I have never in my life had a trailer for one of my books before. And it looks pretty snazzy!
Galactum Year 139
She didn’t reach the landing pad until almost dusk, having had to wait at the placement office all day or risk losing her spot in the rota for a new temp assignment. As much as she hoped this new ship would be the one, she couldn’t risk missing out on further short term placements if it didn’t work out. Thankfully, the captain had understood and accommodated her schedule.
Despite the late hour, the day’s heat still lay heavy over her as she stepped down from the tram onto the landing pad’s apron. In the distance, the sun dipped low toward the horizon, lighting the sky with the colours of flame. She felt a tickle of sweat down her back under the starched, formal shirt, but she knew it had nothing to do with the heat. The back of her neck itched where her hair had been freshly shorn down to the skin. She fought the urge to touch the place where the braid she had grown since childhood no longer lay. Continue reading
Galactum Year 138
Jaim Somro’s life ended in the burnt, angry glare of a dying star, the ship his only companion.
The Maverick Heart hung in the fading light of the aged sun, as close to the raging shockwaves and radiation as ey could without risk, held there by constant adjustments to es drive field. Waiting for the end to finally come.
Meanwhile, the human lay small and frail on one of the couches, wrapped in a well-worn blanket, waxen skin bathed in ruddy light. Each breath the man took ever more laboured.
The ship remembered that blanket and the world it had come from in perfect detail. Ey remembered the moment the human had picked it up in the shop, remembered knowing the moment he had decided to buy it. Continue reading
As I mentioned in my previous post, I tend to think of the world building process as Decision>Question>Implication. You come up with your premise and begin asking questions about what the premise requires your world to contain, then you explore the ramifications of the choices you’ve made and the questions you’ve asked.
It’s important to remember that world building choices extend in all directions. And what I mean by this is that they come from somewhere, they affect the world and characters in the present and they drive the story forward in specific ways. Once you’ve made a decision as to where your story idea springs from, be it a character, situation, or some other detail that inspires you to write the story down, then the process of building the world begins.
Let’s take a basic, fairly simple idea and start from there: a child has wings. Continue reading
I write science fiction (no, DUH), space opera specifically. And it’s either a case of choosing a genre to match my skill set, or developing skills over the years that served my genre choice, but I’ve been told I am skilled at world building, which is a fundamental skill when writing spec fic of any kind.
I’ve never really written stories set in the real world. Writing in the real world means research. If I’m writing a story based in London, I’d better have lived there, spent a lot of time there, or spent a lot of time in a library. If I decided to write in Toronto, it would be easier, but, honestly, I don’t want to be constrained by the fact that the CN Tower is beside the Rogers Centre. Maybe I’m just a control freak.
I’m honestly a little hesitant to talk about this, because when I’m making decisions about the settings I put my characters in, I make a lot of decisions based on what feels right, without actually quantifying they why of the decision. This piece is me trying to get at those reasons. Continue reading
“I’m sorry, Dave. I’m afraid I can’t do that.”
If you know your Science Fiction, and maybe even if you don’t, you recognize the iconic line from the HAL 9000 in Stanley Kubrick’s masterpiece, 2001: A Space Odyssey. HAL was the artificial intelligence who, while incredibly smart, was driven to violence by the directives provided by his human creators.
Artificial intelligence is a staple of science fiction, and it’s a trope that enables writers to examine what it means to be human, what it means to create life and what our responsibility to that life we create actually is. And further, it enables us to tell stories about what that life might want to do to us in return.
There have been brilliant examples of stories in the AI genre. Colossus: The Forbin Project is a terrifying vision of what could happen if the tools of war are handed over to a machine intelligence designed to make war more efficient. The Terminator, with all it’s lean savagery, is another take on what happens when the machines come online and want control. Continue reading
Other than in my first attempt at novel writing, which we shall speak of no more, for it is legendary in its awfulness, I write queer characters. They aren’t all queer, but my heroes are. The whole raison d’etre of both my standalone novel, Chasing Cold, and my Maverick Heart series is to write the kind of heroes I loved growing up, but make them unapologetic in whatever flavour of queerness they called their own.
In the early days of what would eventually become Soul’s Blood, I submitted to a press in Edmonton run by Candas Jane Dorsey. As it turned out, I was going to be in town, and she very graciously took me to lunch and gave me feedback on my very early efforts. And one of her comments formed a cornerstone of how the novel and series would grow.
In the initial incarnations, Keene and Daevin were initially forced apart because Daevin’s father was bothered by Daevin being in love with a man. It was the late eighties/early nineties when the novel was first conceived and I was living in a city where there were no Pride celebrations, no businesses that specifically targeted the queer community, other than the one gay bar. In many ways, we still lived our lives in shadow. Continue reading