This dough was shockingly pliable. It was also tender, flaky and tasted like a damn fine pie crust.
1 cup gluten free flour (I used Bob’s Red Mill 1 to 1)
4 tablespoons butter (frozen. I just keep butter in the freezer for this.)
1/2 teaspoon salt
1/2 teaspoon xanthum gum*
1 tablespoon powdered sugar
3 tablespoons liquor (I used 2 of brandy and 1 of triple sec)
1 tablespoon sour cream**
1 egg yolk
Mix dry ingredients together. Grate the frozen butter into the mix and stir it with your fingers to coat. Add wet ingredients and gently knead together in the bowl until it forms a ball. (Note: you might want to back off on the liquor depending on the humidity of your home. Or you might need to add more. A neutral spirit, like vodka, won’t add any flavor. Here’s the science behind this.)
Dust a surface with cornstarch and put the ball on it. Dust more cornstarch on top and cover with a sheet of parchment paper. Roll out into a rough rectangle. Fold the long sides in toward the middle. Fold the ends in towards the middle and then fold the whole thing in half like a book. Fold in half again to make a little squarish block. (Credit for this step to Stella Parks)
Dust with cornstarch again and put the parchment paper back on. Roll it out to the size of your pieplate. As you start this the pieces will slide around a lot. Don’t worry about it, they’ll come together in the end. Also, I highly, highly recommend a pastry scrapper to ease the crust up off the bottom sheet.
Now… in theory, it will stick a little to the parchment paper on top, and you can use that to transfer it to the pie plate. In practise, it’ll depend on how much you dusted it, your horoscope sign, and the favor of the Gods.
*What’s with the xanthum gum? It adds elasticity, which normally comes from gluten. Don’t go overboard though, because it can also turn things into gummy awful servings of sadness.
Michael J. Martinez is joining us today with his novel MJ-12: Shadows. Here’s the publisher’s description:
It’s 1949, and the Cold War is heating up across the world. For the United States, the key to winning might be Variants―once ordinary US citizens, now imbued with strange paranormal abilities and corralled into covert service by the government’s top secret MAJESTIC-12 program. Some Variants are testing the murky international waters in Syria, while others are back at home, fighting to stay ahead of a political power struggle in Washington. And back at Area 51, the operation’s headquarters, the next wave of recruits is anxiously awaiting their first mission. All the while, dangerous figures flit among the shadows and it’s unclear whether they are threatening to expose the Variants for what they are . . . or to completely destroy them. Are they working for the Soviet Union, or something far worse?
What’s Mike’s favorite bit?
MICHAEL J. MARTINEZ
As my ever-gracious host is no doubt aware, one of the benefits of writing historical fiction is leveraging actual history for one’s work. And sometimes, there’s just a piece of history that seems too good to be true.
There’s a very real series of historical events in MJ-12: Shadows – the CIA’s ham-handed efforts to install a strongman in Syria in 1949 so that, yes, the new government would agree to extend an oil pipeline through Syria to the Mediterranean coast. (Sadly, things never seem to change.) One incident during this CIA campaign stood out.
The CIA efforts were led by an officer named Miles Copeland. Up until the records of his activities were declassified, Copeland was known largely as an intelligence policy commentator and author – and the father of Stewart Copeland, drummer for the Police. Small world indeed.
But now the cat’s out of the bag and we’re starting to get details about early intelligence efforts during the Cold War. Most of it is stranger than fiction to some degree or another, and Copeland’s Syria activities are no exception.
Copeland and his partner, Stephen Meade, spearheaded the CIA’s efforts in Syria to destabilize Syria’s democratically elected government and install Hosni al-Za’im, America’s preferred military strongman. And by spearheaded, I mean they were basically the only agents there, and had more petty cash and bad ideas than common sense. Honestly, it’s kind of amazing they came out alive.
One of the key’s to Copeland’s efforts was to sway international opinion of the democratic government, and Copeland thought that if the government was seen violating diplomatic norms, that would do the trick. So he let slip that he was keeping super-secret, critical information about the Syrian government at his house.
Copeland thought that the government would then send a burglar to retrieve the documents, and Copeland could catch said burglar in the act and give the government a black eye.
To say things didn’t work out as planned is a monumental understatement. I almost didn’t put the incident into MJ-12: Shadows because it seemed too far-fetched…for a novel about super-powered covert agents, no less.
But I did, so I won’t spoil it here. It’s my favorite bit in MJ-12: Shadows and the MAJESTIC-12 series thus far. I hope you’ll check it out.
Michael J. Martinez is the author of the Daedalus trilogy of Napoleonic era space opera adventures as well as the MAJESTIC-12 series of superpowered spy-fi thrillers. He likes mashing genres together, obviously. His short fiction has appeared in Unidentified Funny Objects 4, Cthulhu Fhtagn!, Geeky Giving and The Endless Ages Anthology for Vampire: The Masquerade. He lives with his very understanding wife and amazing daughter in the New Jersey suburbs, which are neither understanding nor amazing. He can be found online at michaeljmartinez.net and on Twitter at @mikemartinez72.
Ferrett Steinmetz is joining us today with his novel The Uploaded. Here’s the publisher’s description:
Life sucks and then you die… a cyberpunk family drama from the ingenious author of Flex.
In the near future, the elderly have moved online and now live within the computer network. But that doesn’t stop them interfering in the lives of the living, whose sole real purpose now is to maintain the vast servers which support digital Heaven. For one orphan that just isn’t enough – he wants more for himself and his sister than a life slaving away for the dead. It turns out that he’s not the only one who wants to reset the world…
What’s Ferrett’s favorite bit?
As a Christian, I generally see two types of Christians in science fiction books. Neither reflects my reality.
The first is what I call the “smash and crash” Christian – whatever scientific wonder has been devised to make everyone’s lives better, these Christians hate it as though it were emitted straight from Satan’s bowels. They’re greedy for power, preaching to vacuous congregations without a single neuron to share between them, raising crowds of wrench-wielding Luddites to show up in the third act and wreck whatever miracle machinery is improving the world.
Why do these stone-throwing zealots despise the miraculous? It’s never really explained. In these books it’s taken as a given that a Christian is not only diametrically opposed to science, but unable to wield it. So they’re book-dumb, though if they’re lucky they may be possessed of a crude cunning, not unlike a stoat or a weasel.
Ah, but what if the author’s sympathetic to religion? Then you get the “hugs and mugs” Christian, who wraps you in a warm embrace before bringing you a mug of decaffeinated herbal tea. This Christian wears cool sweater-vests and serves as a faith-flavored psychiatrist, never judging anyone except when they’ve done something so bad the plot requires the protagonist the be course-corrected back on the road to heroism. They may even flirt a little, just enough to provide fan-shipping possibilities. Their faith is diffuse, their beliefs never so firm as to inconvenience anyone.
What I rarely see in novels is Christianity’s morality in justifiable opposition to the main characters’ goals. A faith with teeth, if you will. A faith where yes, perhaps their beliefs start with the Bible but grows to object to this so-called wonder technology for both pragmatic and compassionate reasons.
Which wasn’t too hard to create in my novel The Uploaded, given it’s all about what happens 500 years after humanity’s perfected its computerized Heaven. Digitally preserving people’s brains is the big social change that’s transformed humanity as we know it. Nobody worries about meat-deaths any more – when your body kicks off, the last saved copy of your consciousness gets uploaded to the Upterlife’s game servers, where you can choose to check in on Earth or play in the most vividly imagined MMORPGs for all eternity.
Which sounds good, but… like most world-changing technologies, it’s had long-term, unforeseen consequences.
Because when you know for-sure there is a palpable, verifiable Heaven, you let the rest of the world slide. Your view shifts myopically to focus on the reward; society has to place laws against suicide to ensure you stick around to keep the servers running. Cruelty gets written off; why should someone care how cruel they are to you in life when you’ve got an eternity of pleasure awaiting you when you die? The living are sold into slavery, kept in line through venal promises of unlocking bonus treasures in the Upterlife. The sick are cut down with a laugh.
And if you’re a Christian with serious beliefs, not only is this new technology corrupting the world and encouraging callous evil, but people are confusing souls with programs. Yes, it’s very nice that there’s a simulation of your dead Mom talking to you, and it’s certainly a beautiful replication, but… that set of computerized emotions can vote. It can own property. It can decide who gets access to vital, life-saving technology and who doesn’t – and because the dead’s priorities are always dead-first, the best and brightest tech goes to upgrading the Upterlife servers.
It’s bad enough when people are following false prophets, but these prophets aren’t even real. They’re just… simulated echoes of what someone used to be. With each passing year inside the servers, these replicas forget what it was like to be human. Yet they’re in charge.
Worst of all, the Upterlife is popular. A lot of so-called Christians, when a virtual Heaven is dangled before them, forget immediately about the real thing and accept this rampant cruelty.
And if you’re a Christian – a true Christian – do you have any choice but to oppose this? You can’t hope for political change; there are twenty generations of dead, and even if every living person voted for something they’d never get their agenda through if the dead opposed it. You can’t persuade people; the dead sift through the saved brain-scans of potential Upterlife applicants, and if the applicant’s too rebellious they’re condemned to die an ugly meat-death.
Your only choice is to rebel through physical force. To take up the sword.
They call it crime. You call it your only choice.
And so my favorite bit in The Uploaded is Evangeline, the young NeoChristian who’s spent her entire life training for the moment she can take down the servers. The other characters in The Uploaded, who were raised in the post-Upterlife society, think she’s dumb; she’s not. She uses technology just fine, can field-strip a rifle and hijack a spirocopter better than any of them. They think she’s thuggishly violent. They think she’s deluded by her sky-beard.
She’s not. She sees the pain the Upterlife has created clearly, simply because her faith has not numbed her to suffering but attuned her to it. She knows that God offered Adam and Eve stewardship of the Earth, and so there’s a better world to be created from the ruins of this one. And she knows the cost of fighting this new and monstrous society, because she’s watched her fellow NeoChristians get abducted and tortured – but she’s loathe to kill not because she believes it’s a sin, but because she’s unwilling to condemn the ignorant to Hell without giving them a chance.
She’s afraid. But she knows who also died to save mankind, and He gives her strength. Which is why she’s willing to risk having her brains ripped apart by the brainwashed servants of the servers.
Ferrett Steinmetz’s debut urban fantasy trilogy FLEX (and THE FLUX and FIX) features a bureaucracy-obsessed magician who is in love with the DMV, a goth videogamemancer who tries not to go all Grand Theft Auto on people, and one of the weirder magic systems yet devised. His latest book THE UPLOADED, well, you just read about it, didn’t you? He was nominated for the Nebula in 2012 and for the Compton Crook Award in 2015, for which he remains moderately stoked, and lives in Cleveland with his very clever wife, a small black dog of indeterminate origin, and a friendly ghost.
He Tweeters at @ferretthimself, and blogs entirely too much about puns, politics, and polyamory at www.theferrett.com.
Paul Weimer is joining us today with his 2017 DUFF Report, What I Did On My Summer Vacation. Here’s a description of the project:
The Down Under Fan Fund Report is compiled by the Down Under Fan Fund Representative as a record of their trip to the other side of the world to connect with SFF fandom, and bring disparate portions of the SFF community together. Having originated in 1970, the Down Under Fan Fund sends fans from Australasia to North America and back again in alternate years. Entirely run on donations from the SFF community, the Down Under Fan Fund report itself is made available so that all proceeds from its sale can help replenish the Fund. The 2017 Down Under Fan Fund delegate, Paul Weimer, traveled from Minnesota to the 2017 National Science Fiction conventions of both New Zealand and Australia, and saw many things along the way, ranging from Hobbiton to the Sydney Opera House. The 2017 Down Under Fan Fund Report details his experiences.
What’s Paul’s favorite bit?
For me, writing the Down Under Fan Fund report was very much like writing a travelogue. I was a stranger in a strange land, having traveled to the antipodes in search of conventions and other SFFnal and touristy things. It did take me a few days to truly get my bearings in New Zealand, driving on the opposite side of the road, dealing with technical problems, sulfur sensitivities, nearly not finding Hobbiton in time for my tour, and then the stress of performing my duty and attending the first of the two cons, Lexicon, in the resort town of Taupo. But it had been to that point an often-challenging trip to manage.
It was like a sign from the heavens, thusly, that as I left Taupo on an early morning, the sky was overcast if not rainy, making a long drive down the desert road and across a fair chunk of New Zealand to be an experience of sullen skies, poor photographic conditions, and a lot of driving. I had already learned that driving in New Zealand was a slow and ponderous affair, doubly so in rain and fog. I wound up in less than stellar lodgings after a day and a good chunk of the night driving where New Zealand had seemed mostly grey, flat and nothing like the Middle Earth I had hoped to see in and between the convention. Only brief breaks of clarity sustained me on that drive, but my hopes to see the great three central mountains of the north island of New Zealand had been occluded. A suggestion that author Adam Christopher had made to me months ago, when first planning the DUFF trip, had turned out to be a wash.
The next day, waking up in that questionable motel, seemed to promise nothing better. I had to get to Wellington at the bottom tip of the island that evening, but I wanted one more shot at real scenery in New Zealand before the next part of my trip, over in Australia. So, I went for it, driving up Mount Taranaki in the early grey morning in search of a waterfall. I found my waterfall, and a mountain wreathed in clouds, the top as invisible as the ones on the desert road had been. It was a pity, too. Mount Taranaki is a stratovolcano standing in the middle of flat country. Think of it as a somewhat smaller version of Mount Fuji from Japan and you’ll get the idea.
And yet, despite the weather, it was then, after the short walk to the waterfall, as I stood by my car, key in hand, something drew me to take a hike. I could have left after the waterfall, it was a long drive to Wellington, after all. The day was not getting any longer. And still, I found myself climbing a path through the goblin forest, a twisted and faerie looking forest of covered branches that gave the air of an Elven court. When I emerged from that forest an hour later at the “Hillary Seat”, the face of the mountain above me came into view.
Reader, the clouds had parted. The fog was gone. The rain was abolished. The sun was out. The snow packed top of the mountain peak gleamed in the sunlight. The flanks of the mountain were vibrant with color of brown and green. It was a transformative experience, looking up at one of the great mountains in the world, there for my eye and camera to capture (and yes, there are photos of that glorious vista in the report). I stood rooted to the spot for long minutes, unwilling to break the vision of all I had hoped to see in New Zealand in terms of scenery.
I would go on to a fantastic second con in Melbourne (aside from having gotten New Zealand con crud), and see many fantastic things in Australia in the company of most excellent people. And my report is full of photos of everything I saw and everyone I met, from beaches in New Zealand, to Hobbit holes, to the Sir Julius Vogel Awards, to the podcasters of Galactic Suburbia, the Great Ocean Road, and much more. However, it is that moment on Mt. Taranaki, after that hike that something told me I had to take against all rational thought, and to my benefit, that I go back to again and again in my mind. And that’s why it’s my favorite bit.
Paul Weimer is a SF writer, reviewer, and podcaster and an avid amateur photographer. When he isn’t doing any of that, he’s often found rolling dice and roleplaying. His audio work can be found on the Skiffy and Fanty Show and SFF audio. His reviews and columns can also be found at Tor.com and the Barnes and Noble SF blog, amongst other places. Paul is best seen on twitter as @princejvstin.
Alan Gratz is joining us today with his novel Ban This Book. Here’s the publisher’s description:
A fourth grader fights back when From the Mixed-Up Files of Mrs. Basil E. Frankweiler by E. L. Konigsburg is challenged by a well-meaning parent and taken off the shelves of her school library. Amy Anne is shy and soft-spoken, but don’t mess with her when it comes to her favorite book in the whole world. Amy Anne and her lieutenants wage a battle for the books that will make you laugh and pump your fists as they start a secret banned books locker library, make up ridiculous reasons to ban every single book in the library to make a point, and take a stand against censorship.
What’s Alan’s favorite bit?
There’s a lot I love about this book, but there’s one bit I especially love, because I got to work in a bit of my own fandom into the story.
I’m a long-time Star Trek fan. The first novel I ever tried to get published was a Star Trek novel (Pocket Books didn’t buy it) and before I became a published kids book author, I wrote Star Trek fan fiction. I later got to write a young adult Star Trek novel that I actually got paid for—Starfleet Academy: The Assassination Game—but it’s not often that my Trek fandom crosses over with my books for young readers.
One of the other students in Amy Anne’s class is, like me, a die-hard Trek fan. His name is Jeffrey Gonzalez. Jeffrey is very close to his grandmother, and when she dies he has a really hard time dealing with. He has such a hard time that he becomes surly and contentious, and eventually gets into a fight at school that gets him suspended. Amy Anne is the only other student who realizes why he’s so upset, and being the budding librarian she is, she thinks she has the perfect book to help him work through his feelings: Katherine Paterson’s Bridge to Terabithia.
And it works. When Jeffrey reads the book, he finally lets out the emotions he’s kept bottled up inside, all the tears he didn’t allow himself to shed. It’s a cathartic moment for him, a real soul-cleanser. When Jeffrey comes to thank Amy Anne for the book, he tries to explain what happened to him, and this is where his (and my) love of Trek comes back in. The best way Jeffrey can explain the change that came over him is through a classic episode of Star Trek:
“I’m just glad you feel better,” I told Jeffrey. “You got really mean there for a little while.”
“I know,” Jeffrey said. “That was the Mirror Universe me.”
“The Mirror Universe you?”
“Yeah,” he said. “In Star Trek, there’s this Mirror Universe, and everybody there is the opposite of what they are in this universe. So if you’re good here, you’re bad there. The Mirror Universe Jeffrey took over for a little while, but Jeffrey Prime is back now.”
He was losing me. “Well, whoever you are now, I’m glad you’re back.”
Jeffrey smiled and saluted me with his fingers in a V shape. “Live long and prosper,” he told me.
“You too,” I said.
I have a little more fun with the Mirror Universe bit just a chapter later, when Amy Anne discovers that her beloved school librarian, Mrs. Jones, has been replaced with her opposite number—a celebrity magazine-reading, kid-hating shusher whom Amy Anne quickly nicknames the Mirror Mrs. Jones. Amy Anne even has to consider which version of herself she likes better—the quiet, meek, no-trouble Amy Anne that she was, or the boat-rocking, rule-breaking, activist Mirror Amy Anne she’s become.
She certainly knows which one has made the greatest impact on her universe.
Alan Gratz is the author of a number of novels for young readers, including Samurai Shortstop, The Brooklyn Nine, Prisoner B-3087, Code of Honor, Projekt 1065, and The League of Seven series. His latest novels are the New York Times bestselling Refugee, and Ban This Book. A Knoxville, Tennessee native, Alan is now a full-time writer living in Western North Carolina with his wife and daughter. Visit him online at www.alangratz.com.
Spencer Ellsworth is joining us today with his novel A Red Peace. Here’s the publisher’s description:
A Red Peace, first in Spencer Ellsworth’s Starfire trilogy, is an action-packed space opera in a universe where the oppressed half-Jorian crosses have risen up to supplant humanity and dominate the galaxy.
Half-breed human star navigator Jaqi, working the edges of human-settled space on contract to whoever will hire her, stumbles into possession of an artifact that the leader of the Rebellion wants desperately enough to send his personal guard after. An interstellar empire and the fate of the remnant of humanity hang in the balance.
Spencer Ellsworth has written a classic space opera, with space battles between giant bugs, sun-sized spiders, planets of cyborgs and a heroine with enough grit to bring down the galaxy’s newest warlord.
What’s Spencer’s favorite bit?
I feel weird talking about “my favorite bit” with A Red Peace because this novel just fell right out of me. It was fun to make up. It was fun to write. It was even fun to revise, and revision is NOT SUPPOSED to be fun. Revision is supposed to be when you weep into your booze and your life in narrated in a bad French accent and is black and white. “Ze artist sufferz for ze art.” That kind of thing.
A Red Peace wasn’t that. It was a total brain dump, one part 80s kid, saturated with Star Wars and Transformers, and one part history buff obsessed with the failed “noble” revolutions of the 20th century.
But when I’m thinking about the book, there are three places that really stand out to me, where a character really found their voice.
The first was in the (very short) omniscient prologue, when the heroic Resistance has beaten the evil Empire (sound familiar? It’s supposed to) and their heroic, handsome leader, John Starfire, gives the command:
Kill every human being in the galaxy.
That moment was the seed of the story—the idea of following a brave rebel leader to the point where he starts to look less like Luke Skywalker and more like Stalin.
(That, and space bugs.)
My antagonist, Araskar, was a tricky character to write, and he was all wrong in my first draft. He had to be likable, but at the same time, he had to continually make terrible choices because he couldn’t face the fact that his cause had become evil.
For the second draft, I wrote him into a white-hot, blood-and-mud soaked battle, to show that he could actually do heroic things with a small unit—but when his superior officer tells him they’re going to hunt down children, his cognitive dissonance is such that he decided just to get high.
Finally, Jaqi, our hero, my favorite forthright smuggler who gets into all this trouble because she wants a fresh tomato, was a blast to write all the way through. She’s the first character I ever wrote who can’t read, who has little interest in galactic affairs, and who is all the more interesting for it.
My favorite bit of Jaqi’s story is a part that… I really don’t want to give away!
It’s when she realizes something. Something very important.
Spencer Ellsworth has been writing since he learned how, starting with the sweeping epic “Super Tiger” in crayon on scratch paper. His short fiction has been published at Lightspeed Magazine, The Magazine of Fantasy & Science Fiction, Beneath Ceaseless Skies, Tor.com and many other places. He is the author of the Starfire Trilogy, a series of short space opera novels coming from Tor.com in fall 2017 and early 2018, starting with A RED PEACE on August 22nd, 2017. He lives in Bellingham, Washington with his wife and three children.
William C. Tracy is joining us today to talk about his novel The Seeds of Dissolution. Here’s the book’s description:
On a bright August day, the sun disappears.
Sam van Oen barely escapes freezing to death in his house, as his watch stops and fire ceases to burn. He is pulled into the Nether—a nexus between ten alien cultures—where he meets Rilan and Origon, two maji who can control the musical foundation of the universe. While coping with anxiety attacks prompted by his new surroundings, Sam must learn to hear and change the Symphony, and thus reality, in order to discover what happened to his home.
But more freezing voids like the one that started his journey are appearing, and Sam’s chances of getting back are fading. The Assembly of Species is threatening to dissolve and the maji are being attacked by those they protect, while rumors grow of an ancient, shape-changing species of assassins, returning to wage war.
The Dissolution is coming.
What’s William’s favorite bit?
WILLIAM C. TRACY
First off: the sales pitch. I’m funding The Seeds of Dissolution through a Kickstarter project, not to help write the story, but in order to bring more art, maps, and other extras into the printed book. I love finding illustrations in the novels I read, and I wanted to do the same with what I write. So please check it out and help me bring this story to life!
Now, my real favorite bit. The more I write, the more I appreciate putting diverse people and philosophies into my stories. This will be my first full novel in the Dissolutionverse, though it’s also one of the oldest stories I’ve written. When rewriting this novel to bring it up to date with my novellas, I was struck by how much it was a “white boy becomes the chosen one” story. It still is, to some extent, but I’ve made an effort to diversify my stories, in order to learn about the different sorts of people I’ve encountered. I’ve written about this before, in the Favorite Bit posts for my previous novellas, Tuning the Symphony and Merchants and Maji.
In The Seeds of Dissolution, Sam (the aforementioned white boy protagonist) now has fairly strong panic attacks based on social situations and new environments. I have not had panic attacks myself, which meant I needed to do a lot of research and talk with people who do have social anxiety. I didn’t want to make it something superficial that was cured by magic. It’s a part of Sam and he has to cope with it. In the process, I was able to recognize those times when I was afraid to speak in front of others, or go to new places. We all have anxiety at some point, and talking to those people who have to deal with it all the time taught me a great deal. Even though he has anxiety issues, Sam is still very loyal to close friends. He wants to connect with others, even if he is prevented at times by his mental state.
This leads to the other change for this character. Sam is bi/pansexual. This, I think, has actually been a long time coming. His attraction(s) in this book were originally one person, then female, then male, then two people. I could never get the dynamic right between Sam and the love interest until I realized Sam is not constrained by the person’s gender, and once this happened, the relation between the three characters started to come together. There are of course still some pitfalls and surprises in their relationship, but I’ll let you read about it, as it’s pretty central to the main story!
Working with people who don’t identify as male or female helped me to make the species of the Great Assembly more diverse. When designing an alien species, there’s no real reason for having two genders rather than more or less, and a lot of people on Earth already don’t fit into those parameters. One of my beta readers is non-binary, and helped me to flesh out the ten species of the Dissolutionverse considerably. One species now has three genders, another has four, and another reproduces asexually. Every addition has only made me more interested in writing these stories and learning about these people.
One of my favorite characters is named Hand Dancer, who is a member of the Lobhl, a species who communicates only with their hands. In-universe, bringing them into the Great Assembly of species caused many to balk at the changes needed to ease communication, and even 50 cycles later, the species is rarely seen. The species is also gender fluid by nature, conforming to a gender by need and mental state rather than biology. I love describing Hand Dancer’s communication, especially since the story takes place in a giant crystal that translates between species! Here’s a few short excerpt to show what I mean:
<Forgive our intrusion, Councilor,> Hand Dancer signed. Origon watched the large and expressive hands twirl through the sentence. The six fingers and two thumbs on each hand curved and twisted in a different direction, and both hands were heavily tattooed. It was disconcerting talking to a Lobhl. Most of the time, Origon could ignore how the Nether changed speech so others’ words were in his native language in his head, but the Lobhl communicated almost entirely with their hands. There were no facial expressions, and the bald creatures didn’t even have a crest to signal with. The meaning appeared directly in Origon’s mind, as if Hand Dancer had said the words a moment before and Origon was remembering them. It made him want to itch something, though he didn’t know what.
<As I seem to be included, may I ask what is going on?> Origon started, and saw the others do the same. How they could hear the signing when they weren’t looking at the Lobhl, like a cough in an echoing building, was beyond him. He would never fully understand the Nether.
Hand Dancer listened for a moment as well, in him, a stretching of thumbs. Then his hands moved again. <I must be female during this task, for concentration.>
I’ve had a lot of fun while writing The Seeds of Dissolution because I’ve gotten to talk to people from different backgrounds, genders and sexualities, and different mental states. I hope it has added more realism into my world, and made my characters more interesting.
Please take a look at the Kickstarter for The Seeds of Dissolution. There are a lot of great backer rewards, with chances to buy original artwork, be tuckerized in the story, get maps, buttons, and pins, and get an extra short story, just for backers. See you around the Dissolutionverse!
William C. Tracy is a North Carolina native and a lifelong fan of science fiction and fantasy. He has two self-published novellas available: Tuning the Symphony, and Merchants and Maji, both set in his Dissolutionverse. The Kickstarter for the first novel, The Seeds of Dissolution, will run in August/September 2017.
He also has a masters in mechanical engineering, and has both designed and operated heavy construction machinery. He has trained in Wado-Ryu karate since 2003, and runs his own dojo in Raleigh. He is an avid video and board gamer, a reader, and of course, a writer. He and his wife also cosplay, and he has appeared as Tenzin, Jafar, and in several steampunk outfits.
In his spare time, he wrangles three cats and a bald guinea pig, and his wife wrangles him (not an easy task). They both enjoy putting their pets in cute little costumes and making them cosplay for the annual Christmas card.
Somehow with all the travel I’ve been doing, I finished a 12,500 word fantasy story. I’m looking for five to ten beta readers. Just comment on my site to raise your hand.
Here’s the teaser.
If Evina waited much longer it would be full dark, and the tavern would almost certainly have a godforsaken bard by then. As if that weren’t bad enough, by the pricking of the hair along her arms, there had to be at least five wizards in easy walking distance. No surprise, really, after King Redinado’s proclamation. That’s what brought her to the capital, after all.
A pair of drunk men staggered out of the door, golden oil light spilling out onto the rutted city street. They wandered away, singing a ditty about a wench with hair the color of the moon. But not that song, thank the Blind Man.
She swallowed trying to dislodge the knot in her throat. If she couldn’t even walk into a tavern, how the hell did she think she was going to survive the quest to become a King’s Wizard? Blind Man… all she wanted to do was survive. She could give a rotten fig about working for the King.
Ivan Ewert is joining us today with his omnibus, Famished: The Gentlemen Ghouls Omnibus. Here’s the publisher’s description:
It’s the driving force behind survival.
The Velander bloodline carries an ancient secret: power and immortality. But that power requires a key to unlock: human flesh. Gordon Velander finds himself an unwilling participant in a play for survival – but he won’t be powerless for long.
It’s the driving force behind passion.
The Gentleman Ghouls have survived for centuries due to cunning and careful planning but their world in unraveling. Gordon has vowed to take the Ghouls down no matter what, but he’s fighting a war—both within and without. The Ghouls, on the other hand, are not waiting patiently for the end to come.
It’s the driving force behind revenge.
With the Farm and the Commons destroyed, the Ranch is the last outpost of the Ghouls. With the bitter end in sight, Gordon must face his greatest challenge yet—claiming his own fate as other forces make their moves.
Revenge is sweet.
Passion is fulfilling.
But survival trump all.
This rural horror omnibus of cannibals, dark pacts, and ancient power by Ivan Ewert contains three novels: Famished: The Farm, Famished: The Commons, and Famished: The Ranch, and features two new short stories.
What’s Ivan’s favorite bit?
My favorite bit of the entire Famished: The Gentleman Ghouls Omnibus?
Writing dialogue for my ‘demons’.
Orobias, Carreau and the others have mouths full of beehives, all sweetness and summer and danger. They’re very different from one another, with personalities which remain consistent through the work even if their physical forms and goals alter with the times.
Orobias is one of the few constants of the trilogy; Gordon Velander’s constant companion and literal lifeline for a good portion of the story. While he began as a half-embodied voice, I always knew more or less how he ‘looked’ in his natural state. The contrast between his sweet sing-song method of speech and his grotesque appearance comes from an early fascination with Goetia, where it seemed many demons spoke in flowery and pleasing terms despite their inherent wickedness and bestiality.
Carreau appears far less often, but is always a driving force behind Orobias’ actions and motivations, again a nod to the Goetic hierarchy which informs my otherworld. I knew immediately that I wanted his voice to be more focused and direct, to sound more like a modern-day character than a supernatural entity. Still, when he goes into the physical pleasures of our world, my inner editor stops on all fronts and allows him to rhapsodize for as long as he wants.
Carreau, in many ways, takes my inner hedonist and gives him the strong and liberated voice my Midwestern upbringing frowns upon. Orobias, on the other hand, is a patchwork of many little voices in my head that sing and tweet and sob and sulk throughout the day.
As such, unlike the rest of my writing, I never struggle for their words. They just croon out into my ears and I write precisely what they say. There’s never a moment of sitting on my hands, trying to figure out how they would respond to another character’s observations or a change in their situation. In many ways, because they’ve been in my head so long, they’re more real than the human characters I have to poke and prod at.
Editing the demons is … harder. Killing my darlings is never so difficult as when I’m trying to wrestle Orobias to the ground when he turns philosophical, or to take a plate of food away from Carreau in order to move along the plot. Often it’s the very last thing I do in edits, saving it for the final moment, hopeful that I can trim elsewhere as needed to give them center stage just a little bit longer.
Of course, that’s precisely WHY we kill our darlings. If the books were a buddy movie featuring the two of them – Fear and Loathing in Gehenna – I could take all the time and delicious words I wanted to. One of my admitted flaws, though, is privileging talk over action and philosophy over motivation. Being aware of that lets me cut through the worst excesses of my favorite bits, with a little help from my beta readers and editors.
Ivan Ewert was born in Chicago, Illinois, and has never wandered far afield. He has deep roots in the American Midwest, finding a sense of both belonging and terror within the endless surburban labyrinths, deep north woods, tangled city streets and boundless prairie skies. The land and the cycles of the year both speak to him and inform his writing; which revolves around the strange, the beautiful, the delicious and the unseen.
His work has previously appeared in the award-winning anthology Grants Pass, as well as in Close Encounters of the Human Kind, Human Tales, Space Tramps: Full-Throttle Space Tales and Beasts Within 3: Oceans Unleashed, while his culinary writing has appeared in Alimentum: The Literature of Food. An early treatment of Famished, then named Vorare, as well as separate works titled Solstice and Idolwood, appeared in the e-zine The Edge of Propinquity from 2006 to 2011. He was the sole author to span all six years of that publication.
FAMISHED: THE FARM is his first published novel.
Ivan wears a number of creative hats professionally, including graphic design and acting. He is currently working as voice talent on a lyric proposal to the Poetry Foundation, and appeared as himself alongside his family in the award-winning documentary The Suicide Tourist. He designed the book jacket for Industry Talk: An Insider’s Look at Writing RPGs and Editing Anthologies, as well as logos for Timid Pirate Publishing and such performing companies as Sage Studio, Lucy’s Café, and the Inhabit Theatre.
In previous lives, he has worked as an audio engineer, a purchasing agent, a songwriter, a tarot reader, a project manager and, for a remarkably short stint, an accountant. In his spare time, Ivan occupies himself with reading, gaming, and assisting with the jewelry design firm Triskele Moon Studios. He currently lives near the Illinois-Wisconsin border with his wife of thirteen auspicious years and a rather terrifying collection of condiments and cookbooks.
Beth Cato is joining us today with her novel Call of Fire. Here’s the publisher’s description:
When an earthquake devastates San Francisco in an alternate 1906, the influx of geomantic energy nearly consumes Ingrid Carmichael. Bruised but alive, the young geomancer flees the city with her friends, Cy, Lee, and Fenris. She is desperate to escape Ambassador Blum, the cunning and dangerous bureaucrat who wants to use Ingrid’s formidable powers to help the Unified Pacific—the confederation of the United States and Japan—achieve world domination. To stop them, Ingrid must learn more about the god-like magic she inherited from her estranged father.
When Lee and Fenris are kidnapped in Portland, Ingrid and Cy are forced to ally themselves with another Ambassador from the Unified Pacific: the powerful and mysterious Theodore Roosevelt. But even his influence may not be enough to save them when they reach Seattle, where the magnificent peak of Mount Rainier looms. Discovering more about herself and her abilities, Ingrid is all too aware that she may prove to be the fuse to light the long-dormant volcano . . . and a war that will sweep the world.
What’s Beth’s favorite bit?
One of the things I love about fairy tales and mythology is how karma plays an integral role in shaping a character. The shepherd girl saves a beast from a hunter’s trap, and later when the girl needs help the most, the creature is there to save her in turn. It’s the sort of pay-it-forward gratitude that I wish was more evident in our daily lives.
In my first series, The Clockwork Dagger, I played with this concept by bringing in my own version of gremlins–misshapen constructs of magic and science that were hideously cute. My heroine helps one particular gremlin who plays a major part in her life from then on.
I didn’t have anything gremlin-like in the first book of my new series, Breath of Earth. The setting is darker and delves into some heady matters of racism and sexism. As I outlined my second book, Call of Fire, I had a scene where my heroine, Ingrid, needed to escape a particularly nasty antagonist. I debated having her use her geomancy powers in some way, then realized she could utilize another super power instead: kindness.
I thought of fairy tales and decided the fae could be my answer. Fantastic creatures are very much part of this world, from unicorns to selkies to ghosts, so it only seemed right for Ingrid to meet some new being. I decided to go with a new unique take on sylphs.
Like the gremlins in my other series, the sylphs in Call of Fire didn’t simply want a brief appearance. Oh no. They wanted to take over part of the plot of that book as well as the next. I was happy to oblige.
Without delving into spoiler territory, I can say that my sylphs are rather like large gray moths with humanoid bodies. They originate from the California Sierra Nevada range, and I establish them as a unique invasive species that are well adapted to the New World. They can turn invisible, though their low buzzing noise can give them away. Also, they love, love, LOVE sweets.
That gave me a chance to play around with another favorite subject of mine: baked goods. I run a food blog called Bready or Not and I am known for bringing deliciously evil cookies to conventions. Since my books’ world features an America with a heavy fusion of Japanese culture, I brought real Meiji-era pastries like an-pan and jamu-pan into the story. (Imagine tender yeast rolls stuffed with yummy fillings.) Using these baked goods gave me a chance to develop my setting in a new way and geek-out over scrummy foods, all while following actual fairy lore regarding their affection for confections.
I want Breath of Earth and Call of Fire to enlighten readers about real incidents and attitudes at the start of the 20th century, but my books are entertainment, too. My sylphs introduce some much-needed whimsy amid my dark alt-history. I hope that my readers enjoy them as I much as I did!
Nebula-nominated Beth Cato is the author of the Clockwork Dagger duology and the new Blood of Earth Trilogy from Harper Voyager. Her newest novel is CALL OF FIRE. She’s a Hanford, California native transplanted to the Arizona desert, where she lives with her husband, son, and requisite cat. Follow her at BethCato.com and on Twitter at @BethCato.
Mindy Klasky is joining us today with her anthology Nevertheless, She Persisted. Here’s the publisher’s description:
“She was warned. She was given an explanation. Nevertheless, she persisted.”
Those were the words of Mitch McConnell after he banned Senator Elizabeth Warren from speaking on the floor of the United States Senate. In reaction to the bitter partisanship in Trump’s United States of America, nineteen Book View Café authors celebrate women who persist through tales of triumph—in the past, present, future, and other worlds.
From the halls of Ancient Greece to the vast space between stars, each story illustrates tenacity as women overcome challenges—from society, from beloved family and friends, and even from their own fears. These strong heroines explore the humor and tragedy of persistence in stories that range from romance to historical fiction, from fantasy to science fiction.
From tale to tale, every woman stands firm: a light against the darkness.
Table of Contents:
“Daughter of Necessity” by Marie Brennan
“Sisters” by Leah Cutter
“Unmasking the Ancient Light” by Deborah J. Ross
“Alea Iacta Est” by Marissa Doyle
“How Best to Serve” from A Call to Arms by P.G. Nagle
“After Eden” by Gillian Polack
“Reset” by Sara Stamey
“A Very, Wary Christmas” by Katharine Eliska Kimbriel
“Making Love” by Brenda Clough
“Den of Iniquity” by Irene Radford
“Digger Lady” by Amy Sterling Casil
“Tumbling Blocks” by Mindy Klasky
“The Purge” by Jennifer Stevenson
“If It Ain’t Broke” by Maya Kaathryn Bohnhoff
“Chataqua” by Nancy Jane Moore
“Bearing Shadows” by Dave Smeds
“In Search of Laria” by Doranna Durgin
“Tax Season” by Judith Tarr
“Little Faces” by Vonda N. McIntyre
What’s Mindy’s favorite bit?
Before February 8, 2017, I’d never considered editing an anthology. But on that date Senator Elizabeth Warren entered her showdown with Majority Leader Mitch McConnell, leading to the now-famous statement: “She was warned. She was given an explanation. Nevertheless, she persisted.” Within hours of hearing those words, I knew I needed to pull together the best stories I could, illustrating the theme of persistence. And I knew I’d reach out to my fellow authors in the Book View Café publishing co-operative to provide those tales.
BVC has fifty-two members. We’re all traditionally published authors who’ve turned to self-publishing (at least part of the time.) Our membership spans at least four decades. We’ve got the usual mix of strong personalities that anyone finds in a community of writers. Every member has iron-clad views of what makes a good story.
Now, I’m used to working with strong-willed people. I used to manage a staff of three dozen librarians, supporting more than a thousand lawyers in fifteen domestic and international offices. Along the way, I learned that folks create amazing things when they’re pointed in a general direction and given unlimited support.
So, I announced my theme. I set a deadline. I told the co-op that I was interested in any stories they had on the theme of persistence—whether those tales were set in the past, present, future, or other worlds. Some authors pushed me to be more specific. Others offered up two or three stories, unsure that they would hit my mark. One author worked through six different drafts of her story, polishing, clarifying, driving home her points.
Ultimately, we ended up with nineteen stories. One draws on the earliest epic to survive in concrete form—The Odyssey. Another spins out a tale set in a distant galaxy, where not-human females struggle to create and to lead and to love. My own story is set in a not-too-distant future, where a young woman fights the religious beliefs that have been pounded into her since infancy, struggling to define her position as an independent, thinking person.
So, that’s my favorite bit: the vast range of the stories in Nevertheless, She Persisted. We have nineteen writers. We have nineteen settings. Nineteen protagonists, women fighting to do what’s right. Nineteen visions of persistence.
When I first conceived of the anthology, I’d envisioned a number of political stories—outright responses to Senator Warren’s stand. In the end, I ended up with something bigger. Something broader. Something that provides more mirrors and angles and lenses into what humans are, how we think, why we strive. And that’s worth being a favorite
Nevertheless, She Persisted is available as a print book at:
USA Today bestselling author Mindy Klasky learned to read when her parents shoved a book in her hands and told her she could travel anywhere through stories. As a writer, Mindy has traveled through various genres, including light paranormal, hot contemporary romance, and traditional fantasy. In her spare time, Mindy knits, quilts, and tries to tame her to-be-read shelf.
Cheryl Low is joining us today with her novel Vanity in Dust. Here’s the publisher’s description:
In the Realm there are whispers. Whispers that the city used to be a different place. That before the Queen ruled there was a sky beyond the clouds and a world beyond their streets. Vaun Dray Fen never knew that world. Born a prince without a purpose in a Realm ruled by lavish indulgence, unrelenting greed, and vicious hierarchy, he never knew a time before the Queen’s dust drugged the city. Everything is poisoned to distract and dull the senses, even the tea and pastries. And yet, after more than a century, his own magic is beginning to wake. The beautiful veneer of the Realm is cracking. Those who would defy the Queen turn their eyes to Vaun, and the dust saturating the Realm. From the carnivorous pixies in the shadows to the wolves in the streets, Vaun thought he knew all the dangers of his city. But when whispers of treason bring down the fury of the Queen, he’ll have to race to save the lives and souls of those he loves.
What’s Cheryl’s favorite bit?
Vanity in Dust is a product of obsessive creation. It’s a world I built at first for my own imagination to play in, later spiraling into the Crowns and Ash series. I love this world. It’s a magical city set apart from everything else with the Queen’s tower at its heart, surrounded by an upper-class of lavish comfort and excess and unaging beauty, spreading out into the less fabulous buildings of the Main and then from there into the lower ends of the city, abandoned and forgotten. Beyond that there is only a graveyard of ash, reaching outward and rising up into the barren edges of the world they know.
The sky is forever filled with clouds and most of the citizens have long since forgotten the existence of stars or the color of the sky. Their magic has become a product, refined and sold back to them by the Queen, and so long as they buy and consume it without questions—she allows them to go on in this endless cycle of parties and empty scandals. Of course, that can’t go on forever.
The city thrives on its drug of choice, dust. I love dust! In the shadows of the city live pixies, beautiful but vicious little creatures that will gladly lick the residue of magic from the bricks of the streets or gnaw it from the flesh of citizens. Factories out in the ash lure in pixies with rooms full of magic, letting the little beasts eat and eat until they’re so fat that their frail wings can no longer lift them from the ground. And then they’re strung up on lines and roasted into tiny, magic rich, statues of their former selves—later ground down into the dust that saturates everything from tea to pastries to cigarettes in the upper end of the city.
They make an appearance in the first scene of the book, always present at the edges of darkness.
The scratching, fluttering sound of wings smacking against brick drew his gaze to the corner of the rooftop. One of the lamps had gone out, something that never happened above the Low, and the shadow there swelled with pixies.
Ferrin shuffled two steps closer and peered into the moving darkness. The nasty insects shifted about wildly, bumping into the wall and each other, grappling for space closer to him at the edge of the shadow. They stared back with nearly human eyes to match their nearly human, though miniature, bodies. In his dusted state, Ferrin was tempted to reach out to them, but then one smiled. Thin lips parted to expose rows of needle teeth and he twisted back. Sobering even just a fraction was enough to have him returning to the party inside, closing the door sharply behind him and drowning in the volume of the warehouse once more.
I love scary-cute things! And the pixies are just that. Pretty but terrible and always eager to get a bite out of anyone that steps into the shadows. I’m not even sure how I first came up with the dust, if it was the pixies first or the other way around, but it became this driving force of the world. True addicts are called dusters, often found rumpled in teahouses in a dust stupor, watching smoke gather against the ceilings. Even the main character, Vaun, is prone to over indulge and loses time to blackouts.
Dust saturates the Realm and the story and, I promise, the pixies make more appearances than just the opening scene.
Cheryl Low was born and raised in California only to later chase her romantic lead around the globe to the north of Sweden. When not writing, reading, at the gym, or on adventure, she is likely to be found eating candy and watching horror flicks. She loves sugar in almost all its magnificent forms, craft projects though she does not follow directions, baking without adhering to recipes, notebooks of all sorts, and comfy chairs.
Brian Francis Slattery is joining us today to talk about the serial, Bookburners Season Three. Here’s the publisher’s description:
The world as we know it is under siege. The Bookburners are stretched thin trying to control an influx of magic—and they don’t have much support from the Vatican. Can they overcome their history and band together to protect humanity from an increasing magical threat? Or will it destroy them, like it has destroyed everything else in its path?
What’s Brian’s favorite bit?
BRIAN FRANCIS SLATTERY
My favorite bit about Season Three of Bookburners isn’t a particular moment (though there are many moments I love) or a particular character (I love them all), but an idea that ended up driving the arc of the whole season, from episode to episode.
In this season, we broke something we couldn’t fix.
Bookburners, written by Max Gladstone, Margaret Dunlap, Mur Lafferty, Andrea Phillips, and me, is about a team — Sal, a detective; Menchú, a priest; Grace, a fierce fighter; Liam, a tech guy; and Asanti, an archivist — who work for a secret society trying to save the world from being taken over by magic. They go on adventures all over the world battling monsters, solving puzzles, finding magic and locking it down.
Without giving all kinds of things away, in the previous two seasons, among the adventures we explored the flaws and the tensions within our characters and within the secret society, stretching things out pretty far sometimes. Our characters didn’t always like each other, or who they were working for. The society they were working for didn’t always like them. Our team members sometimes questioned the usefulness of the mission. Characters changed. But somewhere in there was the assumption that the Big Things would return more or less to the way they were. The basic premise would stay intact.
Not this season.
We decided early on in hashing out the story for Season Three that Something Magic Would Happen that would be irreversible. The people on our team would at last face something that they couldn’t contain and conceal afterward. As we finished with the basic arc of the story, and then outlined individual episodes, and then wrote them, figuring out on a human scale what the effects of that Something Magic That Happens might be, we discovered that our simple initial decision created a thousand little ripples throughout the story. It meant that our characters at last said and did things they couldn’t take back. Some of the tensions among them, and between them and the society belonged to, stretched until they broke.
And for me, that meant Sal, Menchú, Grace, Liam, and Asanti all got to be as true to themselves as they had ever been. As a team, they learned what was driving them apart—and what was holding them together. It was a thrill to write, and not only because I got to return to Central America in my mind, a place that left an indelible impression on me that I tried my best to do right by when it came time to represent it. It was also because we could let our characters cut loose. So this season has not just my favorite bit, but most of my favorite stuff in it in Bookburners so far. It’s stuff that you could say we’ve been building toward since the beginning, a few years ago, when we were first getting to know Sal and company, and learning what they could do.
Plus, we got to transform an entire city into a completely different place. Forever.
In early September, us writers are getting together to figure out what happens next year. I’ve enjoyed the heck out of collaborating with Max, Margaret, Andrea, and Mur from the start, but I’m looking forward to this season even more than the past three. We know our characters so much better than we used to, and have quite a rich past to draw on. But in a lot of ways it feels completely new, as our characters move into an unstable future, for themselves and for the world. I can’t wait to see what happens.
Brian Francis Slattery is the author of Spaceman Blues, Liberation, Lost Everything, and The Family Hightower. Lost Everything won the Philip K. Dick Award in 2012. He’s the arts and culture editor for the New Haven Independent, and editor for the New Haven Review, and a freelance editor for a few not-so-secret public policy think tanks. Bookburners, which he wrote with Max Gladstone, Margaret Dunlap, and Mur Lafferty, is available from Serial Box. Find more at www.serialbox.com.
Tal M. Klein is joining us today with his novel The Punch Escrow. Here’s the publisher’s description:
It’s the year 2147. Advancements in nanotechnology have enabled us to control aging. We’ve genetically engineered mosquitoes to feast on carbon fumes instead of blood, ending air pollution. And teleportation has become the ideal mode of transportation, offered exclusively by International Transport—a secretive firm headquartered in New York City. Their slogan: Departure, Arrival… Delight!
Joel Byram is an average twenty-second century guy. He spends his days training artificial-intelligence engines to act more human, jamming out to 1980’s new wave music and trying to salvage his deteriorating marriage. He’s pretty much an everyday guy with everyday problems—until he’s accidentally duplicated while teleporting. Now Joel must outsmart the shadowy organization that controls teleportation, outrun the religious sect out to destroy it, and find a way to get back to the woman he loves in a world that now has two of him.
What’s Tal’s favorite bit?
TAL M. KLEIN
My favorite bits in The Punch Escrow are my protagonist’s day job and how he gets compensated for it. Joel Byram is a salter. No, this doesn’t mean he spends his days harvesting salt from ancient water beds. In the mid-22nd century, an age where almost all things are connected and semi-sentient, salters spent their days enriching the cognitive algorithms of artificially intelligent things — making them more human-like. A salter’s workday consists of engaging with various apps in uniquely human ways that can’t be synthesized. Every time the salter’s gambit isn’t anticipated by an app, that app gets “smarter” by adding the unanticipated random logic set to its code, and the salter gets paid. If it sounds like people in the future making a good living by being smartasses to apps, you’re pretty much right on the money. In Joel’s field success is gamified. One rises through the ranks based on the quality of their accepted salts. The Mine, where Joel works, keeps track of salt acceptance ratios on a public leaderboard. The better one’s ratio, the more desirable they are, and the more money they make.
Speaking of money, I don’t think we can change the way people work without evolving the way they get paid. In The Punch Escrow we get to see one plausible outcome for the evolution of currency. Chits are the elastic global block-chain cryptocurrencies that underpin The Punch Escrow’s global economy. I’m attracted to cryptocurrencies because they’re democratized. I believe this makes them less likely to fail and more likely to be secure. I think their adoption could make most current forms of financial crime obsolete. The value of a chit isn’t fixed, it’s an algorithm. For example, a local municipality’s food chits might be valued at 0.8x (or 80 percent) of the standard chit rate in order to discount for local economic conditions and keep everyone fed. The idea being that the “price” of something in The Punch Escrow’s version of the future is moving target based on real-time demand, the wealth of the procurer, and the percentage of the procurer’s wealth that the procurement transaction represented. I believe such an algorithm may be the key to ensuring nobody could manipulate the market beyond its natural elasticity.
I like the ideas of salting and chits not only because they paint a non-dystopian future in which computers and people have healthy, symbiotic relationships, but also because they open the door to the notion that employment and commerce can continue to thrive in a world of autonomic intelligent things.
I constantly hear worries of people concerned about the impact of automation on jobs; robots in factories, self-driving vehicles, those sorts of things. I don’t mean to discount those concerns, nor the caveats of Neo-Luddites. I just happen to be a pragmatist. There’s a romantic quality to the notion of destroying computers, machines, and weapons. But that’s not going to happen because progress follows the path of least resistance. Therefore, in the future I imagined for The Punch Escrow, society continues to progress at its current technological pace forward. Human labor evolves in lockstep with the technology it spawns, thus as old jobs and business models become redundant and extinct, new jobs come to market. I choose to believe we don’t paint ourselves in a corner. The future isn’t a utopia or a dystopia, it’s a place where we live and work differently than we do today.
Tal M. Klein was born in Israel, grew up in New York, and currently lives in Detroit with his wife and two daughters. When his daughter Iris was five years old, she wrote a book called I’m a Bunch of Dinosaurs that went on to become one of the most successful children’s book projects on Kickstarter —something that Tal explained to Iris by telling her, “your book made lots of kids happy.” Iris then asked Tal, “Daddy, why don’t you write book that makes lots of grownups happy?” Tal mulled this over for a few years, and eventually wrote his first book, The Punch Escrow. It won the Inkshares Geek & Sundry Hard Science Fiction Publishing contest, and will be the first book published on Inkshares’ Geek & Sundry imprint.
Adam Christopher is joining us today with his novel Killing Is My Business. Here’s the publisher’s description:
Another golden morning in a seedy town, and a new memory tape and assignment for intrepid PI-turned-hitman―and last robot left in working order―Raymond Electromatic. But his skills may be rustier than he remembered in Killing Is My Business, the latest in Christopher’s robot noir oeuvre, hot on the heels of the acclaimed Made to Kill.
What’s Adam’s favorite bit?
Ray Electromatic, eponymous hero of the Ray Electromatic Mysteries – if hero is the right way to describe a robot who pretends to be a private detective when he’s really a paid assassin – has a problem.
Actually, that’s not strictly true – Ray Electromatic has lots of problems. A six-foot-something-else bronzed titanium titan, clad, like any half-decent private dick, in overcoat and hat, Ray’s biggest issue is his memory. He only has twenty-four hours of it, tucked away in a little reel-to-reel tape behind his chest panel. When the tape is up, he heads home to the office and the tape is switched to a new one under the supervision of his boss, a room-sized supercomputer called Ada.
Which means Ray doesn’t remember a damn thing about what he’s done – the perfect cover for a hit-robot, but quite often Ray wishes he had a clue or two about what he’s been up to in Hollywood, California, 1965. It doesn’t help that he doesn’t quite trust Ada, either, and then there’s the shady federal agents and the even shadier private contractors from thrice-shady International Automatics to watch out for.
So sure. Ray Electromatic has problems, but he is – or was – a detective, so once he starts leaving himself clues about what’s going on, he’s in his element. Because if the dirty little operation that he and Ada run is in danger of discovery, well, he needs to know what’s going on so he can protect them both.
But Ray’s other problem, the one that would keep him up at night if he didn’t have to switch off, is that he thinks he’s human.
Okay, that’s not strictly true either. Ray knows he is a robot. But in this glorious and far-distant sci-fi future of 1965, Ray’s creator, the perhaps-not-so-mysteriously-deceased Professor Thornton, realized that the secret to true artificial intelligence was to use a template based on a human mind as the spark of creation. So Ray Electromatic is, in a way, Professor Thornton – not a duplicate or a clone, but an AI that shares some of his creator’s personality and tastes and even (although this isn’t supposed to happen) memories. Ray is his own robot, and he knows all about the template, and he absolutely knows he is a robot and not a human being, but that doesn’t stop him… well, thinking about things.
My favorite bit of Killing is my Business, the second Ray Electromatic Mystery, is in chapter one. Here, Ray is staking out his next target – Vaughan Delaney, a planner for the city of Los Angeles. Ray doesn’t know why Delaney has to die and he doesn’t care – Ada gets the jobs, he carries them out – but in the three weeks he spends watching Delaney’s office, Ray has time to consider the lives of the human beings around him. He watches them go to work, he watches them go home. He even gets some very human urges:
It was a busy street and the office got a lot of foot traffic, some of which even stopped to admire the car that was the same color as a fire engine parked right outside the door. Back on my side of the street there was a drugstore down on the corner that got a lot of foot traffic too. I watched people come and go and some of those people were carrying brown paper bags. Some people went inside and stayed there, sitting on stools at the bench inside the front window as they drank coffee and ate sandwiches.
I watched them a while longer and then I thought I’d quite like a sandwich and a coffee to pass the time. I didn’t need to sit and watch the building. Vaughan Delaney’s schedule was as regular as the oscillators in my primary transformer. I had time to spare.
I got out of the car and stood on the sidewalk for a moment, one hand on the driver’s door, looking over at the office building. A sandwich and a coffee still felt like a great idea. It was the kind of thing you got when you spent a lot of time waiting and watching. It helped pass the time, like smoking and talking about baseball with the boys and making your own flies for fly-fishing.
Of course, I had no need for a coffee or a sandwich. If I walked down to the drugstore and went inside and bought one of each I wouldn’t have any use for them on account of the fact that I didn’t eat or drink.
I was a robot.
And still as I stood there in the street the faint memory of the taste of fresh hot coffee tickled the back of my circuits. An echo of another life, maybe. A life that didn’t belong to me but that belonged to my creator, Professor Thornton.
A coffee and a sandwich would be a real waste, but maybe the drugstore could sell me something else. Maybe I could get a magazine. A magazine or a paperback book. That sounded fun. I had two hours to kill before I followed the target on his weekly jaunt around the City of Angels.
That’s Ray’s problem. He’s a robot who sometimes feels like a human, but he can’t do a thing about it, and he’s not sure if this is a good thing or a bad thing, but what he does know is that even if he feels this way each and every day he won’t remember a blind thing about it, thanks to his limited memory tape.
I like Ray. He’s very good at what he does but he’s flawed and he’s uncertain about a lot of things. There’s an air of melancholy about him. He’s the last robot in the world, and he knows it, and sometimes he dreams of another life that wasn’t his.
And then he gets on with the job, because he’s a professional – another echo from Professor Thornton’s template.
Adam Christopher’s debut novel Empire State was SciFiNow’s Book of the Year and a Financial Times Book of the Year. The author of Made To Kill, Standard Hollywood Depravity and Killing Is My Business, Adam’s other novels include Seven Wonders, The Age Atomic and The Burning Dark. Adam has also written the official tie-in novels for the hit CBS television show Elementary, and the award-winning Dishonored video game franchise, and with Chuck Wendig, wrote The Shield for Dark Circle/Archie Comics. Adam is also a contributor to the Star Wars: From A Certain Point Of View 40th anniversary anthology.
Born in New Zealand, Adam has lived in Great Britain since 2006.
(Tor Books — August 21, 2018) Continuing the grand sweep of alternate history laid out in The Calculating Stars, The Fated Sky looks forward to 1961, when mankind is well-established on the moon and looking forward to its next step: journeying to, and eventually colonizing, Mars. Of course, the noted Lady Astronaut Elma York would like to go, […]