Interzone 236 Reaches These Shores

IZ236I've heard from a few readers that Interzone 236 is now available in U.S. bookstores. The issue features my story "The Ever-Dreaming Verdict of Plagues" (which is the sequel to my award-winning tale "Plague Birds"), along with great fiction by Mercurio D. Rivera, Fiona Moore, Jon Ingold, and Stephen Kotowych.

Traditionally Barnes & Noble carries Interzone in their magazine section, but you might want to call first before driving out of your way. In my experience only about half of the B&N stores carry the British magazine. Interzone is also available in the U.S. at specialty bookstores.

So is the issue worth buying? Absolutely. Check out this great review by Sam Tomaino of SF Revu, who not only calls my story "Hugo worthy" but praises all of the fiction, adding "Interzone is the best science fiction magazine in the world." It's hard to argue with that.

And if that doesn't fill your Jason Sanford and/or Interzone fix, issue 231 – Interzone's special issue focused on my fiction – is now available as an ebook edition through both Fictionwise and via Smashwords.

The Political Battlefield of Military Science Fiction

SF Signal has published my essay "The Political Battlefield of Military Science Fiction," which examines the political issues surrounding this subgenre in the U.S. The essay was originally published in the Czech SF magazine XB-1. I should also note there's a wonderful anecdote in the comments section about the first time Robert Heinlein met Joe Haldeman.

Aliette de Bodard also has a follow-up post to my essay in which she discusses how Americans use the word “political” to refer to something which, to her, is not political (i.e., whether or not war is justified, which to Aliette is an ethical issue, not a political one). A great point and one I'll have to think about.

Preying on the Dreams of Writers

The worst thing about being a writer is encountering all the fellow writers who have had their dreams destroyed by scammers and frauds. While these vultures exist in every field of human endevour – after all, if people can dream of something then others will find a way to rip off those dreams – the writing field is especially prone to con artists. Perhaps this is because most freelance writers lead extremely solitary lives and crave validation, making it easier for others to prey on them.

To fight back, SFWA hosts the wonderful Writer Beware site, which gifts these literary vampires with the revealing sunlight of day. The site is the brainchild of Ann Crispin and Victoria Strauss and I can't thank them enough for all they do. If I ever have a question on whether an agent or editor is trying to scam someone, their site if the first place I turn to.

However, the scammers don't like this so they are constantly harassing Ann and Victoria and anyone else who exposes their misdeeds. For more on this, check out the Writer Beware blog and the John Scalzi's great post on this subject. I hope other writers will read up on this issue and rally to the defense of Ann, Victoria, and Writer Beware.

Reading Without Meaning

Before I was a writer I was a reader. Doesn't matter if I'm reading a short story, a news article, an essay or a poem, I flat out love the act of reading. I love the way words interact with each other and spin different meanings and understandings based on how they are arranged and used. I'm also not alone in this love of reading. There are billions of people around the world with a similar love.

But lately my reading hasn't been as satisfying. The problem isn't with the traditional fiction, essays, and journalism I read. No, my problem is with many of the online news articles linked from places like Yahoo and Google News. I'm sure every reader of online news is familiar with these articles, which have eye-catching titles like "Can't Sleep? 7 Eats to Avoid" or "5 Cheapest Places To Live in America."  But once you read the articles you come away feeling unsatisfied, as if you'd eaten candy all day and forgot to ingest any actual food. These articles are often little more than lists, promising much more than they can deliver. They lack context. They lack a deeper understanding of life. They lack meaning.

I understand why this is – these articles are created by content farmers, whose only aim is to get as many eyeballs as possible clicking through their content. They don't care if their articles contribute nothing to their readers. They only care that they're good enough to work as SEO and that the big boys like Google don't call them spam.

But despite claims that search engines are cracking down on content farmers, my sense is that the content farm way of life is spreading more and more into online journalism. As one AOL writer asked his boss, “Do you guys even CARE what I write? Does it make any difference if it’s good or bad?" The answer, of course, was no.

But that "no" is extremely irritating to readers, who quickly tire of reading things which tell them nothing new and provide no deeper understanding of the subject matter. So yes, these articles may land a ton of eyeballs, but how many of those eyeballs exist under irritatingly raised eyebrows, and how many of these readers make the subtle decision to stop wasting their time with online news because of crap like this. Such a process might be slow but it can definitely happen. And it is very much a case of killing the goose that laid the golden egg.

But the future promises to be even worse for online news readers.

According to the provacatively titled "Will Robots Steal Your White-Collar Job?" journalism is at risk of being AI-sourced by the new generation of intelligent computer writing programs. The article mentions the program StatSheet, which has generated "more than 15,000 articles a month and over the course of its nearly four-year lifespan, has created a million pages of news."

The program's inventor, Robbie Allen, adds that "Within the next three to four years, it will be better than what a human can produce. And the reason for that is pretty much the foundation of computation: We can analyze and access significantly more data than one person can on their own."

I have no doubt about that last point regarding data handling. But can your program provide meaning and context and the deeper understanding that readers enjoy? No.

In fact, the article where I first read about the StatSheet is a perfect example of what these types of programs – and indeed, most content farmed articles – can not do. "Will Robots Steal Your White-Collar Job?" is a short but in-depth journalistic examination of an emerging trend. The author, Brian Fung, pulls together data and original information, including original quotes from knowledgable people, and crafts all of that into an informative article which left me knowing much more than before I read it. His article is a perfect example of the insights I expect to receive when I read shorter-form journalism.

It will be interesting to see where all this goes. These types of writing programs could be useful in cranking out breaking news articles. But if they are applied to other types of journalism I expect readers will react in similar ways to how I react to content farmed articles. All these articles do is waste time and leave the reader wanting to read less, not more.

The simple truth is that if you don't love reading there is no way you can be a successful writer. The passion and committment to words can't be faked and can't be content farmed out or generated by a program. And the same is true of helping readers to see to deeper meanings and understandings.

Perhaps I'm simply being naive. Perhaps not. But I do know what I love about the act of reading. And reading farmed content – created either by humans or computers – is not what I love to read.

Praise for Never Never Stories

My short story collection Never Never Stories is receiving some very good reviews.

  • Stefanie Hollmichel of the blog So Many Books said the stories are "well-written" and "imaginative beyond the usual science fiction offerings. It is a good collection and good reading if you are inclined toward science fiction or something out of the ordinary."
     
  • In another recent review, Catherine Russel of Functional Nerds said Never Never Stories "contains the most original speculative fiction that I’ve ever read" and that the book is "perfect for any fans of science fiction – especially genre tales that explore deeper themes."

The current issues of Interzone also has a review of Never Never Stories, but I haven't yet received my copy.

Many thanks to Catherine and Stefanie for the kind words. And if you want to see what all the buzz is about go buy your copy now.

 

The Evolution of My Love Affair with Google+

  1. I love Google+ because it's not Facebook. It's also cool that I got an invite and you didn't.
  2. I love Google+'s features. Let's hangout 24/7. Let's drag the whole damn world into a circle.
  3. Google+ is the be all and end all of human achievement!
  4. I will name my first-born son Google+!
  5. Ah. That was absolutely amazing, Google+. My best social media experience ever. Now what do we do?
  6. I see. Okay, I guess we can hangout some more.
  7. What do you mean you don't recognize my webcam. It worked the last fifty times I plugged it into you.
  8. What kind of question is that, asking if you're still hip? Of course you are, Google+. But is the word "hip" still hip?
  9. Sigh. I guess we can do a hangout to discuss whether or not hip is hip.
  10. Where the hell are all my Facebook friends? Don't they know they're missing out on the pinnacle of human civilization?
  11. Maybe I'll just pop back over to Facebook to see what everyone is up to.
  12. Oh God! Google+ caught me! I swear it was nothing. Facebook doesn't mean anything to me anymore. We're only friends.
  13. Please don't cry. Sigh. Yes, we can do another damn hangout.
  14. Are you sleeping, Google+? Good. Let me just see what my friends are up to on Facebook ...
  15. Sonofabitch! What's with you, Google+? How do you know everything about me?
  16. Oh. Of course. You are Google, after all. Do no evil my ass.
  17. Am I breaking up with you? No, not really. I still like what we have. But I'm hoping for more of an open relationship.
  18. No, I don't think Twitter and Facebook would be interested in a three-some.
  19. Don't get me wrong, Google+, it's nothing you did. It's me. I'm the one with the problem. 
  20. Hello Facebook! I'm back! How have you been?
  21. What the hell did you do to my privacy settings? No, I don't want Facebook using my profile picture to sell advertising for Sweaty Swine Kissers Anonymous.
  22. Google+, wait! I didn't mean it. Take me back! Please!

Suggest Stories for the Million Writers Award anthologies

Early next year Spotlight Publishing, which recently published my short story collection Never Never Stories, will release two anthologies of Million Writers Awards stories. I will edit both anthologies, which are titled:

  • Million Writers Award: The Best Online Science Fiction and Fantasy
  • Million Writers Award: The Best New Online Voices

These anthologies will feature stories from the last eight years of the storySouth Million Writers Award. I'm currently pulling together table of contents for both books, but I wanted to also offer readers and writers the opportunity to suggest stories for inclusion. After all, a key aspect of the Million Writers Award is that the public has a voice in the award process. I'd like it to be the same with these anthologies.

Here's the deal: only stories which made the award's notable story list, top ten list, or won the award are eligible for consideration. The Million Writers Award: The Best Online Science Fiction and Fantasy is, obviously, focused on those respected genres. Million Writers Award: The Best New Online Voices focuses on the most exciting new and upcoming authors who have had stories in the award over the last eight years. If you'd like to suggest stories, either use the comment box below or email your picks to me. Be sure to mention which anthology your suggestions are for.

Pasted below are links to the last eight years of Million Writers Award stories. If you have some suggestions, please send them to me by September 20th.

Last 8 Years of the Million Writers Award

When You Have a Chance to Meet an Editor, Say Hello!

One of the highlights of last weekend's Context convention – aside from hanging with great people like John ScalziMaurice BroaddusJohn Hornor Jacobs, and Jason Sizemore – was having the opportunity for a detailed discussion with David Hartwell. In case you don't know, Hartwell is a top editor with Tor Books and has decades of experience in the science fiction field. He has worked with a number of big name authors, including Philip K. Dick and Gene Wolfe (and was intimately involved in editing Wolfe's influential series The Book of the New Sun, which is one of the best literary works of the entire 20th century).

Hartwell and I sat beside each other at a "Meet the Authors" event and talked a good bit. One thing which stuck with me – and which Hartwell said I was free to share with others – was his shock at how few new writers had approached him at this convention. Considering that Context is geared toward writers, Hartwell expected a number of new authors to either pitch their novels or, if they didn't have a book ready, to at least introduce themselves. Instead, I was evidently one of the few writers he didn't personally know who engaged him in conversation.

This totally blew my mind. I mean, if you're serious about making it as a science fiction writer, why wouldn't you go up to a prominent SF editor and introduce yourself? Even if you get nervous around editors or don't have much to say, at least shake the man's hand. That way if you ever submit something to Hartwell you're not a total stranger.

As I mentioned, Context is aimed at writers, so I'm at a loss to explain why more writers didn't approach Hartwell. The only thing I can figure out is that there are a number of new authors out there who feel traditional publishing houses are not for them. One person I talked to at Context described these new authors as part of the "self-publishing subculture," which believes that to be a successful author all you need do is self-publish your book and attend conventions, where you sell copies to fellow authors who are also hawking their own self-published books.

Personally I feel that view is too dismissive of self-publishing, but it has a bit of truth. We've all met authors who believe success means selling a few dozen copies of their self-published book to friends and family. And if that's all they want, more power to them. But as a writer, I want to reach as many readers as possible. If self-publishing will do that, great. If traditional publishing will, that's also good. But no matter the route you take, one of the vital keys to writing success is to learn all you can about our industry.

Whether you want to self-publish your novel or are trying to land a traditional publishing contract, it is in every author's interest to make connections and talk with the editors in our field. And not simply because these editors might be able to help you with your career (although that is a big plus – remember, every editor out there lives for the moment when they discover a hot new writer). You see, editors are also a great source of information on what's going on in our genre and how the speculative fiction business works. This is information every author needs to know.

And to top it all off, most editors are fun people to talk to.

Yes, it would be nice if one day I'm able to submit a novel to David Hartwell and he remembers who I am. But equally as important, I had a great time talking with him. I learned a number of things about our genre I didn't know before.

So the next time you go to a con, say hello to the editors. 

Preview of "The Ever-Dreaming Verdict of Plagues"

EverDreamThe next issue of the British magazine Interzone contains my story "The Ever-Dreaming Verdict of Plagues," which is the sequel to "Plague Birds" (available at that link as a PDF download). At right is the opening spread, with amazing art by Hugo Award winning artist Jim Burns. The image shows the main character, Cristina de Ane, releasing the blood AI which lives within her body.

In the story, Crista is six months into her life as a plague bird, meaning she is both judge and executioner to the human-animal genetic hybrids who populate this future Earth. Crista has arrived in a small village to investigate a horrific murder. But she soon discovers that guilt and truth are not easy to discern in a world where humans and AI continually manipulate each other.

If you liked "Plague Birds," I think you'll also enjoy this story (and since "Plague Birds" tied for last year's Interzone Readers' Poll, I'm assuming a number of people liked it). Issue 236 of Interzone mails in a week or two, so if you want to read the story I'd recommend subscribing. I'm also working on additional stories set in this universe. Eventually I plan to release an entire book set around "Plague Birds."

Two Reviews

Here are two new reviews:

  • The first is by me, reviewing The Power of Six by Pittacus Lore (pseudonym of James Frey and Jobie Hughes). Overall I enjoyed the book, which is a fun read even if derivative and not extremely original. The best news is that as a book aimed at young readers, this novel might bring new readers to the science fiction genre. Check out my review at SFSignal.com.
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  • The second review is by Catherine Russel, who says my short story collection Never Never Stories "contains the most original speculative fiction that I’ve ever read" and that the book is "perfect for any fans of science fiction – especially genre tales that explore deeper themes." Many thanks to Catherine for the kind words. Read the entire review at Functional Nerds.

The Fantastical Ascent of ... Me

I've known poet and critic Dan Schneider for a number of years, ever since we both lived in Minnesota. Back then Dan was heralded as the most feared poet in the Twin Cities – if you think I'm joking, check out the cover story City Pages did on him a decade ago. We met while I was working at a literary organization called SASE: The Write Place. Dan hosted a poetry debate at a local performance hall and invited me to join him on stage. We argued a good bit but I came away really impressed with the man.

Since then we've become good friends. Despite this friendship, when Dan told me he was writing an in-depth critique of my fiction I was nervous. I really respect Dan's criticism because he tells it like it is and isn't afraid of being blunt to both friends and foes. Dan has reamed my writing many times in the past and I wondered if I was up for a repeat performance.

Nope. Turns out he's really impressed with my SF stories. If you want to read 10,000 words of criticism on my fiction, check out "The Fantastical Ascent of Jason Sanford."

Many thanks to Dan for the kind words and analysis. And be sure to check out more of Dan's criticism, poetry, and essays at cosmoetica.com.

Weird Tales and Editorial Vision

Sad literary news today – Wildside Press is selling Weird Tales to Marvin Kaye, who also intends to edit the magazine. That means editor Ann VanderMeer, the person most responsible for this magazine's amazing transformation in recent years, is out, along with her entire staff. During Ann's tenure Weird Tales won one Hugo Award for Best Semi-Prozine – at the time being one of only 4 magazines not named Locus to win that award in 25 years – along with chalking up another three nominations. Ann also showed that a venerable magazine like Weird Tales could be both respectful to its literary history while also embracing exciting new authors and movements, most significantly around the New Weird.

One reason Weird Tales was so successful under Ann's guidance is the vision she has for fiction, a vision she strongly applied to the magazine. And it is this loss of vision which makes me now worry about the future of Weird Tales. While Marvin Kaye has a long editorial history, he is mainly known in this genre for editing reprint anthologies (along with some original anthologies and, of course, his own fiction writing).

However, there's a big difference between editing magazines and book anthologies. With both reprint and original anthologies, you are dealing with known qualities – in the case of reprint anthologies with already published stories, while original anthologies tend to feature well-known and established authors. Publishers encourage this last point because big names on a cover sell more books.

With a magazine, though, you are not only looking for stories by big names you are also combing through the slushpile for exciting new voices which mesh with your editorial vision. In fact, this is one of the most important services magazines provide to the genre field – bringing new writers to the attention of the public. This doesn't mean editing anthologies isn't also hard work. It most definitely is. But the skill sets are very different.

Which brings me back to what I mentioned earlier about Ann's vision. Without a strong editorial vision a magazine can easily founder in the marketplace. Unfortunately, my take on Kaye's vision, which is based on the type of stories he's published in his anthologies over the years, is of someone in love with storytelling as it used to exist. The fact that his first issue as editor of Weird Tales will be "Cthulhu-themed" supports this view.

I'm not alone in this thinking. On Twitter, John Joseph Adams was asked what he knew about Kaye and replied "Not much, but I would expect WT to revert to the magazine it was 30-40 years ago." Warren Ellis echoed this by saying that Kaye is "clearly very retro in his tastes."

Let me be clear that there is nothing wrong with enjoying and loving the best stories from previous years. I grew up on stories from the Golden Age of SF and I'll always love them. However, that doesn't mean I want to read new SF stories written as if our genre was stuck in the '40s and '50s. Likewise with Weird Tales. While the magazine was the original home of Cthulhu, I'd rather read exciting new stories of the bizarre than revisit the glories of the magazine's past.

Perhaps I'm wrong, but I believe this editorial change will prove to be a major mistake for Weird Tales.

Context 24 Schedule and Premiere of Never Never Stories

I'm a participating author at this weekend's Context 24 convention in Columbus, Ohio. This is a great little con focused on literary SF, fantasy and horror.

My one panel will be on Saturday at 3 pm where Matt Cook and I will discuss "The Inside Scoop on Black Static and Interzone." Here's the panel copy:

The ground-breaking British magazines Black Static and Interzone, both published by TTA Press, rank among the most influential horror and SF/F publications in the world. Learn why readers, reviewers and the Year's Best anthologies pay special attention to stories published in these magazines and why TTA Press is receptive to new writers whose fiction doesn't fit in with traditional American genre magazines. The panel will discuss the types of fiction the TTA Press editors look for, showcase samples of these magazines, submission tips, and much more.

Book Premiere Party

On Friday night WriteShop, a writing group I've been a part of for several years, will host at 10th Anniversary Gala at the convention, with this party also conveniently doubling as the premiere for my collection Never Never Stories. The party will run from 7:30 p.m. to midnight on August 26, in the Pickaway and Fairfield rooms of the Doubletree Hotel.  There will be munchies, a cash bar, book giveaways, and many copies of Never Never Stories.

If you'd like a signed copy of my collection, please stop by the party. And if you're attending Context, please say hello if you see me wandering the halls.

What If They Gave a Hugo Award and No One Cared?

Overall, I'm not impressed with this year's Hugo Award winners. While I'm a fan of Connie Willis, Blackout/All Clear was not her best work and is the weakest novel(s) in decades to win both the Nebula and Hugo Awards. I'm also not surprised by this win. This was the establishment choice. But that said, I've yet to hear anyone raving about this novel the way people usually rave about a double award winner. (For more on my thoughts on this year's Hugo novel finalists, go here.)

In the short story category, I wasn't a big fan of any of the finalists, but of them Mary Robinette Kowal's story was the strongest. As for the novella and novellete categories, they were filled with very good and great finalists. I really liked Ted Chiang's The Lifecycle of Software Objects so I understand it winning, while in the novellete category I would have liked to see several other finalists win but am also okay with "The Emperor of Mars" by Allen M. Steele taking top honors.

But despite that, my general response to this year's fiction winners is "Eh, who cares." None of these winning stories excite me that much. As I mentioned, I liked The Lifecycle of Software Objects and of all the winners that's the one I come closest to being excited about. But compared to Chiang's great stories of previous years, this one was merely very good.

I should add that I'm very pleased by some of the other Hugo winners, especially Sheila Williams for best editor (an award which is long overdue) and Shaun Tan for best artist, while Clarkesworld taking top semi-prozine honors for the second year in a row proves the vitality of this great online magazine. I'm also thrilled Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It won for best related work.

But I just wonder if anyone will care about these Hugo fiction winners a decade or two from now, or if they'll be seen as the type of safe picks which make people question the validity of literary awards.

I mean, is there anyone excited about this year's Hugo fiction winners?

Colin Harvey, Rest in Peace

The news of Colin Harvey's death is hitting me hard. While I never met Colin in person, we corresponded on a regular basis. Colin struck me as one of the good guys of the world. He was very supportive of new writers, both through his anthologies and in his very perceptive reviews. Among the first glowing reviews I ever received for my fiction were from Colin.

Colin also was an amazing SF writer, with a unique voice and style. If you haven't read any of his books and stories, please do.

My heart goes out to his family and to everyone who knew and loved him. And my tears go out for the entire SF genre at having such a talented and up-and-coming author struck down when he was just hitting his prime.

The Story Which Didn't Inspire the Film 'In Time' (and Vice Versa)

Late last year I discussed why Cormac McCarthy's Pulitzer-Prize winning novel The Road didn't rip off Harlan Ellison's "A Boy and His Dog," despite comments Harlan made to that effect. My basic point was that copyright doesn't protect ideas, a fact which is well grounded in copyright law.

Well in a case of turn around is fair play, I've received several emails lately asking if Andrew Niccol's new SF film In Time ripped off my story "Millisent Ka Plays in Realtime." Short answer: No. Longer answer: This appears to be a case of two writers coming up with an idea independently of each other.

Here are the details: "Millisent Ka Plays in Realtime" deals with a future world where the currency is time. At birth each person is injected with artificial chromosomes which store massive amounts of data; when you purchase something, instead of paying with money people pay a time debt against the coming years of their life. Because most people are deeply in debt, they live as vassals to the lords of time, who buy and sell people's lifespans the way today's stock traders buy and sell companies.

Here's the summary for Andrew Niccol's In Time: "In the not-too-distant future the aging gene has been switched off. To avoid overpopulation, time has become the currency and the way people pay for luxuries and necessities. The rich can live forever, while the rest try to negotiate for their immortality."

So obviously there are similaries between the film and my story. Both use time as a currency, which benefits the rich while the average person is reduced to living like temporal slaves. There are also many other similarities. As the film's trailer shows, the time remaining in one's life is stamped on the arm and people can transfer time from one to another. In my story, a similar setup occurs with "time debt," which is recorded on the arm and can also be transferred between people. The lords of time in my story also age very slowly, similar to what happens in the film.

So I totally understand why people who read my story wondered if the film ripped off my ideas – and I'm equally certain once the film is released I'll receive emails stating the reverse. However, a quick look at the recent history of both my story and the film suggests neither of us knew of the other's work on the idea of time as a currency.

For example, "Millisent Ka Plays in Realtime" was published in the December 2010 issue of the British SF magazine Interzone as part of their special issue on my fiction. However, I first started writing the story in 2008, intending it for Jetse de Vries' Shine anthology of optimistic SF (although in hindsight the ideas behind there story were anything but optimistic, which is probably why Jetse bounced it). Once Jetse rejected the story in late 2009, I submitted it to Interzone

While I don't know the exact timeline for when Niccol wrote his screenplay, based on his previous projects it was likely also written in the last few years. Filming for the movie wrapped up in May of this year and the film itself will be released in October. Unless Niccol read my story in last year's Interzone and immediately wrote his own screenplay – an impossibility in today's Hollywood system – then there is no way either of us knew about the other's work around these ideas.

There are almost 7 billion people on this planet and it is not unusual for two of them to come up with the same idea at the same time. And even if one of us did copy an idea from the other, that still wouldn't matter. As U.S. copyright law states, "Copyright does not protect ideas, concepts, systems, or methods of doing something. You may express your ideas in writing or drawings and claim copyright in your description, but be aware that copyright will not protect the idea itself as revealed in your written or artistic work." 

If you want to read "Millisent Ka Plays in Realtime," the story can be found in my collection Never Never Stories. As for In Time, the film comes out October 28. Since Andrew Niccol is one of my favorite Hollywood directors and writers – being the creative force behind such amazing SF films as The Truman Show and Gattaca – you better believe I'll be there opening night.

And if some of the ideas in the film seems strangely similar to ones I've written about, that's simply the way the creative ball bounces.

Never Never Stories Now Available

NeverNeverStoriesCover

My short story collection Never Never Stories is now available. You can purchase the trade paperback from the following places:

I will also continue to sell the ebook edition on my own.

As a reminder, the 10 stories in the print edition are:

  • The Ships Like Clouds, Risen by Their Rain
  • When Thorns Are The Tips Of Trees
  • Here We Are, Falling Through Shadows
  • Rumspringa
  • Millisent Ka Plays in Realtime
  • Memoria
  • Peacemaker, Peacemaker, Little Bo Peep
  • Into the Depths of Illuminated Seas
  • A Twenty-First Century Fairy Love Story
  • The Never Never Wizard of Apalachicola

The print edition of Never Never Stories also features an essay exploring fantasy and archeology along with a jaw-droppingly good cover by artist Vincent Chong, who is currently a finalist for the World Fantasy Award.

You Won't Survive the End of the World

Today's Dilbert strip perfectly sums up how planning for the end of the world is doomed to failure. I mean, whether we're talking the collapse of our financial system, nuclear holocaust, zombie armageddon, or the return of Y2K, the odds are you and I would not survive.

Here's my reasoning: There are almost 7 billion people in our world. If the world ended today, the first people to be selected out is everyone reading this essay. Think about that. If you have a computer in today's world, then odds are you're highly tied in with the current economy and skill set. Well guess what – if the world ends there are no computers, Starbucks, or smart phones, meaning your skill set is totally irrelevant to survival. Instead, the people in this world who'd have a chance to survive are those with more traditional human skills like hunting and farming and simple manufacturing.

"But I plant a garden in my spare time. Surely I'd survive?" Err, no. And the same with the part-time hunting skills where you pack up the Hummer with a half million dollars in gear and drive five hours to bag a deer.  You see, those are not true hunting, farming, and maufacturing skills. When you have lived off your own farming and hunting for several years, or can build a generator from scratch, you can claim to have the skills to survive. Until then, you're merely playing.

However, there is a bigger problem, which today's Dilbert strip alludes to. No matter how many supplies you lay in, or how many traditional skills and guns you have, if you live in the parts of the world with computers and modern conveniences the odds don't favor you. 

For example, say the world ended and you're living in the United States with a population of 300 plus million. Even if half that population died, the other 150 million would be desperate to survive. The problem is that most of those people don't have the supplies and skills needed to survive outside our current economic order. 

So there you are, holed up in your rural safehouse with a thousand guns and ten pounds of seeds and enough know-how to impress even the author of that silly Farnham's Freehold. The problem is there are still 150 million people who want what you have. The odds do not favor you.

Sure, in one way or another humanity would survive. We're like that. We're the intelligent cockroaches of the animal world. But don't pretend you would survive the end of the world.

Help Locate Information on Fallen Peace Corps Volunteers

This year is the 50th Anniversary of the U.S. Peace Corps, the famous "toughest job you'll ever love." Since President Kennedy created the Corps in 1961 nearly 200,000 volunteers have served in 139 countries.  This number includes myself and my wife, with both of us serving in Thailand.

However, not all of these volunteers returned home. As documented by the non-profit Fallen Peace Corps Volunteers Memorial Project, 279 of these volunteers gave their lives while pursuing the Peace Corps mission. The accounting of these volunteers is listed here.

The problem, though, is there's little or no personal information for many of the volunteers listed on the memorial. The is especially true of PCVs who died in the program's early years.

So here's what I'm asking: Will you join me in tracking down information on these fallen volunteers? Simply go through the list of fallen volunteers and find someone without any information on their entry.  These deaths would have been in the newspapers at the time, meaning there are news reports we can locate using online databases. Or perhaps you know the family or friends of these volunteers, who might share some information for the memorial.

What We Are Looking For

  • Scans and summaries of news reports
  • Personal accounts from the volunteers' family and friends
  • Photographs
  • Scans of letters and other artifacts

If only a few hundred people pledge to search for information on these fallen volunteers, we will soon fill the memorial pages. I have been in contact with Donna Mack of the FPCV Memorial Project and she supports this data collection effort. Donna's son Jeremiah Mack was a PCV who died in Niger in 1997.

Please help spread the word about this.

Where to Send Information

If anyone finds information or photos, please feel free to send it to the FPCV Memorial Project through their contact page. If the information is contained in attachments or scanned documents which you can't send through the contact page, feel free to email those files to me. I will then pass them on to the project.

I should also note that FPCV will be taking part in the upcoming 50th Anniversary events in Washington D.C., with an Arlington National Cemetery presentation and wreath laying scheduled for September 25th of this year. The families of all fallen PCVs are invited to attend. For more information, please go here.

Writing a Novel On Google+

I'm extremely impressed with the hangout function on Google+. Not only is it a fun way to interact with people, as a writer I've found the hangout tool to be a great productivity booster. As I've previously mentioned, the combination of chit chat with other writers and the peer-pressure to write can result in some impressive word craft.  All that remains to be seen is if the hangout feature can actually help writers be more productive over the long-term, or if the increased productivity will fizzle out as people grow weary of this social media feature.

To test this, I will write a novel while hanging out on Google+. Yes, an entire novel. I actually started working on the novel in my previous two hangouts so if this pans out that means the entire manuscript will be written while my face is webcammed across the Google+ universe.

Here's the deal: Every Monday, Wednesday, and Saturday I will host a Google+ hangout at 9 pm Eastern. Any writer who is in one of my circles is welcome to take part. Starting at 9 we'll spend about 15 minutes talking shop and fumbling through that social awkwardness we writers know so well. After that we'll write for an hour. Depending on how people feel afterward, we can then follow up with more chit chat and writing.

Speaking for myself, spacing the hangouts over the week will give me time in between to do revisions and plan out the novel. However, the actual hangouts will be solely for writing. If anyone else thinks a regularly scheduled hangout will help your writing, please join in.

I'll also be posting regular updates on how this experiment goes.  And once again, thanks to Mary Robinette Kowal for coming up with the idea of these writers' hangout.