Category Archives: Author Interview

An Interview with Michael R. Underwood

Mike Underwood was kind enough to drop by today to talk about Born to the Blade, a new fantasy series from Serial Box Publishing, written in collaboration with Marie Brennan, Malka Older, and Cassandra Khaw. The first episode was released on April 18, 2018, with more to come soon. To get things started, I’ll introduce Mike by shamelessly stealing from his author bio…

Michael R. Underwood is an author, podcaster, and publishing professional. His series include the Ree Reyes Geekomancy books, the Stabby Award-finalist Genrenauts series, and Born to the Blade. He’s been a bookseller, sales representative, and the North American Sales & Marketing Manager for Angry Robot Books. He is also a co-host on the Hugo Award Finalist The Skiffy and Fanty Show and Speculate! The Podcast for Writers, Readers, and Fans. Mike lives in Baltimore with his wife, their dog, and an ever-growing library. He also loves geeking out with games and making pizzas from scratch.

Welcome and congratulations on the release of episode one of Born to the Blade! Without giving too much away, would you care to give folks a taste of what the series is about?

Born to the BladeBorn to the Blade is an epic fantasy series following three prominent bladecrafters in and around the Warder’s Circle – a diplomatic organization based in a free city built on a three-tiered flying city. Bladecraft works by drawing edged metal through the air in specific patterns called sigils. The warders wheel and deal and settle disputes between nations in ritual magical combat. Readers can expect diplomacy and subterfuge, magic and swordplay, and characters torn between their personal loyalties and duty to their home nations.

On your blog, you describe working on the series with Marie Brennan, Malka Older, and Cassandra Khaw, as a TV-writers-room-esque situation. Could you tell us a bit more about the collaborative process? Do you literally (or virtually) sit in a room together and hash out scenes, arcs, and plot points? Do you lob drafts back and forth between team members, or is it a divide-and-conquer kind of thing? Has working as part of a team had any impact on your solo writing process?

The Serial Box process is really cool, and unlike anything I’d done before as a writer. Last summer all four of us had a weekend-long in-person writers’ summit with Julian Yap (the co-founder of Serial Box). Everyone came to the summit having read the 30+ page world document I’d created, and we launched from there into conversations about what we wanted to do with the series, the characters, etc. We worked and re-worked the material, then laid out the season from there.

We kept developing the world even after the summit, as it turns out that there’s a lot of worldbuilding to do when you have people from over a half-dozen nations thrown together and coming into connection and conflict! A big surprise to other writers, I’m sure.
Each episode (we had eleven in season one) was assigned to one writer, but every member of the team provided feedback on each episode, so that each each represented our shared ideas and consensus on characterization, plotting, etc.

Working with Malka, Cassandra, and Marie has helped me gain a stronger understanding of different approaches to storytelling – it’s been much easier to see the contrast clearly when we’re all working with the same characters and world. I haven’t written a lot of my own fiction since we wrapped up the edits on season one, but the biggest craft lesson I feel like I’ve learned so far is how to more clearly delineate a character arc across numerous story beats. I’m looking forward to writing a new project where the character’s agenda drives the story in a very powerful way (for this type of character-driven storytelling, think Javier Grillo-Marxuach’s idea of Operational Theme and series like Breaking Bad).

Born to the Blade isn’t your first foray into episodic fiction. Genrenauts also has a TV series feel, with each episode seeing your characters visiting a different genre world and solving a problem there. What draws you to the episodic format? Speaking of Genrenauts, are there any particular genres and tropes you’re itching to play with that you haven’t explored yet?

As a life-long fan of comics and TV, a pretty large portion of the works that inspire me were told in episodic format – Babylon 5, Leverage, X-Men, Planetary, Buffy the Vampire Slayer, etc. The other major factor is that episodic fiction is easier to keep in readers’ minds – if you write a novel a year, you have one new release every 365 days. Born to the Blade has eleven release days per season. Genrenauts has five or six. This is also advantageous because the Amazon algorithms are more likely to be favorable if you have a very recent release, so an episodic project keeps your works in the good graces of the Black Box of Amazon for more of the year.

For Genrenauts, I’m very eager to try to see what I can say to add to the conversation in the Horror genre, and I’m excited to play around with the tropes of urban fantasy, utopian science fiction, historical romance, and, with some more research and expert consultation, non-Western narrative genres like wuxia.

Until recently, you were the Sales & Marketing Manager for Angry Robot Books. How, if at all, did your roles on both sides of the publishing equation inform each other? Is there a particular piece of advice, wisdom, information about what goes on behind the scenes in turning an author’s vision into the reality of a book that you want authors to know about?

Those two jobs were constantly feeding off one another. I’ve been able to bring a much stronger sense of the marketplace and how to position a work, which I’ve used in writing stronger pitches, applying strategies developed for AR in my own work, writing my own sales copy, etc.). And because I’d been around the author block a couple of times, I had a better sense of what authors need to know and are often worried or curious about that I could address with them.

The biggest lesson I’d share with authors is that while your book may be unique, you need to know how to compare it to other novels/books/etc. If you’re publishing in USA, CAN, and the UK, it needs to be classified into BISAC or BIC genre categories. You need to be able to tell sales teams and buyers what existing books it might sell like. You need to be able to use comparisons by tone, character, genre, or other content to help readers get a sense of what to expect from your work. An agent will help you sell the novel to a publisher, but you will keep on having to sell it yourself, to readers at conventions, festivals, and on a plane when someone asks what you do and you actually want to talk about your work. Reading widely in your field and learning how publishers and authors talk about their books will help you get better at doing this for your own stuff.

I’ve found that it’s smart to develop several different pitches for each work:

1) Comparison titles – “Born to the Blade is like Avatar the Last Airbender meets The West Wing, with magic swordfights).” This is sometimes also called “The Hollywood Pitch”

2) Tone and genre – “Born to the Blade is an optimistic epic fantasy that focuses on relationships, politics, and magic sword fights.”

You can also talk about the plot hook for the series or what makes the main character(s) compelling. Readers look for different things from their fiction, so each will respond to different pitch styles. And you can always keep adjusting your hand-selling pitches, learning as you go. Almost six years after my debut, I still find myself in a position to pitch my debut novel, so the work never ends.

As part of the Skiffy and Fanty and Speculate! podcast teams, you interview authors, review work, talk about the craft of writing, and generally get to geek out with your fellow podcasters about cool, nerdy things. What works, authors, or speculative fiction properties, are you particularly excited about at the moment? If you could signal boost one or two “hidden gems” more people should be reading/watching/talking about who or what would they be?

I’m really enjoying a video game called Slay the Spire, which is a run-based roguelike card game. Each run, you pick your class and build your deck from a small base deck as you climb a tower of enemies, have strange encounters, and loot. For folks somewhat in the gaming world, think Dominion but a dungeon crawl. Since Slay the Spire is run-based/roguelike, it’s incredibly re-playable, and lets you get some of the fun of collectible card games for a fraction of the cost. The game is in early access on Steam right now, so it’s constantly being updated and improved. The third character was just added on a test server, and I’ve been having a ton of fun trying to figure them out.

The other thing I’d shout-out is the GLAAD and Eisner-nominated comic series Kim & Kim by my friend Magdalene Visaggio (writer) with Eva Cabrera (line art), Claudia Aguirre (color art), and Zak Saam (letter art). It’s an irreverent technicolor science fantasy about bounty hunter besties who are constant screw-ups. It has incredibly strong character voices, inviting and kinetic art, and features a variety of LGBTQ characters. There are two volumes available right now (The Glamorous High-Flying Rockstar Life and Love is a Battlefield) and there’s an ongoing series coming soon, called Oh S#!t, it’s Kim & Kim.

Switching gears a bit, there are a fair number of speculative fiction writers living in and around the Baltimore area. What do you see as some of the more fantastical, or science fictional elements of the city that make it a draw for writers? In general, what are your favorite spots in the city, or places you recommend to people visiting Baltimore for the first time?

Baltimore has a lot of cool history to draw on – the neighborhood of Fell’s Point was home to privateers, it was the home of a major battle of the War of 1812 (aka the battle where “The Star-Spangled Banner” was composed). A lot of people know The Wire, but there’s way more to Baltimore than that. All of those give writers powerful touchstones to build on, re-interpret, or to challenge with speculative fiction.

But enough about cool history – Baltimore is also a city with sharp income inequality, systemic racism and classism, a history of police abuses, etc. – all of which can directly inspire cyberpunk storytelling and/or any type of social science fiction.

For first-time visitors to Baltimore, I highly recommend the National Aquarium, the American Visionary Art Museum, or just a walk around Fell’s Point.

Now that Born to the Blade is making its way out into the world, what’s next for you? Is there anything else you have upcoming or that you’re working on that you’d like people to know about?

I’m finishing up revisions on a space opera novel that my agent will be sending around to publishers. I’ve been working on this one off-and-on for a couple of years, and I’m very excited to see how people respond to it. After that, I’m going to be breaking ground on Genrenauts season two and working on some comics projects to pitch.

That all sounds awesome! Thanks for dropping by!

Thanks so much for having me on for a chat!

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An Interview with Miriam Seidel

Miriam Seidel was kind enough to drop by today to talk about her wonderful novel, The Speed of Clouds. To get things started, I’ll make introductions by way of shamelessly stealing from her author bio…

Miriam Seidel is a writer, curator, librettist, and longtime sci-fi fan. Her novel, The Speed of Clouds, will be published by New Door Books in April 2018. She wrote the libretto for an opera about the visionary inventor Nikola Tesla, performed in Belgrade, New York, and Philadelphia, and a sci-fi radio play for New American Radio. She’s written about visual arts and performance for Art in America, the Philadelphia Inquirer, and other publications, and her writing has won fellowships from the Pennsylvania Council on the Arts.

The Speed of CloudsWelcome and congratulations on the publication of your first novel! Without giving too much away, would you care to give folks a taste of The Speed of Clouds is about?

Well, the main character, Mindy, is a fangirl for SkyLog, a major sci-fi franchise, who edits her own fanzine. It’s 1999, so fan fiction is already big, but just starting to migrate from printed zines to online. Mindy is disabled—she has spina bifida and uses a wheelchair. But when she loses the leadership of her club, she’s forced to explore different parts of the SkyLog fan universe, which ends up bringing her to a stronger, more open version of herself. Meanwhile, other, more sweeping versions of events come in through fan fiction stories and the obsessions of some of the characters. I wanted to get at that heady, disorienting feeling in the contrast of those two kinds of experience—our regular, more circumscribed lives, and the bigger things we imagine.

There are so many wonderful things about this novel, the characters, their relationships, and the shared passion over nerdy pursuits, whether it’s music, collectibles, science fiction or computer programming. Did one of these elements in particular form the seed of the novel that the rest was built around, or did it all come together at once? Or, to put it another way, what was the spark that drove you to write The Speed of Clouds?

The spark was definitely my experience of going to Cons. I had been reading and watching sci-fi and fantasy since I was a kid, but never as part of a group—I was kind of a loner, and there wasn’t as much going on then. But later I heard about the Star Trek Cons, and my antennae started buzzing. I told myself it would be a fun thing for our son, who was in elementary school and watched the shows with us. But looking back, I kind of used him as my excuse to check it out. I loved the whole thing—the overheated atmosphere, the tension between the cheesiness and all this pure passion, the fans themselves, and especially how they got dressed up! It felt like a kind of ritual of communion with this large-scale fictional world.

At a certain point, Mindy came to me as a character, full-blown. And then the other things gathered around her like a centrifuge. I felt that she was strong enough to be at the center of these other elements, a lot of which I’m into myself: contemporary art, electronic music, Buckminster Fuller. BTW, I do have a theremin (which makes a cameo in the story), and I’ve played it, although it’s really hard to master.

Obviously the culture of fandom is deeply important to the novel, which touches on cosplay, conventions, zines, fan fiction and more. What is your own personal experience with fandom, and what is your particular fan passion?

My personal experience has been through Cons and clubs. Right now I’m a member of the Philadelphia Science Fiction Society, which has many really smart, serious fans and stimulating discussions. And I love Galactic Philadelphia, a new SFF reading series.

I want to hone in on the fan fiction aspect of the novel for a moment. You use it effectively in The Speed of Clouds to echo the characters’ real life experiences, but you also touch on the importance of fan fiction in expanding a property’s world. For example, fan fiction creates the space to explore consequences which can often get lost in episodic television, and it can improve representation by including queer pairings through slash fiction, whereas a mainstream TV series might be afraid to go in that direction. Are you a writer and/or reader of fan fiction yourself? If so, have you ever come across a story line in fan fiction that you’d want to see brought to life in the main property itself? If not, what would be your choice of media property to write fan fiction for if you were going to delve into that world?

I am so fascinated and heartened by this aspect of fan fiction. In one way, I see fan fiction taking story-making full circle, from telling stories around the fire, to folktales, to written literature, film, and now electronic mass media, and fan fiction then re-appropriates the mass media to create this proliferating, grass-roots art form that you could see as a new kind of folk art.

And then in this new, unregulated space, things like slash fiction could emerge that rewrote the possibilities of gender and sexuality, adding them into that narrative of the future. That was pretty radical when it started in the 1970s. And it’s interesting that slash began mainly with women writers. I really wanted to fold in the Mary Sue phenomenon, which also rose out of early fan fiction by women, but then turned into a weapon used by fanboys against women writers. Women in fan fiction feels somehow related to the growing numbers of great women’s voices in SSF writing now. I know it’s not a direct line, and that the wave of new women writers may be more of a concurrent phenomenon, but women writing fan fiction could have been a contributing factor. It was liberating, and it still can be.

As far as writing fan fiction myself, I’ve read it but haven’t written any. When I was a kid and read something that really struck me, I always wanted to draw the characters, so I guess you could call that fan art. I did that with Lord of the Rings, and this was long before the movies came out and stamped those versions of the characters into our retinas. It could be fun to rewrite parts of LOTR with women characters—either new ones, or expanding on the few who are in there. And this may be a reach, but you could say my novel is my way of writing fan fiction.

Switching gears a bit, I’d like to ask about some of your other artistic work, specifically the libretto you wrote for the opera about Nikola Tesla. How did that come about? What was it like seeing something you’d written performed live?

Like some of my characters, I have a tendency to get obsessed with certain subjects, and I became completely obsessed by Tesla after reading his biography (the one by Margaret Cheney, which I recommend). I was working as a visual artist at the time, but I had seen some contemporary opera, and it just seemed clear to me that Tesla’s story had to be told as an opera—that it was too big and strange to be anything else. Here was a figure whose inventions had shaped our world, yet who was subject to visions throughout his life. I was very lucky to connect with the composer Jon Gibson, and he set my libretto to a wonderful score. I did see it performed in Philadelphia, and then in Belgrade and New York on Tesla’s 150th birthday. Hearing the words I had written coming to life in Jon’s music was profoundly thrilling. I felt that in the first rehearsal, and at every performance.

Switching gears again, there are a fair number of speculative fiction writers living in and around the Philadelphia area. What do you see as some of the more fantastical, or science fictional elements of the city that make it a draw for writers? In general, what are your favorite places to visit in the city, or places you recommend to people who are coming to Philadelphia for the first time?

What a great question! I’m not sure why Philadelphia has been a congenial place for speculative fiction writers, but it may have to do with the fact that it’s always been a strong city for science and scientists. I do think Ben Franklin is an icon in this way, with his interest in electricity and mathematics—did you know he was into magic squares? And there’s the Franklin Institute, which hosted a lecture by Tesla in 1893, and they have a working Tesla coil in their electricity exhibit. And the ENIAC was developed here at Penn—I only recently learned that women played an important role there, as they did at NASA.

My personal favorite science/sci-fi icon is the Bicentennial Moon Tree, which was planted from a seedling that orbited in space, in Washington Square. It looked pretty sickly though, and I wondered if the trip had been traumatic for it. Then it died, but they’ve now replanted a clone from the original, which is also kind of science-fictiony.

Now that The Speed of Clouds is out in the world, what’s next for you? Is there anything else you have upcoming or that you’re working on that you’d like people to know about.

The next novel I want to write will be straight sci-fi/fantasy. Right now it’s in the notes-and-outlining phase.

Thanks for dropping by!

Thank you so much! I’m such a fan of your writing, and I appreciate what you do for the SFF community!

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An Interview with Brooke Bolander

Brooke Bolander was kind enough to drop by today to talk about her debut novella, The Only Harmless Great Thing. To get started, I’ll make introductions by way of shamelessly stealing from Brooke’s author bio…

Brooke Bolander writes weird things of indeterminate genre, most of them leaning rather heavily towards fantasy or general all-around weirdness. She attended the University of Leicester 2004-2007 studying History and Archaeology and is an alum of the 2011 Clarion Writers’ Workshop at UCSD. Her stories have been featured in Lightspeed, Strange Horizons, Nightmare, Uncanny, Tor.com, and various other fine purveyors of the fantastic. She has been a finalist for the Nebula, Hugo, Locus, Theodore Sturgeon, and World Fantasy awards, much to her unending bafflement. She can be reached at her website (brookebolander.com) or on Twitter @BBolander

Welcome and congratulations on the publication of The Only Harmless Great Thing! Without
giving too much away, care to give readers a taste of what it’s about?

The Only Harmless Great ThingThe Only Harmless Great Thing is my weirdo prose-poem alternate history novella tribute to two really terrible, mostly forgotten bits of ephemeral American history: The 1903 public execution by electricity of Topsy, an abused circus elephant, and the deaths of the radium girls, factory workers employed in New Jersey and Illinois to paint watch dials with radium-laced dye. Nobody bothered telling them that the paint was toxic, and none of the girls suspected a thing until, one by one, they began to sicken and die of radiation poisoning. In the universe of the book, things work out a little differently for all involved. Bonds are struck and terrible choices are made—choices that will also have massive ramifications in an alternate present and a far-flung future. It’s a book about anger, and injustice, and women, and friendship. It’s about stories–how they shape narratives and who gets to shape those narratives. It’s about coming together, solidarity in anger and in the fight.

Also: Wooly mammoth folk tales. I can never forget to mention the wooly mammoth folk tales. If you’ve been dying to read a wooly mammoth folk tale, boy have I got the book for you.

Since the book is rooted in events that actually occurred in the early 20th century, what kind of research did you do to inform your writing? What drew you in particular to that time period, or to the story of the radium girls and Edison’s experiments with electricity?

I’m a history student slash historical buff, so a lot of this was already rattling around in my head, looking for a way out.

The late 19th/early 20th century is such an odd period; industrialization rattling on at an ever-increasing clip, making the lives of many better while crushing the poor and the marginalized to feed the altars of Our Sainted Lady Progress. So many things we’ve come to rely on in modern life were invented then. So many of our problems now come from callous decisions made around that era, broken, unsustainable, exploitative systems cemented in on which our own personal Omelas teeters and sways. Want to understand why things in the States are splintering the way they are now? Trace the cracks and fissures back to the period after the Civil War and go from there. You can do that all the way back to the beginning–the systems this country built itself on were always, always rotted through–but recently I was watching a documentary on New York at the turn of the last century and it was remarkable how much you could pinpoint at that nexus leading to where we are currently. The same systems that gave us the freedom of the automobile belched pollution into the air, necessitated the creation of the assembly line, and tore highways through urban neighborhoods with a callous disregard that’s breathtaking. There’s very little we have now that didn’t come with a price. The rich and the powerful wrote the tunes we’d be dancing to on down the decades.

So I think about that a lot, especially recently for, y’know, reasons. The exploitation of the radium girls was just one case in a long, long line of horrible incidents around that time: The matchgirls who came down with fossy jaw in London, the Triangle Shirtwaist fire in New York, and the radium girls of New Jersey and Illinois. The first two were such public outrages they sparked protest and change; the London Matchgirls Strike of 1888 was a reaction to the growing number of fossy jaw deaths, and the Triangle Shirtwaist fire in 1911 (the doors to the factory floors were locked from the outside to prevent union organizers from reaching workers; a fire broke out and 146 women, mostly young immigrant girls, burned to death) led to slightly improved factory safety standards and the organization of the International Ladies’ Garment Workers Union. But until recently, the radium girls had been mostly forgotten. Their deaths sparked no grand revolt or reform. The lawsuits against their employers were stalled and put off long enough that most of the girls were dead before it was all settled. The best they could hope for was a payout for their families and the shutting down of the factories so that no more women would come to such an end. Nobody taught their story in schools; the only monument that stands to mark their passage was erected in Ottawa, Illinois after a schoolgirl learned what had happened and, horrified at her community’s silence over the matter, fought and pressured for a statue.

The past deserves telling. Even the nasty parts. Especially the nasty parts. If the stories aren’t told, they die, which is also a big theme in the book.

And Thomas Edison, as usual, has been credited with yet another accomplishment not his own, having precious little to do with Topsy’s death. She, like many a ‘performing’ elephant before and since, was so ill-treated she finally snapped and killed a man, at which point the Forepaugh Circus sold her to Frederic Thompson and Elmer Dundy, owners of Coney Island’s Luna Park. Her handler there was an alcoholic. There were more incidents, some involving the police, none of them really her fault. Eventually Thompson and Dundy decided to get rid of her, and what better way to both take care of the problem and promote their soon-to-be-opened park than with a public execution?

The confusion arises from Edison’s penchant for frying animals during the War of the Currents and the fact that the film crew sent to record the event were from Edison Studios. Edison was a terrible guy who deserves everything bad smeared across his name, but the Current War had ended fifteen years earlier, and Edison Studios took no direction from the man himself on who or what they filmed. As far as anybody can tell, he never even knew Topsy existed. She, like the radium girls, was simply another victim of a brutal, uncaring system. Her death served no purpose, for good or ill.

Your short fiction has been multiply award nominated at this point. Do you remember the first nomination, how you found out about it, and what you did to celebrate?

That would have been the Nebula nomination for And You Shall Know Her By The Trail of Dead in early 2016. SFWA calls you for that one, on the phone; I believe I was standing in my kitchen in Brooklyn when they rang, and for once I actually picked up. I’m pretty sure I said “thank you” a whole lot, got off the call, and went to go stare at a wall in a daze for the next half-hour. I was coming off a pretty rough winter, a bad time, and it just made everything extra surreal. I felt a little like Neil Patrick Harris in the final shot of Doctor Horrible.

But thankfully everything seemed to pick up from there, at least personally. Hearing that I’ve been nominated for something has never gotten any less weird, though. “You mean people LIKED that? … That much? Good lord, really?”

Completely switching gears for a moment… At the time this interview is being written, the background image of your twitter account is a scene from Who Framed Roger Rabbit. How great is that movie? It’s sort of a perfect storm of things that shouldn’t work together, but they do, and can never be replicated. (I may be a touch obsessed.) What is you favorite thing about the movie? Favorite character? Seriously, how freakin’ great is it?!

Bless you a thousand years for asking about Who Framed Roger Rabbit, one of my favourite movies if not my absolute favourite. It is great in so many ways I don’t even have space to go into them all here. It’s absolutely ridiculous that it’s so damned good, but I’ve been watching it since I was 7, and it just keeps getting better the older I get and the more I learn and learn to see. It’s a movie that never should have gotten made, a logistical nightmare both in the level of special effects needed and the constant wrangling to keep both Disney and Warner Bros and every other company with a character in the damned thing happy. And who the hell pitches a comedy/all-ages noir based on the same concept as an unmade Chinatown sequel with a Robert Moses figure as the villain, razing a marginalized community to the ground to build his precious freeway?

(True story, folks; it had the working title Cloverleaf and was going to go into the sordid land grabs that made the Los Angeles highway system possible. Considering how The Two Jakes came out, this was probably the best case scenario.)

My favourite thing about it is how deft and tight the storytelling is. It’s a movie that never bothers infodumping about this bizarre world it takes place within when a shot of a photograph on someone’s desk or a single line of dialogue will do. We learn about Eddie Valiant almost entirely from his interactions with others. From Dolores and Lt. Santino we get that he used to be a great guy and an A+ detective, but unresolved grief over his brother’s death has turned him into a reactive, alcoholic mess taking muckraking jobs just to pay rent. From a really beautiful, wordless montage panning over their desk, we learn that Eddie and Teddy started out with the LAPD before hanging up the shingle on their own with Dolores to become respected PIs. The camera deliberately scrolls backwards chronologically through Valiant’s past until it ends on a shot of Eddie, Teddy, and their dad together in the circus–a single frame explaining why Eddie and Teddy were so open to taking Toon cases in the first place, how bitter and damaged the loss of Teddy has left his now-humourless brother, and, finally, how Eddie knows all those cool clown moves he makes use of in the finale. How the hell do you tell that much in ONE FRAME?! Cinema has its own language, and that entire scene rings like ‘cellar door’ to me.

And of course, none of this would work without Bob Hoskins acting his entire ass off, taking everything almost as seriously as his role in The Long Good Friday (Eddie, as you may have already guessed, as my favourite character). The scene where he has to confront his unaddressed PTSD over Teddy’s death and go back through the tunnel to Toontown–again, almost wordlessly; this is a movie that knows when to keep quiet–lives or dies on Hoskins’ ability to emote, and boy does he bring it. The acting on display would be phenomenal in any film; here it’s absolutely jaw-dropping. Watch: He’s nakedly terrified. He breaks out in a sweat, probably remembering in vivid detail his last visit there. He goes to take a drink of bourbon for courage, but stops with the bottle halfway to his lips. Slowly, like a light has just gone on, he lowers it, considering the label like he’s never really seen a bottle of Wild Turkey before until this moment. No, you see him decide, finally, I’m goin’ in there clean. He pours the contents into the gutter. He’s still terrified, but something has changed. And it’s not even sudden, this epiphany! The entire movie has been building to it. Once he takes Roger under his wing, he never takes another drink. He’s tempted, but the bottle always stops halfway.

… Also it’s still a really fucking funny movie. And I have gone on way too long here about Who Framed Roger Rabbit, sorry. You did ask!

There’s no such thing as going on too long when talking about Roger Rabbit! However, topic hopping again, you studied History and Archeology at University. Has any of that background made it into your writing thus far, or do you think it might in the future?

I think it informs everything I do or write in some fashion or another. Being a student of history means you have that much more of an informational back catalogue to dig into when you need a subject to write about. So many interviewers have asked me how I learned about these things, and it’s very strange because an awful lot of the time they’re already sitting around in vials in my head, waiting for a moment to react with something. “BREAK GLASS TO RECEIVE STORY.” History is nothing but stories interlinked, after all.

Now that The Only Harmless Great Thing is out in the world, what’s next for you? Any projects you’re working on you want folks to know about?

I’m currently working on a fantasy novel. I have always been working on this novel. Presumably I will be working on this novel until we go all the way back ’round the horn and start relaying stories solely as an oral tradition again, at which point the entire damn endeavour will be moot. Story of my life.

Besides that, though, I have an upcoming novelette at Tor.com about (what else) extinct animals and the end of the world. I swear up and down that my next piece will be about kittens on fluffy duvets and nobody will die or be angry, ever. Honest.

Thanks for stopping by!

Thanks for having me! And for asking about Who Framed Roger Rabbit. Because Who Framed Roger Rabbit, y’all. Forget about my book: Go re-watch it. Seriously.

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An Interview with D Franklin

D Franklin was kind enough to drop by today to discuss their new venture, Galli Books. I’ll start things off with an introduction by way of shamelessly stealing from their bio…

D is a genderqueer Glasgow-based bookseller. They are a recovering Ancient Historian, a comics nerd, a science fiction and fantasy devourer, and they are founder of Galli Books.

Galli Books Welcome and congratulations on the launch of Galli Books! For those not in the know, what is Galli Books? What sort of titles can people expect from Galli? What inspired you to found Galli?

Galli Books is a small publisher of speculative fiction anthologies with social themes and intersectional social justice intent. Our first couple of planned titles give a good idea of what to expect in future, too; a book about alternative masculinities, and a book of stories of scientists who aren’t (gasp) men!

I was inspired to found Galli when another call for submissions from another publisher went out that basically called for stories that it claimed represented suppressed ideas, when, in reality, they’re the dominant ideas in our genre and across society. A few people on Twitter joked about a response anthology and I… maybe took the joke too far?

You recently put out your first call for submissions (including a call for artists’ portfolios). For hopeful authors out there, what type of work is likely to catch your eye? Conversely, what do you not want to see in your submission pile?

I’m not editing it alone, I’ve got some excellent consultants in to co-edit the volume with me! Shout out to Jay Wolf, Ronan Sadler, and Brandon O’Brien! Work that will catch our eye will be socially progressive, will rewrite the standard toxic and fragile models of masculinity that dominate in our society, will have diverse casts, and will engage with a range of responses to masculinity. What we don’t want to see is a whole lot of Conan clones, because that’s what we’re reacting to, nor straightforward parody of that… unless it’s really spectacularly done parody, of course!

On a somewhat related note, since you’re also a reviewer, what are some of your recent favorite reads? Or your all-time favorite reads? What titles would you point people toward in order to get a sense of your tastes, or just in general because you love them and want people to read them?

Recently, I loved Jeannette Ng’s Under the Pendulum Sun: theology and fairytale run up against each other in a claustrophobic Victorian gothic melodrama. More broadly, everyone should read the Imperial Raadch trilogy by Ann Leckie, Becky Chambers’ heartwarming and intelligent Wayfarer series, and quite literally every novel N. K. Jemisin has ever written. Your own Ultra Fabulous Glitter Squadron Saves The World Again has a special place in my heart for combining so many different registers so brilliantly, and for what it does with masculinity (TOPICAL); I’m still not over ‘Roller Girls Have More Fun’.: blushing over here.) (Interviewer’s note And, of course, there’s Terry Pratchett, miss him as we all do…

In addition to being a reviewer and a publisher, you’re also a bookseller. Do you have any “tales from the trenches” that you’re able to share, either in terms of odd questions you’ve received, or inspiring stories of helping someone find the perfect book?

Oh, the tales I could tell… if it wouldn’t be unprofessional. Let’s just say that sometimes, “It’s the recent one with the silver cover” is surprisingly more than enough information to go on; that books that haven’t been in print for half a century AREN’T going to be available in a first-hand book shop; and that no, you can’t have a copy of the book that’s not out for another week, because we don’t have it in – it’s not out for another week.

To topic switch a bit, you’re based in Glasgow – what’s the speculative fiction scene like there? More generally, what are some of your favorite places to visit in the city, or places you would recommend to someone coming to Glasgow for the first time?

Glasgow has a seriously thriving speculative fiction scene; internationally it is perhaps eclipsed a little by some of Edinburgh’s writers like Laura Lam, Ken MacLeod, and Elizabeth May, but we’ve got some great folks of our own. The irrepressible and brilliant Hal Duncan is possibly our most notorious current speculative author, but Neil Williamson, Ruth Booth, and Cameron Johnston, whose debut is coming later this year, are all also locals; the Glasgow Science Fiction Writers’ Circle does a great job of encouraging and helping new writers, and it’s produced some real crackers!

Any visitor to Glasgow needs to visit one place, and it’s a café. Or a gin bar. Really, it’s both. Cup in the daytime is a lovely café with cakes, food, and a whole menu of different kinds of tea. At about 5 o’clock, it turns into Gin71. The name originally referred to its street address; now, it refers also to the number of gins they have. We’re also home to a whole lot of museums and art galleries, plus there’s always the Charles Rennie Mackintosh architecture to admire!

Aside from Galli Books, do you have any other upcoming projects you’d like people to know about, or any other closing thoughts in general you’d like to share?

“Aside from founding a publishing house and putting out a public call for stories to your anthology while working as a bookseller”, you mean? HAH, oh for that kind of energy! Though watch this space for future calls for submissions!

I can’t wait to see what the future holds for Galli Books. Thanks for dropping by!

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An Interview with Ada Hoffmann

Ada Hoffmann was kind enough to drop by today to talk about her debut fiction and poetry collection, Monsters in My Mind. To get things started, I’ll make introductions by way of shamelessly stealing from Ada’s author bio…

Ada Hoffmann is the author of over 60 published speculative short stories and poems. Her work has appeared in professional magazines such as Strange Horizons, Asimov’s, and Uncanny, and in two year’s-best anthologies. She is the winner of the Friends of the Merrill Collection Short Story Contest (2013, “The Mother of All Squid Builds a Library”) and a two-time Rhysling award nominee (2014 for “The Siren of Mayberry Crescent” and 2017 for “The Giantess’s Dream”).

Monsters in My MindWelcome and congratulations on the publication of your first collection! Care to give readers a little taste of what sorts of things they’ll find in the pages of Monsters in My Mind?

Dinosaur opera. Hive-mind squid. Non-neurotypical fairylands. Half-living spaceships in the shape of dragons, teenagers working together to escape cyber-surveillance, and Neolithic vampires who prowl in ancient ruins with their packs of human followers. Passionate and difficult relationships, both romantic and familial. Characters who are monsters, characters who love monsters, characters who fight against monsters with everything they’ve got, and characters who are all too human.

I’m always fascinated with the various approaches authors take to assembling their collections. How did you go about picking which stories and poems to include, and how to arrange them? Would you say there’s an emergent overarching theme, or groups of themes within the collection?

I’m glad you’re fascinated by this, because so am I. I always wanted to arrange an anthology around a theme. When I got the idea of working with NeuroQueer Books, I came up with a way of structuring a collection just for this publisher. If I put words to the theme of Monsters in My Mind, it would be the theme of feeling different, not fitting in some big or small way, and the countless ways characters respond to that.

I went through all my stories and poems that were available to reprint, and I jotted down how they engaged with the collection’s theme. I used those notes to put together a rough ordering felt like it made sense – as if the theme was its own meta-story, with its own establishment, development, rising action, and resolution. I knew the stories I wanted to start and end with, and that helped give the meta-story a shape. Finally, I put the rough collection together and read through it a few times, tweaking the order to make sure it flowed and wasn’t jarring or doubling back on itself.

I’ve published several stories and poems that I think are very good, but that didn’t fit into the collection thematically. Either they didn’t have anything to do with the theme, or they engaged with it in a way that didn’t feel like a fit with where the meta-story wanted to go. Those ones, I am saving for another collection!

I’m admittedly biased since it originally appeared in Unlikely Story, but one of my favorite among your stories is “How My Best Friend Rania Crashed a Party and Saved the World”. It also happens to be one of my favorite story titles ever, so I have to ask, which came first, the title or the story? I also have to ask the same question about the titles “An Operatic Tour of New Jersey, With Raptors” and “The Mother of All Squid Builds a Library”.

For “The Mother of All Squid Builds a Library”, the title came first, along with a mental image of the main character. The rest wrote itself. For “An Operatic Tour of New Jersey, With Raptors,” the idea for the story came first, but the title followed logically and was put on the page before the story’s actual words.

“How My Best Friend Rania Crashed a Party and Saved the World” was the reverse. The story’s working title was “AllBook, Rania, and the Infallible Cloud,” but that was a terrible title because no one who hasn’t read the story will know what any of it means. The actual title came in very late. It’s funny you should say it’s one of your favorites, because several readers complained that it was false advertising. Rania is a World Saver, and she crashes a party and engages in World Saving, but that’s a phrase that has a special meaning in the world of the story. The actual, literal world is not saved.

Switching gears a bit, you run an ongoing review series called Autistic Book Party. Could you talk a bit about how the series came about?

Back in 2012, I was a very shy little blogger who didn’t really know how anything worked. Autism representation was a thing I had started to pay attention to, and I had posted a couple of small things about it, but nothing huge. Then thanks to a signal boost by Jim C. Hines, I suddenly had people pouring in who wanted to know more. They kept asking me if I’d read this book, or that book. It should have been overwhelming, but I felt excited and inspired. I hadn’t known anyone was really interested in what I had to say.

I had actually not read most of the books, so I decided to fix that. I called it Autistic Book Party partly out of irony, but also because the glut of people did feel like a party to me. In retrospect I think that’s exactly how autistic people should party – by coming together and discussing a shared interest.

A question I always like to ask my fellow Canadians is about the idea of Canadian Literature. Do you think there’s a particular theme, tone, or some common unifying thread that makes a piece of writing particularly Canadian? If so, do you find it in your own writing, either surfacing unconsciously, or something you actively work toward or against?

Canada is such a big place with so much diversity. There are some obvious ways to make a story feel Canadian, like setting it in Canada. But I think it would be a mistake to identify Canadianness through just one factor – I think there are a lot of subgroups doing wildly different things. Even just within Canadian speculative fiction, I would say that’s true.

Since your Ph.D. studies focus on computer generated-poetry, I’m curious as to whether you’ve read “Caesura” by Hayley Stone, which was recently published in Fireside Fiction, and deals with an AI gaining self-awareness through poetry, and winning a major poetry competition no less. Do you think computers could get to the point of producing art, poetry, writing, and music that’s indistinguishable from human-created works? Or will there always be a kind of uncanny valley effect, for example the My Little Pony Names designed by a neural network (http://aiweirdness.com/post/164560090962/new-my-little-ponies-designed-by-neural-network) where some of them are spot on, and some are hilariously and/or terrifyingly wrong?

I have definitely read “Caesura” – in fact, it went on my list of favorite short stories from that month.
Computers in real life are at a point where the best of them can do a skilled pastiche of the patterns that emerge in human art. It’s not perfect, but it’s often good, and sometimes good enough to fool non-experts. But there is definitely an uncanny valley effect, especially in computer-generated creative writing, and it comes from the fact that computers don’t really understand what they’re doing. They don’t have a sensory experience of the things they are writing about; it’s just patterns in letters to them. There are ways to make inroads on this problem, but the only way to fully solve it is by inventing strong AI. The computer in “Caesura” is a strong AI, but we’re not anywhere close to that in real life, and we don’t even have a solid idea of how we’d get there or what it will look like when we do.

In the near future, we’re going to have a lot of cute silly bots like the My Little Pony one, a lot of pastiche machines that make convincing Muzak, and some really cool, really out-there art projects that are the result of humans and computers working together in novel ways. But I don’t believe computers will become better than humans at the kind of art humans are already doing – that’s a job for our wildly speculative, SFnal robot overlords.

Now that Monsters in My Mind is out in the world, what’s next for you?

I need to finish my PhD thesis, and I need to write more short stories and poetry – a few of those are already scheduled to come out in 2018. I have a book of dinosaur poems, “Million-Year Elegies,” that has been stalled out at about 75 or 80% complete for at least half a year now, and I need to get back on that. I also have a completed space opera novel that my agent is shopping around, but no idea if anyone will actually buy it or not. Anything could happen. Who knows?

“Million-Year Elegies” sounds amazing. Good luck with the PhD thesis, and thanks for dropping by!

You’re welcome! It was a pleasure.

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An Interview with the Sword and Sonnet Editors

Sword and SonnetToday, I’m delighted to welcome the editors of the upcoming anthology, Sword and Sonnet, currently running a Kickstarter that you can support right now! (And you really do want to, because it’s going to be amazing.)

Welcome! To start things off, could you please each briefly introduce yourself and talk a bit about your vision for Sword and Sonnet.

Rachael: I’m Rachael K. Jones, former editor of PodCastle, award-nominated author, professional Tyrannosaur, Nicolas Cage enthusiast, and secret android. (Wait, did I said that aloud?) When I think of an anthology of battle-poets, I think of all the ways people have used their words as weapons, in powerful and creative ways that have shaped the world. I’m thinking of the pioneers of hip hop. I’m thinking of Sappho writing in exile. I’m thinking of all the people in history whose pen was their sword, and especially people from marginalized genders whose work has been lost or forgotten. My hope is that our anthology can gather up a little bit of that spirit in one place, and have fun with it to boot.

Aidan: I’m Aidan Doyle, associate editor of PodCastle, short story writer, and frequent traveler. Like Rachael, I want to see stories of people using their words as weapons – fantastical sonnet-slinging spellbinders and brave bards.

Elise: I’m Elise Tobler and I am the senior editor at Shimmer Magazine, cupcake connoisseur, and trebuchet enthusiast. When Aidan proposed the anthology, I was pretty excited over what it could mean and humbled that he thought to invite me. Shimmer has published a few things that would fit my “vision,” but I hope all of our protagonists will be active, curious, and filled with a kind of poetry that overwhelms the reader when they reach the end of the story.

An anthology of battle poets, sonnet slingers, and Haiku-wielding heroines definitely sounds like a concept with a story behind it, possibly one involving shenanigans. How did the idea for this anthology come about?

Rachael: I blame Aidan. Picture me standing behind him jabbing both fingers at him. He instigated the shenanigans and press-ganged invited me along for the samurai-stuffed ride.

Aidan: I read Sei Shonagon’s The Pillow Book and fell in love with her writing. She was known for intimidating the men of Heian-era Japan with her knowledge of poetry. Fablecroft Publishing announced a call for stories for Cranky Ladies of History and I wrote a story featuring Shonagon using her knowledge of poetry to defeat demons. The story was rejected (a revised version later appeared in PodCastle) but SL Huang remarked that she would love to read a story about a badass battle poet and I had the idea for an anthology of battle poet stories. Elise and Rachael have a lot more editorial experience than I do and I was thrilled they wanted to be involved in the project.

Elise: I completely blame Aidan, too, but appreciate his invitation to play on this amazing battlefield.

As editors, I know it’s sometimes hard to pin down exactly what you’re looking for in a story, and sometimes the best stories are the ones you never knew you wanted to read until you’ve read them. That said, do you have any particular soft spots in fiction? Are there are any subjects, styles, themes, or anything else you’re hoping to see in the submission pile?

Rachael: I’m a complete sucker for stories with a strong sense of voice, and that will be doubly true in an anthology with a poetry motif. I want stories that make me care about the characters and take me into their lives. For a thematic anthology, we’ll also be looking for stories that harmonize and contrast nicely to one another. I am also always on the look out for stories by authors just entering the short fiction world. If you’re looking for your first publication, please submit! Speaking personally, I’m also secretly a huge Old English poetry nerd, and might actually die of joy if I ran across a feminist Beowulf riff somewhere in our submissions. Tyrannosaurs are optional, but always encouraged.

Aidan: I have a soft spot for dark humor and for intricate settings. Like most editors I want characters I care about and stories with a strong voice. I also have a weakness for bears.

Elise: I love to experiment. I love to jump off a cliff and dare the reader to follow. I hope we see some risk taking! I’ve always found poetry to be powerful. When I’m stuck in my own work, reading poetry can often get my brain back into gear and motion. I am hopeful we’ll see stories that show and explore that power. Poetry can so often be looked down on, but I think it’s just as vital to this world as fiction. Poetry can be quiet, but so can a punch to the gut.

Since you’re editing an anthology themed around fighting and poetry, I think it’s only fair to ask each of you to provide an inspiring battle cry in limerick form. Haikus are also acceptable. (Yes I’m aware this isn’t actually a question.)

Rachael:

There once was a lass in a bonnet

whose sword had strange writing upon it.

She translated the verse

into this lovely curse:

“Ye aught go to back Sword & Sonnet!”

Aidan:

There once was a poet whose love of words,

Transformed her sonnets into birds,

She fought her enemies with poems and puns,

They laid down their swords and guns,

And praised the power of her words.

Elise:

There once was a girl who did battle

With her sword, her book, and her…hey are those cattle?

She took to the sky

With a furious cry:

“Oh shit I’ve misplaced my saddle!”

Bravo! Now, if you yourself were going into battle, what would your weapon of choice be?

Rachael: The word Hospitality in sixteen languages, a dappled pink scarf, and my rebellious youth. I would ride behind my battle-poet army on a beat-boxing mastodon and pointedly refuse to smile when asked. It would be terrifying.

Aidan: A dancing Christopher Walken riding atop a giant sandworm.

Elise: The trebuchet, filled with a thousand thousand volumes of Good Poems for Hard Times, ed. Garrison Keillor.

I would follow all of you into battle without hesitation! Any closing thoughts you’d like to share about Sword and Sonnet, or other upcoming projects you’re working on you’d like people to know about?

Rachael: While many anthology Kickstarters offer story critiques as a backer reward, ours is offering a special round table-style crit from all three of us. This is a good opportunity to get a peek at the editorial process in a way you almost never get to see when you’re just starting out. We say all the time that editors aren’t a monolith, and different readers can have very different opinions on the same story, which means that often submitting your stories is really a game of finding your ideal reader. Otherwise there’s a tendency to thinking we need to flatten ourselves as writers to fit, to aim for a good generic blandness instead of embracing what makes our voices unique, powerful, and sometimes divisive. But the truth is that every battle poet causes conflict, right?

Aidan: We’d love the chance to see what stories writers can create about battle poets and hope that people are excited about the idea as much as we are.

Elise: I hope that we have the opportunity to bring you this anthology because the concept is truly unlike anything I’ve seen out there.

Thank you all for dropping by! I can’t wait for Sword and Sonnet to be out in the world!

Rachael: Thank you so much for having us!

Aidan: Thanks Alison!

Elise: Thanks for having us, Alison. I’m delighted you’re going to be part of this anthology!

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An Interview with Cassandra Khaw

Cassandra Khaw was kind enough to drop by today to talk about her new novella, A Song for Quiet. To get things started, I’ll make introductions by shamelessly stealing from Cassandra’s author bio…

Cassandra Khaw is a London-based writer with roots buried deep in Southeast Asia where there are sometimes more ghosts than people. Her work tends to revolve around intersectional cultures, mythological mash-ups, and bizarre urban architecture. When not embroiled in fiction, she writes about technology and video games for a variety of places including Eurogamer and Ars Technica UK.

Welcome, Cassandra, and congratulations on the publication of A Song for Quiet! As I understand it, this novella brings back John Persons, but is not a direct sequel to Hammers on Bone. Without giving too much away, can you give readers a taste of what to expect in A Song for Quiet?

A Song for QuietSouthern Gothic Lovecraftian with a heavy note of the blues.

Man, I wish I thought of that logline before this. Um. Anyway. A taste of what to expect? If you’re coming straight from the epilogue of Hammers on Bone, I’d say: expect the unexpected. In that A Song for Quiet is a drastically different book from its predecessor. Hammers on Bone laid on the neo-noir thick; it growled, it grumbled, and it smelled of neon-lit rain and cigarettes.

A Song for Quiet, on the other hand, is a hush. It’s a quiet book written to the meter of some old blues classics. It’s a book on grief, a book about helplessness, a book about finding hope in dark places. It isn’t a book about the people history remember, but a book about the heroes that time forgets. More than anything else, A Song for Quiet is a book of my grief and if you’ve wondered why it was like to hear someone’s heart breaking in half, this book’s for you.

I love the cover art for both of your Tor novellas. Did you have any input in the process, or did they come as a complete surprise?

They come as a complete surprise! Well. Sort of. Jeffrey Alan Love, who I’d just been a fanatical fan of, is basically the artist associated with the series. So long as Tor.com keeps publishing the Persons non Grata series, he’d be cover artist. (At least until whatever arrangement they’ve got going change. I don’t know how it works.) In that sense, the cover for A Song For Quiet wasn’t a surprise. I knew it’d be Jeffrey. I just didn’t know what would be going down.

That said, it’s Tor. I’d trust them with any of my covers any year. Like, wow.

Hammers on Bone and A Song for Quiet mash-up the genres of noir and Lovecraftian fiction. You’ve also drawn on Lovecraftian fiction in your short stories, specifically An Ocean of Eyes, which I loved. What appeals to you about playing in those worlds, or in the broader genre of dark fiction and horror generally? Is there an sense of subverting or reclaiming spaces and tropes that have historically been male-dominated, and in some cases outright misogynistic and racist?

I keep hearing this question and I keep revising my answers. There are layers to it. Like, to begin with, Lovecraft felt utterly impenetrable the first time I read his work as a teen. English’s my third language and the lexicon of words he used, the structure of his prose. It felt … inscrutable. Alien.

Of course, that meant I just wanted to beat my head against the challenge until it all made sense. So, that’s one reason for my fascination with Lovecraft. One of the other reasons, curiously, is a sense of empathy. More than anything else, Lovecraft felt absolutely terrified of everything. The world, the people who inhabited the world, the nature of his own skin, the flesh, the grim inevitability of the void. Every time I think about him, he always seems so scared. Not cowardly, per se. But just so very aware of how terrible the world is.

And I get that. I look up into the sky and there are days, especially now, when I see nothing but the hungry void. I read the news and it’s nothing but stories of powerful, inhuman creatures tearing apart the world. It scares me too.

But where Lovecraft was resigned to accepting his world of monsters, of seeing everything foreign as terrifying, I’m, like a lot of people who are messing around in the toolbox, not. I wouldn’t call myself optimistic, however.I think the world is a terrible place. But I think it is one that needs people reminding children that they can fight their monsters, that incremental improvements are worth fighting for, that the future’s worth a legacy of pain. That the moment that you give up, that’s the moment that the monsters win.

Every second before that, though? You’re still fighting to bring a light into the dark.
… I have no idea if that answered the question. I hope it did.

Now that you have a few novellas under your belt, do you have any interest in moving to novel length work? How does your writing process differ tackling longer versus shorter fiction?

Yes. I’d just submitted A Language of Doors, which is a sequel to my story in Shimmer, ‘In the Rustle of Pages.’ I think that’s my last novella for a good long while; my post-apocalyptic fairy tale mermaid novel is next. My writing process? It feels almost entirely the same, to be honest. I’m a pantser in the sense that outlines mostly just confuse me. My work tends towards being atmospheric because the process of writing them inevitably feels like a sustained delirium. I’m chasing snatches of dream towards its ending. With longer work, these waking nightmares just last longer.

With your non-fiction writing, do you ever get sent cool pieces of technology or get previews of video games to review? Does your non-fiction writing ever inform your fiction writing in any way, or do they live in two totally separate compartments of your brain?

I got a PS Vita as part of a job once. And I’ve been sent a Kindle Fire. I’ve lost track of the number of games I’ve received ahead of the release date. Won’t lie. It’s swell. My non-fiction brain has absolutely influenced my fiction writing and in the worst possible way! It took me almost a year to stop trying to abbreviate everything in a way that would be acceptable to my media training. (My fiction brain has done some beautiful things to my non-fiction brain, however My non-fiction now emerge as sumptuous, shameless things full of defiant word-beauty.)

Completely switching gears for a bit, one of my favorite questions to ask authors is about their non-writing related work. Authors are notorious for working strange jobs, for example J.D. Salinger’s stint as the entertainment director on a luxury cruise line. What’s the most unusual job you’ve ever had, and did it inspire any stories or teach you anything you’ve used in your writing?

I spent a week selling fish in a supermarket. It didn’t inspire any stories. But I was nineteen and my mother had gotten confused in regards to what an internship meant. We’d expected me to be plunked down in someone’s office, settled in behind a desk. Instead, I ended up spending a week in a supermarket, loudly encouraging housewives to check out our imported meats. My life’s been weird.

Now that A Song for Quiet is out in the world, what’s next for you?

I’m head down in my day job, which is the COOLEST DAMN THING BUT I CANNOT TELL ANYONE WHAT IT IS YET. AGH. And I’m pecking away at my mermaid novel because I promised my agent I would and it’s been forever.

Thanks for stopping by!

Thank you for having me!

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An Interview with Sunny Moraine

A few years back, I interviewed Sunny Moraine about their novel Line and Orbit. Sunny was kind enough to come back today to talk about their new serial fiction podcast, Gone. If you dig Gone (and why wouldn’t you?), consider supporting Sunny on Patreon so they can continue creating it. Now, to get things started, I’ll make introductions by way of shamelessly stealing from Sunny’s author bio…

Sunny Moraine’s short fiction has appeared in Tor.com, Strange Horizons, Nightmare, Lightspeed, and multiple Year’s Best anthologies, among other places. They are also responsible for the Root Code and Casting the Bones trilogies and their debut short fiction collection Singing With All My Skin and Bone is available from Undertow Publications. In addition to time spent authoring, Sunny is a doctoral candidate in sociology and a sometime college instructor. They unfortunately live just outside Washington, DC, in a creepy house with two cats and a very long-suffering husband.

GoneWelcome back! Gone just released its mid-season finale. Without giving too much away, can you give folks who may not be caught up yet a taste of what Gone is about? And for those who are in the know, any non-spoilery hints about what the future holds?

Gone starts with a relatively simple premise: you wake up one morning and everyone has vanished, leaving no trace or clue regarding what happened or where they went. My unnamed protagonist goes from there, initially trying to answer the most basic question of where everyone is, but things quickly get a lot weirder and far more troubling questions begin to assert themselves. Including the one I think most of us would be asking: “Is this even happening at all?”

Halfway through the season it’s turned into a story about mental illness and the terror of isolation and the fearful damage of deeply repressed anger. It’s also a twisted kind of love story (this is where I think the influence of Alice Isn’t Dead is most apparent) between two women, a romance which has been happy and healthy on the surface while resentment and lies seethe beneath. At heart it’s a story about things breaking down and falling apart: lives, relationships, one’s grip on reality and perhaps reality itself. It’s a very personal story and a lot of my own baggage is in it. Which is true of most of my work.

The future? I’m both excited by and nervous about the future. I can reveal that the second half of the season is going to be much darker – figuratively and literally – and some fairly awful things are going to happen, including one scene that I’m especially nervous about because of the subject matter, which hopefully I’ll pull off okay. I don’t think things are going to tie themselves up neatly in the end, but I almost never end stories that way anyway. Nevertheless, I’m aiming to make the ending a real conclusion that ideally at least somewhat satisfies. Although not all the questions will be answered, many will be.

I promise she won’t turn out to be in Purgatory. Or Heaven, or Hell, or any iteration of any afterlife. I won’t hurt anyone else the way Lost hurt me.

Something that I said in the intro to the midseason finale is that this is actually a much larger universe than it seems right now (about which I don’t know a huge amount and would like to find out). I’m not sure how much of that universe I’ll be able to explore in the next five or six (six maximum) episodes, but it is out there, and while I’m envisioning this season as a single self-contained narrative that can stand on its own, I’m also consciously developing it in a way that could be an establishing point for a second season. That’ll depend almost entirely on the reception the rest of the season gets; if the demand is there, I’ll try to make it happen. In any case, there’s the possibility.

You’re essentially a one-person production team, and you’ve written a bit about your process on your blog. One of the things that surprised me is how much room for improvisation you leave yourself. What is your actual, physical process like when you sit down to record? What do you have with you in terms of notes, cues to yourself, or points you know you need to hit in each episode? Have you ever gone back to re-record sections after something unexpected came up that pushed the plot in a different direction, or do you simply go forward from where the new twist in the story takes you?

Very little of what someone hears is directly scripted, yeah, although the Interludes are all written beforehand. For the main episodes I draw up an extremely rough sketch of an episode, with a few “talking points” for each scene, but otherwise I just sit down in front of my cheap little mic and improvise with one eye on my outline. I feel like it helps with the acting, and it makes it easier for me to get fluidly into this character’s head. I actually haven’t had to re-record much; I edit things, cut out longer pauses and lines that I don’t think work, but for the most part I get the lion’s share in a single take.

The overall plot for the rest of the season is fairly set, but I’ve left some flexibility for things to take the natural turns they want to (which is also how I write my other fiction). So for the most part, when something new pops up, I have room to let it run. I’ve also had to shift scenes around here and there in my outline when I realized they might have to happen sooner or later than I thought.

On a related note, what has been most surprising to you in terms of what you originally envisioned for the story, versus where it’s ended up so far? (If you can answer without giving too much away that is.)

The plot hasn’t really surprised me; it’s the details that have revealed themselves as I go. I had only a basic grasp of this character when I started recording the first episode; she’s taught me about herself as the story has unfolded. Though again, none of that has been exactly surprising, because the framework for her character was always there and I knew the outlines of who she was, but it’s been great to chip away at the marble and watch the details of the sculpture appear.

I think what’s been most surprising to me is actually just how well it’s held together so far. I’m obviously nervous about that suddenly not being the case, and it’s clearly not a perfect story because very few stories are, but in general, considering that I’ve never done this before (with the exception of my other podcast, Keep Singing, which is purely a fandom deal), the whole thing has been kind of a pleasant surprise.

In the same post where you discussed process, you talked a bit about drawing inspiration from classic audio dramas like The Shadow, as well as recent podcasts like Alice Isn’t Dead. One of the things that’s always fascinated me about the audio dramas is the foley work. How do you handle sound effects for Gone? Have you used any household items in unconventional ways to create the audio effects? Has any of your audio work caused undue alarm among neighbors, pets, or passersby those who may not be aware you’re recording an audio drama?

Oh, man. Yeah, it’s been an interesting experience, especially given that I have no budget or formal training in any of this, and my “recording studio” is a home office with tile floors and mostly bare walls. That obviously works okay for stuff that’s technically supposed to be recorded in someone’s echoey home office, and that’s one reason why I lean a lot on that setting, but for scenes set elsewhere, I have to get creative. So far the best solution I’ve come up with for that is recording with a literal quilt over my head and the mic to dampen the echo. I have to hold very still to minimize the rustling. It’s not perfect but I think it works better than I would have expected.

For sound effects, I make heavy use of a site called Freesound.org, which is an excellent archive of Creative Commons licensed sound effects. The quality is a somewhat mixed bag but so far I’ve found enough good stuff to do what I want to do. But using imported sound effects takes a fair amount of precise work – I often do a lot of editing and move smaller bits of them around – so I try to do in-“studio” foley when I can. When the protagonist is flipping through a book, I’m flipping through a book. When she runs into the hall, I’m running into the hall. I actually threw myself and a bunch of stuff on the floor for a scene in the second episode; the pain you hear there is real (I wanted it to be; I suffer for my art).

The most recent episode involved some screaming; I closed up the house, put the quilt over my head, and prayed no one would call the cops. It’s not the last time I’ll need to scream, either, so it could yet happen.

I have badly startled my cats on more than one occasion.

As mentioned, you’re a one-person production team. Do you think you might ever expand to include additional voices?

I’ve been thinking about that a good bit, especially as I look forward to the possibility of a second season. I’d like to, with another project if not with this one, but I think I would have to adjust my working style somewhat and write real lines, given how much of what I do is unscripted. That or find a truly gelling improv partner. I’m also not sure about how to handle the logistics of recording multiple voices, especially if I’m dealing with geographically distributed people, but hey, I could learn. I’ve taught myself how to do this much.

In addition to being a podcaster, you’re also a novelist, and a prolific author of short fiction. What else do you have coming up, or in progress that you’d like people to know about?

I have a story forthcoming in Uncanny Magazine – not sure exactly when – about two women who forge an intense and violent romantic relationship owing to their shared superpower: they can cause enormous destruction when they’re in pain. I’m very proud of it and very excited to share it with the world.

Besides that, I’m in the final stages of editing a novel called LINEAGE which will be released hopefully sometime in the first part of next year from Riptide Publishing. It’s a work of science fantasy set in the same universe as the ROOT CODE books, about a trans man who (along with the girl on whom he has a tremendous and tremendously awkward crush) crashlands on a strange planet and must try to survive caught between an isolated band of survivors and their nemesis, who is a gigantic sentient plant-mass.

Finally, I’m in the early development stages of another podcast with my sister, Emma Phipps. The working title is “Drinks and Thinks”, and the premise is that we drink a different specific brand of liquor per episode while we ramble on some topic of mutual interest. I have no idea how well this would/will work but it seems like it might be fun.

That all sounds amazing and I can’t wait to read and listen! Thank you so much for stopping by!

Thank you so much for having me!

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An Interview with Kat Howard

Kat Howard was kind enough to drop by today to talk about her new novel, An Unkindness of Magicians, among other things. To get started, I’ll make introductions by way of shamelessly stealing from Kat’s author bio…

Kat Howard is a writer of fantasy, science fiction, and horror who lives and writes in New Hampshire. Her short fiction has been nominated for the World Fantasy Award, performed on NPR, and anthologized in year’s best and best of volumes. In the past, she’s been a competitive fencer and a college professor. Her debut novel, Roses and Rot was released from Saga Press in May of 2016, and will be followed by An Unkindness of Magicians in September 2017, and a short fiction collection, A Cathedral of Myth and Bone, in 2018, both also from Saga. You can find her on twitter, and on tumblr.

An Unkindness of MagiciansWelcome and congratulations on the publication of An Unkindness of Magicians! Without giving too much away, care to give readers a taste of what it’s about?

Thanks so much! To continue the trend of shameless stealing, here’s the back cover copy:

There is a dark secret that is hiding at the heart of New York City, diminishing the city’s magicians’ power…

In New York City, magic controls everything, but the power of magic is fading. No one knows what is happening, except for Sydney—a new, rare magician with incredible power that has been unmatched in decades, and she may be the only person who is able to stop the darkness that is weakening the magic. But Sydney doesn’t want to help the system, she wants to destroy it.

This is a book about sacrifice and family and making yourself who you want to be. Oh, and there are magical duels.

I have admit that sometimes I’m shallow, and I do judge books by their cover, by which I mean impulse buying things that are pretty. This cover is a particularly striking one – did you have any input on the artistic process?

I had absolutely nothing to do with the artistic process, so I feel perfectly comfortable in saying that I love how gorgeous this cover is. The cover design is by Lizzy Bromley, and the illustration done by Vault 49, and I’m so grateful for their genius. It’s based on what is one of my favorite scenes in the book, where a piece of magic goes very, very wrong.

I also wanted to ask about your first novel, Roses and Rot, which I adored. I love the themes of family, fairy tales, and artistic inspiration woven throughout. Speaking of artistic inspiration, what sparked this story for you?

Thank you! Roses and Rot is a very loose retelling of Tam Lin (Child Ballad 39A). So in a way it was sparked back when I read Pamela Dean’s gorgeous novel, Tam Lin, and first learned about the story. The question that eventually became the book for me was, “What would you be willing to give up?”

The artist’s colony of Melete that you describe in the novel sounds amazing. If you were invited, would you go, even knowing what lies behind the colony? If you were offered the deal that the most promising Melete residents are offered, would you accept that invitation?

I’d go, and I’d make the bargain. I’m not sure I’m exactly comfortable with that piece of self-knowledge, but there you go.

In addition to your two novels, you’ve also written quite a bit of short fiction. Were there any challenges in transitioning between the two lengths? Do you have different processes for writing short versus long fiction?

The biggest challenge for me was to let the novel open up and breathe. My short fiction tends to be very focused (or at least it feels that way in my head when I’m writing it), and so allowing myself to open up to the possibilities that something novel-length offered as a bit of a transition.

Switching gears completely, I have to ask about your competitive fencing. How did you get into competitive fencing, and do you still fence for fun? Are you an extra harsh critic of works (movies, books, etc.) featuring swordplay? Are there any works out there that really get it right? On the other side of things, is there a particular thing that people who don’t do their research get wrong about swords that causes you to shout at a book/movie in frustration?

I’ve been obsessed with fencing since I first saw a Zorro cartoon and went around drawing Z’s everywhere. Seeing Star Wars and lightsabers only increased this obsession. My parents found me lessons, and I started training seriously in college. Injury meant that I stopped competing, but I’m moving in a few months, and one of the first things I did was look up fencing clubs, so I hope to get back into it. I love the sport.

And because I love the sport, while I do wince at certain depictions, I’m also generally glad to see fencing in movies and books. Anything that gets people to love it! Ellen Kushner writes great fencing, and Molly Tanzer has a forthcoming book, Creatures of Will and Temper, that I love, and also has terrific fencing in.

Oh, and there may be a fencing scene in An Unkindness of Magicians, too.
(NB: I wrote an article about fencing for Lightspeed a few years ago, if you want more info)

Now that An Unkindness of Magicians is out in the world, what’s next for you? Any projects you’re working on you want folks to know about?

I have a short fiction collection, A Cathedral of Myth and Bone, that will be out next fall from Saga. There will be reprints, but also some new pieces, including a new novella, “Once, Future.” That’s an Arthurian riff that I’m extremely excited for people to read. And I am working on some other things that I hope to be able to say more about soon!

All of that sounds wonderful, and I can’t wait to read it! Thanks for stopping by!

Thanks so much for having me.

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An Interview with the Editors of Augur Magazine

Augur MagazineToday, I’m very pleased to welcome the editors of Augur Magazine, a new publication of intersectional Canadian speculative fiction. They’re currently running a Kickstarter to fund their first two years of publication. For a taste of the types of things they intend to publish, check out their Preview Issue, which is available for free.

Welcome! To start things off, could you please each briefly introduce yourself and talk a bit about your vision for Augur Magazine?

Kerrie: Hello! Thanks so much for having us. I’m (obviously) Kerrie, cat lover extraordinaire and the Editor in Chief of Augur.

When it comes to Augurian vision, I think we’ve all always wanted to create space for the kinds of stories we wanted to read. For me, it was a matter of time and place. Augur is all about creating space for stories that don’t always have the room to be told—whether intersectional storytelling (something we gravitate towards naturally as a fairly intersectional editorial staff) or stories that fit between genres.

We’ve talked a lot about our goals and wants for intersectionality over the last month on our kickstarter campaign, so i’m going to focus for a second on the second point. We’re really looking for stories that feel like they don’t belong, or that might not fit a single or defined genre. It’s one of the reasons we aren’t limiting ourselves to speculative or realist work—we take both, because we think that they aren’t as different from one another as they’re often treated. That said, we do lean pretty heavily on the speculative fiction side of things. There’s just so much room there to explore the kinds of topics we love.

Alex: We’re thrilled to be here! I’m Alex, the Managing Editor of Augur and a JD Candidate at the University of Toronto’s Faculty of Law.

Mado: Great to be here! I’m Mado: Senior Editor for Augur and classical pianist who moonlights as a writer (or is it the other way around?)

How did you all meet, and how did the idea to launch Augur come about?

K: A half decade or so ago, I launched a speculative fiction magazine at the University of Toronto called The Spectatorial. This was, in part, a response to something so many spec fic readers are familiar with—how little speculative fiction is in the English Literature curriculum, despite the fact that it’s such a rich literary landscape. The mag quickly became one of the biggest pubs on campus. And, to my surprise and delight, it also became a blissfully queer and intersectional space.

It was easy to make The Spectatorial that kind of space. It happened naturally. We want to bring that sense of ease with us to Augur—we want to be coincidentally intersectional, that kind of space that creates a gravitational force. It will take work on our part. Natural doesn’t mean easy for us. But I remember the joy in the faces of the students who were a part of The Spec—here was a speculative fiction environment that supported them! My hope is that Augur will generate that same kind of joy on a larger scale than a university campus. The Spectatorial was always what I considered a training ground for the magazine-that-would-become-Augur, but it was definitely a force in making us realize how much need remains for spaces that explicitly look to welcome intersectionality. None of those students should have been that happy that they finally felt like they belonged—they should have had that experience much sooner.

As for how we met, we’re mainly school chums. Alex was an editor of The Spectatorial after I was, and Mado and I met online many, many moons ago—but officially met in person in a writing group I ran at the University of Toronto. I’m very lucky to have them on the team.

As editors, I know it’s sometimes hard to pin down exactly what you’re looking for in a story, and sometimes the best stories are the ones you never knew you wanted to read until you’ve read them. That said, do you have any particular soft spots in fiction? Are there are any subjects or styles or types of voices you’re hoping to see in the submission pile, or things that you don’t see enough of in other publications that you’re hoping Augur can highlight?

K: I’m a big sucker for pieces that are only-kind-of-speculative and/or that play with your idea of what a story is meant to do. I like being left with questions and uncertainty when I read, but especially when those questions and that uncertainty is joined with a sense of fulfillment. When you get something from a story, but it takes you some time to realize what you’ve gotten—maybe you never get more than a feeling. This is especially true when the voice and writing are crystal clear—I want to be challenged when I read, but I don’t necessarily like being challenged to read it in the first place. That’s also, of course, highly dependant on each individual piece. Sometimes the dense, difficult-to-read pieces are my favourite. But the above is the easiest way to get on my Yes list.

A: I love stories that have lush settings—I’m always drawn into stories that have a strong atmosphere and some well-placed details about their environment. I have a huge soft spot for urban fantasy. Seeing cities turned magical, dystopic, futuristic, or otherwise speculative enthrals me every time. There isn’t a lot of urban fantasy set in Canada, so I think I would really latch onto stories like that.

I find that lately there’s been a resurgence of stories written from the second-person perspective, and I’d definitely like to see more of these stories coming to Augur. There’s something about the directness and intimacy of this approach that I think can have really fascinating effects on storytelling and on how we experience narratives.

M: The pieces that stood to me the most in our submissions were the ones that were completely unapologetic in their tone. The ones that dropped me in an entirely unfamiliar setting and didn’t spoon-feed me information until I felt comfortable, but instead made me do some of the work of puzzling out where I was and what was happening. (Of course this can only be effective if the writing is excellent!) More generally speaking, I’m always drawn in by stories in a folkloric style, with echoes of oral tradition.

Shifting gears a bit, you’re based in Toronto, which seems to be home to a good number of speculative fiction writers. Do you think there’s anything particularly speculative or science fictional about Toronto? What are your favorite spots in the city, or places you’d recommend to first time visitors?

K: Oh, definitely. But then again, I was the kind of kid that went chasing after rabbits or into forests, convinced magic was just a turn away—I think most of our environments are brimming with the speculative, the what-ifs. It’s one of the reasons we worked with one of our artists, Ann Sheng, to do up a speculative landscape series—a fairytale creature in the rollings hills of Alberta, a dragon in the mountains of the Yukon, and an apocalypse in Quebec City. One of our goals is to make sure we’re recognizing the magic that’s all over our environments and acknowledging all kinds of spaces. And, of course, as we do this it’s essential that we carve out room for Indigenous/Aboriginal creators to engage this conversation, and so we plan on including Indigenous/Aboriginal voices as often as we can.

But yes. I’ve segued. For your actual question. Toronto, specifically…I’d say climbing the hill to St. Clair and looking out over the city is pretty wonderful. You really get a sense of scope, being so high that you can see the lake. Otherwise it’s easy to feel lost. There’s also tons of alleyways behind houses that are covered in street art and have this gorgeous city beauty to them, and it’s easy to imagine slipping between houses and disappearing into another world. It’s also very easy to imagine being spirited away in the city’s ravine—a long, winding stretch of nature and greenery that’s carved throughout Toronto. That’s my stress place, and it has a wonderful calmness to it.

A: I think there’s a diversity of worlds that make up Toronto—it’s a collection of different neighbourhoods, of course, but it’s also an amalgamation of different cities. I’ve lived my whole life in Scarborough, which was originally a separate city but became an administrative district and borough of Toronto. Toronto is utterly sprawling, and many places are difficult to get to even with public transit. I feel like every week I discover an entirely new neighbourhood or area, and this limitlessness has always felt magical.

One of my favourite places in the city is actually the University of Toronto’s downtown campus. It’s a beautiful campus, and lots of sleek, newly designed buildings sit beside castle-like structures that are nearly two hundred years old. This will be a very controversial statement for every University of Toronto student, but I actually love Robarts Library, the largest individual library at the university. Robarts is reviled for being a particularly imposing and unattractive example of brutalist architecture, but it’s also designed in the shape of a peacock! I’m in love with how one of the most ominous, ugly buildings in the city is actually a giant concrete peacock filled with academic books. To me, that’s absolutely wonderful.

But I think the most speculative elements of Toronto are quietly nestled into the background. Kerrie talked about the beautiful street art in the alleys, and I’d like to mention the “Outside the Box” program, where local artists paint works of art on traffic signal boxes throughout the city. I think one of the most speculative things about Toronto is that it’s always trying to transform and represent itself through art.

Some places that I would recommend are the Scarborough Bluffs, Rouge Park, and the beaches. There are countless parks, woodlands, ravines, and trails hidden throughout Toronto, especially in the suburbs, and I think exploring them is a lot of fun.

M: I grew up in a residential area of downtown Toronto, and I’ve always thought there was a kind of fungal quality to the city: the creeping spread of its outskirts, the connective root system of the PATH. There’s an awesome tension between the straight-laced, gridded areas of the city, and the weirdnesses that permeate it, such as the ROM’s crystal growth, the life-sized sculpture of a white elephant in my neighbourhood, and whatever the heck is going on at OCAD. The place is full of great little glitches in what is supposed to be a very orderly, chitinous code. Plus there’s Dundas Street, which makes me very uncomfortable. It’s everywhere you look. You can’t get away from it. It knows all.

For first-timers I recommend Kensington Market and Ward’s Island for great walkarounds.

On a related note, I like to ask my fellow Canadians about the idea of “Canadian Literature”. Do you think there’s a particular theme, tone, or some common unifying thread that makes a piece of writing particularly Canadian and sets it apart from other fiction?

K: I think that there’s a tone we’ve learned to expect when it comes to thinking about what Canlit “is”. There’s a good number of tropey themes—cottages, nature, feeling sad or morose in the city, etc., etc.. When Augur talks about Canlit, that’s not necessarily what we’re looking for. Recently, there have been a number of excellent pieces circulating that interrogate what “Canlit” is and how it needs to be rebuilt in order for it to function as a responsible, representative space. I especially recommend these pieces by Chelene Knight, Alicia Elliot, and Gwen Benaway.

I’m less concerned with what Canlit has been and more concerned with what we can make it.

A: If you ever take a course on Canadian literature at a university, there will always be a student there who summarizes Canlit as being “about nature”, or about the tension between rural and urban life. The prof will then spend the rest of course trying to show how there is so much more beyond that, haha.

Nature is of course a major element of CanLit, but I think that a more important thread of themes in contemporary Canadian Literature is the struggle between the old and the new. There’s a very palpable and vivid tension between the historic, nostalgic, and somewhat inaccurate sense of what Canadian literature was—stories about small towns and the encroaching wilderness—and emerging Canadian literature, which explores immigration, cultural diversity, poverty, and the continued destruction of Indigenous/Aboriginal communities. Matched with these I think is the struggle to reconcile ideals and actuality. What excites me the most is that there’s a flux of exciting emerging writers expanding the conversation of what Canlit is and could be, and I think Canlit is going to open up to whole new worlds in the near future.

M: Three words come to mind: anxious, jealous, and funny. At least that’s for the CanLit I’ve read, which for a long time was dictated by Giller frenzy and Book City tables. I’m really excited to see where CanLit is going, and from what I’ve read more recently, I’m hopeful that it’s going towards a space with fewer guardians and more chaos.

Any closing thoughts you’d like to share about Augur, the world in general, or other personal projects you’re working on you’d like people to know about?

K: I’d love to mention the Augur Magazine Preview Issue! Our inaugural pre-issue (a collection of reprints) was published at the end of August, on the same day that we launched our kickstarter, and is free to read on our website. It’s a collection of reprints, spanning fiction, poetry, and comics, and features both established and emerging creators. We had an amazing time working with our contributors, and we really can’t express enough how happy we are to have been able to produce this first collection. It’s a good starting point to see what we’re going to be looking for in the future (and, if we fund we’ll open to original submissions October 1!), and I think I speak for all of us when I say that we felt very lucky as we hemmed it together. We can’t wait to produce more like it.

Thank you all for dropping by! I can’t wait to see what the future of Augur has in store!

K: Thanks so much for having us!

A: Thank you so much!

M: Thank you!

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