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Posts tagged as “Dragon Writers”

MAROONED back on track

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I had brief lull yesterday - a shortened lunch, a shortened dinner, and then no coffee, since I had to pick my wife up at the airport (and then had NO intention of getting back to writing that night, we hadn't seen each other in a month). I was a day ahead, so technically all I had to do was finish a day, in which case I was still on track.

But I liked being a day ahead. So I buckled down today, trying to get back to the point of aheadness that I was before yesterday's slippage. All in all, I got over three thousand words done today, putting me back on track by almost two thousand words. Thirty one percent done, 15,259 added words! Excellent. No excerpt today - it's all too spoilery.

Onward!

-the Centaur

MAROONED but not under water

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So yet another day of Nano has rolled by and I'm still managing to cough out 1666+ words a day (the lighter blue lines above the red water line). I've added 11,795 words to the manuscript, which by my counter is just shy of 25% of Nano - roughly 3.6% ahead of where I need to be, or almost one full day (the surplus is the second, darker blue line in this visualization).

Since my seed was the largest I ever started with - 32,793 words, including the complete novella "Stranded" plus all the story notes I put together over the months since I wrote that story - completing Nano this year will leave me with 82,793 words, which I'm guessing will be very close to a full manuscript. Most of my novels clock in around 150,000 words, but this one feels like 90K.

Oh yeah, an excerpt:

“How do I know,” Toren said, “you won’t send soldiers to evict us once your people come back here, whenever that is—”

“Roughly fifteen months,” Serendipity said, looking at him sidelong. “And no-one can evict you. I am Governor of Halfway, and I’ve offered the crew of Independence oasis, and the ship a permanent berth. Leonid accepted. Halfway is Independence’s home port now.”

Toren rocked on his heels a little. “There is no port, you foolish—”

“That is a port,” Serendipity said, jerking her head at the spaceport. “It’s not a castle, it’s not a mansion, it’s not a secret lab—though I suppose to Norylan’s parents it was all of those things, to me it is the kernel of the civilization I hope to build here—”

“You build,” Toren said. “You mean to build a civilization—”

“It’s why I came here,” Serendipity said. “This port lay fallow for ten thousand years because a war cut off the spacelanes, and I was the first person to recognize that it might be restored, now that traffic has begun moving out here again—”

“Including from the Frontier,” Toren said, staring off at the port, “which didn’t even exist ten thousand years ago.”

“I had to move fast,” Serendipity said. “After all, you got here just when I did.”

Toren stared down at her. “You’re crazy. Crazy, you know that? When the Allies get here, they’re going to ship you off to a nutter’s pod. And I still don’t know whether me and my crew are going to have to flee when they come. And you know which of us is right?”

Serendipity’s eyes tightened. “No,” she admitted.

Toren’s eyes gleamed at her. “Me neither.”

Uh oh! Serendipity once again facing off with Toren? A dangerous development. What's he figured out she hasn't?

Onward into the deep!

-the Centaur

Still on track

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MAROONED is still progressing. Taking a break now, but I'm keeping above the curve so far.

“Seren, this is serious,” she said. “We have a spacecraft to rebuild. If we can get this housing running again with a standard cabling software, we have to do it, whether his software is inclined or not. We can’t afford to romanticize your little pet—”

“He is not a pet,” Serendipity said. “He may be my ‘familiar,’ but he’s a full person, with a full person’s rights and responsibilities. This housing isn’t just a piece of equipment we can do what we want with. It’s his body, and we need his permission—”

“If we need the parts—”

“If Leonid needed some biomass to keep the oxygen farm running, would you be happy if he just threw you into the cycler?” Serendipity asked. “No? Wouldn’t that go double if you were in a coma, expected to recover, and they just decided to cycle you anyway, just because?”

Dijo stared at her with those odd contact lenses.

“Let me see him.”

Again she felt reluctant, but Serendipity realized that if she really wanted to be part of this crew, she had to recognize Dijo as her superior. Slowly Serendipity stepped back, reached in her satchel, and carefully brought out Tianyu’s still form.

Filled with mercury batteries, built on a thact frame, the minifox felt unusually heavy in her hands—dead weight, she thought, and cursed herself—and oddly small and sad. Without the millions of tiny motors fluffing his fur, he looked flat and drab, doubly so because of the soot.

Serendipity laid Tianyu down on the worktable between her and Dijo. “This is my best friend,” Serendipity said. “I mean that. More than my cohort, more than my PC’s, in some ways, more than even my parents. He’s always been there for me, when by right he could have chosen to go elsewhere. You will not treat him like a collection of parts.”

“Well,” Dijo said, leaning down, “he’s an impressive collection of parts—”

Serendipity reached down, putting her fingers under Dijo’s chin and lifting her back up. It was an easy move, an aikido move despite the initiation of force, and despite resistance she easily straightened Dijo back to standing. Dijo stepped back, a bit shocked.

“We have a ship to fix, I owe you help fixing it, and I’ll serve under you if that’s what you think I should do,” Serendipity said. “But this world is mine. It’s my responsibility to protect all the people within half a light year, even the ones you can’t easily see as people yet.”

Dijo raised her hands, licked her lips. She was scared.

“Please don’t hurt me,” she said.

Onward into the deep!

-the Centaur

Word! What are you DOING?

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I love Microsoft Word, but when I cut and pasted that excerpt from MAROONED into Ecto and published, I noticed a huge blank gap at the beginning of the quoted passage. When I looked in Ecto's raw text editor to see what was the matter, I found 336 lines of gunk injected by Microsoft Word … a massive amount of non printable goop like this:

<!--[if gte mso 9]><xml>

<o:DocumentProperties>

<o:Revision>0</o:Revision>

<o:TotalTime>0</o:TotalTime>

<o:Pages>1</o:Pages>

<o:Words>246</o:Words>

<o:Characters>1183</o:Characters>

<o:Company>Xivagent Scientific Consulting</o:Company>

<o:Lines>18</o:Lines>

<o:Paragraphs>11</o:Paragraphs>

<o:CharactersWithSpaces>1418</o:CharactersWithSpaces>

<o:Version>14.0</o:Version>

</o:DocumentProperties>

</xml><![endif]-->

<!--[if gte mso 9]><xml>

<w:WordDocument>

...

This is apparently XML text which captures the formatting of the Word document that it came from, somehow pasted into the HTML document. As you may or may not be able to see from the screenshot above, but should definitely be able to see in the bolded parts of what I quoted above, for 1183 bytes of text Word injected 17,961 bytes of formatting. 300+ lines for 200+ words. Oy, vey. All I wanted was an excerpt without having to go manually recreate all my line breaks …

I understand this lets you paste complex formatting between programs, I get that, and actually the problem might be Ecto taking too much rather than Word giving too much. Or perhaps it's just a mismatch of specifications. But I know HTML, Word, Ecto, and many other blogging platforms like Ecto. What is someone who doesn't know all that supposed to do? Just suffer when their application programs get all weird on them and they don't know why?

Sigh. I'm not really complaining here, but it's just amusing, after a fashion.

-Anthony

MAROONED On Track

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So far, so good. Not really a good excerpt to be had here, first drafty stuff … ok, how's this:

“It’s interesting,” Dijo said, “that you’re sort of a technological witch.”

Serendipity looked up from her cauldron. The first step in getting the robots back up to speed had been getting Tianyu back up to speed, and to do that she needed components. With her fabricator in Toren’s camp … her next best bet was her nanoseed.

She’d requisitioned a large cooking kettle from Leonid and filled it with biosludge, then heated it to the proper activation temperature. With a droplet from her nanoseed and the right dopants, Serendipity should be able to generate enough nanoplasm to make anything.

“How do you figure,” Serendipity said, stirring the cauldron slowly.

“Bubble, bubble, toil and trouble,” Dijo said, raising a cylinder. “You’re making potions. You’ve got a familiar. You have what seem, to us technological primitives at least, like magic powers. All you need is a witches’ hat and a magic broom—”

“My mom wears the hats,” Serendipity said, “but I do have a farstaff.”

“It can fly?” Dijo said, shocked. “Not just teleport you, but actually fly?

“It can indeed,” Serendipity said, taking the cylinder. “Molybdenum. Excellent.”

“Ammonium tetrathiomolybdate in solution,” Dijo said. “That’s from the hyperdrive, by the way, so don’t go using it medicinally unless you separate it first.”

“Why would I use it—oh, copper toxosis,” Serendipity said.

“Do you really have a ship’s worth of Lore rattling around in your head?”

Now off to see Gravity … which will probably be good inspiration for MAROONED!

-the Centaur

National Novel Writing Month 2013: MAROONED

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Well, it's that time again: National Novel Writing Month! This year, I'm working on MAROONED, the continuation of my short story "Stranded" from the anthology of the same name. A brief excerpt from Part 2, "Conflicted":

Serendipity stirred. She was cramped and folded. Her hooves caught on rough ballistic tarp. Her back hurt, her rump hurt … then she heard sparks and smelled smoke. She unfolded with a start—and klonked her head on a support beam, tumbling off the cot onto the grille.

Disoriented, she stared up at a dim line of light. The tilted walkway she lay in was barely wide enough for her; the cot she’d fallen off of had definitely not been long enough for a centaur. Beside her was a half-locker with her satchel; above, the wall of a bunk jutted in.

This was insane. They had the entire run of Independence’s cargo bay. She’d sleep on the floor if she had to. She winced at a spark of pain at the join of her backs—then heard real sparks and smelled fresh smoke, and sprawled and stumbled, trying to get up before she died.

Her hand hit the hatch in panic and found it firm, and she beat at it with her palm in the dark, fumbling for the latch as she brought her nightvision and filaments online. There was another spark, and Serendipity pounded the door again. “Dashpat!”

“Sorry!” cried a voice beyond the door—one Serendipity recognized as Andromeda, Independence’s chief engineer. “Leonid’s prepping breakfast, I came to wake you, but you were snoring, and the lights, they’re out, so I … I started to work with this panel, but then I—”

Andromeda sounded completely rattled. From the other spacers, Serendipity gathered that Andromeda had been de facto master of the ship … until a couple of days ago, when the boy Sirius pulled the fuse on the life support system and forced an emergency crash landing.

The voice on the other side of the door didn’t sound like someone who’d been a captain for three years. She sounded like a little girl, a scared little girl who’d been caught with her hand in the cookie jar … or maybe a refugee who’d had her whole world pulled out from under her.

Serendipity knew that feeling.

A hundred white computer filaments slid out of the shock of hair on Serendipity’s right forearm, probing the air, lighting the doorframe with a fiber optic glow, revealing the handle. Microscopic cameras fed images to her eyes: T7 LOCK HDL / FLM INDEPENDENCE.

Almost instantaneously, recognition rattled through weave of computers built into her: a Type 7 Lock Handle, from the Faster-than-Light Module Independence. Yes, that was right: the NCE class “ships” were originally modules, built to fly the arkships away from “dying” Earth—

Serendipity seized the handle, hiding the image beneath her hand. She drew a breath. As cramped as this space was, it was just a bunk. As long as she didn’t open the door, she could imagine she was at summer space camp, and not on a seven hundred fifty year old starship.

Not stranded halfway across the galaxy, utterly cut off from her people.

Serendipity opened the door.

People who read this blog may have noticed an extended hiatus. There's been a good reason for that: I had too many writing projects stacked up, and couldn't tackle them all at once. I had to start putting things on hold.

So I had to buckle down, focusing first on editing DOORWAYS TO EXTRA TIME (now out to the world) and finishing a draft of LIQUID FIRE (now out to betas). One of the first things to go was this blog. Another was social media: the Serendipity pages on Facebook and Google+ got short shrift; only what I had to for 24 Hour Comics Day and Dakota Frost got any attention.

I'm working to change that, but I'm going to continue to follow the same procedure. National Novel Writing Month comes first, and the first book I'm working on for Nano, MAROONED, comes first. Then life. Then blogging and social media, just enough to keep it going. After that, I'll be writing notes for a story called QUARRY, just so I don't lose them - it's a brand new idea.

The consequence is, there won't be that much blogging this month, unless Nano and life are both taken care of. But hopefully more than there has been over the past few months while DOORWAYS and LIQUID FIRE were the primary focus of my attention. Now that those are out of the way, I feel like I can breathe easier.

At least, as long as Serendipity and Leonid can keep the oxygen farm running…

Onward, to MAROONED!

-the Centaur

P.S. Yes, I did make sure I did my daily quota before blogging this:

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The DOORWAY opens at last…

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At long last, DOORWAYS TO EXTRA TIME is released! (Well, tomorrow morning, anyway):

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In our busy world of meetings and microwaves, car radios and cellphones, people always wish they could get an extra hour in the day. But what if they could? Doorways to Extra Time is an anthology that explores ways to get extra time (be it an hour, a day, or a decade) and the impact it would have--whether upon a single life, a family or an entire world.

I'm very proud of this anthology and all the great stories and authors: the proactive Erica Cameron, the across-the-pond Martin Feekins, lil ol me, pastcracker L.M. Graham, timekeeper R.E. Gofstein, catwizard Melina Gunnett, the learned Walter H. Hunt, my friend Betsy Miller, Susan "In the nick of time" Mittmann, timemaster Brenda Moguez, mysterian Jenny Moore, demonkeeper Ira Nayman, time twister Errick A. Nunnally, the estimable Jody Lynn Nye, the not-photoshopped Kate Saturday, my other good friend Gayle Schultz, Rich "The Closer" Storrs, gameplayer Keshia Swaim, not-for-sale Aimee Weinstein, and my coeditor and friend Trisha J. Wooldridge … whew!

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Trisha, my coeditor, commissioned the above awesome piece of stained glass from Renee Goodwin at Stained Glass Creations and Beyond … isn't it beautiful? We'll be raffling it off at the DOORWAYS release party, Sunday, September 1 at 1pm at Ray's in the City in Atlanta … just up the road from the Hyatt, one of the main hotels of Dragon Con!


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After Dragon Con, we're having a panel reading by our Bay Area authors at Books Inc in Mountain View:

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I'm sure there will be more events, giveaways, and so forth in the coming weeks and months. Like or share our Facebook and Google+ pages for more information, or just go to Amazon and get a copy.

Phew. 2 years of work, and 2 minutes to the cafe closes. So … enjoy!

-the Centaur

Um … it’s not out yet, gang

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I appreciate the reviews … but the book's not out yet. Only the editors, copyeditors, closer, formatter and publisher have seen it yet, and I'm pretty sure that none of them jumped the gun. ;-) Hang on a bit… DOORWAYS will be out at the end of August from Amazon.com and Barnes and Noble, and will have its premiere during Dragon Con.

Unless, of course … you have your own doorway to extra time. In that case … review away.

-the Centaur

The Doorway opens wider

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The proof copy of DOORWAYS TO EXTRA TIME has arrived. I will be reviewing it on the plane and, God willing, we'll have it in time for the premiere at Dragon Con.

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I almost didn't get this. By an odd coincidence, I was heading to the Atlanta Marriott Marquis, one of the Dragon Con hotels, right when the proof arrived at the publisher, so they sent it to the hotel, hoping that I could review it over the weekend.

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I got off the red eye, scouted locations for LIQUID FIRE, HEX CODE and another Edgeworld project, then checked in to the hotel. No book. I went to the rehearsal dinner. No book. The next day came and went, a good friend got married, but still, no book.

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Even when I checked out Sunday, still, no book. I and my friends had a great time at the post wedding brunch, visited the Georgia Aquarium, and ate an awesome meal at Legal Seafood, and then started ferrying friends to the airport ... then a friend suggested I call the hotel.


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The proof had been accidentally sent to hotel security.

So at the last minute, I swung by, hung out with the concierge until the guard showed up, then showed my ID to security. Moments later, DOORWAYS was in my hands.

Sometimes, it all works out.

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Time to check out the DOORWAYS and make sure they're safe to open. Wish me luck!

-the Centaur

Moving on and turning back

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Well, DOORWAYS TO EXTRA TIME is on its way to the printers. Now it's time for me to move on to new projects, and to turn back to old ones. I'm still planning out a large new unannounced project (some of the information for which you see piled above) but my primary focus is going to be LIQUID FIRE.

DOORWAYS in Galleys

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DOORWAYS TO EXTRA TIME is coming down to the wire. My coeditor, the typesetter and I are working weekends, but we're really close now - still, it looks like it will be coming out the 27th, not the 13th. I'm not sure what this does for our plans to do a premiere at Dragon*Con; we'll have to see, as it was cutting it fine regardless even with the old date.

Editing an anthology is a LOT more work than I thought it would be, but it's still very rewarding.

Almost done! Then back to LIQUID FIRE.

-the Centaur

Talent, Incompetence and Other Excuses

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lenora at rest in the library with the excelsior

The company I work at is a pretty great place, and it's attracted some pretty great people - so if your name isn't yet on the list of "the Greats" it can sometimes be a little intimidating. There's a running joke that half the people at the firm have Impostor Syndrome, a pernicious condition in which people become convinced they are frauds, despite objective evidence of their competence.

I definitely get that from time to time - not just at the Search Engine That Starts with a G, but previously in my career. In fact, just about as far back as people have been paying me money to do what I do, I've had a tape loop of negative thoughts running through my head, saying, "incompetent … you're incompetent" over and over again.

Until today, as I was walking down the hall, when I thought of Impostor Syndrome, when I thought of what my many very smart friends would say if I said that, when I thought of the response that they would immediately give: not "you're wrong," which they of course might say, but instead "well, what do you think you need to do to do a good job?"

Then, in a brain flash, I realized incompetence is just another excuse people use to justify their own inaction.

Now, I admit there are differences in competence in individuals: some people are better at doing things than others, either because of experience, aptitude, or innate talent (more on that bugbear later). But unless the job is actually overwhelming - unless simply performing the task at all taxes normal human competence, and only the best of the best can succeed - being "incompetent" is simply an excuse not to examine the job, to identify the things that need doing, and to make a plan to do them.

Most people, in my experience, just want to do the things that they want to do - and they want to do their jobs the way they want to do them. If your job is well tuned towards your aptitudes, this is great: you can design a nice, comfortable life.

But often the job you want to do requires more of you than doing things the way you want to do them. I'm a night owl, I enjoy working late, and I often tool in just before my first midmorning meeting - but tomorrow, for a launch review of a product, I'll be showing up at work a couple hours early to make sure that everything is working before the meeting begins. No late night coffee for you.

Doing what's necessary to show up early seems trivial, and obvious, to most people who aren't night owls, but it isn't trivial, or obvious, to most people that they don't do what's necessary in many other areas of their life. The true successes I know, in contrast, do whatever it takes: switching careers, changing their dress, learning new skills - even picking out the right shirts, if they have to meet with people, or spending hours shaving thirty seconds off their compile times, if they have to code software.

Forget individual differences. If you think you're "incompetent" at something, ask yourself: what would a "competent" person do? What does it really take to do that job? If it involves a mental or physical skill you don't have, like rapid mental arithmetic or a ninety-eight mile-per-hour fastball, then cut yourself some slack; but otherwise, figure out what would lead to success in the job, and make sure you do that.

You don't have to do those things, of course: you don't have to put on a business suit and do presentations. But that doesn't mean you're incompetent at giving presentations: it means you weren't willing to go to a business wear store to find the right suit or dress, and it means you weren't willing to go to Toastmasters until you learned to crack your fear of public speaking. With enough effort, you can do those things - if you want to. There's no shame in not wanting to. Just be honest about why.

That goes back to that other bugbear, talent.

When people find out I'm a writer, they often say "oh, it must take so much talent to do that." When I protest that it's really a learned skill, they usually say something a little more honest, "no, no, you're wrong: I don't have the talent to do that." What they really mean, though they may not know it, is that they don't want to put in the ten thousand hours worth of practice to become an expert.

Talent does affect performance. And from a very early age, I had a talent with words: I was reading soon after I started to walk. But, I assure you, if you read the stuff I wrote at an early age, you'd think I didn't have the talent to be a writer. What I did have was a desire to write, which translated into a heck of a lot of practice, which developed, slowly and painfully, into skill.

Talent does affect performance. Those of us who work at something for decades are always envious of those people who seem to take to something in a flash. I've seen it happen in writing, in computer programming, and in music: an experienced toiler is passed by a newbie with a shitload of talent. But even the talented can't go straight from raw talent to expert performance: it still takes hundreds or thousands of hours of practice to turn that talent into a marketable skill.

When people say they don't have talent, they really mean they don't have the desire to do the work. And that's OK. When people say they aren't competent to do a job, they really mean they don't want to think through what it takes to get the job done, or having done so, don't want to do those things. And that's OK too.

Not everyone has to sit in a coffeehouse for thousands of hours working on stories only to find that their best doesn't yet cut it. Not everyone needs to strum on that guitar for thousands of hours working on riffs only to find that their performance falls flat on the stage. Not everyone needs to put on that suit and polish that smile for thousands of hours working on sales only to find that they've lost yet another contract. No-one is making you do those things if you don't want to.

But if you are willing to put those hours in, you have a shot at the best selling story, the tight performance, the killer sale.

And a shot at it is all you get.

-the Centaur

Pictured: Lenora, my cat, in front of a stack of writing notebooks and writing materials, and a model of the Excelsior that I painted by hand. It's actually a pretty shitty paint job. Not because I don't have talent - but because I didn't want to put hundreds of hours in learning how to paint straight lines on a model. I had writing to do.

I can’t afford to be embarrassed

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I'm a published urban fantasy author with two novels on the shelves, one of which, FROST MOON, won an award. I have two more novels in the can and I've just finished coediting an anthology with twenty stories based on an idea I proposed. I've read extensively on writing theory and even have written a few articles on the subject.

So what am I doing with a copy of WRITING FICTION FOR DUMMIES?

Doing whatever I can to get better at what I do, that's what.

Once a friend saw the huge stack of theory-of-fiction books in my Library, one of which is "Novel Writing for Complete Morons" or some title a lot like that, and he remarked "wow, it's probably been a long time since you had to look at that one." Well, that happened to be true, but not because I read the book, then wrote some novels, and then grew beyond it.

The truth is, I'd already written one novel - and chunks of six or seven others - when I got "Novel Writing for Complete Morons." Heck, I may have already written FROST MOON at that point. But I'm a book hound, and I look at everything. I came across the book, probably at a bargain bin. And I saw a chapter I can use. So I bought it.

I actually love reading overviews. I can dive deep into a technical book, but sometimes it's only stepping back and summarizing the text - either by reading a summary, or writing one yourself - that enables you to hang the details upon a coherent whole. Even when the overview isn't interesting, sometimes the book itself has details you simply can't find elsewhere.

In the case of WRITING FICTION FOR DUMMIES, I saw it in a bargain bin, flipped through it - and found a section in a chapter on editing scenes, a task I'd just been struggling with on my third Dakota Frost novel, LIQUID FIRE. So I bought it, and tonight read a few chunks, some of which are good for structuring scenes, others of which were helpful in overall novel structure.

Some of that information is review; other parts are completely new. It doesn't matter. It helped me move forward.

Creative expression is driven by ego, but it's stifled by snobbery. Don't get embarrassed by what you need to do to improve. If you were trying to climb out of a pit, would you hold your hand back from a rung that was candy colored and clearly intended for children? No. As long as the rung is solid, you grab it and pull yourself up.

Anything else is just hurting yourself in an effort to look good.

-the Centaur

Pictured: WRITING FICTION FOR DUMMIES, atop THE POETICS OF THE MIND'S EYE by Christopher Collins, a study of visual imagination in literature and cognitive science. See how hard it is to be honest with yourself and do what needs doing? Here I had to bring along a technical book I'm reading and use it to prop up the For Dummies book in an absurd attempt at credentialing.

No, I'm sorry, ladies and gentlemen: I may have happened to have picked up THE POETICS OF THE MIND'S EYE at about the same time as WRITING FICTION FOR DUMMIES, and I may have had it in my reading pile because I was evaluating whether to recommend it to a friend who works in the field of visual imagination, but the one has little to do with the other.

I, a published author, picked up WRITING FICTION FOR DUMMIES, and it had useful information for a problem I was trying to solve. Don't be embarrassed about things like that: do whatever you have to to help yourself get better. End of list.

Why Resist Breaking the Mold?

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Emily Dickinson, barely known as a poet in her lifetime, ranks impossibly large in our own. Yet when her complete works were first published, she was dismissed by the critics. Author Thomas Bailey Aldrich dispensed with her thus:

"It is plain that Miss Dickinson possessed an extremely unconventional and grotesque fancy. She was deeply tinged by the mysticism of Blake, and strongly influenced by the mannerism of Emerson ... But the incoherence and formlessness of her — versicles are fatal ... an eccentric, dreamy, half-educated recluse in an out-of-the-way New England village (or anywhere else) cannot with impunity set at defiance the laws of gravitation and grammar".

Yet now Aldrich is all but lost to literary history, while Dickinson looms larger and larger in our minds. Collector of folktales Andrew Lang said "if poetry is to exist at all, it really must have form and grammar, and must rhyme when it professes to rhyme. The wisdom of the ages and the nature of man insist on so much" … yet history has proved him so wrong, and equally forgotten him.

The truth is, an eccentric, dreamy, half-educated recluse in an out-of-the-way town anywhere can, with impunity, defy the laws of gravitation and launch her poetry to the stars, and no-one unwilling to make the trip has the power to stop her.

-the Centaur

Pictured: Emily Dickinson bending space and time with the power of her mind. Emily's portrait taken from the Todd-Bingham Picture Collection and Family Papers, against a backdrop of star streaks taken by John Fowler, both from Wikimedia Commons.

Write Your Own Damn Sentences

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Recently I've been reading a lot on sentence construction - in particular the "little books" Mark Doty's The Art of Description: Word into World, Stanley Fish's How to Write a Sentence (and How to Read One), and Bruce Ross-Larson's Stunning Sentences, not to mention essays scattered across half a dozen books. I've enjoyed all this writing on writing, and I think all of it has been useful to me, but, as usual, there's one bit of advice I find myself encountering, find myself willing to take, yet find myself reacting against:

Find examples of great sentences to emulate.

On the one hand, I agree with this: finding great examples of sentences, then deconstructing them, imitating them and attempting to progress past them is a great exercise for writers, one I intend to follow up on (in my copious free time). On the other, focusing on exemplars of great sentences in the past, like it or not, encourages a mindset of focusing on the greatness of writers of the past, idolizing them, and then following in their footsteps.

I'm extremely allergic to the "idolizing the greats" syndrome. There have been greats in history, no doubt: great writers and thinkers, leaders and followers, heroes and villains. And there are people you will encounter that will impact you like no other: prophets whose principles will change your life, philosophers whose thought will change your mind, and authors whose writing will strike you like a physical blow. But they won't affect everyone the same way, and they won't solve your problems for you.

There are no secrets. It's all up to you.

Having said that, let me undermine it by recommending the following book of secrets: First Thought, Best Thought by Alan Ginsberg, Anne Waldman, William S. Burroughs and Diane Di Prima - an audiobook by four authors of the Beat Generation, talking about their experimental methods of poetry. I recommend the Beats because, like the Beats, I feel the need to counteract "conservative, formalistic literary ideals," but unlike the Beats, I don't reject those ideals: I just want more tools in my toolbox.

The Beats don't recommend emulating the past; they recommend finding ways of producing text that violate the norms. Ginsberg used breaths and rhythms. Burroughs cut words and sentences up and pasted them together until he had a whole page of, potentially, gibberish, which he then would mine for gems - perhaps finding a paragraph or even just a sentence out of an entire page of cut-up. Each author had their own method of breaking out of the mold. And a mold breaker … is a tool you can use.

So don't just find sentences to emulate. Write your own damn sentences. Cut up words on a page until they're confetti and rearrange them until they make sense. Build a program that writes random sentences. Throw down Rory's Story Cubes. Try magnetic poetry. Learn rap. Take improv. Stay up all night until you're loopy with sleep deprivation. No matter what crazy ideas you have, write them all down, then winnow through them all and pick the best ones - the ones that hit you like a physical blow.

THEN go back to the tools for sentence analysis from all those little books, and use them to make more of your own.

Seriously, what do you have to lose? Try the exercise. If you don't like what you produce, you may learn that your inspiration lies in understanding the past and building on it to create something new. If you do like it … you may add something to the world which, while its parts may come from the past, is in its whole ... wholly new.

-the Centaur

Pictured: a truly bizarre photographic composition that occurred by chance, and which I could not have planned if I tried.

The Doorway Cracks Open

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At last! DOORWAYS TO EXTRA TIME is available for preorder on Amazon! The book's out August 13 … that makes it almost exactly two years from conception to publication. For your amusement, I thought I'd dredge up the original call for submissions that I sent to the Write to the End and Dragon Writers groups way back in September of 2011:

DOORWAYS TO EXTRA TIME

In our busy world of meetings and microwaves, car radios and cellphones, you always hear people wishing they could get an extra hour in the day.

But what if you could?

DOORWAYS TO EXTRA TIME is an anthology that explores ways to get extra time (be it an hour, a day, or a decade) and the impact it would have (whether upon a single life, a family or an entire world).

We’re looking for stories with a touch of the fantastic—whether mystical, magical, mechanical, or just plain mysterious—but they can be set in any time or any genre: contemporary or historical, science fiction or fantasy, horror or magic realism. We could even find a place for a nonfiction essay if it was truly exceptional.

In short, show us something showstopping, and we’ll make time for you.

Suggested Length: full stories from 3,000 to 7,000 words and flash fiction under 1,000 words. We will accept good stories up to 10,000 words but it’s a hard sell.

Due Date: January 31st, 2012

Editors: Anthony Francis and TBD

The theme's still the same, but due date January 31st, 2012? Really? HAHAHAHA no. As you all probably know, the estimable Trisha J. Wooldridge signed on as my coeditor and helped me make this a much stronger (and more diverse!) book. Thank you, Trisha, for helping make DOORWAYS possible!

So, please, everyone, preorder and enjoy!

-the Centaur

The Science of Airships, Redux

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Once again, I will be giving a talk on The Science of Airships at Clockwork Alchemy this year, this time at 11AM on Monday. I had to suffer doing all the airship research for THE CLOCKWORK TIME MACHINE, so you should too! Seriously, I hope the panel is fun and informative and it was received well at previous presentations. From the online description:

Steampunk isn't just brown, boots and buttons: our adventurers need glorious flying machines! This panel will unpack the science of lift, the innovations of Count Zeppelin, how airships went down in flames, and how we might still have cruise liners of the air if things had gone a bit differently. Anthony Francis is a science fiction author best known for his Dakota Frost urban fantasy series, beginning with the award winning FROST MOON. His forays into Steampunk include two stories and the forthcoming novel THE CLOCKWORK TIME MACHINE.

Yes, yes, I know THE CLOCKWORK TIME MACHINE is long in forthcoming, but at least it's closer now. I'll also be appearing on two panels, "Facts with Your Fiction" moderated by Sharon Cathcartat 5pm on Saturday and "Multi-cultural Influences in Steampunk" moderated by Madeline Holly at 5pm on Sunday. With that, BayCon and Fanime, looks to be a busy weekend.

-the Centaur

Everyone’s fooling people by taking their laptops to coffee shops, and here I am just editing anthologies

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john scalzi in motion

So this is me, with my laptop, in a coffee shop, editing the science fiction anthology DOORWAYS TO EXTRA TIME, listening to an author reading by John Scalzi, author of YOU'RE NOT FOOLING ANYONE WHEN YOU TAKE YOUR LAPTOP TO A COFFEE SHOP.

I read Scalzi's blog Whatever and was pleased to hear he was coming to my favorite bookstore / coffeeshop combination, Books Inc. in Mountain View and the attached Cafe Romanza. It's right up the street from my work, so I dropped in to the coffee house, got a copy of REDSHIRTS for signing (never having read his fiction, it seemed a good place to start since the book he's promoting is a sequel), got coffee, got permission from the staff to set my laptop up at a small table above the signing, and camped out.

I edited. Friends dropped by. We chatted. The room filled, and then Scalzi showed up...

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...and he's even more entertaining in person than he is on his blog. He read from his latest novel THE HUMAN DIVISION, a little side tale about aliens and churros (I've never had any, but they're kind of like Spanish doughnuts, apparently), and from his blog the hilarious and insightful post "Who Gets to Be a Geek? Anyone Who Wants to Be."

When it got to Q&A, I didn't ask any questions: everyone asked all my questions for me. It turns out Tor approached him about serializing his books, and THE HUMAN DIVISION came out of that conversation. I'm jealous; I and my publisher are still negotiating how to serialize THE CLOCKWORK TIME MACHINE, which I wrote with the design for it to be serialized.

After the talk, I waited for the line to die down before getting REDSHIRTS signed. Scalzi and I talked about the irony of me editing my anthology on my laptop in a coffeeshop while the author of YOU'RE NOT FOOLING ANYONE WHEN YOU TAKE YOUR LAPTOP TO A COFFEESHOP was reading, and he pointed out that there's two types of people who take their laptops to coffeeshops: those who go to write, and those who go to be seen.

He asked about the anthology, and I told him about DOORWAYS TO EXTRA TIME: an anthology that asks the question what would you do if you really could get an extra hour in the day. Oddly enough, Scalzi had the same answer about what he'd do with that hour as one of my barista friends in the coffeeshop: both said they'd use the extra hour to catch up on sleep.

I think John Scalzi and that barista must be two of the smartest people in the world.

-the Centaur

P.S. What's this, Google+? You can animate several pictures taken together, even when I didn't tell you to in advance? Really? We're not living on the moon, but we are living in the future. That's awesome. UPDATE: Apparently it only works by default on Google+, as I don't see it on my blog that way. Still, the downloaded image has all the frames, so I could fix it up in Photoshop real quickly if I wanted to. Still the future. UPDATE UPDATE: May be a Ecto upload issue. Will fix later. Regardless, future. UPDATE UPDATE UPDATE: I managed to manually upload it, but it took a little squeezing in Photoshop to make the image manageable.

The DOORWAY, on its way…

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The completed manuscript to DOORWAYS TO EXTRA TIME is on its way to the copyeditors. This project, designed to explore extra time, is now on its way to take someone else's time, vampirelike, while I return to editing my novels. Please do not send me any more side projects right now, unless they are super good ones. That is all.

-the Centaur

Pictured: what's your doorway? A salsa of scenes near Monterey.

A Dragon Passes

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Gary Kim Hayes, a wonderful fixture of the writing track at Dragon*Con, passed away recently at the age of 61. I didn't know him well, but thanks to my friend Nancy Knight, I was on a few panels with him at Dragon*Con and of course got to see him in many more panels. Most notably, he moderated the fun and popular "How to Write a Story in an Hour" panels.

We talked a few times. I was just starting to get to know him. I was looking forward to seeing him at the next Dragon*Con.

And now he's gone.

He'll be missed.

-the Centaur

Pictured: Gary Hayes, edited slightly from his bio picture to symbolize his passing.