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Posted by John Scalzi

Krissy and I are playing hooky today because we’re going to the Alison Moyet concert in Chicago, which necessitated a bit of a drive. Well, we’re here now, and the view from the hotel is lovely, nary a parking lot in sight. How is your day?


Sometimes It's the Little Things

Sep. 19th, 2017 02:36 pm
malkingrey: ((default))
[personal profile] malkingrey
It doesn't take much to improve my mood, a lot of the time.

Today it was a surprise short story royalty check in the morning mail.

Not a large one . . . given that most short story payments are lucky if they make in into the low three figures, most short story royalties tend to be in the exceedingly low two figures. If that. (If a short story payment is a tank, maybe two tanks, of gas, then a typical short story royalty check is maybe a couple of quarts of motor oil.) But still, a royalty check is a royalty check, and not yet another piece of junk mail from Capital One, trying to sell me a credit card.

As they say back where I come from, it beats a poke in the eye with a sharp stick.

The Big Idea: Annalee Newitz

Sep. 19th, 2017 11:26 am
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

In her debut novel Autonomous, former i09 editor-in-chief and current science and tech writer and editor Annalee Newitz gets under the skin of the healthcare industry and thinks about all the ways it’s less-than-entirely healthy for us… and what that means for our future, and the future she’s written in her novel.

ANNALEE NEWITZ:

There’s a scene from the Torchwood series Miracle Day that I will never be able to wash out of my brain. After humans stop being able to die for mysterious reasons, our heroes tour a hospital full of people who are hideously immortal: their bodies pancaked and spindled and melted, they lie around in agony wishing for oblivion. For all its exaggerated body horror, that moment feels creepily realistic in our age of medicine that can keep people alive without giving them anything like quality of life.

Torchwood: Miracle Day wasn’t my first taste of healthcare dystopia, but it made a huge impression because it distilled down one of the fundamental ideas I see this subgenre: some lives are worse than death. This is certainly the message in countless pandemic films, where the infected are ravening, mindless zombies. Killing them is a mercy.

This idea takes a slightly different form in books like Kazuo Ishiguro’s Never Let Me Go and Paolo Bacigalupi’s Windup Girl. Both narratives toy with what it means when people are turned into medical experiments, like futuristic versions of the Tuskegee Study. We see some ruling class of people deciding that another class should serve as its organ donors or genetic beta testers. What if somebody were treating us like lab rats, as if our lives didn’t matter?

And then there are the false healthcare utopias, which I find the most disturbing because they remind me of listening to U.S. senators trying to sell the idea that they have a “much better plan” than Obamacare—even though I know people who will die under these “better plans.” Politicians have probably been pushing false healthcare utopias since at least the 19th century, but in science fiction its roots can clearly be traced to Aldus Huxley’s Brave New World. In that novel, everyone is medicating with Soma just to deal with how regimented and limited their lives are.

False healthcare utopias can take many forms, and they overlap with more familiar dystopias too. Some deal with surveillance. In the chilling novel Harmony, Project Itoh imagines a future Japan where the government monitors everyone’s microbiomes by tracking everything that goes into and out of their bodies (yep, there’s toilet surveillance).

Sometimes the false healthcare utopia is just a precursor to a more familiar zombie dystopia like 28 Days Later. Consider, for example, our extreme overuse of antibiotics. Though it appears that we can cure pretty much any infection with antibiotics, we’re very close to living in a world where antibiotics no longer work at all. One of the most terrifying books I’ve read this year is science journalist Maryn McKenna’s book Big Chicken, which is about how the agriculture industry depends on antibiotics to keep animals “healthy” in filthy, overcrowded conditions. This is creating antibiotic-resistant bacteria that are coming for us, pretty much any day now. That’s right–penicillin-doped chickens are the real culprits in I Am Legend.

I’m fascinated by how many false healthcare utopias depend on coercive neuroscience. Often, brain surgery is involved—we see this in John Christopher’s Tripods and Scott Westerfeld’s Uglies series, both about so-called utopian worlds created by neurosurgical interventions that restrict freedom of thought. Maybe these stories focus on brains so much because these are fundamentally stories about lies, and brains are, after all, the organ that we use for lying.

When I started work on my novel Autonomous (out today! yes it is!), I knew I wanted to explore the lies of the pharmaceutical industry and its gleaming ads promising a better life to those who can afford a scrip. One of the protagonists, Jack, has become a pharmaceutical pirate so that she can bring expensive, patented medicine to poor people who need it. But she also sells a few of what she calls “funtime worker drugs” on the side, to fund her Robin Hood activities and keep her submarine in good repair.

Those funtime drugs are why things go sideways for Jack. She sells some pirated Zacuity, a “productivity” drug that I loosely based on Provigil or Adderall. It gets people really enthusiastic about work, but it has some unexpected side-effects that the pharma company Zaxy has suppressed. Now Jack has to stop the drug from killing more people, while also evading two deadly agents sent by Zaxy: a robot named Paladin and a human named Eliasz.

So Autonomous is chase story with some hot robot sex, but it’s also very much a book about how pharma companies sell us an idea of “health” that is actually really unhealthy.

Today pharma companies market drugs the way Disney markets Star Wars movies, and for good reason. Drugs like Adderall and Provigil are supposed to make us feel better and more competent—or at the very least distract us—for a few blissful hours. Just like a movie. I’m not trying to say there’s a problem with taking drugs (or watching movies) to feel good. Nor am I saying that people don’t need anti-depressants and other meds to treat psychological problems. The issue is when these drugs are overprescribed for enhancement, and “feeling really good” becomes a terrible kind of norm. Pharma companies want us to believe that if we aren’t incredibly attentive, productive, and happy every day, there must be something wrong. This paves the way for an ideal of mental health that almost nobody can (or should) live up to.

There’s another, deeper problem that’s caused by selling medicine as if it were a form of entertainment. Nobody would ever argue that going to see the new Star Wars movie is a right. It’s just a luxury for people with disposable income. If we see medicine like that too, it’s easy to fall for the lie that our healthcare system is great even though it only serves the richest people in the U.S.

In the world of Autonomous, the pharma companies are full of guys like Martin Shkreli, jacking up the prices on medicine because they can. They get away with it because so many people in the U.S. believe that anyone can get medicine if they really deserve it. Only a lie of that magnitude could make it seem fair when working class people can’t afford to treat AIDS-related complications. Or cancer. Or a heart infection.

Autonomous is a book about lies. But more importantly, it’s about what happens to the people who see through those lies and try to do something about it. Everyone deserves to have medicine. It is a right, not a privilege. Until we recognize that, I’ll be hanging out with the pirates.

—-

Autonomous: Amazon|Barnes & Noble|Indiebound|Powell’s

Read an excerpt. Visit the author’s site. Follow her on Twitter.


[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

Well, specifically this silly person said I would never earn out [x] amount of money I got as an advance, and also that I would in fact never see [x] amount of money, because of reasons they left unspecified but which I assume were to suggest that my contracts would be cancelled long before I got the payout. As [x] amount of money seems to suggest this silly person is talking about my multi-book multi-year contracts, let me say:

1. lol, no;

2. [x] was not the sum for any of my contracts (either for individual works or in aggregate) so that’s wrong to begin with;

3. It’s pretty clear that this silly person has very little idea how advances work in general, or how they are paid out;

4. It’s also pretty clear this silly person has very little idea how advances work with long-term, multi-project contracts in particular, or how they are paid out;

5. Either this silly person has never signed a book contract, or they appear to have done a very poor job of negotiating their contracts;

6. In any event, it’s very clear this silly person has no idea about the particulars of my business.

Which makes sense as I don’t go into great detail about them in public. But it does mean that people asserting knowledge of my business are likely to be flummoxed by the actual facts. Like, for example, the fact that I’m already earning royalties on work tied into those celebrated-yet-apparently-actually-cursed contracts. Royalties, I’ll note for those of you not in the publishing industry, are paid out after you earn back an advance.

How am I getting royalties on a work tied to contracts that this silly person has assured all and sundry I will never earn out? The short answer is because I’ve earned out, obviously. The slightly longer answer is that my business deals are interesting and complex and designed to roll money to me on a steady basis over a long period of time, but when you are a silly person who apparently knows nothing about how book contracts work (either my specific ones, or by all indications book contracts in general) and you have an animus against me because, say, you’re an asshole, or because of group identification politics that require that I must actually be a raging failure, for reasons, you are prone to assert things that are stupid about my business and show your complete ignorance of it. And then I might be inclined to point and laugh about it.

In any event, this is a fine time to remind people of two things. The first thing is that I have detractors, and it’s very very important to them that I’m seen as a failure. There’s nothing I can ever do or say to dissuade them against this idea, so the least I can do is offer them advice, which is to make their assertions of my failure as non-specific as possible, because specificity is not their friend. I would also note to them that regardless, my failures, real or imagined, will not make them any more successful in their own careers. So perhaps they should focus on the things they can materially effect, i.e., their own writing and career, and worry less about what I’m doing.

Second, if someone other than me, my wife, my agent or my business partners (in the context of their own contracts with me) attempts to assert knowledge of my business, you may reliably assume they are talking out of their ass. This particularly goes for my various detractors, most of whom don’t appear to have any useful understanding of how the publishing industry works outside of their (and this is a non-judgmental statement) self-pub and micro-pub worlds, which are different beasts than the part I work in, and also just generally dislike me and want me to be a miserable failure and are annoyed when I persist in not being either. Wishing won’t make it so, guys.

Bear in mind speculating about my business is perfectly fine, and even if it wasn’t I couldn’t stop it anyway. Speculate away! People have done it for years, both positively and negatively, and most of the time it’s fun to watch people guess about it. Even this silly person’s speculation is kind of fun, in the sense it’s interesting to see all the ways it’s wrong. But to the extent that the unwary may believe this silly person (or other such silly people among my detractors, and as a spoiler they are all fairly silly on this topic) knows what they are talking about with regard to my business: Honey, no. They really don’t. They have their heads well up their asses.

Or, as I said on Twitter:

And actually the dog has been in the same room as my contracts, so in fact she might know more. Keep that in mind the next time a detractor opines on my business.


Bees

Sep. 18th, 2017 06:54 pm
sartorias: (Default)
[personal profile] sartorias
I was working away when the next door neighbor called, and said there were a zillion bees swarming around my pine tree on the patio. By the time I finished what I was typing, and went down to look out the kitchen window, I only saw four or five bees, and thought nothing of it.

Then, a few minutes ago, I took the dog out for a walk, and the neighbor came out, and said, look at the trunk of your pine. Whoa!

Here's from the side. click and embiggen, to see how far around the trunk they go.


Bees

And this below is from the sidewalk. Look in the upper portion of the trunk--that is a zillion bees tightly packed together.

Bees 2

That looks so . . . weird.

If they're still there in a couple of days, I'll have to find beekeepers to move them. My son's biological family on the female side has a deadly bee allergy running through them--his bio uncle has to carry an epipen everywhere, and my patio is about the size of two bedsheets put together. In fact, when I dry my laundry outside, I can only get one set of bedding out there at a time.

EDITED TO ADD: Between one check and the next ten minutes later, they suddenly vanished. I would have loved to see them swarm! But they are gone, and I hope they find a good, safe home.

Fandom Giftbox - Needy Boxes

Sep. 18th, 2017 09:05 pm
[syndicated profile] yuletide_feed

Posted by giftboxmods

Banner - Box
AO3 Collection | Community on DW | Needy Giftbox List

Want to get your treating on early? Fandom Giftbox is in need of fills!

The minimum for fills is 100 words/100x100 pixels, in a stated fandom and medium. Anyone can post fills, even if they haven't signed up!

The AO3 collection and DW comments will be revealed on September 23rd.

The Big Idea: Douglas Wynne

Sep. 18th, 2017 02:18 pm
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

In Cthulhu Blues, author Douglas Wynne wants you to catch the waves. Or perhaps more accurately, to appreciate the fact that the waves already have you — and show something else between them.

DOUGLAS WYNNE:

Back when I was studying music production and engineering at Berklee College of Music, I had a mystical epiphany that didn’t even involve recreational chemistry. It came to me in the classroom while looking at a handout the instructor had passed around. She was about to present an overview of AM and FM radio technology and wanted us to take a look at the wave spectrum within which those broadcast frequencies are nested. On the left, the diagram showed the subsonic vibrations elephants transmit through the ground to communicate over long distances. Moving to the right, it worked its way up through the octaves of audible sound waves and then on to ultrasonic, radio, microwave, infrared, visible light, ultraviolet, x-rays, and gamma rays.

My education up to that point was far more focused on playing guitar than on physics, but I had read about how even matter is essentially composed of waves—or particles, depending on the method of measurement—vibrating at high enough rates to create the illusion of solidity. Still, seeing it all laid out like that, bottom to top, made a profound impression on me. It reminded me that all human perception is just a glimpse through the slats of a fence, a fragmentary picture of a reality we can only experience with a biological bias and a crude, albeit ever expanding, set of tools to fill in the blanks.

It’s a humbling idea. One that I later remembered I’d first encountered in the horror story “From Beyond” by H.P. Lovecraft. In that tale, a scientist discovers alien life forms writhing in the air all around him by tuning his perception with a resonator device he calls “The Ultraviolet.”

When I set out to reimagine the Cthulhu Mythos for the SPECTRA Files trilogy, this idea of exposure to special frequencies opening up human perception to other dimensions and entities was a major element I wanted to explore. After all, the closest thing to real magic I’ve experienced in my own life is the way that music—invisible wave patterns in the air—has the power to open the human heart to unexpected dimensions of feeling.

Music plays a major role in the SPECTRA books. There’s a cosmic boom box that houses a lab-grown larynx, a grand piano that acts as a portal to infernal realms, and a sea organ borrowed from a real architectural instrument in Zadar, Croatia, that plays haunting chords when the waves roll into its chambers. But the main character, Becca Philips, does her work higher up in the wave spectrum. She’s an urban explorer and photographer who shoots infrared photos of abandoned buildings in flood-ravaged Boston. Becca finds an eerie spirituality in the ghostly light emitted by weeds and vines in that range. But when her photos pick up fractal tentacles seeping into our world from an adjacent dimension, she is caught between cultists employing weird tech to evoke monstrous gods and a covert agency that suspects she might be one of them.

From water to sound to light, there are waves rolling through the entire trilogy. But the wave spectrum isn’t the big idea, perception is: how we see the world and our place in it.

Becca Philips is a character defined by her sensitivity. She experienced loss at an early age and continues to suffer from recurrent depression compounded by Seasonal Affective Disorder. It’s her sensitivity to light and shadow, her unique way of looking at the world, that makes her a great photographer. And it’s her unique perception that entangles her in the unfolding apocalypse and puts her in a position to do something about it. In book one (Red Equinox), she willingly exposes herself to the harmonics that align the human plane with that of the monsters, an act which makes her more vulnerable even as it dispenses with the illusion of a benign reality so she might be empowered to save others from what lurks just beyond that thin veneer. Becca chose this vision as an act of heroism and chose to keep it when offered a drug that would make it go away. But sometimes the cost of courage is that your contact with dark things changes you and makes you one of them.

I knew from the start that as a sensitive, Becca would also be susceptible to the telepathic dreams of Cthulhu slumbering on the ocean floor sooner or later. I knew she would struggle with her sanity and ultimately have to make a judgment about the sanity of mankind at large and whether our supremacy on the planet is ultimately for the best. As a vegetarian and animal rescuer, Becca sees the value of all life. But when you look long enough into the abyss, the abyss looks into you, and in Cthulhu Blues Becca finally has to grapple with the question of whether or not the Great Old Ones might be better for life on Earth than mankind in the long run. The crux of her crisis is that the same empathetic eye that drives her to save animals, children, and civilization, also opens her to the possibility that the cultists might be right to topple the human race from its throne. She has to ask herself what it is in the spectrum of consciousness that sets humanity apart. If we’re not at the top of the food chain anymore, what makes us unique and worth saving?

I’ve always thought it’s our capacity for compassion. Our ability to see others, even the wretched and subhuman, the animal and the alien, with a kind eye. But if we retreat into the tunnel vision of fear at the first scent of crisis, then what do we have left that makes us the good guys? When you’re caught between a militant covert agency and a radical religious cult, are dark gods really worse than white devils?

—-

Cthulhu Blues: Amazon|Barnes & Noble|Indiebound|JournalStone

Read an excerpt. Visit the author’s site. Follow him on Twitter.


09/15/17 PHD comic: 'Inner Gollum'

Sep. 17th, 2017 12:25 pm
[syndicated profile] phd_comics_feed
Piled Higher & Deeper by Jorge Cham
www.phdcomics.com
Click on the title below to read the comic
title: "Inner Gollum" - originally published 9/15/2017

For the latest news in PHD Comics, CLICK HERE!

Tea and Talk

Sep. 16th, 2017 07:26 pm
sartorias: (Default)
[personal profile] sartorias
Though I deeply appreciate net connections (which constitute the majority of my social life, such as it is) it is good to have actual conversations with human beings in the same space time continuum.

Today, [personal profile] calimac is in Southern California, and so had a chance to come by for tea and scones. (Well, I had tea, and [personal profile] calimac had water.) We blabbed non-stop about reading, Tolkien, Lord of the Rings, classical music, the evolution of TV, the differences in short story and novel writing, and how to conduct an interview/ run a panel ([personal profile] calimac suggested this interview with Robin Williams and Stephen Fry), and the Mythopoeic Society, and then reminisced about stuff the younger generation has no concept of, except in movies: things you never think of, such as leaded gas, and the total lack of recycling of the sixties, party lines, how horribly expensive it was to make long-distance calls (especially in the days when families had a single phone), etc.

We didn't just blab about old people stuff. We also talked about how awesome YouTube is, especially for musical discoveries. I have so many saved links, tabs, and tags that I can't find what i'm looking for half the time, but I did manage to find this one, and am always looking for more, of course.

Ah, that was fun--then, of course, back to work.
malkingrey: (Default)
[personal profile] malkingrey
And then there are days like this.

This afternoon I decided, for good and sufficient reasons, that it was time to use one of boxes of brownie mix that I've got in my pantry stash. (Every so often, the grocery store puts them on sale for a dollar, and when they do I stock up.) This process, let it be known, is not rocket science: Prep the pan, empty the box into a bowl, add the oil and the water and the two eggs, mix, pour into pan, and cook. Even a functioning maladroit like me on an off day can manage it, and get chocolaty goodness at the end of it.

All went well until it was time to mix in the two eggs. I took the first egg, and tapped it on the tabletop to crack it, as one does . . . only this egg must have had a super-thin shell, because it didn't just crack, it burst all the way open all around and left me with a raw egg lying on the tabletop and dripping onto the floor.

Cleanup operations ensued.

Once the floor and the tabletop were egg-free again, I went over to the refrigerator to take out another egg, in order to replace the one that never made it into the mixing bowl. And yes, I know I should have taken the egg box all the way out of the refrigerator, instead of merely lifting up the lid and reaching into it, but in my defense, I've performed the same move dozens of times without having the egg roll in my fingers and slip off them onto the refrigerator shelf . . . and then evade my fingers a second time and crash onto the floor. (Yes, maybe I could have grabbed faster, but the way things were going, I would just have ended up with a fistful of liquid egg and broken shell.)

More cleanup operations ensued.

Then, finally, I was able to finish mixing the brownies and get them into the oven. From which I have just removed them, and they are done and awaiting cutting. And the oven is now heating up the half-ham I bought last Wednesday, which will be tonight's dinner. Probably with raisin sauce, because raisin sauce is dead easy.

(But then, I thought the same thing about cracking eggs.)
[syndicated profile] wwdn_feed

Posted by Wil

Tabletop’s Eldritch Horror Pt. 1 was released this week.

Speaking of horror, I think I mentioned that I had this idea for a 1970s-style ridiculous, bloody, Grindhouse horror film. I thought it was just a silly story exercise, but the more I thought I about it and the more I did the story work for practice, the more I wanted to do the story work to make it into a real thing. So I’ve been working on that. It isn’t on cards just yet, but it’s on the whiteboard and it has its own file of ideas and beats and characters and stuff. I don’t know if it’ll get made, but at the very least I’ll have a script to publish.

I’ve been using that idea as an excuse to watch a ton of actual 1970s ridiculous, bloody, Grindhouse horror films. I’ve thrown some classic exploitation films into the mix, and learned a lot about how those movies were made. Some of them are terribad, but most of them have a sincerity that is utterly charming and worthy of emulation in my own screenplay.

I’ve been leveling up my understanding of story and character construction with this book called The Anatomy of Story. It’s densely packed with information and examples, and it’s slow reading for me because I keep going back to review, and I’m making a ton of notes in my notebook, but I’m pulling in tons of XP with each chapter. If you’re interested in writing and want to understand how to build your story, I highly recommend it.

The Deuce is as amazing as I hoped it would be. I am hoping so hard that the series lives up to the pilot (which is a thing I never say, because pilots are generally not that great, since they have to introduce a ton of characters and information.) Franco has always turned me off (it’s not him, it’s me), but I fucking LOVE him in this show.

Blood Drive was not renewed by the network formerly known as Sci-Fi, which makes me a little sad, because Colin Cunningham and Christina Ochoa are brilliant in it (Christina should have had top billing and Colin should win awards), and I would watch them as those characters forever. But! It always felt like it should be a miniseries, and the last four episodes weren’t nearly as compelling as the first eight. I felt like they had to bail on the premise — each episode pays homage to a classic exploitation trope — to set it up for multiple seasons. There was so much great stuff in it, though, and I sincerely love that SyFy gave the project the greenlight. It was a risky project, to say the least, and it’s so cool to see a network that was profoundly risk-averse when I worked for them take the chance.

I read a bunch of short stories from Charlie Jane Anders when I was on vacation last week, and I loved them all. So I went to the bookstore yesterday to pick up All the Birds in the Sky, and while I was there, I browsed the tabletop game section. My finger is ten miles from the pulse of tabletop gaming right now, but I took pictures of some games there that looked promising to me:

Have any of you played any of them? I’m just looking for fun games to add to my collection, not necessarily games that are candidates for Tabletop, as Tabletop’s future is uncertain.

Also, not that it matters, but getting Twitter off my phone and mostly out of my life has been a really great choice. It turns out that not being kicked in the face by infuriating bullshit dozens of times a day is a pretty neat idea.

So that’s a bunch of stuff I want you to know. What do you want me to know? I’m enjoying these posts, because it reminds me of the early days of my blog, when you who read it and I who wrote it would interact more than we seem to these days.

 

Misses Clause 2017

Sep. 16th, 2017 04:37 am
[syndicated profile] yuletide_feed

Posted by martinigrl

Hi fellow Yuletiders! Noms close in less than 24 hours (or maybe they've already closed by the time this is approved?) and as we move into signups and writing and reading, freneticfloetry and I wanted to give a small reminder/invitation (ok honestly, it's a copy/paste job with minor edits... #efficiency) to participate in the Misses Clause Challenge*.

Now in its seventh year, the Misses Clause Challenge was created to promote the inclusion, expansion, and celebration of women in fanfiction. We'd like to challenge you all to think about the ways women are represented in fanworks, and write fic either centered on female characters or fic within a fandom with a rich and diverse cast of characters that includes valuable and important female voices.

Participation is easy! Initially, the challenge set out to include more female characters in fic using the Bechdel Test as a barometer. But honestly, plenty of sources can (and do) successfully pass without putting female characters anywhere near the forefront. So the general rule for participating in the Misses Clause Challenge is simple:

Write women.

That's it! Write women who are celebrated, who are unsung, who are the heroes of their own stories or the unfortunate victims of circumstance. Write women talking, fighting, saving the day, or just going about their business. Write women of all ages, shapes, sizes, races, creeds, sexual orientations, mental and physical abilities, or moral fiber. Write women, full stop.

Easy enough, right? So if you’re willing, and we hope you are…

· Write a Yuletide assignment or treat with one or more women as the focus. Femslash, female POV, ensemble fic, whatever works for you — as long as there's a female character front and center, your fic fulfills the challenge.
· Tag your finished fic with "Misses Clause Challenge".

There is still maybe time to nominate women, if you're so inclined. And there is definitely time to think about requesting prompts that feature female characters so that the letters post is full of options.

From there, search out those that request women, maybe bookmark one for later, or even start a treat. There's a lot of female characters nominated annually and a number of requests will coincide with that. Maybe one of the letters might start or keep the creative juices flowing.

And to all of those who have taken up the challenge, or who are considering doing so this year, I just want to say, on behalf of both myself and freneticfloetry, Thank You. We try to keep this very low key with absolutely no pressure to participate, and yet we're continually blown away by the support and the number of folks who take on the challenge as well as the types of awesome fic that you guys create year after year. So, thank you, again, for your participation, your openness to the challenge, your totally legitimate concerns and critiques. Here’s to Yuletide 2017, and another great wave of new Misses Clause stories.

Sincerely,

G (hauntedd/martinigrl) & Court (freneticfloetry)


*The challenge name was meant to be a punny play on the fic season and a bad movie, and was not meant to be exclusionary in any way. (And yes, the "e" was intentional.)

New Books and ARCs, 9/15/17

Sep. 15th, 2017 07:23 pm
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

If you were wondering if any new books and ARCs have come to the Scalzi Compound recently, the answer is, why, yes, they have. And here they are! Tell me which titles here intrigue you, down in the comments!


A Spiderweb Collection

Sep. 15th, 2017 03:04 pm
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

This morning was dewy and we have quite a lot of spiders around the Scalzi Compound (it being a rural area and full of bugs, you see), so I went out with my camera and took pictures of some of the webs, and occasionally, the webs’ architects as well. The collection of images is here, if you’d like to see them. Obviously for the spider-sensitive, this collection will feature arachnids, so be aware. I’m making this its own album and will probably add to it over time, so if you like spiders and spiderwebs, check in from time to time.


sartorias: Lady Pirate (Lady Pirate)
[personal profile] sartorias
Fans of Swordspoint--or anyone who loves LGBTQ-friendly swashbuckling action and romance--the terrific first season of Tremontaine is available for $2.99

Season three will go live October 11.
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

Here in the US, our fate and fortune was tied up in Iraq for many years. But what does the future hold for that country now? Iraq + 100, an anthology of Iraqi science fiction, offers several views of possibilities. Now, the acquiring editor and three authors from the anthology talk a bit about the book and the futures therein.

Claire Eddy, Senior Editor at Tor/Forge

I got a submission last fall from a small UK publisher and once I started reading I couldn’t stop. The editor of the anthology, Hassan Blasim, asked a simple question–how could you imagine your nation 100 years from now?

The question posed to Iraqi writers (those still in their homeland and those who have joined a world-wide diaspora), has produced an amazing project, a roadmap of what their country might look like following the disastrous foreign invasion of 2003.

Simply put, I believe that Iraq+100 is a piece of fiction that has the potential to make a difference.

I don’t say this lightly.  I am very passionate about all the projects that I take on, but Iraq + 100 has a particularly special importance to me. These writers have given us not just wonderful stories, but the collection itself has a unique voice that I think deserves to be heard. Storytelling has always had the power to not only entertain, but to inform and change hearts. I truly believe that this project has the ability to do these very things.

I think a project like Iraq + 100 would do well at any point in time. In the environment that we find ourselves now, however, I think this book has a much bigger potential.

Ibrahim Al-Marashi, author of “Najufa”

My story “Najufa” is based on my first trip to the Iraqi Shi’a shrine cities of Najaf and Kufa as an adult with my father and mother in 2010. The tensions that drive the relationship between the narrator and his grandfather in the story is based on the tensions I had with my own father during that trip. My father was born in the east African island of Zanzibar, as a result of his father escaping Najaf during the British occupation of Iraq in 1920 for taking part in an insurgency then. My father returned to Iraq in the sixties, went to medical school in Baghdad, and would visit Najaf and his relatives there often.  However, my father did not travel to Iraq when Saddam Hussein was in power from 1979 to 2003.

I expected the trip in 2010 to be a nostalgic “home coming” for him, but as an old man in his seventies, he seemed oblivious to the whole place or experience. He was more concerned with drinking tea and relating his life experiences to any random person in the tea house than visiting the shrines.  I compared his indifference to the spirituality inside the shrine complex to my observations at the same time of the younger pilgrims there, some who wanted to leave after a few minutes of praying, since their mobile phones are not allowed within the confines of any shrine, as terrorists use them to detonate explosives remotely.  Everyone had to check in the mobile phone outside the shrine, like a coat check, and without phones, that generation became fidgety.  After 2003, regardless of whether one was from Iraq or the “West,” what united us all was addiction to technology. In the story I wanted to project the evolution of how we will become the technology 100 years later, even in an ancient shrine city in Iraq.

Anoud, author of “Kahramana”

Kahramana is a slave girl in a story from A Thousand and One Nights which originates from the Abbasi Era in Mesopotamia, a golden age of enlightenment after which the region fell under conqueror after conqueror and women were further marginalized.

A Thousand and One Nights is one of the few literary examples I recall from the region where women are strong, dangerous characters that move a plot. Usually we’re either ‘damsels in distress’ needing the actions of men or we’re ‘conniving’ and ‘seductive’ inspiring men to act. Women did not swing a sword, not exactly. No surprise there, most of the authors are men.

A Thousand and One Nights did reflect on the norms of its times in the sense that women were spoils of war and slavery existed and was accepted. But women and slaves in those stories, like Kahramana, could be dangerous, independent, smart. Their husbands or keepers were their subordinates in the plot. They had little or no power to move the story along.

My story is more of a pun on A Thousand and One Nights. I make fun of the status quo between east and west, refugees and those on the receiving end. I chose her simply because Kahramana resonated with me as a child. I often passed by a fountain in Baghdad’s Kahramana Square that fascinated me. The fountain was built by a famous Iraqi sculpture in the 1970s to depict Kahramana (sometimes called Morjana) the slave girl from the story of Ali Baba and the 40 Thieves.

Kahramana was standing tall on top of a pile of large jars holding a jug and pouring down onto the jars underneath her feet. According to the story the slave girl was slaying the thieves by dousing them with boiling oil on then sealing each jar shut. We, as Baghdadis, were celebrating a woman slyer. We, in a country where women need men’s permission for anything. And I, the push-over little girl, found her both disturbing and amazing. She just stuck with me.

Though I have come a long way from the timid ‘good girl’ I was raised to be and I like to think I can stand up for myself, I still get pushed around because I’m of the wrong gender, I behave inappropriately for my social class, am of the wrong nationality, standing on the wrong side of a border. It’s fucking endless. And when I want to fly off the handle I remember Kahramana standing over the heads of thieves in a Square in Baghdad, killing them all, indifferent.

Dr. Zhraa Alhaboby, author of “Baghdad Syndrome”

The idea for Baghdad Syndrome was unclear at first, thinking about it brought hopes and fears together. Hence, I began to imagine a future in which Iraq heals with a scar, the scar is the syndrome.

Baghdad Syndrome is a collection of physical and mental symptoms reflecting what people in Iraq are going through. Inspired by my last visit to Iraq, I looked more worried about the future than people living there, I saw the syndrome in almost everyone! The heart rate increases with every sudden explosion, and fear of loss. The depression comes from uncertainty, where people do not really know whether they will return home if they went out. Hallucinations and nightmares, due to the verge of reality with unbelievable events. Yet, their faces were smiley, living the moment and kept smiling to survive. Amusingly the painful reality was turned into humour. The blindness in the Syndrome is a metaphor to the endless electricity cuts in Baghdad, leaving a city that loves lights in darkness. Another darkness is the sudden loss of beloved ones, a point in life where nothing else could remain the same afterwards.

The inspiration to link the syndrome with genetic mutations came from my work. During that year (2014), I was writing a report about health-related human rights in Iraq. Revising international reports showed that health was underrepresented. Back then I contacted the Ministry of Human Rights in Iraq, it was a hopeless attempt because having no internal governmental connections means the request will be overlooked. Yet, I received a prompt reply from a local employee striving to share internal reports from several parts of the country. These reports demonstrated increased rates of congenital malformations in newborns in areas still compiled with war wastes. However, the symptoms of Baghdad Syndrome are far away from being a relatively immediate physical impact.

Writing about the future was not an easy task, I needed a link to tell the story. My style of writing is through the lenses of ancient history and riddles. My emotional link with Scheherazade’s statue in Baghdad had always inspired me, I had the sense she was watching and telling stories about what’s happening around her. With my admiration of A Thousand and One Nights, I thought Scheherazade could be my witness and say my riddle this time. When I had the context, the syndrome, and Scheherazade, I could write part of myself in each character in the story to finalise it. After finishing the story I realised, I always sketched the statue with a background of buildings and a pigeon around! Looks like my version of the future was in my sub-consciousness after all!

—-

Iraq + 100: Amazon|Barnes & Noble|IndieBound|Books-A-Million|Powell’s

Read an excerpt. Follow Dr. Zhraa Alhaboby on Twitter. Follow Ibrahim Al-Marashi on Twitter.


Fogbow!

Sep. 15th, 2017 12:51 pm
[syndicated profile] scalziwhatever_feed

Posted by John Scalzi

The conditions are not usually right around here to capture a fog bow in a full arc, but this morning I got lucky and also had my phone camera with me. It records panoramas, which was useful because the fog bow was just too wide to be captured in the usual 16:9 frame of the phone camera. So here we are: a fogbow, which I am posting here for posterity’s sake, and also because it’s pretty. Good morning, world.


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