Too late, I realized the thickening arms of the octopus mist echoed the ghostly glow of the streetlights. “Teleporter! We’ve got to find a weakness!” I cried, flicking and snapping my wrist to loose a crossbow bolt, a feather from my origami peacock—an analysis spell. The feather flitted out, replicating itself in the flood of magic, its unfolding structure revealing an intricate, oh so intricate pattern embedded in the misty galaxy. Unfortunately, Nyissa, far older and faster than me, had fired her own analysis glyph. Our spells collided in a flash of sparks and feathers. “Damnit,” I cried, flinching. “Only one of us needed to do that—” “Sorry, was reacting to your idea, not your action,” Nyissa said. “I—” A long black shaft lanced out—and with a terrific report, blasted Nyissa in the face. Nyissa flew back. Her mask shattered. It would have been so romantic to scream her name and lunge my hand toward her—but both of us had been in fights so many times before, and I instinctively swung the Waystaff up, its spine catching bayonet and flipping the long gun upwards. The hooked beak hissed, striped cloak flapping, and I saw the thing whole. Towering. Raptor-beaked. Cloaked in tattered striped cloth, draped over a flaring dark greatcoat. Black leather straps bound a tortuously lean torso seemingly rippled with twitching muscle. But the clawed arms fighting mine held what looked like a musket, the striped cloak looked like the ruins of a flag, and atop the thing’s plague doctor mask was a tricorn hat. “What are you?” I yelled, shoving against the musket with the Waystaff. The thing screamed at me, foul smoke erupting from its beak, and I flinched and gagged. It wailed at me with its musket, alternately clubbing aside the Waystaff and jabbing at me with the bayonet, as sparking smoke roiled into what I assumed was the musket’s flintlock—it was preparing to fire! I leapt backward, spinning through a knight’s move version of the Dance of Five and Two, hastily pulling together a spell: “Spirit of flame, act as my shield!” The plague knight screeched and dropped a grimy black ball into its musket—just as my Dragon tattoo uncoiled from my skin and looped around me in a helix of Technicolor scales and feathers. The plague knight fired with a clap of thunder—met by a gout of flame.Wow! Excitement! Adventure! Tattoo magic versus magical monsters! And while we didn't get to see that much of the costumes in this excerpt, we've got cute vampires wearing sexy clothes fighting alongside our heroine in her long black vest / trenchcoat. What's not to like? That is all for now. Until next time, please enjoy this picture of a cat. -the Centaur
2020 Dragon Con Writer's Track Virtual Mentoring Guests We have 30 established authors and other publishing pros who've generously donated their time and expertise to host 15-minute, one-on-one mentoring sessions with aspiring authors. If you're signing up for an acquiring editor or publisher, you are welcome to pitch your completed book! If you are meeting with an established author, the door is pretty wide open. You can ask about craft. If you're struggling with something specific, you can ask them about it. We have a number of indie authors, so if you're interested in self-publishing, you can pick their brains. Think about what you want to get out of this dedicated one-on-one session and choose your mentor accordingly.So, who am I in all of this, if you're just encountering this link and haven't read my books or this blog?
If you're interested in talking with me about writing science fiction, urban fantasy, or steampunk, or would like to talk about a new book proposal of interest to Thinking Ink Press, the signup sheet for sessions is here: https://form.jotform.com/202435857025050. This is the first time we've done this virtually, but I've participated before in the live events (on the mentee end, rather than mentor :-D) and found it very valuable. So come on board, ask your questions, and help us make Virtual Dragon Con a success! Virtual Dragon Con is already running - and I've been on two recorded panels already for the Writer's Track, though I don't know when they'll air yet, just figuring that out myself - but please go check it out and help the world have fun in the face of the zombie apocalypse! -the CentaurAnthony Francis - Thinking Ink Press & Author
Session schedule: Friday - 4:30, 4:50, 5:10, 5:30
Secret origin: By day, Anthony Francis teaches robots to learn; by night, he writes the Dakota Frost urban fantasy series (FROST MOON, BLOOD ROCK and LIQUID FIRE) and the steampunk Jeremiah Willstone series (THE CLOCKWORK TIME MACHINE). He's also an editor, and co-founded Thinking Ink Press. Genres & expertise: I'm a science fiction, urban fantasy and steampunk author with experience in space travel, general physics, artificial intelligence, robotics, cognitive science, fictional magic and myth, and real and fictional military systems. Acquisition wishlist: we're looking for fresh voices in science fiction accessible to new audiences. We've recently published YA military science fiction and humorous cyberpunk novels featuring LGBTQIA characters, and have also published a series of steampunk anthologies.
This week has been so bad I feel like I'm under spiritual attack. It was supposed to be a vacation, but both my cats got sick, I got sick myself, and I had to work in the middle of it. I feel like the protagonist of a Neil Gaiman story I read in M is For Magic where a black cat is protecting a home from supernatural assault.
But now both of my cats are coming home. Gabby, the gold guy above, comes home tonight after a serious asthma attack, and Loki is already home after a serious urinary tract blockage.
Here's hoping two cats and prayers put things back on track.
-the Centaur
So, 2019. What a mess. More on that later; as for me, I've had neither the time nor even the capability to blog for a while. But one thing I've noticed is, at least for me, the point at which I want to give up is usually just prior to the point where I could have my big breakthrough.
For example: Scrivener.
I had just about given up on Scrivener, an otherwise great program for writers that helps with organizing notes, writing screenplays, and even for comic book scripts. But I'd become used to Google Docs and its keyboard shortcuts for hierarchical bulleted lists, not entirely different from my prior life using hierarchical notebook programs like GoldenSection Notes. But Scrivener's keyboard shortcuts were all different, and the menus didn't seem to support what I needed, so I had started trying alternatives. Then I gave on more shot at going through the manual, which had earlier got me nothing.At first this looked like a lost cause: Scrivener depended on Mac OS X's text widgets, which themselves implement a nonstandard text interface (fanboys, shut up, sit down: you're overruled. case in point: Home and End. I rest my case), and worse, depend on the OS even for the keyboard shortcuts, which require the exact menu item. But the menu item for list bullets actually was literally a bullet, which normally isn't a text character in most programs; you can't access it. But as it turns out, in Scrivener, you can. I was able to insert a bullet, find the bullet character, and even create a keyboard shortcut for it. And it did what it was supposed to!
Soon I found the other items I needed to fill out the interface that I'd come to know and love in Google Docs for increasing/decreasing the list bullet indention on the fly while organizing a list:
Eventually I was able to recreate the whole interface and was so happy I wrote a list describing it in the middle of the deep learning Scrivener notebook that I had been working on when I hit the snag that made me go down this rabbit hole (namely, wanting to create a bullet list):
Writing this paragraph itself required figuring out how to insert symbols for control characters in Mac OS X, but whatever: a solution was possible, even ready to be found, just when I was ready to give up.
I found the same thing with so many things recently: stuck photo uploads on Google Photos, configuration problems on various publishing programs, even solving an issue with the math for a paper submission at work.
I suspect this is everywhere. It's a known thing in mathematics that when you feel close to a solution you may be far from it; I often find myself that the solution is to be found just after the point you want to give up.
I've written about a related phenomenon called this "working a little bit harder than you want to" but this is slightly different: it's the idea that your judgment that you've exhausted your options is just that, a judgment.
It may be true.
Try looking just a bit harder for that answer.
-the Centaur
Pictured: a photo of the Greenville airport over Christmas, which finally uploaded today when I went back through the archives of Google Photos on my phone and manually stopped a stuck upload from December 19th.
The dark doorway loomed before her like a maw. Jeremiah steeled herself: she had been her at best a handful of times, but she felt like she knew every rivet of the damned hatch, felt like she was right back to waiting on the damn Keepers while they prepared themselves. Oh, she did not, did not, did not want to be back here. Yet she was, not a child, but a Major. She straightened, nodded. “Major?” asked Thompson, looking back at her. “You look a bit green.” Jeremiah smiled, to give herself a moment to speak. What would a cracker-jack young major say? Or … wasn’t that putting on airs? What would General Weiss have said? Perhaps she should just be … honest? “Good eye, sir, but I don’t just look it: I feel it too,” Jeremiah said, forcing a grin—was that fake, or did she just want to take this in the best humor possible? “Every time I’m here, it takes me right back to my childhood.” “Childhood?” Thompson asked. The white hairs in his saltpepper eyebrows sparkled as his brow beetled. “Why were you here as a child?” “I, foolishly perhaps, asked to see the thing that killed my mother,” Jeremiah said. “And … foolishly perhaps, the powers that be let the granddaughter of Benjamin Willstone get what she asked for.” Thompson stared at her strangely, then turned away. “I would have let you,” he said at last. “Seems to have been the first step into forming a fine soldier who doesn’t flinch.” “Oh, I assure you, I flinch,” Jeremiah said. “Just not from duty.” “That’s the Major Willstone of my reports,” Thompson said. He leaned over and said a bit cheekily. “I hear you scream like a girl even when you’re firing both blasters at point-blank range—” “Why, I never—” Jeremiah colored. “Well, that does speak to character—” “Yes, yes, it does,” Thompson said, “and to good sense. Alright, in fairness: the report just said ‘cried out in shock before blasting the thing,’ but one could imagine the girlish scream—” “Oi!” Jeremiah said. “Wait, what thing was this?” “Er,” Thompson said, as the hatch opened. “I … don’t recall. Frankly, Major, with your record, the monsters start to blur—” “Not all of them,” Jeremiah said, striding forward with a projected confidence she absolutely did not feel. “Have a look at that.”Enjoy. Back to writing! -the Centaur
"The secret is comprised in three words — Work, finish, publish." His well-known advice to the young William Crookes, who had asked him the secret of his success as a scientific investigator, as quoted in Michael Faraday (1874) by John Hall Gladstone, p. 123Well said. The middle part often seems the hardest for many people, in my experience: it's all too easy to work on something without finishing it, or to rush to publish something before it's really ready. The hard part is pushing through all three in the right order with the appropriate level of effort. -the Centaur Pictured: Michael Faraday, Photograph by Maull & Polyblank. Credit: Wellcome Collection. CC BY.
- GROW yourself by
- READing to learn,
- ORGANIZing your thoughts, and share them by
- WRITING
Reading Session: Anthony Francis Time: Sat 11:30 am Location: Marietta - Hyatt (Length: 1 Hour) (Tentative Panelists: Anthony Francis)I'll be reading from a mixture of my fiction and nonfiction, urban fantasy and steampunk, published works and unpublished works, and maybe even a preview of the Jeremiah Willstone radio drama! Or, since this got finalized on the schedule at the last minute, I might just be reading a book by myself in a quiet room. Either way, so full of win! :-D -the Centaur
P.S. It appears my author signing is still on the schedule, so I will also be appearing at 2:30 on Sunday: Title: Author Signings Time: Sun 02:30 pm Location: International Hall South 4-5 - Marriott (Length: 1 Hour) (Tentative Panelists: Anthony Francis)Don't miss it! (I won't.)
Social Media as an Effective Tool for Authors Social Media is an author's best friend/worst enemy. This panel discusses how to maximize the benefits without the side effects. Time: Fri 04:00 pm Location: Embassy CD - Hyatt (Length: 1 Hour) (Tentative Panelists:Moderator: Bill Fawcett, Anthony Francis, Tyra A Burton, Anya Martin, Trisha J. Wooldridge, James Nettles) When Life Intrudes Writers often seem impervious to their surroundings. But occasionally life throws us a problem we have to face head on. How do we manage career & crisis at the same time? Time: Fri 10:00 pm Location: Embassy CD - Hyatt (Length: 1 Hour) (Tentative Panelists: Holly Sullivan McClure, Katherine Kurtz, Nancy Knight, Anthony Francis) Reading Session: Anthony Francis Time: Sat 11:30 am Location: Marietta - Hyatt (Length: 1 Hour) (Tentative Panelists: Anthony Francis) Fightin' 'n' Writin' How to write realistic fight scenes--whether utilizing guns, edged weapons, martial arts...or something not yet invented. Time: Sat 10:00 pm Location: Embassy CD - Hyatt (Length: 1 Hour) (Tentative Panelists: John D. Ringo, Clay and Susan Griffith, Anthony Francis, Alison Sky Richards, R M Meluch) Stitch & Witch We are getting crafty for a bit. Feel free to bring projects to share or work on! While we explore the role that art, crafts, & hobbies play for characters & worlds. Time: Sun 11:30 am Location: Embassy EF - Hyatt (Length: 1 Hour) (Tentative Panelists: Jody Lynn Nye, Anthony Francis) Transformations: Shapeshifter Magic Urban Fantasy features many types of shapeshifters. Our panel of authors will discuss the type of magic used by their characters & where their inspiration regarding it is rooted. Time: Mon 11:30 am Location: Chastain 1-2 - Westin (Length: 1 Hour) (Tentative Panelists: D.R. Perry, Tina Glasneck, Jennifer St. Giles, Aaron Crash, Anthony Francis)When life intrudes? Oh, I got this. -the Centaur
- First, just write! That's the best thing anyone can do to become a better writer. Ten thousand hours of practice can build mastery in almost any skill, so the first thing you can do to help yourself is to write regularly - preferably, about whatever comes to mind, so you're not trying to practice when you're on the spot.
- Try morning pages. The best tool I know to help people get into the habit of writing is to write morning pages - writing, each day, ideally when you get up, three pages in a notebook. Write bla bla bla if you have to - you'll get bored of it quickly, and will write what comes to mind.
- Take a creativity course. The book The Artist's Way is one of the most famous of these, and it's what inspires me to suggest morning pages. Actually, I've never finished this course - I always get so energized just trying it that I get sucked off into my own projects. Try one that works for you.
- Read more than you write. You can't consciously choose the words that come out as you write them; they come from your subconscious. So it's important to feed your subconscious with a lot of interesting material to help you generate a lot of interesting material of your own.
- Read great writing of the type you want to create. What you enjoy reading most might not be the writing you want to emulate most, so hunt down the great writers of the type of writing you're aiming for, read them, and try to figure out what you like about them - and what makes them tick.
- Read great books on writing. The first two I always recommend to people are Ayn Rand's (yes, that Ayn Rand) The Art of Fiction and The Art of Nonfiction. More than any book I've ever read, the Art of Fiction boils down what makes good fiction writing. John Gardner's On Being a Novelist is another great, but there are so many of these it's hard to pick one.
- Read great books on style. The two I recommend to people the most are The Elements of Style by Strunk and White and Building Great Sentences by Brooks Landon. Strunk and White is the classic, and Building Great Sentences is its antidote. If you have to pick one, pick Building Great Sentences - hands down.
- Do writing exercises. There are many, many of these - The Artist's Way has some, at Barnes and Noble you can find dozens of books like 500 Writing Prompts or Creativity Bootcamp that have others; the important thing is to try different writing styles on.
- Try timed challenges. Write to the End (writetotheend.com) tries 20 minute writing challenges; Shut Up and Write ( meetup.com/shutupandwritesfo ) tries (I think) an hour; National Novel Writing Month (nanowrimo.org) tries 50,000 words in a month. These cure you of the notion you need to wait for your muse.
- Join a writing group. Not a critique group - those are dangerous until you get more confidence in and acceptance of your own writing (and a thicker skin). I already mentioned Write to the End and Shut Up and Write, but there are many more (even some at Google, such as the Creative Writing Lunch).
- Take on writing projects. Write novels, write stories, write essays, write memoirs, write documentation, write songs, write plays, write poetry, write haiku, write impenetrable postmodern explorations of what it means for something to be writing - but take on a writing project that has a beginning, middle, and end ...
- Finish what you write! This is so important I wanted to write this earlier, but the problem is, it depends on what you're writing for. If you just want to improve your skill, reading Strunk and White might do it - but if you want your writing to go further, you need to finish what you write.
- Don't edit while you write! Some people do this very well, but most people have two modes: producing text, and refining text. Unless you're very confident in your ability to not rework the first paragraph of something forever, make sure you first finish, then edit. But before you do that ...
- Let your manuscripts cool off. It's hard to have perspective right after you've finished something. At least sleep on it, if you have time; ideally, come back to a story after a week or two and see if what you wrote before still makes sense to you and does what you wanted it to. In the meantime ...
- Work on something else. Start something new. Creating a new work has an almost magical way of solving problems you have in the work you have cooling on the back burner. Your skills improve, you're not invested in your old ideas, and you come back with a fresh start.
- Revise your work! Give your manuscript at least a once over. I guarantee, it's not perfect. The books Self Editing for Fiction Writers or The Elements of Editing can help you with this task. It's worth working on something a bit until you can't see anything obviously wrong to it.
- Share your work with a friendly audience. You're not ready for a critique group yet; they're often way too harsh. What you want are three friendly reviewers: a coach to help with your skills, a critic to help find flaws, and a cheerleader to praise goodness - and if the cheerleader complains, listen very closely to them.
- Revise your work again before sending it out. Listen to your friendly critics. Revise your work. Make it the best it can be. Then you're ready to send it out - to a critique group if you have to and if you have one, but ideally, to where you want the work received or published.
- Keep your work circulating until sold. This may not apply to bloggers, writers of memoirs, and internal communications, but if you've got something you want to send to an external audience, send it to as many places as you can. Some great books went to dozens of publishers before getting accepted.
- Don't argue with your critics. Whether it's a friend, a critique group, or an editor, they're not critiquing you to hurt your feelings. Listen carefully, and perhaps if there's some small misconception, feel free to clear it up, but ask yourself - why wasn't your story so clear that they got it the first time?
- Solve the problems your critics raise, but don't feel compelled to use their solutions. Humans are great at confabulating fake reasons for the feelings they have. Don't feel the need to use every suggestion your critics raise - but if two or more have problems at the same spot, listen closely.
- Learn from your genre. Whether it's writing a thesis, writing documentation, or writing science fiction stories, there are documents out there on the pitfalls of the genre and the techniques from success, from How to Complete and Survive a Doctoral Dissertation to the Evil Overlord List.
- Learn from the style guide. If you're aimed at a particular market, whether it's a science fiction magazine accepting William Shunn's document format, or a book publisher who wants the Chicago Manual of Style, or it's the American Psychological Association, read the style book. With a grain of salt, of course.
- Learn from publication. Once something is published, take a look at the published work. I can guarantee you, you'll find something about it you'd do differently now, whether it's a typo or a new way to phrase things. Think carefully about this difference and what it can teach you.
- Find a great critique group. By this point, you've been exposed to enough information to have your own opinions and to make up your own mind - and that's the right time to engage a whole bunch of other opinionated, thoughtful people to get their ideas of how to improve your work.
- Find a great workshop. These are harder to get into, but put you in touch with great writers of your particular genre or style and can really take you to the next level, if that's what you want.
- Find a great program - or embark on a great project. If you really want to be a writer, some people suggest a MFA program or other longer-term, intensive course. I simply prefer to take on little projects like 21 book urban fantasy series; these force you to learn some of the same things. :-D
So, March was pretty bad: I had to fly back East because Mom ended up in the hospital, we had a mad rush to finish a paper which both screwed up my time at GDC and Clockwork Alchemy AND failed to get in on time, and I found out I was suffering from chronic sinusitis.
Not to be outdone, however, June decided to throw me a bigger one.
So, Mom's gone. She passed after what sounds like a beautiful week with friends and family - I spoke to her the day before she died, and she went to visit the neighbors and swing on their back porch until almost nine - and then collapsed while changing the bed linens in her own bedroom in the house she'd lived in for forty years. Of ways to go, that's a good one.
Regularly scheduled blogging will resume ... sometime.
Goodbye, Mom.
-the Centaur
"Robots in Montreal," eh? Sounds like the title of a Steven Moffat Doctor Who episode. But it's really ICRA 2019 - the IEEE Conference on Robotics and Automation, and, yes, there are quite a few robots!
My team presented our work on evolutionary learning of rewards for deep reinforcement learning, AutoRL, on Monday. In an hour or so, I'll be giving a keynote on "Systematizing Robot Navigation with AutoRL":
Keynote: Dr. Anthony Francis
Systematizing Robot Navigation with AutoRL: Evolving Better Policies with Better Evaluation
Abstract: Rigorous scientific evaluation of robot control methods helps the field progress towards better solutions, but deploying methods on robots requires its own kind of rigor. A systematic approach to deployment can do more than just make robots safer, more reliable, and more debuggable; with appropriate machine learning support, it can also improve robot control algorithms themselves. In this talk, we describe our evolutionary reward learning framework AutoRL and our evaluation framework for navigation tasks, and show how improving evaluation of navigation systems can measurably improve the performance of both our evolutionary learner and the navigation policies that it produces. We hope that this starts a conversation about how robotic deployment and scientific advancement can become better mutually reinforcing partners.
Bio: Dr. Anthony G. Francis, Jr. is a Senior Software Engineer at Google Brain Robotics specializing in reinforcement learning for robot navigation. Previously, he worked on emotional long-term memory for robot pets at Georgia Tech's PEPE robot pet project, on models of human memory for information retrieval at Enkia Corporation, and on large-scale metadata search and 3D object visualization at Google. He earned his B.S. (1991), M.S. (1996) and Ph.D. (2000) in Computer Science from Georgia Tech, along with a Certificate in Cognitive Science (1999). He and his colleagues won the ICRA 2018 Best Paper Award for Service Robotics for their paper "PRM-RL: Long-range Robotic Navigation Tasks by Combining Reinforcement Learning and Sampling-based Planning". He's the author of over a dozen peer-reviewed publications and is an inventor on over a half-dozen patents. He's published over a dozen short stories and four novels, including the EPIC eBook Award-winning Frost Moon; his popular writing on robotics includes articles in the books Star Trek Psychology and Westworld Psychology. as well as a Google AI blog article titled Maybe your computer just needs a hug. He lives in San Jose with his wife and cats, but his heart will always belong in Atlanta. You can find out more about his writing at his website.
Looks like I'm on in 15 minutes! Wish me luck.
-the Centaur