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 “Worldbuilding Basics (Part One of Three)”
“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 “Queering AI (Part Three of Three)”
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 “Queerness is Never the Problem (Part Two of Three)”
I have loved Space Opera since I was three.
That was when the original Star Trek series aired on one of the only two channels that were available in Moose Jaw, Saskatchewan, Canada in 1966, and it was something we, as a family watched. I remember my mother being certain that the sight of one alien in the closing credits (Balok from The Corbomite Maneuver) would scare me too much, so she charged my sisters with distracting me so I wouldn’t see it.
Of course, when I finally did, I wasn’t bothered at all.
Star Trek truly entered my consciousness in the Seventies during first run syndication after school. When I rediscovered it, I would race home and hope it was one I hadn’t seen yet. Not that it mattered. I watched them over and over, poring over every detail, memorizing the look, the ideas, the performances. I tried over and over to build the Enterprise with my Lego. And this was back in the day when there weren’t any specially shaped blocks, just flat bits, rectangles and squares. My love for the show just continued to grow. Continue reading “Space Opera Love (Part One of Three)”
I’m a bad blogger. I admit it. I have neglected my site for far too long. I released a book, finished rewrites on a second and signed a contract for it.
Blogs posts? Nada.
Excuse me while I hang my head in shame.
I’m a writer. It’s kind of my thing. I mean, I have a dull, yet well paying day job with benefits and lots of vacation and stuff, but the writing is the thing that gets me going, that makes me feel like I’m not just taking up space and emitting carbon dioxide. I love the act of creating the worlds and the people and moving them around. I even enjoy the times I have to do horrible things to them.
“People must be remembered Charlie, otherwise it’s as if they were never here at all. All we are are the people who remember us. If we go away, and everybody forgets we were ever here, its as if we never were.”
Have you ever revisited a movie you saw many, many years before? One that you remember loving, even though decades have passed and you can’t even remember when you saw it the first time? For me, this weekend, I found one of those movies again. Sweet November, starring Sandy Dennis and Anthony Newley. I have such vivid memories of loving it, and they were borne out when I watched it again tonight. The quote above imprinted on me somehow. I’m not sure if I loved it because it resonated with what I already believed, or if it was seeing the film and hearing those words that helped create the belief. Maybe it’s even more resonant now in the aftermath of my own brush with mortality. But it’s a lovely film. And it’s one I’ve taken in, one that has become part of who I am.