instead of a mistake made by an Italian
working for the Spanish
who never did know where he was.)

Before European explorers came
There were Apache and Blackfeet, Cheyenne and Dakota,
Hopi and Kickapoo, Kiowa and Mi’kmaq,
Osage and Paiute, Quapaw and Chippewa.

Hundreds of little groups, at war with one another.
Each the center of their own universe,
until they became one people in the eyes of the Europeans.

But that’s not all.

There were no Whites in Europe, either.
They didn’t become Whites until they reached America.

In Europe they were French and Polish,
Italian and Greek,
Russian and Romanian,
English, Welsh, Scottish, and Irish,
Gypsies and Danes.

They hated each other,
They fought with each other, they killed each other.
There was no unity in Europe either.

“Unity” came everywhere
when the little groups became bigger groups,
usually against their will.

It happens on our side,
It happens on their side, too.
And then we fight.

Do we have to wait for the flying saucers to land,
and give us a common enemy?

Will it take that to force humans
to become humanity?