My story "The Ships Like Clouds..." goes head to head with James Blish's "One Shot"

On StarShipSofa's new podcast, my short story "The Ships Like Clouds, Risen by Their Rain" goes head to head against James Blish's classic tale "One Shot." You can download the podcast or listen through their website. You can also vote for your favorite story.

Thanks to Tony C. Smith for putting together this amazing podcast and for interviewing me, and to Lizanne Herd for narrating my story. In the podcast Tony also plugs the upcoming StarShipSofa Stories, Volume 2, which includes one of my stories alongside those by such amazing writers as Neil Gaiman, China Miéville, and Jeff VanderMeer. This book will be on sale October 10. Check out the StarShipSofa website in the coming days for more details.

Finally, StarShipSofa is up for a Best Fanzine Hugo Award this weekend at Aussiecon. My fingers are crossed that the Sofa pulls off well-deserved win.

Guess what? A reprint is a "new story" if you haven't read it!

Lightspeed Magazine published their third issue last week and they've now settled into their rythym of publishing two original stories and two reprints in each issue. So far I've really been impressed with the magazine and John Joseph Adams' fiction selections. Definitely a magazine worth reading.

However, in the comments for one of the magazine's recent stories--"More Than the Sum of His Parts" by Joe Haldeman--one reader complains about Adams selecting so many reprints:

"I’m obviously not the editor, but as a reader what I really look for in SF periodicals is new material. Of all genres, SF seems the most inherently tied to its point of authorship, especially in the short form. These stories that are 10, 20, or 30 years old may be good, but they are less acutely relevant to the world than a good story written this year. That’s not to say that the form is inherently pulpy, but precious few SF shorts are truly timeless classics; their strengths lie elsewhere.

Even before Adams could respond, other readers explained that Lightspeed only publishes lesser known reprints, with Haldeman's story originally coming out in a 1985 issue of Playboy and having been rarely reprinted since. But the comment did make me wonder why so many readers don't accept reprints--even when they haven't read the reprinted story.

I mean, if you haven't read the story it's therefore a new story to you. However, the attitude among some readers to older genre stories is that if the story hasn't been reprinted up the wazoo over recent years then it must not be worth reading. Or, as the reader above said, that older science fiction stories are not as relevant to today's world.

The truth is the relevance of a science fiction story is not tied to when it was written. Some SF stories from the 1950s are more relevant than stories written last month. It simply depends on how good the story is. And if you haven't read an older SF story, guess what: It's still new to you!

One thing I loved about Ellen Datlow's online magazine Sci Fiction was that they reprinted classic and lesser well-known stories. There are many great SF stories which haven't been read in decades, especially by readers used to online or electronic publishing. So I'm glad Adams is publishing reprints alongside his new stories. After all, 95% or more of the genre stories published each year are brand new. We can spare a few slots to reprint what has come before.

A great year for science fiction and fantasy novellas

Last night I finished reading The Lifecycle of Software Objects by Ted Chiang and, as usual with Chiang's work, his novella blew me away. Equally amazing is that 2010 has been an excellent year for novella-length fiction, with a number of novellas which will make my short-list for the major awards.

So far my favorites are:

  • The Lifecycle of Software Objects by Ted Chiang, Subterranean Books
    Is it even possible for Ted Chiang to write a less-than-great story? This novella follows the deepening relationships of humans and emergent AIs who were originally created as digital pets. A moving and all-too-possible tale.
     
  • "A History of Terraforming" by Robert Reed, Asimov's July 2010
    An epic storytelling feat in which a scientist's life parallels the advances and setbacks of both humanity and terraforming.
     
  • "Becoming One With the Ghosts" by Kathryn Kristine Rusch, Asimov's Oct./Nov. 2010
    This is the story of the Ivoire, a space-going battleship which lands at its repair base only to learn things have gone tragically wrong. A fascinating examination of how time makes ghosts of us all.
     
  • "Ghosts Doing the Orange Dance" by Paul Park, F&SF, Jan./Feb. 2010
    This offbeat novella is basically a literary memoir which extends its life-exploration into future years. An amazing treat.
     
  • "The Sultan of the Skies" by Geoffrey A. Landis, Asimov's Sept. 2010
    A near-perfect hard science fiction story set among the clouds of Venus, and also a touching portrait of obsession and unrequited love.
     
  • "The Union of Soil and Sky" by Gregory Norman Bossert, Asimov's April/May 2010
    This tale of alien archeology is Bossert's first genre publication, and it is a fun and well written debut.

In addition to these novellas, there have also been some excellent novelettes which border on being novella length, including "The Crocodiles" by Steven Popkes from F&SF May/June 2010. And from this list it's obvious Asimov's has been the place to go in 2010 for top-notch novellas.

I'm not sure which of these novellas I'd pick as my top choice for next year's Hugo and Nebula Awards, but it's wonderful to have such an amazing set of choices. And the best thing is 2010's not close to being over.

Aliette de Bodard on Non-Western/Non-Anglophone Science Fiction

Earlier this year Norman Spinrad's Asimov's column "Third World Worlds" stirred up a good portion of the speculative fiction community. Anyone who missed out on that explosion can see my original post on the subject. Be sure to also check out the comments and links below my post for more information.

Now the Sept. 2010 Asimov's presents an excellent response to Spinrad's views in the form of Aliette de Bodard's latest Thought Experiments column. Titled The View from the Other Side: Science Fiction and Non-Western/Non-Anglophone Counties, the column's introduction touches on the Spinrad controversy. However, Aliette herself focuses beyond Spinrad to present an excellent summary of world science fiction.

The most controversial part of Aliette's essay is likely to be her ideas on why so little world SF is being translated for Western cultures. To quote: "There is plenty of SF being translated from English into other languages, but little of it that makes its way into Western Anglophone countries." Aliette believes that this gap results from the cultural domination of the West, and of the United States in particular. She discusses how at the time of the Tang dynasty from the seventh to tenth century AD, when China was at its height of power, China exported its culture across the region but took very little in the ways of culture back into itself. The same when France was at the height of its power.

Aliette believes that since the U.S. has been the dominate world power since the middle of the 20th century, this dominate culture is following a similar track as the earlier Chinese and French and not bringing much of outside culture into itself.

This might very well be part of the reason so little non-Western SF is translated into the United States. However, I also wonder whether or not the immense size of the U.S.--over 300 million people spread across a massive landmass containing many separate cultural regions and identities--also adds to that isolation. China went through this same thing many times in their history. Not only were they for long stretches the dominant culture in their region, they were so large and contained so many cultures within their realm that they could ignore the need to look at cultural ideas outside their borders.

It's hard to say whether any of these ideas are true, but Aliette has presented a fascinating thought experiment. I suggest people go read it.

Interview with me, the "Lord of SciFi Strange"

On episode 14 of the Skiffy and Fanty Show I am named the "Lord of SciFi Strange." Wow! I've always wanted to be a Lord.

Seriously, this is a great podcast and I appreciate Shaun Duke and Jen Zink for interviewing me. As always, I babble on in a Southern dialect on various subjects including short story markets, why the glory years of genre short fiction are looming, why many literary magazines are in such trouble, Southern Literature, SciFi Strange and more.

If that sounds like something you're into, please listen to their podcast.

The Online SciFi Strange Anthology

Note: A year ago I first noticed a new trend in science fiction which I called SciFi Strange. Since then I've been compiling a list of SciFi Strange stories. Hence this online "anthology." Please enjoy.

Introduction to SciFi Strange

SciFi Strange isn't a label. It isn't a definition.  Instead, it's an attempt to describe the science fiction being created by some of today's most exciting writers. These stories combine the literary standards and cultural understandings of the New Wave movement with the basic strangeness and sensawunda from the golden age of science fiction--all seen through the lens of today's multicultural world, where diversity and difference are the norm even as basic human values and needs still bind us together.

SciFi Strange also flirts with the boundaries of what is scientifically--and therefore realistically--possible, without being bounded by the rigid frames of the world as we know it today. But don't call SciFi Strange fantasy. This is pure science fiction. It's merely an updated version of the literature of ideas. A science fiction for a world where the frontiers of scientific possibility are almost philosophical in nature.

Writers of SciFi Strange are a diverse group. Many are new writers who first came to the genre by experiencing science fiction in film and video games--meaning they don't see the term SciFi as derogatory but instead as celebratory. A few have been writing science fiction for decades. Others mainly write fantasy, but cross over into science fiction from time to time. The more established of these authors publish their stories in Fantasy and Science Fiction and Asimov's. The newer ones frequently find homes in Interzone, Clarkesworld Magazine, and Strange Horizons.

Please understand that this is a dream anthology. Unless a publisher offers to actually publish an book along these lines, this is as far as I go. But the stories below are still well worth the read, and I hope you enjoy them as much as I did.

The SciFi Strange Stories

Stories I'd love to include in this "anthology" but which aren't online include

  • "Third Day Lights" by Alaya Dawn Johnson
    Published in Interzone, reprinted in Year's Best SF 11.
  • "Skinner's Room" by William Gibson
    An older story, but still one which fits with SciFi Strange. Gibson later revisited this short story in his Bridge trilogy.
  • "Làzaro y Antonio" by Marta Randall
    Published in F&SF.

If you know any stories which would make a good addition to this online anthology, please add them in the comments below.

My Context 23 schedule

Next week I'll be a participating author at the Context 23 convention in Columbus. As I've said before, Context is a small literary con which is always well worth attending.

If you want to catch me at the convention, here's my panel schedule:

Friday, Aug. 27, 10 pm
"BFA: The Good, Bad, and Ugly?" with myself and Janet Harriett.

Saturday, Aug. 28, 10 am
"Blogging – Creativity and Publicity" with myself, Maurice Broaddus, Janet Harriett, Joseph Martino, Michelle Pendergrass, and others.

Saturday, 2:30 pm
"Is a SF Renaissance Around The Corner?" I'm moderating this panel and the current line-up includes Tobias Buckell, Timons Esaias, Maura Heaphy, Paul Melko, and Paul Stevens. This will be a great discussion, so don't miss it.

Saturday, 4:00 pm
"Southern Horror"with myself, Michael Knost, Michelle Pendergrass, and others.

Saturday, 7:00 pm
"Awards, Nominations, And Publicity, Oh My! Make It Work For You" with myself, Michael Knost, Michael West, and others.

Apologies for not having all the names for these panels, but I don't have access to the final line-ups.

During the con I'll be giving away extra copies of Interzone 228, which contains my story "Plague Birds." If you'd like a copy, simply ask for one. I'll even be happy to sign it.

Our science fiction isn't your father's SF

The February 2010issue of Asimov's contains an amazing story in "Stone Wall Truth" by Caroline M. Yoachim. This story is set in a far future village which exists alongside the ancient remnants of a high-technology wall. When a new ruler takes control of the land, he sends his vanquished foes to this village, where they are cut open and strung to a wall. The wall not only keeps these people alive but reveals to them their inner devils and hells. Once that is done, the person is sewn back together and allowed to live--if people can truly live after having witnessed the darkness within the minds and souls of all humans.

This is one of those rare stories I immediately reread upon finish it. In fact, I felt the same way reading this story as I did last year about Eugie Foster's novelette "Sinner, Baker, Fabulist, Priest; Red Mask, Black Mask, Gentleman, Beast" (which won a well-deserved Nebula Award and is a finalist for the Hugo). Like Foster's novelette, Yoachim's story also struck me as a perfect example of SciFi Strange and will be on my list of the year's best stories. But that said, I also knew many science fiction fans would have the same issue with Yoachim's story as with the other SciFi Strange stories I love. Because every single aspect of the story isn't explained, for many people a story like this simply can't be called science fiction.

Sure enough, when I looked for reviews on the story I found these comments in Tangent Online by Carl Slaughter. While Carl praises the story, he asks "What is the source of the wall's power?  The author doesn't say.  We don't discover the origin and nature of the wall.  Nor the identity of the Ancients who built it, nor the time and place of the story.  Thus the story is a masterpiece, but a masterpiece of fantasy rather than science fiction."

That review drives me crazy with its narrow view on what qualifies as science fiction (although I totally agree with Carl that the story is a masterpiece). The truth is there are many accepted tropes in science fiction which are not technically possible or can't be accurately explained, including faster than light travel, time travel, dimensional travel and so on. However, if an author uses these tropes in their story they're okay and still writing science fiction. But if an author tries to explore a possible future technology but don't explain said technology in mind-numbing detail, they aren't SF.

I have a mouth and I must scream! Which, by the way, refers to another famous science fiction story which doesn't explain how everything works. I mean, a computer the size of a planet which can trap people inside it for all eternity? Provide me a précis on how that is possible under what we currenty know about science and technology. It isn't. But Ellison's classic story is still pure science fiction.

Part of the problem is that the science fiction genre has become too narrow in what it accepts as legitimate SF. We live in a world where our most advanced theoretical sciences like quantum mechanics are almost philosophical in nature. But instead of allowing our science fiction to be as equally free to explore the universe, we box it in. And ironically, we're not even consistent in how we do this. For example, people screamed when the last Star Trek film tripped into the red matter realm, but they didn't say a word about universal translators, transporters, and Spock being the offspring of two totally different alien species. But all these conventions are accepted as SF without a second thought.

This is made even more amusing when you consider that the science in many older SF classics was flat out wrong when the authors originally wrote them. For example, in Robert Heinlein's Stranger in a Strange Land, the book opens with the discovery that Mars is inhabited, and even mentions Martian canals. Ray Bradbury's The Martian Chronicles deals with a similarly occupied Mars. However, when the authors wrote those science fiction classics it was known to science that Mars was a hostile environment which did not contain advanced life. So why were those books accepted as being part of the SF genre?

Likewise, in Gene Wolfe's classic Book of the New Sun series, the science and setting are so far in the future that the science behind everything is more fantasy than real.  Again, the science isn't explained to the Nth degree, but the books are accepted as being science fiction.

What these examples prove is that being part of the science fiction genre is about more than simply writing accurately about science. It is also about exploring ideas and visions and possible futures. So why the different standard when new writers like Yoachim and Foster do that very thing? I have yet to read a convincing explanation for this divide.

I suspect that just as science has expanded into disconcerting places in the last decade, some people are disturbed by where science fiction is going these days. So they simply wave their hand and state that certain stories can't possibly be science fiction.

Which is too bad. Because while our science fiction may not be your father's SF, all these stories belong to the same genre.

For students: A few words on genre and literary fiction

A while back I received an interview request from a high school student.  Based on the questions this student asked, it was obvious he'd run up against a teacher who believed that literary fiction was "good" and genre fiction "bad."

Since I encountered this same attitude from some of my teachers in high school and college, I thought I'd share my responses to the interview. Maybe this will help other students understand that great fiction can exist in both the genre and literary fields.
 

1. Do you think it is possible for a work of fiction to be literary and genre at the same time?

Absolutely. There are many works of genre fiction which exist on an equal plane with the best literary fiction. Examples include Gene Wolfe's Book of the New Sun and the writings of great genre authors like Samuel R. Delany and Ursula K. Le Guin. You will also find that some of the most famous works of literary authors like Toni Morrison, Cormac McCarthy, and Michael Chabon are actually genre works, with Morrison's Beloved being a ghost story, McCarthy's Blood Meridian a western/horror story, and many of Chabon's works resting fully in the fantasy and SF fields.

2. Why do you think there is a line between literary and genre, and what can writers and readers do to overcome it?

The line between literary and genre fiction results from the shared history of these types of fiction. By its nature, literary fiction attempts to hold itself up as the serious fictional genre while genre fiction is supposed to be mere escapist reading. But where there may have once been a bit of truth to these distinctions, that difference fell apart decades ago. The best genre fiction is the equal of the best literary fiction and vice versa. You'll find great stories in all areas of fiction. Likewise, you will also find horrible writing in all areas of fiction. As the science fiction writer Theodore Sturgeon once said, "Ninety percent of everything is crud." That applies equally to literary fiction as to genre writings. But that other 10 percent--that's the fiction worth reading, regardless of genre. And if writers and readers look for that 10%, we'll all be happier.

3. To you, what qualifies a work of fiction as literary, genre, or both/neither?

These days, that qualification depends on how a publisher wishes to market a book. There are many readers who will read one type of novel and not another (even though, as I mentioned above, there is a ton of overlap between genre and literary fiction). So if a publisher believes they can sell a book as a genre novel, they do so. Likewise with literary fiction.

4. What do you like about literary fiction, and what do you like about genre fiction?

It would be better to ask what do I like about fiction. I demand that my fiction be well written and take me to places I've never been and introduce me to people I care about. More importantly, I want my fiction to teach me something new. To open my eyes to new possibilities. What I don't want is to read fiction which merely reinforces what I already know or is a reworking of what I've already read.

5. What do you like about writing literary fiction, and what do you like about writing genre fiction?

While I've published fiction which could be considered both literary and genre, my goal has always been the same: To create the best possible story. I believe well-written stories take on a life of their own. That's what I aim for with every story I write.

Review of I Am Number Four by Pittacus Lore (pseudonym of James Frey and Jobie Hughes)

SF Signal has published my review of the young adult novel I Am Number Four by Pittacus Lore, which is a pseudonym for James Frey and Jobie Hughes. When I received this book for review consideration I wasn't sure I'd like it--after all, I've ranted before about literary writers dipping their toes in the genre pool. Add in the total circus which swirls around Frey's writing career and it is fair to state I wasn't expecting much.

But to my surprise, this is a fun, fast paced novel with the potential to bring new readers to the science fiction genre. While the novel is absolutely not original or deep, if you know a young adult who loves fantasy novels but refuses to touch science fiction, this might be a good book to tempt them with.

Read the full review on SF Signal.

Story accepted by Orson Scott Card's Intergalactic Medicine Show

I found out today that my short story "The Never Never Wizard of Apalachicola" has been accepted by Orson Scott Card's Intergalactic Medicine Show. The story is a merging of science fiction and fantasy set in Apalachicola, Florida. Many thanks to IGMS editor Edmund R. Schubert for the acceptance.

This will be my second appearance in IGMS. They published my first professional SF magazine sale, "Rumspringa," in their July 2007 issue.

The Micro Award for Flash Fiction Lives Again!

Every year I've heard complaints because the storySouth Million Writers Award for best online short stories excludes flash fiction. "This is discriminatory!" some writers cry. "This is an affront to  literature!" other authors moan.

Maybe. But that's how the award was established, and that's the way it is. The good news, though, is that for the last three years flash fiction has had its own Micro Award to bring attention to worthy stories. Founded in 2007 by author Robert Laughlin, the Micro Award recognized outstanding flash fiction from both print and electronic media. Robert served as the award's administrator and financial supporter until earlier this year, when he retired the award.

But now Robert has told me some exciting news: The Micro Award lives again!

Alan Presley is the award's new administrator and he recently unveiled the updated Micro Award website. The 2011 award will be presented on Feb. 17, 2011 with a prize of $500. Submissions for the 2011 award will be accepted from Oct. 1, 2010 to Dec. 31, 2010. For more information, please see their website.

Thanks to Robert Laughlin for all the great work he put into establishing the Micro Award, and best of luck to Alan on making the award an even bigger success in the years ahead.

My review of Dark Faith, edited by Maurice Broaddus and Jerry Gordon

My review of the Dark Faith anthology, edited by Maurice Broaddus and Jerry Gordon, is now up at SF Signal.

While people can read the review for the specifics, overall this is an excellent collection with several stories which rank among the year's best, including "Ghosts of New York" by Jennifer Pelland, "Zen and the Art of Gordon Dratch's Damnation" by Douglas F. Warrick, and especially Gary A. Braunbeck's "For My Next Trick I'll Need A Volunteer."

No one cares about your leaked information

This evening WikiLeaks, working in conjunction with several major newspapers including the New York Times, released six years of classified reports about the Afghanistan war. Based on the play already being given this release, the news media and the pundit class expect this to be a major event. Glenn Greenwald has compared this to the release of the Pentagon Papers in 1971, stating that the Pentagon Papers caused the public to "behold the dishonesty about the war" and "had a significanteffect on public opinion, as well as their willingness to trust future government pronouncements.  At the very least, it's difficult to imagine this leak not having the same effect."

I disagree. This leak won't matter that much. Here's why:

  • Few people trust our public institutions anymore. Back in 1971, most people trusted the government, which is why the Pentagon Papers were so shocking. But we are now living in the bastard days birthed by events like the Pentagon Papers. Trust in all our public institutions is way down. So the government didn't tell the whole truth? That's like a dog bites man story--not notable to most people.
     
  • Information overload. The more information that is thrown out there, the less people care. This is similar to what I was saying the other day about people in the future not caring if you have an opinion. The exception, as I mentioned, was when people risked something for their opinion. Likewise, the exception to people caring about information like these Afghanistan war reports is if the information has direct relevance to their lives. Unfortunately, in the United States and most Western democracies the people who fight our wars are a small subset of the population. Most people don't feel a connection to the war, so most people are likely to ignore this information.
     
  • Information spin. When people are overloaded with information and don't trust official sources of information like the government, they cherry-pick the places they decide to trust. So they turn to partisan news outlets and blogs, or to talk radio and opinion-oriented broadcasts. They choose news which reinforces their own views even as these outlets filter the information that reaches their ears. In such an environment, I don't see these reports making much of an impact.

Of course I could be wrong, but that's my take on all this. Any thoughts?

Maurice Broaddus on how to avoid editorial fail with your next anthology

Maurice Broaddus has a great post up on Jeff VanderMeer's site called "The PC Challenges of Being an Editor." He mentions the recent complaints about anthologies which were either all male or lacked people of color, and gives some simple advice on how editors can avoid falling into this fail trap.

His suggestions:

  • Open submission period
  • Have a "rolodex" which includes a diverse group of people
  • Actually look around for great stories.

Amazing how simple the process can be, and amazing that editors keep messing it up.

Just FYI, Broaddus co-edited the wonderful anthology Dark Faith, which I'm in the process of reviewing. Apex Books is currently having a 40% off sale on all versions of Dark Faith.

In the future, will anyone care that you have an opinion?

Here's the punchline before the joke--can you state as opinion the belief that no one cares if you have an opinion?

I know, I know. That's almost as irritating as the old saw about hearing the tree fall in the forest if no one is around to hear it. But I do wonder if we're entering a time where the only opinions which matter will be those held by people willing to risk something for their beliefs.

Here's my reasoning: Thanks to Twitter, Facebook, and other social media outlets, we are constantly surrounded by people venting their opinions. If we agree with said opinions, we post our glowing support. If we disagree, we post an angry rebuttal. The result is the internets constantly getting riled up over some idea or injustice and the resulting emotional response spreading through comments and posts and tweets. With really good opinion fodder, the reaction might even jump off the nets into the fertile crap-ground of cable news and newsprint. There the opinion-fest grows for a few days before decaying back to nothing.

And in the end, what has changed? Most of the time, the answer is nothing. Because inaction thrives in an instant-response world where we don't risk anything by stating our opinions.

I began contemplating this topic after writing a recent post about the BP oil spill. During that trip to Alabama I'd been outraged at witnessing how the oil spill was destroying an environment I deeply loved. However, a funny thing happened after I wrote about my experiences--suddenly I was able to literally release the anger from my mind. Expressing an opinion gave vent to the emotions fueling my need to express the opinion. If I'd wanted, I could have easily moved on, content at having spoken my mind, never mind that speaking my mind did little to change the problem of the oil spill.

My reaction to this experience fascinated me, even more so after I read Lloyd Nimetz's essay Information Overload, Action Deficit. Nimetz argues that in our social media saturated world we process tons of information--and generate equal amounts of emotional responses--even though our ability to act on these stimuli is limited. Here's the killer quote:

"You care, but you don't act. It's ok. You're not alone. Acting requires a lot of effort usually with little perceived impact.The key is that you're not any better equipped to take action than you were 10 years ago. Where’s the progress? Change requires action ..."

In his essay, Nimetz states that "action is the next big thing to get changed by the Internet." He believes that the ability to change the world is the next incarnation of social media. That in the future we won't simply grow angry and vent online--we'll have the ability to fix the injustices of the world with the click of a virtual button.

Perhaps. But I'm suspicious about this rosy social media future because it overlooks a vital part of influencing change through one's opinion: Risk.

In the mundane world where we must physically deal with being around each other, what makes us actually change our minds about something? Likewise, what makes a person stick with an opinion in the face of overwhelming hostility? While a few people respond to logical appeals, for most of humanity changing an opinion--or acting on an opinion until it changes the world--boils down to our emotional response to risk.

The emotions I refer to are tied in with the relationships we create between each of us. These bonds nurture us as humans; without them, we're literally not human. And this is where risk exists in stating an opinion. When we read an opinion online which differs from our own, there's little risk to the relationship between the person giving the opinion and the person receiving it. As a result, people scream and yell over opinions before moving on to the next virtual fight. And in the end, nothing risked, nothing gained.

But when a friend or family member stands before you and says they disagree with one of your core beliefs, your emotional response differs. Because of the relationship and bond between the two of you--and the fact that your friend or family member is risking your relationship by expressing a difference of opinion--you consider their words differently than those of an online stranger. This reaction also carries over to people who aren't friends and family. When you meet a stranger in person and they express a differing opinion, the personal dynamic makes you more likely to listen than to some online stranger.

This dynamic also applies to the person stating the opinion. When you risk something by acting on your opinion, you are more likely to continue to push that opinion into the world. For example, during the Civil Rights Movement the jailing of protesters like the Rev. Dr. Martin Luther King Jr. didn't weaken the movement. Instead, it strengthened them. The more the protesters risked, the more they were willing to risk to change the world. And the more they risked, the more others came around to their view of the righteousness of ending segregation.

To express a difference of opinion in person always carries risk. To act on an opinion carries even more risk. And how people accept and deal with those risks creates the only true change in our world.

And it is this risk, I fear, which is missing from stating an opinion in the virtual world.

This isn't to put down the recent social media explosion. One of the great aspects of social media is it brings a semblance of real-life personal dynamics into the virtual world. We friend each other on Facebook. We follow people on Twitter. And if a friend is willing to risk that virtual friendship with an opinion we disagree with, we may be more likely to listen and reconsider our beliefs.

But it is equally likely we'll simply unfriend them and move on.

It can also be risky to state an opinion through social media and the internet. Everyday we read about people losing their jobs or livelihoods for stating an opinion online. But these instances are frequently mistakes, where the person stating the opinion didn't realize there would be real-world consequences for their online words or actions. That is also why so many people online prefer anonymity, and why on many sites avatars and pseudonyms are far more popular than real names. That way we aren't truly risking anything by stating our opinions.

I have never before agreed with Supreme Court Justice Antonin Scalia, but his recent concurrence in the Washington ballot case made me stand up and cheer. In a ruling stating that people signing petitions did not have a right to anonymity, he said "Requiring people to stand up in public for their political acts fosters civic courage, without which democracy is doomed."

Despite what people like Lloyd Nimetz may believe, social media and the internet won't be a force for true change until they tie in more with the risk of living in the real world.  We saw a foretaste of what's to come in how social media helped the recent Green protests in Iran. Social media aided the protests and helped them gain strength, but in the end the protesters had to actually risk their lives to try and create change. While the protests were beaten back in the short term by the Iranian government, their possible long-term success rests on the blood the protesters spilled, and their belief that creating a better world was worth taking a risk.

So where does all this go in the coming years?

There are currently 6.5 billion people in the world. As more and more of them come online, I predict we will see an ever greater explosion of opinions. In one way this is great. After all, making information more available to the world can only be a force for good. But the flip side to this are billions of people screaming their opinions without the ability to actually change someone's mind. Screaming their opinions without the need to act on their opinions.

Perhaps technology will change this. As more people realize that no one is truly anonymous online, and as new technologies make tying a person's real-world face to their online persona easy, perhaps stating opinions online will take on the same risk as in the physical world. Or equally likely, perhaps having billions of people stating opinions will overwhelm any sense of risk, and make stating your views as easy--and as inconsequential--as blowing your nose.

Either way, I suspect that even with social media advances, true change will continue to result from the small subset of the population who are actually willing to risk something to remake the world. And perhaps this is how it has always been, with a few people creating the change we all benefit from. With those willing to act on their opinions creating the world we all end up living in.

Update on my Inception flop prediction

Last week I predicted that Christopher Nolan's Inception would be a good film but a flop. In the interest of testing my predictive powers, it's worth noting the film had a decent first-weekend box office of $60 million. However, we'll have to wait until the next week to see if it has holding power or merely played to the general SF fan base and the director's own fans.

By way of comparison, the SF film Serenity opened with ticket sales of $10 million its first week against a budget of nearly $40 million. Unfortunately, Serenity's box office dropped off sharply in following weeks and it only ended up making just over half of its budget back (which doesn't include the cost of ads and marketing). This suggests the film--while a great space opera film--only played to the genre's fan base.

At $60 million, Inception played to more than merely the genre base--obviously the opening also attracted all the Nolan fans out there. However, like Serenity it still earned roughly a quarter of its $200 million budget (again, not counting its massive ad and marketing campaign, and yes, I realize $60 million is slightly more than a quarter of $200 million, but I'm using Hollywood math here to make a point :-). Anyway, in order to determine if the film is successful or not the next week will be critical. Most Hollywood films these days experience a 50% or greater box office drop in their second week. If Inception can avoid this, then I will be wrong and the film will be a moderate to big success. If word of mouth doesn't bring in the audiences and it experiences a large drop off like Serenity did, then it will be on its way to flopping.

I'll write more on this in a week once the trend is clear.

The bad writer's tripping point

I received a fascinating email the other day from, to put it politely, a strange person who fancies himself a writer. He was ranting about someone who stole his novel idea more than a decade ago. Evidently this is a long-running concern and he constantly emails people about it, claiming to have new proof which will finally break open the conspiracy keeping him down.

I'm not sure why he decided to gift me with his rant--he probably spams people around the world with his cries for attention. But if his email is any indication of his writing ability, he ought to beg people to steal his ideas. Because that's the only way he'll ever receive any attention as a writer.

I mean, damn, you couldn't even read this email. Each paragraph was dense and convoluted, with non sequiturs assaulting bad similes and analogies until you wondered if this was written by those mythical monkeys banging on a typewriter. Except a million of them hadn't produced Hamlet--they'd merely caused me to stop reading this person's email.

Much has been made of late about tipping points, that moment when a "previously rare phenomenon becomes rapidly and dramatically more common." While this term is most often applied to larger sociological concepts like the stock market and mob mentality, I believe it also applies to individuals and how they read.

Call it the tripping point, for the moment when someone trips over too much bad writing and refuses to read a sentence more.

For example, when I opened that person's email I was initially curious as to why this fellow believed someone had stolen his novel idea. While such occurrences are rare, they are the stuff of writer nightmares, so I decided to read on. Never mind that the first paragraph of his email didn't make a lot of sense--I was determined to discover what was going on here.

But then I tripped over the second poorly organized paragraph. Irritated, I scanned the email but didn't see the information I was searching for. As a result I refused to read any more and deleted the rant.

Readers will tolerate bad writing only up to a certain point. A few typos won't doom your story with a reader, but add in too many grammatical flip-flops and the moment quickly comes when readers drop your story. If you have set up a beautiful character in your novel but have her do something strikingly out of character, a reader may throw your book across the room and never return--even if the reader has invested hours into reading your novel. Likewise if your story loses its internal logic, or ignores basic elements of plot structure or pacing.

While I'm focusing on the tripping point in fiction writing, the concept applies to all areas of writing--be it a short story, a novel, anemail, an essay, a report, or a grocery list. That's why one of the best ways to improve your writing is to reread your work as if you are a new reader approaching these words for the first time. Try to push any background knowledge or information on the subject from your mind and read your writing with fresh eyes.

Anyone else ever encountered a tripping point in someone's writing? What made your throw down that book or delete an email and refuse to read any more?

Note: This post was edited in response to feedback from several readers.

Send that book receipt to Tin House. You'll still be rejected

Last week I wrote about Tin House's plan to only accept submissions if they were "accompanied by a receipt for a hardcover or paperback from a real-life bookstore." While I understood the literary journal's desire to help struggling brick and mortar bookstores, their snub at people reading e-books or buying from online bookstores rubbed me wrong.

Today I noticed a fascinating addition to the Tin House submission game: On the Duotrope Digest list of fiction markets with no submission acceptances, Tin House ranked number 1 (and they ranked number 3 in poetry markets with no acceptances). Over the last 12 months Duotrope received reports of 511 submissions to Tin House either being rejected or withdrawn by their authors, all without a single acceptance. Of those rejections, almost 83% received a form reject.

Now Duotrope isn't the be all and end all in submission reporting. It is quite likely some authors made into Tin House through their slush pile. But the Duotrope numbers suggest the odds of this happening are laughingly low. So I guess it really doesn't matter whether or not you include a book receipt when you submit to Tin House--either way, you're merely taking the slow route to a form rejection.

Context 23 in Columbus, August 27-29

As an FYI, I'll be a participating author at the Context 23 convention in Columbus from August 27-29. This is a small literary con which Mike Resnick once called "the Readercon of the Midwest." This year's guest of honor is Tobias Buckell, while the horror guest of honor is Elizabeth Massie.

I highly recommend this con to all speculative fiction writers. One of the panels I'll be on deals with the future of science fiction--I'll let people know more about this when the panel schedule is firmed up. Context also hosts an excellent selection of writing workshops. These workshops fill up quickly, so register early.