Diabolical Plots Talks With Mike Resnick

interview by Carl Slaughter

Quick! Who is in second place as the award winner for short fiction (according to Locus)? I have no idea, but it isn’t Mike Resnick. He’s first. Mike has been a writer of speculative fiction for the past 50 years. He has been a writer, an editor, featured speaker, judge for Writers of the Future, father of a best-selling authorâ€the list just goes on and on.

Let’s face it, Mike has done it all (at least everything I wish I could do). He has been one of my favorite authors of all time, and one of the reasons why I still read science fiction today. His novel Soul Eater, was the first paperback I couldn’t put down. His success speaks for itself. If science fiction had a crown for the leading writer, it would be Mike’s head that would be wearing it.

It is not easy feat to be so successful, for so long, in this small corner of literature. Print and publishing has changed dramatically since the days Mike first burst on the scene. The small bookstores I first shopped to find Mike’s writings are all but gone. The big chains that supplanted them are against the ropes as well. Selling fiction, and marketing it, isn’t what it used to be. Our own Carl Slaughter wanted to know what Mike thought about these changing times and wondered what advice Mike had for the up and coming writers. , Frank Dutkiewicz

Carl Slaughter:Â Which conventions are the most worthwhile for an aspiring writer?

Mike Resnick:Â In order: Worldcon, World Fantasy Con, DragonCon. Reason: that’s where you find the greatest concentration of editors. Worldcon is much the best; not only does it draw the most editors from here and abroad, but it has the added advantage that it lasts almost a week, which gives the newcomer more time to make contact.

Carl: What’s the first thing an aspiring writer should do at a convention? What’s the second thing an aspiring writer should do at a convention? Third, fourth, and fifth?

Mike:Â There are things he should do before the convention: try to make appointments to see any editor or agent he wishes to see, and try to find some experienced fan or pro to show him around. Again, I’m speaking of those three major conventions. Most conventions are fun to attend, but totally useless from a business point of view unless you know a particular editor you want to deal with is showing up , and most cons don’t draw any editors at all.

Carl: What’s the best way to approach an editor at a convention? Invite them to lunch with the writer picking up the tab? Hand them a manuscript? Inquire about the type of stories that interest them? Give a quick verbal rundown of a story? Just write down the writer’s website?

Mike:Â

  1. The writer never picks up the tab.
  2. Primarily because of that, it’s bad form for a writer to invite an editor to a meal.
  3. Editors aren’t errand boys, and they’re not at the con to read your manuscript or carry it home with them.
  4. Simply describe what you’re writing, or planning to write, and see if the editor is interested.

Carl:Â What’s the worst way for an aspiring writer to approach an editor in person?

Mike:Â Bragging, when you’ve few or no accomplishments to brag about, is as counter-productive a way as any. Interrupting the editor when he’s clearly conferring with another writer is another. As in all other endeavors, good manners will get you farther than bad.

Carl: Should a writer break in through 2nd and 3rd tier markets or target 1st tier markets exclusively? If the former, how long does a writer stay in lower tiers before targeting 1st tier markets exclusively?

Mike:Â You don’t hit the moon if you don’t shoot for it. Also, I’m very leery of what you call 2nd and 3rd tier markets. There are professional markets, as defined by SFWA, and non-professional markets, and you do your reputation and your future absolutely no service by appearing in non-professional or semi-professional markets.

Carl:Â Is it possible to become a successful science fiction writer without ever getting a story published in Asimov’s?

Mike:Â Of course. I’d list all the major writers who haven’t sold Asimov’s, but I’m sure you have space limitations.

Carl: Are free markets a good way to build a resume? After all, even free markets choose stories from a slushpile. So a story chosen for a free market has been vetted by a team of editors.

Mike:Â If by “free markets” you mean non-paying markets, the answer is a resounding No. Appearing in a semi-pro or free market is a public declaration that your story couldn’t compete in the economic marketplace, and the very best thing you can hope for is that no professional editor you wish to sell ever becomes aware of it.

Carl: Suppose an editor expresses interest in a story by a new or unestablished writer, but requests a revision that would take the story in a different direction than the writer originally envisioned. Should the writer sacrifice the story for sake of getting a foot in the door?

Mike:Â “Sacrifice the story” gives a false impression: that the novice writer knows more about good, saleable fiction than the experienced editor. That might be true 3% of the time; for the other 97%, the assumption is invalid.

Carl: If an editor requests a major revision, should the writer make the revision on faith or request a contract? Does requesting a contract risk alienating an editor?

Mike:Â No editor is going to give a novice writer a contract based on the good faith that the novice will make the major revision to the editor’s satisfaction. Requesting a contract simply tells the editor you’re a clueless beginner. It won’t alienate him, but you won’t get the contract until the changes are made and he approves them.

Carl:Â Is it fair for writers to expect some type of feedback about why a story was rejected?

Mike:Â No. Back in 1996, I asked the various editors , for an advice column I was writing , how many slush submissions (i.e., unagented, by writers they didn’t know) they received in a month. Asimov’s got about a thousand, F&SF about 750, etc. So the answer, of course, is that the editor isn’t going to give detailed feedback to 1,000 beginning writers a month. The meaningful feedback that he gives to every unsaleable story is a rejection slip.

Carl: Why would a magazine editor ask if an author is published? Shouldn’t the story be judged on its own merits? Isn’t it an injustice to the readers when the criteria is the author’s resume instead of the story’s value?

Mike:Â The criterion for selling isn’t the author’s resume. The criterion for moving up in the slush pile is sometimes the resume. And remember that this is the real world. One reason, for example, that it’s almost impossible for an unknown to sell a novella is because the magazine is in the business of making money, and no professional editor wants to turn over 40% to 50% of his issue to a name he can’t put on the cover, a name that won’t help sell a single extra copy.

Carl:Â Which magazine and anthology editors are keen on new writers?

Mike:Â Any of them will buy a brilliant story from a newcomer. Most would buy a piece of garbage from a Heinlein or an Asimov if they could put his name on the cover. Like I say, this is the real world, and it’s a business.

That said, I have probably bought more first stories than any other editor, but again, it’s a function of the business. When I edit an anthology, and I’ve edited 41 of them thus far, I need 12 to 15 Names I can put on the cover, but that lets me buy half a dozen stories (on average) from newcomers. If I edited one of the digests I could only buy 5 or 6 stories an issue, and I could occasionally sneak in one beginner, one name that didn’t have to pull its weight on the cover.

Carl:Â How can a fiction writer maximize the system to make $750 off a story instead of $250?

Mike:Â People will talk about e-publishing the story, but that doesn’t work for unknowns. There are a million e-stories out there; why should anyone look for yours before you establish a following? The best way to maximum your earnings from a story is to sell it to a major market , either a digest, or one of the handful of “prestige” e-markets such as Clarkesworld, Lightspeed, Subterranean, Tor.com, or another (they change all the time) , and then, with that credential, start selling foreign rights to it. My personal record is 29 foreign and reprint sales for a single story (“For I Have Touched the Sky”; and 28 for “Kirinyaga”), but I average about 5 sales per story, even the less-than-distinguished ones.

Carl: Let’s talk about SFWA. With pro paying markets being so difficult to break into, wouldn’t it make more sense to lower standards to increase membership? What could go wrong with ushering in talented writers who are getting published and getting paid? Wouldn’t broadening membership give the organization more power?

Mike:Â No, the broader the membership, the less clout is has. When I joined SFWA more than 40 years ago, we were a lean fighting machine, boycotting publishers and making it stick, publicizing bad contracts and bad agents, auditing publishers and actually winning hundreds of thousands of dollars in unreported royalties for our members. But we were all full-time writers. Then we stopped insisting on requalification every 3 years, and our membership went from maybe 150 real writers to 1,500, of which more than 1,300 are not full-time writers and do not have the same professional interests as the full-timers. As a result, we are now pretty much powerless to act as an organization whose first duty is to protect its membership, because our membership no longer consists of people who write for a living. We have not conducted an audit in 30 years; we have not publicly evaluated a contract in 25 years; we have not publicly evaluated agents in 25 years; we do not report the average wait time , above and beyond what is contracted for , for a publisher to pay the signature advance, the delivery payment, or to issue the royalty statement; and we have totally disbanded our piracy committee. All this is a direct result of becoming a less professional organization with every passing year and more of a social club, so you’ll forgive me if I think that lowering the standard even more will be anything but deleterious.

Carl: Imagine an editor gets 2 novels. One from a SFWA member, one from a nonmember. The editor is thinking, “If I go with a SFWA member, I risk SFWA intervention, which could result in publishing delays and legal fees. But the nonmember, he just wants to get published, so he’s not going to make things complicated.” Is that a realistic scenario?

Mike:Â Absolutely not. SFWA rarely intervenes, and then only when asked to by the writer , and all other things being equal (such as the quality of the manuscripts) buying from an author with some credentials, however minimal, is certainly no worse, and probably more beneficial to the publisher, than buying from an author with no credentials.

Carl: What about style. Is show really better than tell? Is third person really better than first person? Is narrative really better than dialog and vice versa? Are dream sequences and infodumps really inherently problematic? Is changing POV in the middle of a scene really a cardinal sin? Is white room syndrome really a handicap? Is it really good/bad to use alternate verbs instead of “said”? Is a 3 act play really the best way to arrange a story? Is opening with the most dramatic moment in the story and then rewinding really more effective? ÂShouldn’t the story determine the style, not the style the story?

Mike:Â This is a typical beginner’s question. There’s no right answer, of course. If you write a fine story, whatever you use , first person, dialog, alternate verbs, et cetera , has gone into creating that story. And if you write a turkey using those same things, the fault does not lie with them, but with you.

Carl: A lot of writers swear by workshops. Others see no benefit in workshops. Where do you stand?

Mike: I think most workshops are ineffective. The exception is Clarion , but there’s a reason. In a one-or-two-day workshop I can point out everything that’s wrong with your story and suggest how to fix itâ€but then the workshop is over and you’re on your own. Clarion lasts six weeks, and the instructors can see the story through half a dozen rewrites to its conclusion. Also, Clarion has a different major writer teaching each week, so the students get more viewpoints and opinions to pick and choose from.

Carl: What about online workshops and forums like Critters, Hatrack, WOTF, and Codex. No editors, few established writers, but lots of first readers.

Mike:Â I haven’t attended/taught any online workshops, so I can’t speak to their methodology. I’ve judged Writers of the Future the past three years, and I’d say their roster of successes over the years is every bit as impressive as Clarion’s.

Personally, I prefer working one-on-one with writers. Over the past quarter century I’ve accumulated about 20 of what Hugo winner Maureen McHugh calls “Mike’s Writer Children”. When I find a talented newcomer whose work impresses me, I collaborate to get them into print, I buy from them for my anthologies, I introduce them to editors and agents. I must be doing something right, because 9 of them have been nominated for the Campbell Award, which goes to the best newcomer each year.

Carl: Workshops like Clarion are expensive. Are they worth it?

Mike:Â Meaningless question. They’re worth it if you learn and improve because of them, and they’re not if you don’t.

Carl: At 5 cents a word, can someone who specializes in short fiction ever recuperate the cost of a famous workshop? Wouldn’t they have to win a lot of Hugos/Nebulas and get invited to a lot of conventions to eventually justify the investment?

Mike:Â If their goal is to sell 5-cents-a-word markets for the rest of the careers, they can never recoup the cost. If their goal is to graduate beyond bottom-of-the-barrel markets and they apply themselves, then of course they’re worth it.

And it’s been a fact since the 1950s that you cannot make a living writing short fiction, so of course you also plan to do novels, which are what pay the major bills.

Carl: What about fiction software. Can a computer program really write a story? By the time you fill in the plot outline forms and character development forms, you’ve answered hundreds of questions. Plus the time invested in learning how to use the software. Is it worth it? What about the claim by software companies that 80% of scriptwriters us fiction software?

Mike:Â If you want to be uncreative and write stories that reflect that lack of creativity, I can think of no better way than to use fiction software.

Carl: There is a longstanding debate in the science fiction community. One camp says science fiction writers should strive for literary worth in their stories. The other camp insists the science element is supreme, that the literary aspect is optional, even a hindrance. Shouldn’t science fiction be primarily about exploring the possibilities, results, and implications of science? Aren’t there literary markets for writers who value storytelling over science premise?

Mike:Â There is a school of thought , less and less each year , that says that In science fiction the Idea is king, far more important than the characters or anything else. Then there is a school of thought, to which I belong, that says that in any type of fiction the characters are the most important thing. I feel that if a story makes you think, so much the better; but that if you don’t feel it has failed as a work of fiction. The other side thinks that if a story makes you feel or care, so much the better; but if it doesn’t make you think, it has failed as science fiction. I think over the years my side has pretty much won the battle.

Carl: The science fiction genre has evolved into a very large umbrella with many subgenres. Old schoolers disapprove of most of these subgenres using the term science fiction. They want the genre to change its name to “speculative fiction” and leave the term “science fiction” for stories that are science oriented. Is that a fair proposal?

Mike:Â It’s just a term, and by the way, “speculative fiction” was first proposed by Robert A. Heinlein back in the 1950s. Either is fine with me, but more to the point, I just write the stuff; it’s up to the publisher and his marketing team to decide what to call it.

Carl:Â How long before the only place we can see a print version of one of your stories is in a museum?

Mike:Â Not in my lifetime, but probably within 50 years of its end.

Carl: Several online magazines have experimented with various business models. The Internet has convinced readers they can get online content free. Ad strategies haven’t worked. So what’s the solution?

Mike:Â It’s a conundrum that’s not going to be solved anytime soon. Fictionwise.com proved that there is so much free crap online that readers will pay for reprints by names they know, and Amanda Hocking to the contrary, you’re more likely to make money publishing e-books if you have a following among readers than if you don’t.

Carl:Â Can an ebook become a hit without editors and marketing agents behind it?

Mike:Â Yes, Hocking proved it , but I would say that a conservative estimate would make the odds about three million to one against it being a bestseller, and a couple of hundred thousand to one against a beginner making enough that way to live on. With an established audience, the odds go way down.

Carl: Advocates of ebooks use this reasoning: An ebook can stay online indefinitely, therefore an author can eventually make as much money as a print run, even if it takes several years. Whereas with a print run, the book is off the shelf in a few months and therefore not even available as income. Is this strategy viable?

Mike:Â No. It doesn’t take into account the marketing arm of a publisher who himself is just a cog in a multi-billion-dollar international conglomerate. It doesn’t take into account the fact that, at present, a lot of countries where you can sell your foreign rights for substantial money have so few e-readers that there’s virtually no market for e-books. It doesn’t take into account the fact that almost every book published , paper or electronic — is pirated and available for free on the internet, if you know where to look, within months (and usually weeks) of publication. And of course it doesn’t take into account that a self-published author, whether in paper or phosphors, does not receive an advance, which is what most authors live on.

Carl: Some ebooks advocates are also predicting publishers will become extinct. Is that an exaggeration?

Mike:Â Yes. Some will go under, some won’t. And the smaller presses, who have targeted their audiences, will do just fine. Difficult to sell an autographed, numbered, leatherbound book in electronic form.

Carl: There’s a debate raging over piracy. One side claims tolerating a certain amount of piracy increases exposure. The other side considers this idea heresy. Apart from the moral and legal issues, which side has been vindicated in terms of sales?

Mike:Â Much too early to tell, but I suspect the added exposure doesn’t equal the lost income. After all, if someone reads one of my pirated e-books and loves it, what is he more likely to do , take $25 or $28 and go buy my latest hardcover, or hunt for more of my free pirated e-books online?

Carl: You once said that you make a comfortable living as a writer while your genre friends struggle. Do you have a better financial strategy? A better marketing strategy? More talent? More output? More revision? A better style? More appealing stories?

Mike: Some of my genre friends struggle. Some far out-earn me. Many things go into making a comfortable living as a writer. First, I’ve been at it for just about 50 years, so I have half a century’s worth of contacts, an intimate knowledge of the business, and readerships in countries all over the world. I like to think my stories and books are outstanding, but that’s subjective. Mostly I have a huge output , over 100 books and over 250 stories in this field alone , of material that is at least saleable. I have a top agent. I have editorial contacts all over the world. I have optioned numerous books and stories to Hollywood, and even sold some screenplays, both of which come from a knowledge of how the movie industry works at least as much as from the quality of what I’ve optioned. I have always adjusted instantly to new markets , audio, e-books, whatever. Writing constitutes 100% of my living, so it takes up an enormous amount of my timeâ€and as I have been lecturing beginners for close to half a century, you can be an artist until you type “The End”, but then you’d better morph into a businessman or you put yourself at a huge competitive disadvantage.

Carl: You recently reached your 70th birthday, 50th year in sci-fi, and 50th wedding anniversary. Looking back, what would you have done differently?

Mike:Â I wouldn’t have wasted a whole year being engaged to my wife before I married her. Other than that, no regrets.

Carl: You’ve been writing a lot of sentimental stories lately. What’s the explanation?

Mike: Aren’t old guys allowed to be sentimental? I should point out that my first two awards for science fiction stories in 1977 and 1978 were for sentimental stories, so it’s nothing new. And I should also point out that according to my bibliographer, I’ve sold over 125 funny stories, more even than Robert Sheckley.

Carl: You spend an awful lot of time on the fan circuit. What are the most frequent questions and requests you get at conventions?

Mike:Â The fans want stories about the old days , or at least my old days , and about the giants they never met who are no longer with us. The hopeful writers want to know how to sell and why the world is against them.

Carl: You have more awards than any writer in the history of the genre and you are the most popular living author among the fans. Asimov had a magazine that still bears his name. Orson Scott Card started his own magazine. Robert Silverberg is trying to revive Amazing Stories. Any chance we’ll be reading “Resnick’s Speculative Fiction Magazine” before you retire?

Mike:Â I’d love to see “Resnick’s Speculative Fiction Magazine”, but I’m smart enough not to invest one penny of my money in it, and I have a feeling that sentiment will be shared by every potential investor.

Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.

 

His training is in journalism, and he has an essay on culture printed in the Korea Times and Beijing Review. He has two science fiction novels in the works and is deep into research for an environmental short story project.

 

Carl currently teaches in China where electricity is an inconsistent commodity.

Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.

His training is in journalism, and he has an essay on culture printed in the Korea Times and Beijing Review. He has two science fiction novels in the works and is deep into research for an environmental short story project.

Carl currently teaches in China where electricityÂis anÂinconsistent commodity.

Movie Review: The Avengers

written by David Steffen

I’ve been a fan of Marvel Comics and their various media productions for a long time. The most recent of their movie productions is “The Avengers.” As far as I know it’s unique in taking several other recent successful Marvel title superhero movies and combining them with the same actors into a single movie. Robert Downey Jr. as Ironman, Chris Evans as Captain America, and Chris Hemsworth as Thor, each of which had held the title role in a recent Marvel movie.

I’ve gotten behind on my Marvel movies in the last few years. I saw Iron Man, but not Thor or Captain America (I think it’s weird that Chris Evans plays both Captain America and Johnny Storm, but I digress), so even though I was aware of these other movies, I hadn’t seen these other characters in action until now.

The movie begins as Thor’s brother Loki crosses into our world with the intent to lead an army of warriors from another dimension to enslave the Earth. Nick Fury (Samuel L. Jackson) calls on the disparate group of superheroes codenamed the Avengers to battle this menace. The group has yet to be formed at that point, but the group put together is made up of Iron Man, Black Widow, The Incredible Hulk, Thor, and Captain America. The group has been chosen for their power, not for their teamwork, which becomes clear very early on as squabbles ensue regarding who is making the decisions. But as Loki’s war looms ever larger, they have to find a way to work together to stop this dire threat to Earth.

A fair warning: this is a long movie. 143 minutes long. But that’s to be expected for a movie based around a group of 5 title characters played by big budget actors. To really make a movie based around the whole group, each character has to have some time spent on their character arc, in a way that allows them all to combine into the major plot arc. This was a difficult balance to strike, but I think they did it admirably well. Never did I feel that one of the characters was hogging the screentime, and each character got his chance at scenes that revolved around them, as well as scenes that involved lots of quick fighting and/or dialogue between them and other members of the team.

The plot was reasonably good. Was it corny at times? Sure, I mean its based around a team that includes a Norse God and an over-patriotic 1940s superhero battling space aliens, so a bit of corniness is a given. But the makers of the movie took these strange and disparate, apparently clashing elements, and made them into a cohesive action-packed riproaring good time of a movie. The interactions between these different powerhouse superhumans are one of the best parts, especially Iron Man’s cynical self-reverence onscreen with Captain America’s “ask what you can do for your country” attitude. Tony Stark/Iron Man still gets the best clever lines, and Downey pulls them off wonderfully.

THE best part, though (and this surprised me) was watching the Incredible Hulk smash… well, pretty much whatever gets in his way. I’m surprised because I would’ve expected to prefer something less predictable and more intellectual. I mean, it’s no mystery that the Hulk can pretty much smash anything and is apparently impervious to everything, so where’s the tension? Maybe that’s a way in which movies can have a different kind of appeal that written work. I didn’t feel any tension about the Hulk because I knew he’d survive and I knew he’d wreck a lot of stuff in the process, but the sheer spectacle of his fighting was like watching a natural disaster, inevitable destruction after which all you can do is try to clean up. If they’d filled a whole movie with that I probably would’ve gotten bored (I haven’t seen the Eric Bana and Edward Norton Hulk movies of the last ten years) but it was paced very well so that the Hulk only came out a few times but he stole the stage every time he did.

I’d recommend this movie for any comic fan, action fan, anyone who just wants a good riproaring time.

 

Unsettled Foundation: Minneapolis-based “live anthology”

written by David Steffen

Hello everyone! For all of you out there, but especially those who are within easy driving distance of Minneapolis, I wanted to tell you about an upcoming event in which I will be participating. It is the debut event of the Unsettled Foundation live anthology series. Like a print anthology, authors submit their stories and an editor selects the ones they consider to be the best. But instead of binding them in a book, the selected authors read their stories aloud to an audience.

And my story “What Makes You Tick” has been selected! They’ve also asked me to send a second one since this one is so short. So I will be reading it to an audience at The Hollywood Theater in Minneapolis in an event beginning at 7:30 on June 23rd. I would love to see you there! No admission fee is required, but they do have donation incentive gifts for anyone who wishes to donate. I hope to see some of you there!

Game Review: The Elder Scrolls V: Skyrim

written by Melissa Shaw

I’m not a patient gamer. When I sit down with a new game, I want to dive into the action, run around the world taking in the sights, learn (and use) some skills, and get introduced to and led through a compelling story that doesn’t make me sit still for too long at a time. Which is why I have often avoided RPGs in the past.

Skyrim, the fifth entry in the Elder Scrolls RPG game series, has a lot to offer:Â it’s an enormous game with a breathtaking variety of weapons, abilities, loot, side quests, and strong visuals.

It also has its share of dull, lengthy, in-game exposition scenes, in which you have to sit still and listen to talking heads. And you have to pay attention and press buttons at the right moment — if you leave to find a red-hot poker to gouge your eyes out with, the dialog will repeat, unskippably, until you hit those buttons. At least cut-scenes are staged for dramatic impact, and, in many games, are skippable.

In between those annoying infodumps, however, lies the meat of the game, and it is strong. It’s also surprisingly well gender-balanced; many of the soldiers, thieves, mages, friends, and enemies are female, and their attire matches the men’s, instead of being a stripper’s titillating version of it. After picking your race, gender, and other visual details, you get into the action pretty quickly, and, if the controls aren’t what you’re used to, you can customize them to be more familiar.

One of the game’s strongest sections doesn’t even take place on the surface of the already large map. Blackreach, an enormous cave system underneath much of the continent, is luminous and otherworldly, with half-submerged ruins of the buildings of ancient cities. The attention to detail in this game is impressive; entire rooms exist just to add ambience and robustness, which makes the world feel rich and convincing.

It does take a while to level up sufficiently to successfully take on your earliest opponents, but once you’ve attained level 15 or so, the game progresses smoothly, even if all you do is hack and slash. You can also adjust the difficulty of the game, without being penalized in your ability to get achievements.

Like other Elder Scrolls games, this one tends towards glitches and bugs, which can dramatically affect enjoyability. But the game itself is so expansive and fun that it more than compensates for those irritations. (Also, any issue you encounter is something someone else has probably already encountered, so a quick Google search may reveal an unexpected solution to your bug-based conundrum.)

Overall, while it has a few drawbacks, Skyrim is a long and varied adventure, with a world that grows on you. After you finish the main storyline, you may find yourself dipping back in to pick up the side quests and extend your stay in this compelling land.

Skyrim is available for PS3, Xbox 360, and PC.

Melissa Shaw’s short fiction has appeared in Asimov’s, Realms of Fantasy, Analog, and several anthologies. Melissa is a Clarion West graduate and a “Writers of the Future” contest winner. She is currently writing for an as-yet-unreleased video game.

Sale! “Meat” at Pseudopod

written by David Steffen

Just a quick sale announcement, I sold my 10th short story yesterday, “Meat” to Pseudopod, to editor Shawn Garrett. It will be my third appearance on Pseudopod, and my second Pseudopod original. It’s a horror SF flash fiction story about a robot domestic helper who is trying very hard to complete a few simple tasks under adverse conditions.

Daily Science Fiction: January 2012 Review

written by Frank Dutkiewicz

One of my reviewers called me out the other dayâ€

“â€It creates a credibility problem for you when you take Tangent and Locus to task for not covering Daily Science Fiction, then fall four months behind on your reviews.”

Guilty as charged. As I said to him, I could give plenty of valid excuses for falling behind but excuses is all they would be. I made a pledge that I would continue to review Daily Science Fiction as long as I stayed at least six months current. Complacency, and nothing else, allowed me to get lax in my duties. It is my new pledge to be as current as possible. One reason why I have taken on this task to review this much-ignored, but strong in quality, SFWA-qualified magazine is because authors like to see that their hard work has been read, and appreciated.

So to live up to my part of the bargain, here are this month’s storiesâ€

 

“Happy Birthday” by Sara Thursta (debut 1/2 and reviewed by Frank D). A family puts on a show for their father, an astronaut in deep space. It is his birthday, once again.

“Happy Birthday” examines a hazard of space travel, time differential. The astronaut’s dutiful family does their part to keep his spirits up. Cute, but the premise has a huge hole in it. How could any conversation be conducted if the difference in which time travels is as glaring the story suggested?

 

A man misses his wife but believes he’s found a replacement in “Still Life Through Water Droplets” by D. Thomas Minton (debut 1/3 and reviewed by Frank D). Brandon lost his wife to cancer but saved her personality. All he needs is a suitable ‘volunteer’ to download all she was into a fresh body. The local pick-up joint is a good place to find one.

Odette seems to be the perfect woman. Lovely, out of town, and eager to spend some time with him, Brandon finally has the opportunity he has been waiting for, all he needs now is the courage to go through with it.

“Still Life” is a theft, theft of a body for a new soul. The story is clever but predictable once it gets rolling. Mr Minton shows his writing skills off with this brief tale.

 

A Christian spy seeks to discover the secrets ofÂÏ€ (pi) in “The Mind of Allah” by Stephen Gaskell (debut 1/4 and reviewed by Frank D). Emiliano has penetrated the home of a famed Moslem mathematician. Faisal al-Khalsi has calculated pi to a ninth place. Emiliano is eager to find out how he calculates the strange equation and suspects the answers lie in the basement of Faisal’s home.

This historical story reminds me of Harry Turtledove’s alternative history short story collection Agent of Byzantium, both in style and premise. I found it to be well thought-out and clever, although barely speculative. As a lover of AH, I thoroughly enjoy it.

 

Two brothers return to Earth to cash in on a get rich quick scheme in “Saviors” by James Beamon (debut 1/5 and reviewed by Frank D). The protagonist endures MEAT and VEGETABLE rations to join his brother on his hair-brained idea, unaware that mankind’s abandoned home world is their destination. The planet is off limits and empty of useful raw material. What could this locked-in-an-ice age-world possibly hold? It’s been picked clean of everything except thousands of cryogenically frozen people left behind.

This tale was about as appetizing as the ration packs the two characters held. Strong writing but the plot left much to be desired. Points added for the author using himself as a prop though. The only real problem for me was the reveal. Really? That’s what’s going to make them rich? Minor issues with the premise (no one’s enforcing the Heritage Laws?) but as a humor piece, it kind of works.

 

“Calling Down the Moon” by Diana Sherman (debut 1/6 and reviewed by James Hanzelka) Jason Marsten has just lost his mother and now his father is sending him to live with his aunt. The boy wants to stay with his father, in the mountains, by the observatory he loves. Daniel realizes his son needs more. While the father is making arrangements the son goes outside and falls from a tree into a cold dark lake. He is saved by a woman named Cynthia, the embodiment of the moon goddess Diana. The story is about the relationship between father and son, as well as the love they both share for the lure of the moon.

I liked this story a lot. The embodiment of the moon in a woman who serves as nurse, friend, mother and confidant is nice. I thought the opening could have been handled a little more smoothly to bring you into the story better, but that is a small quibble. I found myself drawn in anyway, and I was drawn to the characters. Their feeling for each other and Jason’s son really comes through. In the end this is a story about fathers and sons.

 

“Look Who Came to Dinner” by Susan Franceschina (debut 1/9 and reviewed by James Hanzelka). Marcia’s just had her first close encounter. An alien just walked in on her taking a bath. She calls Randy for sympathy, but he calmly explains that the visitors are just curious and goes over some things she can do next time. Marcia’s still mad and even more taken aback when she discovers the alien is still there.

This was a nice little story. It had some witty, dry comedy and a pretty nice twist at the end that most will appreciate. I was a little put off at the start because the wording was a little like the audience was younger, but after the first few paragraphs it grew up. Nice premise and nicely handled otherwise.

 

“Electric Company” by Melissa Mead (debut 1/10 and reviewed by James Hanzelka). Emily Marcia Stewart’s faithful TV has died. In an effort to replace the loneliness in her house she visits the adoption center looking for a new set. She’s put off by the brash new models, so she journeys to Schenectady, NY., the home of the wild appliance park. After many adventures with wild residents she comes to find a human partner, and a few electrical ones as well.

This is a nice anthropomorphic story, similar to “The Bicycle Rebellion” story of last year. The humor in this piece is front and center and the author has some nice puns included, like the stream of flowing electrical current. The opening was a little too generic for me because it took until she gets to Schenectady for me to realize the main character is female. That small quibble aside, this story was nicely written and the sense of humor came through quite well.

 

“Things Exist by Imitation of Numbers” by Benjamin Rosenbaum (debut 1/11 and reviewed by Dustin Adams). This story is smarter than me. Which is fine, I can accept that. Reading along I tried to find a common ground with a story clearly outside my intelligence. Poetic, yes. But what… else?

In the end, the author comments are the only words that made sense to me. In the end, I didn’t get it, but apparently, it’s there.

What this story is about, is how it goes about doing it. Normally, that’s a huge plus for me, but this time, I was just lost. Hopelessly lost.

 

“Into the Forest” by Dana Dupont (debut 1/12 and reviewed by Dustin Adams). Upon a second reading, I appreciated/liked this story more. I think because I knew the surprise, I could better watch for the set up.

To tell any of the plot, is to give away the plot, but with a story this short, I’d suggest giving it a read. It’s complete in its brevity, and not the worse for it.

Although I rated the story 3 of 7 rocket dragons, due to it’s use of a common trope, I appreciated the writing, and the skill behind it, as I’ve come to expect from DSF stories.

 

“Sixty-one by Seventy” by K. G. Jewell (debut 1/13 and reviewed by Dustin Adams). After Ted Winstead retired, he looked forward into the mundane, boring emptiness and made a decision. He’d visit each of Saturn’s 61 moons, taking a chunk of rock as a souvenir from each, and getting his name in the record books as the first to do so.

No rush. That is, until a bouncy, young student named Elise sets out to beat him to the punch. (Her motivation is classic.)

With two moons to go, there’s a showdown. Whose got what it takes to be the first to all 61 moons?

You’ll have to read for yourself.

 

“Do I Tell Her” by Steven Peck (debut 1/16 and reviewed by Carl Slaughter) is the agonizing thoughts of a husband who is trying to decide whether to tell his wife she’s a clone, copied when the original died in an accident. Classic surprise ending. The author teaches bioethics: “I started wondering what ethical issues might come into play if you could actually make a copy of someone (including their neurology). The technology may be here soon. Already people are making micro-scans of brains and cloning is making progress. It may not be long before the elements of this story could actually take place.”

 

“Dumb as Dirt” by Garth Upshaw (debut 1/17 and reviewed by Carl Slaughter). Two boys play a prank on some zombies. The mother of one boy severely scolds him and punishes him. He doesn’t understand why she takes the situation so seriously. In a surprise ending, she reveals why. The storytelling style is folksy, first person narrative.

 

You might remember Nancy Fulda from her recent Nebula stories “Flashback” and “Movement.” After reading these two stories, I wrote to her to say, “I’ve read only two of your stories, but they both have something in common and I’ve guessing your other stories do too. A lot of writers have talent and experience, so when they get an idea, they can whip out a story. But it’s all formula and no passion. Your stories are loaded with passion.” Well, it’s too early to say, but I might have been wrong. “All or Nothing “by Nancy Fulda (debut 1/18 and reviewed by Carl Slaughter) is cleaver and vivid, but there’s not much passion.

Tommy and Edna are childhood friends. In the opening sequence, she pronounces him a zero. He lets the words affect him and never amounts to anything as a child. He even scores zero on his exams. In the second half for the story, his efforts to romance her lead to inventions and discoveries involving the number zero - frictionless, perpetual motion machine; research paper defining a new mathematical system based on division by zero; architectural diagram for a zero-energy house; industrial method for burning fossil fuels without carbon emissions; existence of the zeroth element on the periodic table; zero-point energy.

“Edna Peterson stood with her hands on her skirt and her feet planted in the dark, rumpled soil of the rutabaga patch. Her eyes scrunched into an expression of righteous fury exclusively reserved for seven-year-old girls.” “Tommy Jenkins borrowed his Dad’s beat-up saw and cut scrap wood into building blocks. He built towers so high he had to stand on a chair to reach the top, with arches and buttresses and entire platforms spanning the length of the kitchen. â€˜It won’t fall down unless you push on it,’ he told Edna when her mother sent her over to borrow a cup of sugar. â€˜All the forces are in equilibrium’. Edna scratched her elbow and didn’t want to admit that she didn’t know what ‘equilibrium’ meant. She edged out the doorway without saying anything.”

These scenes are so well written, I can picture them in my mind almost as well as if they were on a movie screen. It reminds me of the stories in my middle school reading textbook: impressively descriptive, but not terribly meaningful. “All or Nothing” is cute and enjoyable, but I’ll take passionate any day.

This story is part of a series by four established authors who refer to themselves as the Numbers Quartet. Every story is based on a dozen physical and mathematical constants - pi, infinity, speed of light, etc. In this case, the number zero. The other three authors are Aliette de Bodard, Stephen Gaskell, and Benjamin Rosenbaum. All the stories are short pieces and were published in Daily Science Fiction between January 12 and March 28, 2012. The stories appeared in chronological sequence, with the oldest developed concept, pi, being first.

While I would prefer Fulda keep her stories in the passion vein, I applaud her versatility and will continue to follow her career.

 

“The Professor’s Boy” by Erik Goranson (debut 1/19 and reviewed by Carl Slaughter). A knowledge “vampire,” referred to as a “collector,” targets a dying professor. The extraction process - nanomites injected through his IV - involves the death of the “host.” After a surprise encounter with the professor’s boy, the collector realizes he got a bit more than he bargained for.

 

“The Stoker Memorandum” by Lavie Tidhar (debut 1/20 and reviewed by Carl Slaughter) is part alternate history, part horror, part alien, part conspiracy. The prose is tedious and full of 19th century names and the writing style seems like it deliberately imitates 19th century literature, so the story is hard to follow. It has something to do with reptile royalty on the throne in Europe, monsters created by a Jekyll-Frankenstein serum, other monsters that are half machine, and an impending extra-terrestrial invasion. However you define this genre, you have to be hard core to relish this story.

 

Johnny has failed his drug test and may get kicked out of school in “Midnight at River’s Edge” by Ron Collins (debut 1/23 and reviewed by Frank D). His father has given him an ultimatum. John now must make a choice. What he really wants to do is be an artist but drugs and art do not mix.

“Midnight” is so much like a thousand tales in everyday kids these days except it has a speculative twist that was way too obvious considering where it debuted. Mr Collins talents adds a bit of flavor to this vanilla-ish tale.

 

Evolution adapts to pollution in “Inconstant Nature” by Colum Paget (debut 1/24 and reviewed by Frank D). Earth’s species are changing and thriving in the cesspool man has created. Plants and animals are now adding to the toxic environment, making the air unbreathable to man. So many species have died but a few of the lower life forms have adapted. Olisa has created a mixture of tailored species to combat the evolved toxic species and reclaim the Earth, but the new species have adapted to the new environment, and may not give in without a fight.

“Inconstant Nature” centers on two observers, Olisa and Zina. Zina is more at home in this new and dangerous world while Olisa may be homo-sapiens’ last best chance to survive. I found the plot inventive but the storyline began to wander. I did see the twist coming (one hint too many) but I won’t claim it was obvious. I did like the tale but wasn’t overwhelmed with it.

 

“i: the imaginary quantity equal to the square root of minus one–symbol i, first quantified through the work of Rafael Bombelli in 1572 AD.” So begins “The Death and Rebirth of Anne Bonny” by Nancy Fulda (debut 1/25 and reviewed by Carl Slaughter). Neither Anne Bonny nor any of the 3 main characters actually die in this story. Anne Bonny was an 18th century female Irish pirate who operated in the Caribbean . The main character and her father pretend she’s Anne Bonny as they roam the beach in search of pretend buried treasure, pretending they are guided by fake maps. They are accompanied by a pretend parrot appropriately named Aye, as in aye matey, who figures significantly in the story. The catch is, the girl doesn’t know its all make believe. When she realizes her father made the maps and that the real Anne Bonny was just a thief rather than a noble person, her life and her relationship with her father take a tragic turn and the fantasy magic is gone. But in the end, everything is restored. No, not pretend restored, really restored. Thus the title. “The Death and Rebirth of Anne Bonny” is one of three stories Fulda wrote for the Numbers Quartet series. Whereas the other 2 stories rely heavily on math and the drama is skeletal, this includes no numbers at all and relies completely on literary quality. A well told story with a classic theme. Very satisfying.

 

“+1” by James Luke Worrad (debut 1/26 and reviewed by Frank D). Walter greets a man from NASA at the site of a crashed capsule. Walter is taken aback at the man’s indifference, appalled that a dead astronaut would be considered a mere “setback”.

“+1” is very brief with a twist I hadn’t seen coming and with implications I still do not fully comprehend. Nice story and I liked the open-ended question left unasked.

 

“Good Taste” by Derek Ivan Webster (debut 1/27 and reviewed by Frank D) is a tale of uninhibited greed. The elites of the galaxy have gathered for a sol-eating event. The very rich have taken the essence of a star, and made it a drink. It is a symbol of excess, for tasting the center of a star requires wealth entire planets cannot afford. Baneford is neither privileged nor rich, but Earth’s poor inhabitants have scraped their pennies together for him to masquerade as one. For this particular event, the wealthy will be tasting the rarest of treats, the center of a black hole.

I found “Good Taste” intriguing. The premise was unique and with a message the author must have wanted to share. The tale had a political take whose moral could fit into our present day’s issues. Message aside, I found the preachy final commentary to be unnecessary. It turned the narrative into a tale of vengeance instead of work of poetic justice, which was unfortunate.

 

“Visiting Planet Earth” by Eric Brown (debut 1/30 and reviewed by Frank D). An alien returns to Earth, solemn for its mortal inhabitants. The young are pleasing to deal with but the old have trailers that creep out our visitor from the stars.

A very interesting work of flash fiction. The story is told from the perspective of a being who may have been more corporeal than alien. The short tale has a line of withheld information the author gradually reveals. Normally, such a tactic I would frown upon but the author does a good job of making the premise appealing. Not my favorite tale of the month but I did like it.

 

Patience is the key to a well-laid trap in “The Long Con” by Megan R Engelhardt (debut 1/31 and reviewed by Frank D). Rumpelstiltskin has been foiled to take the princess’s child, or has he?

This tale is done from the perspective of the antagonist of the fabled Grimm fairy tale. Its outcome is easily predictable and I can foresee many readers having an indifferent opinion of it. I, however, do not feel that way at all.

Ms Engelhardt tackled the task of retelling a familiar tale using my favorite tactic, exposing the real story from behind the scenes. She successfully showed Rumplestiltskin as a clever con-man. Revealing a carefully laid plan and the inner workings of his mind in the process. Knowing the outcome matter little when we are granted a viewing of the mechanics of a sophisticated trap. Excellent writing, delightfully executed.

Recommended.

Unclear Criteria

ÂAn email correspondence with one of the two leading reviewers of speculative fiction was shared with me by a fan of Daily SF. The email asks why they (the reviewer) have chosen to not review DSF.

“â€But this comes down to the question – what are reviews for? (We) don’t review to promote publications or authors. (We) do it to inform and please readers,

Well, from Diabolical Plots perspective, I can safely assume that the promotional value between us and Daily SF is at best, a two-way street with DP getting the far better end of the deal. In fact, Locus and Tangent Online would both be hard pressed to claim they steer any meaningful readership to any of the venues they cover. I would be willing to bet that the publication with the smallest audience that Tangent and Locus covers beats either reviewing outlet in readership. If there is any promotional value gained from being reviewed by the two big boys, it is for recognition in the awards categories. Way too many stories to read (even without DSF‘s vast library) for the judges to pick the best in class on their own.

But hasn’t Daily SF proved they are worthy of the benefit of pleasing and informing the readers? If awards are an indication of what makes a publication and its authors worthy of informing and pleasing readers, than allow me to promote a few nominated authors.

Mary Robinette Kowal , Nebula and Hugo; novella

Ken Liu , Nebula and Hugo; novella, short story

Ferret Steinmetz , Nebula; novelette

Nancy Fulda , Nebula and Hugo; short story

Aliette de Bodard , Nebula; short story

Mike Resnick , Hugo; short story

Congrats to these 2012 Hugo and Nebula nominees, all of who have appeared in Daily SF. News I finding informing, and pleasing.

We have received numerous complaints and queries, so we would like to make it absolutely clear that our own Anonymous is not synonymous with He Who Must Not Be Named. The former has chosen to reveal no name. The latter has a name that even children somehow know, even though no one says it. The former has reviewed stories for Diabolical Plots. The latter is an evil wizard who wishes to rule over the world. Capice? A notice to Death Eaters in particular: please stop attempting to send messages to him through us. Has it ever occurred to you that he just doesn’t want to talk to you? Thank you.

Fare Thee Well, KD Wentworth

written by David Steffen

I heard the sad news today that the long-time contest coordinator of the Writers of the Future contest, K. D. Wentworth, has died from pneumonia. I didn’t know her on a personal level, apart from the occasional forum exchange, but by everything I have seen she was a very friendly person, and very patient with the questions all of the eager entrants of the Writers of the Future contest. She was one of the first editors I submitted a short story to, and I’ve sent her one story per quarter ever since. She was also one of our very first interviews here on Diabolical Plots back in August 2009.

K. D. was a writer as well as the coordinating judge and she leaves behind several books and dozens of short stories and novellsa to remember her by. The contest won’t be the same without her. She will be well remembered.

Book Giveaway Winner!

written by David Steffen

In case people have been wondering, I did do the drawing for the free Flush Fiction book last week as promised. And the name that emerged from the hat was Michael Hanrahan. Michael, if you see this post, could you please let me know what the best way to reach you is? I haven’t had any luck so far. I just need to get a mailing address so I can tell the publisher where to mail the copy.

I’ll give you at least another week to get back to me. At some point if I can’t get hold of you I’ll have to draw another name from the hat, so please get back to me as soon as you can.

Daily Science Fiction: December 2011 Review

written by Frank Dutkiewicz

This marks the end of Daily Science Fiction‘s first full year of publication. Speculative fiction’s first email service magazine has done well for itself. Although it has lacked the fanfare it deserves, its grass roots ascension in the market has not gone completely unnoticed. Two respectful award organizations (Million Writer’s awards and the Micro awards) have nominated several stories that debuted on DSF. Congratulations to Daily SF and its authors.

Now onto this month’s storiesâ€

 

In “Found in the Wreckage” by Marge Simmons (debut 12/1 and reviewed by Anonymous), the author re-works a theme from Maria Doria Russell’s The Sparrow. A young woman is found in a crashed spacecraft, by a human-like alien male.

The male alien is obviously very taken with the woman despite some differences in their physical design and takes it upon himself to look after her. He decides she could be ‘improved’, does the job himself, and then takes her as his mate. Surprisingly, they are clearly compatible, as she becomes pregnant.

This is a story about a how we can impose our own values and beliefs onto others and cause great harm despite not meaning to. I thought the story was smoothly written, but I didn’t get much of an alien feel from the ‘alien’. I am left wondering how they could mate successfully when they have evolved (presumably) on different planets in different systems. I’d rate this as five out of seven rocket-dragons.

 

“The Girl in the Next Room is Crying Again” by Peter M Ball (debut 12/2 and reviewed by Dustin Adams). I don’t fully understand the connection between smelling and altering someone’s memories, but author Peter Ball makes it work because this is a Story. (Capital S).

We don’t know what the narrator did to warrant a death sentence against his soon-to-arrive former boss, but that doesn’t matter, because we’re firmly planted in the narrator’s shoes and the present is the only thing that matters. To pass the time while waiting for Morley, his former boss to arrive, the narrator listens to and smells and tastes her bitter memories. However, he can’t quite make out why she’s in distress, so he makes up names, histories, and reasons for her sadness.

But what does one do with all these stories, now that they’ve been thought up, they kind of exist, right?

 

Short, sweet, to the point, written well, and what a fun ending! “SchrÃ’ dinger’s Outlaw” by Matthew W Baugh (debut 12/5 and reviewed by Dustin Adams) has a small prerequisite, in that you know of Erwin SchrÃ’ dinger and his famous “cat” experiment. The experiment is both obscure and well known. The name, yes; the details, generally no.

Presented here are the details, so no need to look any further, only, this time we have the Witchita Kid… and he’s in a quantum state.

 

The author of “Substitution” by Brooke Juliet Wonders (debut 12/6 and reviewed by Dustin Adams) does a fine job of slowly revealing the true nature of the narrator. Given the short length of the story, this is quite a feat.

The narrator has been replaced by a younger, (newer?) model and is responsible for training him. Yet, the narrator has fallen in love with his owner, and, while perfectly obedient, can’t help but notice all the flaws inherent in the new model.

While reading I felt genuinely sad during most of the story, which is why I rated this quite high. Assuming that was the author’s goal, she succeeded brilliantly. Worth a look.

 

An automated coroner yearns to learn more about death in “Autopsy” by Budge Burgess (debut 12/7 and reviewed by Frank D). The protagonist is an AI unit built to investigate the causes of death. It is very good, but has much it still needs to learn.

“Autopsy” is a slow to develop story, which served it really well. The protagonist is successfully cast as cold and calculating, very fitting indeed. Mr Burgess’s bio says he is a crime writer; he’s good at it. My only complaint is the reveal was sprung a little too quick for me. Nevertheless, a well done story for a sci-fi horror.

 

Jordan (Jonah) is from the future in “A Time to Kill” by Melanie Rees (debut 12/8 and reviewed by James Hanzelka), sent to prevent catastrophic events by eliminating their perpetrators. His current target is Ella, a girl from a time and place just prior to his own. During the execution he comes to question the nature of his tasks, and the infallibility of the council selecting the targets. When the messenger brings the next assignment, he also brings answers to Jonah concerns, but not answers that provide comfort.

This was an interesting thought piece about the nature of time travel and the consequences of “adjusting” the timeline. I was somewhat put off by the writing, however. The story was a little confusing at first, part of the reason may have been the duality of names for the main character. I also found parts of it a little uneven, but overall I liked the story. I would have enjoyed it more if execution were a little better.

 

“Character is What You Are” by Michael R. Fletcher (debut 12/9 and reviewed by James Hanzelka).

Alex Baker is a Senior Systems Architect at a company obsessed with security. Their primary method of maintaining security for their intellectual property involves a mind plug that ensures loss of the memories accrued during the workday. This sets up a conundrum for Alex, his friend Jason and fellow Senior Systems Architect, Raajaa when off duty and workplace relationships overlap.

This story has a number of interesting facets. The primary interplay between friends and lovers when half your life can’t be remembered is the primary thread. The story also deals with things like corporate ethics, what is reality and what forms our essence. The writing, however, is a little uneven. After a rocky start it settles down to a smoothly told tale that sets up the issues nicely. The ending, however, is a little too smooth given the potential issues set up earlier. It seemed like the author chose to just put together a “and they lived happily ever after” ending without fully addressing some of the deeper elements he brought up earlier.

 

“Inflection” by Tina Connolly (debut 12/12 and reviewed by Carl Slaughter) is about an Earth woman whose alien friend is leaving. He won’t take her with him. He wants no record of his visit.

Her thoughts are told in short Hemingway type sentences. “She had thought she would not see him again. Thought he would return to his home a billion miles away and never say goodbye. Leave her to her own decisions.”

The dialog is minimal. The title apparently comes from both characters relying heavily on body language. The alien touches parts of his and her body to supplement his words. “Beth had told him her name but he never used it. His name for her was “you,” with a light touch on her chin. He did it now as he spoke, and the anisette of him curled along her skin. She did not know how he would describe her when he returned home, how he would represent she when she was not around to have her jaw line stroked. Silent now, his brittle hands touched her hair, her neck, her jaw again. Without the spoken pronoun what did the touch on her chin mean to him? Half a language was an echo, perhaps, a whisper, voices dying in the distance.” As he is saying goodbye, she distracts herself by cutting up boxes. We get detailed descriptions of this process. “She ran her box cutter down taped seams, split the tape with slashing strokes that ran into the cardboard, ran through the corrugation, frayed bits of brown into fringe.”

The flattened boxes represent the dismantling of their relationship. She agrees there will be no record. The Earth woman is pregnant. The tiniest box represents the baby.

Were they lovers? Is he the father? Has she told him he’s the father? Is he leaving to escape the complications of being a parent to a mixed species? Is she considering an abortion? Such a child would certainly be a record. Is this what he is hinting at when refers to no record? Would she go through with such an abortion? Was she just telling him what he wanted to hear when she said there would be no record? The author lets us draw our own conclusions.

For such a short piece of fiction, “Inflection” has a high percentage of literary devices. No small feat. A good one for the literature textbooks.

 

Peter is a teenager who fishes in the ocean as a hobby. Vesea is a mysterious woman he meets on a train. She has magical powers. When she touches glass, the scenery changes from air to sea. Turns out Vesea is a mermaid type creature. In “Lures, Hooks, and Tails” by Adam Colston (debut 12/13 and reviewed by Carl Slaughter), Peter gets a chilling history lesson about Vesea and her species. Fantasy-horror. Pretty good.

 

“A Stitch in Space-time” by Nicky Drayden (debut 12/14 and reviewed by Carl Slaughter) is a tale of interdimensional monsters, forbidden technology, and betrayed love. Monsters from another dimension feed on electric pulses, so technology is banned. Before the monster invasion, the husband was a movie actor. Now he has to settle for the stage. But his wife wants to make a movie for him and starring him. Trouble is, if the movie is too long, the monsters break through from the other dimension in search of the electric pulses from the camera. The premise is clever, but the characters are arch typical and the plot is all too predictable, so pass on this one.

 

“Not a Prince” by Kathryn Yelinek (debut 12/15 and reviewed by Carl Slaughter) is a very unoriginal story about teenage heartbreak and teenage mischief. The plot is thickened by magical powers and a police investigation. But this ending is also predictable, so pass on this one too.

 

“The Black Spirits Which Rage In The Belly Of Rogue Locomotives” by Rahul Kanakia (debut 12/16 and reviewed by Carl Slaughter).

“On the evening that Jack’s mother became a robot, she was enmeshed in the cushions of a sofa as another Law and Order plot was poured into her, one dripping burst of photons at a time, twenty-four times per second. Her mind was ensnared, as per seven o’clock routine, by the grotesque symmetries of situation and resolution, the carefully-crafted simulation plugging itself into her cerebellum through the bare sockets of her eyes, the whirring circle of plot squaring itself in memetic resolutions, each frame carrying the genetic code to build an entire episode, an entire series, an entire world.”

Can you resist such an opening? But if the entire story is like this, the reader quickly overdoses.

“That was the death-impulse: thanatos. It wasn’t very strong, and even the slightest danger made the neurons dance and brushed it back with the need for immediate and decisive action. And even after we conquered danger, for a while the effort of keeping our foot on the world’s neck was enough to stave off death’s final victory, even as, unknowing, we built up the huge edifice of annihilation higher and higher around us and walled ourselves inside it.”

I have no doubt that this makes perfect sense to the author, but it’s all one hand clapping to me. And again, the story contents a very large dose. But author doesn’t stop with fiction. From the author’s notes: “Baudrillard singled out J. G. Ballard’s Crash as “the first great novel of the universe of simulation”. In order to try to wrap my head around what Baudrillard’s aesthetic might mean in practical terms, I went ahead and read Crash. I cannot say that I enjoyed the novel. At the time, I wrote that Crash was “one of the only books I’ve read that has physically nauseated me. Reading it is like driving for twelve hours straight. Your head starts to throb and you get a sick, twisting feeling in your stomach.” That’s exactly how I felt reading “The Black Spirits Which Rage In The Belly Of Rogue Locomotives” by Rahul Kanakia. The title should have clued me into what was in store for me.

“I did not understand it, but there was an incandescence in those foreign polysyllables. It’s a rhetoric that uses technical and mechanical terminology to achieve effects that science fiction rarely strives for. I decided to write a story that tapped into that same rhetoric. The title of this story comes from a line in F. T. Marinetti’s Futurist Manifesto, which has fascinated me for years, and which certainly seems like some kind of spiritual forebear to Crash in terms of singing the beauty of speed.” Perhaps write a Master’s thesis about this, but don’t torture sci-fi/fantasy fans with it. At least we can say that since this was published digitally, brains were fried but no trees died.

 

A young girl sees the world differently in “Butterfly Shaped Objects” by George Potter (debut 12/19 and reviewed by Frank). The little girl sees the world as a lie. Living things are but mechanical objects to her. Knowing not what to do with her, the people put her in an institution, where she lives for the rest of her short life.

I was not satisfied with this tale. The reader is left to wonder if she is mad or possesses an ability no one else has. Whatever the case, the ending is bleak and the story is unresolved.

 

“Are You There? Are You Safe? Is The Flock Safe?” by D. Robert Harman (debut 12/20 and reviewed by Frank) is the story of a man who watches over engineered birds on a colony world. The birds are copies , the DNA of the originals were damaged on the voyage. Turner studies the birds and learns their calls. The copies are different than the Earth’s species, becoming a far tighter group than its original cousins.

“Are You There?” is one odd bird of a tale. Turner becomes an outdoor recluse, choosing to remain a part of the phony birds’ community rather than be a part of society. The story fizzles and the end left me wondering of its greater point.

 

“Crickets” by William Greeley (debut 12/21 and reviewed by Carl Slaughter) is a SETI story with a snippet of a plot and an unclear purpose. There seems to be a message. If the message is deliberate, it’s a decidedly anti-SETI message.

 

“Naughty or Nice?” by James S. Dorr (debut 12/22 and reviewed by Carl Slaughter) is about a civilized, self-justified, vampire prostitute who takes Christmas off and writes to Santa. She hangs with human working girls and compares her services with theirs. She describes her relationship with her clients. She delves into past life dating back hundreds of years. Is she naughty or nice? Readers are left to draw their own conclusions. Suffice it to say, she makes a strong case for herself. Never mind pondering whether she can convince Santa she’s nice and not naughty. No, ponder instead Santa’s reaction. Surely he’s never read a letter like this one. The premise would make a basis for an enjoyable novel, movie, or maybe even a TV series. Since this story is flash, the reader is left wanting a longer dairy of this very sexy and very charming bloodsucker.

 

“Don Sebastian’s Treasure” by Colin Harvey (debut 12/23 and reviewed by Frank D).

Rob is a tourist, drawn to the island of Ceftanalona in search of a locomotive that doesn’t exist. The train is said to be the property of Don Sebastian, martyr of the revolution that freed the island from Spain a century before. Rob is rebuffed by his tour guide, Isabella, when he questions her about the train. Rob’s grandfather saw it in his youth and now Rob wants to fulfill a promise by proving it exists.

The tale of Don Sebastian proves to be grander than a mere train, though. The martyr was said to have no family to carry on his name but plenty of descendants. Legend has it that he found the fountain of youth, but claims that he was immortal is dismissed as several Don Sebastian’s who continued on with his name. The legend of Don includes a curse against his descendants and a promise of death for those who dared to touch his train.

“Don Sebastian’s Treasure” is a complicated tale. Rob’s desire to prove the train existed puts him at odds with Isabella. Rob softens the hard woman when he offers to watch over her Alzheimer-inflicted mother so she can work.

I found “Don” a chore to follow. The tale is far more intricate than I felt it needed to be. It had the flavor of a far longer romantic tale, and in truth, the story may have had a greater appeal if lengthen and marketed as such.

This is the second, and last, tale of the late Mr Harvey DSF published. I adored his first but wasn’t as taken in with this one. Nevertheless, Colin’s skill was on full display here. His characters were brought to life for me and his premise was filled with creativity that is hard to match. A true talent that we will all miss.

 

A schoolboy outcast uses his gift of precognition to avoid teasing in “Ten Seconds” by Scott W. Baker (debut 12/26 and reviewed by Frank D). Max is a favorite target of bullies. His ability to see into the future a mere ten seconds helps only a little, making him a challenging target for tormentors. A new girl offers him a reprieve, a chance to make someone else the target. Belinda is just the person to get him off the bottom rung of the pecking order, but using another as fodder is no way to get ahead, and they may be more alike than Max could have foreseen.

“Ten Seconds” is a unique spin on childhood hazing. Max’s gift has a limited ability. It has its benefits in helping him look bright in the classroom but is of no use in a test. Belinda is understanding, giving Max a break and proving she can more of an asset than an alternative target for him.

I found this tale fun, cute, and fitting. I would like to think a ten second gift of precognition would be more of benefit than dodging spitballs but we are talking about ten year olds after all. This short story is one worthy of brightening your morning.

 

“Gifted and Talented” by Sadie Mattox (debut 12/27 and reviewed by Frank D) is the tale of young artist who can bring his drawings to life. Charlie shows he has the gift but does he have the talent to make his gift worthwhile? Charlie’s parents take him to a place that measures gifted children.

“Gifted” is a very odd tale. The twist is truly twisted. While reading it, I wondered where the author was heading with the premise. Man did I find out the hard way. A good read for those who like a Stephen King right turn in their fantasy.

 

“Lists” by Annie Bellet (debut 12/28 and reviewed by Frank D) is just that, a to-do list. The list is rather mundane but filled with items meant to repel vampires. I found it as exciting to read as my list of to-do’s I have at home.

 

“Cold Cuts” by Don Norum (debut 12/29 and reviewed by Frank D). A pair of astronauts must make a tough choice. They’re too heavy and must shed enough weight if they hope to make a tight window to be able to land, but they have thrown out all the extra material they have left. They look at each other, wondering where the dead weight is.

“Cold Cuts” has one wicked twist in store for you. The obvious solution turns out to be not so obvious at all. A well done tale.

Recommended.

 

A family from Earth attempts to fit in, in “Chit Win” by Deborah Walker (debut 12/30 and reviewed by Frank D). Samuel and his family have migrated to a graviller colony on an alien world. Work is what has drawn the family here but the customs of the aliens do not sit well with half of the family. Samuel is eager to be a part of the local clique, so when his sister, Veronica, captures a native veole, he claims it as his own. The veole are prized mole-like creatures the local graviller youth use to stage battles, much like cock fights of Earth. Veronica doesn’t want her new pet to be abused like that but Samuel needs the puny animal if he wants to be part of the gang. Status is everything on this alien colony. Family happiness may have to take a back seat.

“Chit Win” is a tale of the effects of chauvinism on a family. Co-operation Law demands customs follow the native species of the planet, and since the Gravillon founded the colony, their customs reign supreme. The women of Samuel’s family are not taking well to their new home but his father appears to be fitting right in. The strains of their new predicament is starting show on Samuel’s parents, but the colony has a job for Pa, and changing the customs is beyond these Earther’s abilities.

The premise for this story is easy to imagine. Picture a liberal family moving into a very conservative community. For the men, the transition is easy but the girls are now second-class citizens. The capture of the veole brings a new dynamic to the family. A challenge to battle Veronica’s pet by a graviller youth offers a Samuel an opportunity to be part of the group. A clash of acceptance and respect comes to bear, lending to a twist that turns the community on its head.

The tale is told through young Samuel’s eyes. The author, I think, wanted to show chauvinism through of a character who is collaterally caught between two sides. The age of the character lent to a simplification of the narrative , a telling style full of information dumps , not one for me. I found the solution a little too convenient and unlikely. Perhaps an expansion of the idea may have helped but as it is, “Chit Win” was a story not fitting of my tastes.

 

A Fallen Warrior

ÂLast August, the world lost one of its pillars of speculative fiction. Colin Harvey was a man whom I have never met or corresponded with in any fashion, but we had mutual friends and were becoming aware of each other peripherally. His sudden and unexpected death caught everyone by complete surprise. His electronic fingerprints on the internet showed no signs that his time was near. Postings days before his fateful last day spoke of grand and exciting plans.

His story, Chameleon , was the first story of Daily SF I recommended. On his blog, he modestly statedâ€

I’m staggered because as I said in an earlier post, the story virtually wrote itself, and I don’t feel that anything that easy to write could be that good.

Samuel Lemberg apparently disagreed with him, moved enough by it to make a film short of it.

Mr Harvey proved to be a bit prophetic about Daily SF, adding this comment about our early efforts at DPâ€

“â€and to get the insight that many review sites won’t review DSF because ‘there’s too much to review.’ Hopefully Diabolical Plots doesn’t feel that way, and will produce a review of October and subsequent month’s contents, because an awful lot of new, upcoming and talented writers are publishing new there , and it’s free to read.”

I am pleased to say – so far – we have. Daily SF honored Colin by posting at the head of his last published work of fiction, a small retrospect of his contributions to speculative fiction. Colin, like many proud authors, would announce his latest sales on his blog. Judging that he never mentioned Don Sebastian’s Treasure, it’s acceptance likely came after his untimely demise.

So on behalf of all the writers whose trail you helped to blaze before you, I hold my glass in a toast to you. So long my good man whom I would have liked to called a friend. I barely knew ye.

 

Colin Harvey (11/11/1960 , 8/15/2012)

Colin was a driving force in the speculative fiction field in England. A writer, reviewer, and editor, he was nominated for both the British Fantasy Award and the Black Quill Award. He has written several novels including Winter Song, edited anthologies like Dark Spires, and published a collection of his short stories called Displacements.

You can find these and other works of Colin’s at Angry Robot publishing

 

Giveaway! Uncle John’s Flush Fiction Anthology

written by David Steffen

The day has finally arrived, the publication date of Uncle John’s Flush Fiction anthology. As I mentioned a few months back, I sold a story titled “Mysterious Ways” to the anthology. I am particularly excited about this sale, because I know many more people who are familiar with Uncle John’s Bathroom Reader books than who are familiar with my favorite speculative fiction magazines.

The Bathroom Readers are a series of books with widely varying content, but what they all have in common is that each one is made up of very short segments which can be easily read during a trip to the toilet (not that you have to read them on the toilet if that’s not your thing). In case you haven’t heard of them, you can check out the Uncle John’s website to find out more, or you can find them at your favorite online retailers or brick-and-mortar stores (in the humor section). I think you’ll enjoy them.

So, to celebrate the release of Flush Fiction, and to help get the word out about the anthology, I’m hosting a giveaway of a copy of the book, which contains 88 stories of flash fiction, each one a perfect length to read in a few minutes of spare time. Â There are two ways you can enter (and you can do both to double your odds of winning!):

1. Post a comment here on Diabolical Plots in response to this announcement. It doesn’t matter what the comment is, just make it PG, and try not to sound like a spambot (or your comment might be filtered)
2. “Like” the Diabolical Plots Facebook page link I’ll post there.

Now, go ahead! Your deadline is the end of the day on Wednesday April 11, 2012 Central Time USA. After the deadline, I’ll do a random drawing of all the entrants follow the directions (and two for the people who do both). At that point I’ll announce the winner, and get in touch with them to get a mailing address to mail the book. Good luck!