One Giant Leap for Mankind....

Neil Alden Armstrong

(August 5, 1930 – August 25, 2012)

Does Google Dream of Electric Sheep?

"Nexus 6 Replicants" graphic by Superior Graphix

I got the urge recently to reread Philip K. Dick's Do Android's Dream of Electric Sheep? as it's been about 20 years since I last read this wonderful novel. It's so much different than the movie Blade Runner, which is based on DADOES?

The novel doesn't have the visual impact of the movie, nor does it have the manic emotions and level of violence of the movie. The novel is a completely different [reading] experience -- and if you are a fan of the movie and have not read the novel, I encourage you to do so.

But the novel notwithstanding, I am a huge fan of Blade Runner and, in fact, I own three versions of the movie: the original version with the voice-over (on video), the Director's Cut and the Final Cut (both on DVD). One of my favorite scenes: following the fight between the replicant Roy Batty (Rutger Hauer) and Rick Deckard (Harrison Ford), on the rooftop, after Batty saves Deckard, when Batty could have easily just let Deckard fall to his death below. Batty, with symbolic white bird in hand, says to Deckard (and to everyone):

"I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die."

PKD was offered $400,000 to write a novelization of the movie, but he refused, stating that the novel would remain as is and there would be no novelization. Now, to put that $400,000 in perspective: Since the film was released in June 1982, let's assume that the novelization offer was made in 1981. According to DollarTimes's inflation calculator, the inflation rate since 1981 is 3.15%; so $400,000 in 1981 is equivalent to $1,045,988.41 (let's not forget the 41 cents!) in 2012.

So, my question to you: Would you be willing able to turn down a million-plus dollars to maintain the integrity of your novel, your writing? Sorry, but I don't think so, not in this day and age of me, me, me....

In the end, in 1982, Del Rey Books released a mass market paperback movie tie-in version of the novel, featuring the Blade Runner title and promo poster on the cover, with the subtitle -- Do Androids Dream of Electric Sheep? -- in parenthesis. And on the copyright page the following blocked text was added:

July Links & Things

The past five or so weeks have been very busy for me -- but having work to do is always a good thing: it helps to pay the bills. I completed a developmental edit on a manuscript for an unpublished author; I completed a line and copy edit on reprint anthology The Apes of Wrath for Tachyon Publications (edited by Rick Klaw); and lastly, I completed a comprehensive line and copy edit (and some content editing as well) on Kameron Hurley's Rapture, the final volume in her Bel Dame Apocrypha series, for Night Shade Books. Oh, and for my own personal reading (which occurs so seldom anymore), I read the omnibus edition of Wool by Hugh Howey -- one of the finest works of post-apocalyptic SF that I have read in years. I don't recall any typos at all, though there was the occasional dropped word, missing hyphenation, etc., but that's it. Imagine that -- and a self-published book, too!

I also attended Readercon in mid-July; there are aspects of Readercon that I truly enjoy, but too much of it is simply cliquish and pedantic -- and thus not my personal preference; but I attend roughly every other year for the sole purpose of seeing friends whom I would not ever see otherwise. But, it turned out that this year's Readercon wasn't so typical after all, as a lot of controversy ensued afterward. Just search for "Readercon controversy" in any search engine and you'll find enough links. Or, you could check out John Scalzi's blog post: he links to a list of "Readercon controversy" posts, and provides his own personal view on convention harassment. Bottom line: the Readercon board of directors reversed their initial decision regarding a Readercon attendee, and they have all resigned from their positions as directors. You can read the official public Readercon statement.

Now to resume my regularly (albeit late) scheduled programming: This is my monthly wrap-up of July's Links & Things. You can receive these links in real time by following me on Twitter: @martyhalpern; or Friending me on Facebook (FB). Note, however, that not all of my tweeted/FB links make it into these month-end posts. As with prior months, June was a busy month, so there is a lot of content here. Previous monthly recaps are accessible via the "Links and Things" tag in the right column.

• If you are a Facebook user -- and a writer -- you may want to add the following group to your FB profile: OPEN CALL: SCIENCE FICTION, FANTASY & PULP MARKETS. The majority of posts are made by Cynthia Ward, publisher of Market Maven, but anyone can post an open call for genre submissions. There have been a half-dozen posts already today, which is fairly typical.

• I recently critiqued a couple stories for a "new" writer, after which he contacted me about ways he might improve his grammar. I recommended that he read works by a few specific authors, one of which was Lucius Shepard. Shortly thereafter I read a blog post by Michael Swanwick (another author whose work I would highly recommend) in which he quoted a lengthy paragraph written by Lucius Shepard; in this paragraph, a tyrant's son restores a dragon skull. The paragraph is approximately 160 words, and includes very few adjectives and only two adverbs. As Michael says about the paragraph: "Beautiful stuff, eh?"

• On Salon.com: In an article entitled "Thank you for killing my novel," author Patrick Somerville explains how the New York Times "panned my book, then had to correct the review to fix all their errors"; he then shares the email communication one of the book's characters (yes, that's right, a character from the book) had with an NYT editor. (via Curt Jarrell's Facebook page)

• I do a lot of copy editing in my line of work, and if you've ever wandered just what a copy editor does -- a good copy editor -- then read this next link and be amazed: courtesy of Angry Robot Books (@angryrobotbooks). (also via Curt Jarrell's Facebook page)

Firefly-class Serenity

"They" say a picture is worth a thousand words, but in this case, this one photo is simply not enough to do justice to this amazing wonderwork: a minifig-scale model of the Serenity spacecraft created with Legos. That's right, boys and girls: Legos!

This model was recently featured on io9:

The designer is 37-year-old Adrian Drake. According to Adrian, the model took 475 hours to build over a span of 21 months; it measures 7 feet 2 inches in length, weighs 135 pounds, and contains approximately 70,000 lego pieces. Adrian states that he spent $800.00 specifically for the model in addition to the "many many many thousands of dollars I've spent on Lego over the years."

Adrian debuted the Serenity on August 4 at Brickfair in Chantilly, Virginia. And to get a sense of the size of this model, you need to see this picture, taken at the Brickfair:

But even this photo doesn't do this masterpiece justice -- because... the interior features the bridge (in fact, Wash has his toy dinosaur to hand), crew accommodations, the dining room, and cargo bay, plus Inara's shuttle. And, the cargo bay and Firefly drive light up.

Seeing is believing: Adrian has posted a 31-photo Flickr set entitled "Serenity Construction," and the coup de grâce: a 75-photo Flickr set featuring a look at the finished model, inside and out, from every angle imaginable.

Please do check out these 106 photos, which showcase Adrian Drake's Serenity.

Now, who's for getting out their Lego sets?

More Alien Contact Anthology PR

Michael Swanwick, author of the story "A Midwinter's Tale," doing his best PR routine for Alien Contact at Readercon, Burlington (Boston), Massachusetts, Friday, June 13, 2012. [Note the stack of ACs on the table next to Michael!]

And speaking of PR:

If you are interested in reviewing the Alien Contact anthology, please contact me: you can post a comment below or, if you would prefer a private email, just click on "View my complete profile" for a link to my email addy. I can provide a print copy, a PDF file, a Kindle ebook, or Nook/Sony/Kobo ebook. In your comment or email, please include a link to your book review site or, if you review for another resource, a link to one of your reviews. And if you have any questions, you now know how to contact me.

"One" by George Alec Effinger (Part 3 of 3)

One

by George Alec Effinger

[Continued from Part 2]

"I have strange thoughts, Jessica," he admitted to her, one day during their ninth year of exploration. "They just come into my head now and then. At first I didn't pay any attention at all. Then, after a while, I noticed that I was paying attention, even though when I stopped to analyze them I could see the ideas were still foolish."

"What kind of thoughts?" she asked. They prepared the landing craft to take them down to a large, ruddy world.

Gillette checked both pressure suits and stowed them aboard the lander. "Sometimes I get the feeling that there aren't any other people anywhere, that they were all the invention of my imagination. As if we never came from Earth, that home and everything I recall are just delusions and false memories. As if we've always been on this ship, forever and ever, and we're absolutely alone in the whole universe." As he spoke, he gripped the heavy door of the lander's airlock until his knuckles turned white. He felt his heart speeding up, he felt his mouth going dry, and he knew that he was about to have another anxiety attack.

"It's all right, Leslie," said Jessica soothingly. "Think back to the time we had together at home. That couldn't be a lie."

Gillette's eyes opened wider. For a moment he had difficulty breathing. "Yes," he whispered, "it could be a lie. You could be a hallucination, too." He began to weep, seeing exactly where his ailing mind was leading him.

Jessica held him while the attack worsened and then passed away. In a few moments he had regained his usual sensible outlook. "This mission is much tougher than I thought it would be," he whispered.

Jessica kissed his cheek. "We have to expect some kind of problems after all these years," she said. "We never planned on it taking this long."

The system they were in consisted of another class-M star and twelve planets. "A lot of work, Jessica," he said, brightening a little at the prospect. "It ought to keep us busy for a couple of weeks. That's better than falling through null space."

"Yes, dear," she said. "Have you started thinking of names yet?" That was becoming the most tedious part of the mission—coming up with enough new names for all the stars and their satellites. After eight thousand systems, they had exhausted all the mythological and historical and geographical names they could remember. They now took turns, naming planets after baseball players and authors and film stars.

They were going down to examine a desert world they had named Rick, after the character in Casablanca. Even though it was unlikely that it would be suitable for life, they still needed to examine it firsthand, just on the off chance, just in case, just for ducks, as Gillette's mother used to say.

That made him pause, a quiet smile on his lips. He hadn't thought of that expression in years. That was a critical point in Gillette's voyage; never again, while Jessica was with him, did he come so close to losing his mental faculties. He clung to her and to his memories as a shield against the cold and destructive forces of the vast emptiness of space.

Once more the years slipped by. The past blurred into an indecipherable haze, and the future did not exist. Living in the present was at once the Gillettes' salvation and curse. They spent their time among routines and changeless duties that were no more tedious than what they had known on Earth, but no more exciting either.

As their shared venture neared its twentieth year, the great disaster befell Gillette: on an unnamed world hundreds of light-years from Earth, on a rocky hill overlooking a barren sandstone valley, Jessica Gillette died. She bent over to collect a sample of soil; a worn seam in her pressure suit parted; there was a sibilant warning of gases passing through the lining, into the suit. She fell to the stony ground, dead. Her husband watched her die, unable to give her any help, so quickly did the poison kill her. He sat beside her as the planet's day turned to night, and through the long, cold hours until dawn.

He buried her on that world, which he named Jessica, and left her there forever. He set out a transmission gate in orbit around the world, finished his survey of the rest of the system, and went on to the next star. He was consumed with grief, and for many days he did not leave his bed.

"One" by George Alec Effinger (Part 2 of 3)

One

by George Alec Effinger

[Continued from Part 1]

He remembered how excited they had been about the mission, some thirty years before. He and Jessica had put in their application, and they had been chosen for reasons Gillette had not fully understood. "My father thinks that anyone who wants to go chasing across the galaxy for the rest of his life must be a little crazy," said Jessica.

Gillette smiled. "A little unbalanced, maybe, but not crazy."

They were lying in the grass behind their house, looking up into the night sky, wondering which of the bright diamond stars they would soon visit. The project seemed like a wonderful vacation from their grief, an opportunity to examine their lives and their relationship without the million remembrances that tied them to the past. "I told my father that it was a marvelous opportunity for us," she said. "I told him that from a scientific point of view, it was the most exciting possibility we could ever hope for."

"Did he believe you?"

"Look, Leslie, a shooting star. Make a wish. No, I don't think he believed me. He said the project's board of governors agreed with him and the only reason we've been selected is that we're crazy or unbalanced or whatever in just the right ways."

Gillette tickled his wife's ear with a long blade of grass. "Because we might spend the rest of our lives staring down at stars and worlds."

"I told him five years at the most, Leslie. Five years. I told him that as soon as we found anything we could definitely identify as living matter, we'd turn around and come home. And if we have any kind of luck, we might see it in one of our first stops. We may be gone only a few months or a year."

"I hope so," said Gillette. They looked into the sky, feeling it press down on them with a kind of awesome gravity, as if the infinite distances had been converted to mass and weight. Gillette closed his eyes. "I love you," he whispered.

"I love you, too, Leslie," murmured Jessica. "Are you afraid?"

"Yes."

"Good," she said. "I might have been afraid to go with you if you weren't worried, too. But there's nothing to be afraid of. We'll have each other, and it'll be exciting. It will be more fun than spending the next couple of years here, doing the same thing, giving lectures to grad students and drinking sherry with the Nobel crowd."

Gillette laughed. "I just hope that when we get back, someone remembers who we are. I can just see us spending two years going out and coming back, and nobody even knows what the project was all about."

Their good-bye to her father was more difficult. Mr. Reid was still not sure why they wanted to leave Earth. "A lot of young people suffer a loss, the way you have," he said. "But they go on somehow. They don't just throw their lives away."

"We're not throwing anything away," said Jessica. "Dad, I guess you'd have to be a biologist to understand. There's more excitement in the chance of discovering life somewhere out there than in anything we might do if we stayed here. And we won't be gone long. It's field work, the most challenging kind. Both of us have always preferred that to careers at the chalkboards in some university."

Reid shrugged and kissed his daughter. "If you're sure," was all he had to say. He shook hands with Gillette.

Jessica looked up at the massive spacecraft. "I guess we are," she said. There was nothing more to do or say. They left Earth not many hours later, and they watched the planet dwindle in the ports and on the screens.

The experience of living on the craft was strange at first, but they quickly settled into routines. They learned that while the idea of interstellar flight was exciting, the reality was duller than either could have imagined. The two kittens had no trouble adjusting, and the Gillettes were glad for their company. When the craft was half a million miles from Earth, the computer slipped it into null space, and they were truly isolated for the first time.

It was terrifying. There was no way to communicate with Earth while in null space. The craft became a self-contained little world, and in dangerous moments when Gillette allowed his imagination too much freedom, the silent emptiness around him seemed like a new kind of insanity or death. Jessica's presence calmed him, but he was still grateful when the ship came back into normal space, at the first of their unexplored stellar systems.

Their first subject was a small, dim, class-M star, the most common type in the galaxy, with only two planetary bodies and a lot of asteroidal debris circling around it. "What are we going to name the star, dear?" asked Jessica. They both looked at it through the port, feeling a kind of parental affection.

Gillette shrugged. "I thought it would be easier if we stuck to the mythological system they've been using at home."

"That's a good idea, I guess. We've got one star with two little planets wobbling around it."

"Didn't Apollo have... No, I'm wrong. I thought—"

Jessica turned away from the port. "It reminds me of Odin and his two ravens."

"He had two ravens?"

"Sure," said Jessica, "Thought and Memory. Hugin and Munin."

"Fine. We'll name the star Odin, and the planets whatever you just said. I'm sure glad I have you. You're a lot better at this than I am."

Jessica laughed. She looked forward to exploring the planets. It would be the first break they had in the monotony of the journey. Neither Leslie nor Jessica anticipated finding life on the two desolate worlds, but they were glad to give them a thorough examination. They wandered awe-struck over the bleak, lonely landscapes of Hugin and Munin, completing their tests, and at last returned to their orbiting craft. They sent their findings back to Earth, set out the first of the transmission gates, and, not yet feeling very disappointed, left the Odin system. They both felt that they were in contact with their home, regardless of the fact that their message would take a long time to reach Earth, and they were moving away too quickly ever to receive any. But they both knew that if they wanted, they could still turn around and head back to Earth.

Their need to know drove them on. The loneliness had not yet become unbearable. The awful fear had not yet begun.

"One" by George Alec Effinger (Part 1 of 3)

As I mentioned in my previous blog post, if there was one previously published story that I would have included in my original anthology Is Anybody Out There? (co-edited with Nick Gevers, Daw Books, 2010), that story would have been "One" by George Alec Effinger.

In a posting to Usenet group "rec.arts.sf.written" on December 13, 1998, George wrote: "...the most difficult short story sale I've ever had was a piece called 'One,' which I wrote almost twenty years ago.... It was rejected by editors who thought... it would be an unpopular idea among their readers. It was bounced at 'Isaac Asimov's' by three different editors over the years."

The "unpopular idea" to which George referred is that we are, in fact, alone in the universe. Readers want to read about aliens, and alien contact—not that the galaxy is completely void of other intelligent life, or any life, for that matter. What kind of story would that make, anyhow?

So GAE's "One" remained unpublished for nearly 20 years until it was finally purchased in 1995 by noted SF author Greg Bear for his New Legends anthology, published by Legend Press UK. And there the story remained until 2001, when Orson Scott Card selected it for his reprint anthology, Masterpieces: The Best Science Fiction of the Century.¹ And, lastly, I included "One" in George Alec Effinger Live! from Planet Earth, a collection (the second of three) of his work, which I acquired and edited for Golden Gryphon Press in 2005.² The story was introduced in the book by Barbara Hambly, George's ex-wife and executrix of the Effinger Estate.

Here is Ms. Hambly's introduction to "One" from George Alec Effinger Live! from Planet Earth:

Like a meditation returned to over and over—or a recurring dream—George revisited the image of a lone man trying his best to perform an assigned task that is both impossible and meaningless, and getting no thanks or support for his efforts. Sometimes these stories are ironic, like "King of the Cyber Rifles," sometimes bleakly funny, like "Posterity."

I suspect this was how George viewed himself and his work.

But "One" rises far above that.

I can think of no other science fiction writer who would tell a story so completely antithetical to the whole concept of science fiction. The genre is based, almost as a given, upon the fact that there is life, civilization, intelligence out there: sometimes benevolent, sometimes hostile, sometimes completely incomprehensible...but there. It is a literature of hope.

It is a literature of "What if...?"

But what if we are alone?

What does that do to hope? To sanity?

George had this story in his files for twenty years before Greg Bear bought it for his New Legends anthology, I think for precisely that reason: in the 1970s it was an almost unaskable question. George was absolutely delighted when it finally sold.

Science fiction is a genre of possibilities, of humanity meeting and dealing with unthinkable situations.

This one's about as unthinkable as they get.

—Barbara Hambly

And now, for only the fourth time in nearly 20 years—and with the most gracious and kind permission of Barbara Hambly and the George Alec Effinger Estate, I bring you, in three serialized parts...

"One" Is the Lonliest Number....

Frank Drake, Seth Shostak, former SETI Institute director Jill Tarter, Astronaut Tom Jones, science fiction author Robert J Sawyer – these are just a few of the luminaries that were on hand for the SETI Institute's second SETIcon, held at the Santa Clara (California) Hyatt, from June 22 to 24, 2012.

I had made arrangements to sell copies of my two anthologies – Alien Contact (Night Shade Books, 2011) and Is Anybody Out There? (DAW Books, 2010) – through the SETI Institute store in the exhibitors room (actually, more like a ballroom!). So I was on hand all three days – and I mean all three days, from opening until closing – during which I chatted with attendees and, in the process, managed to sell a few copies of the books.

One of the exhibitors was the Astronomical Society of the Pacific, from whom I snagged a few back issues of their newsletter Astronomy Beat. The April 5, 2010, issue (Number 46) features a cover story entitled "The Origin of the Drake Equation."¹

Having co-edited (with Nick Gevers) anthology Is Anybody Out There? – stories based on the Fermi Paradox² – my interest in the Drake Equation is more than just a passing fancy. And to see Frank Drake up close and personal, as it were, well, it's like being in the same room with one's favorite actor, or musician.

According to Astronomy Beat, in the summer of 1961, J. Peter Pearman, a staff officer on the Space Science Board of the National Academy of Science, contacted Frank Drake about a meeting of the minds "to investigate the research potential" for "discovering life on other planets." Noteworthy scientists, researchers, and inventors were then invited to the meeting. Here's an excerpt from Frank Drake and "The Origin of the Drake Equation."

I took on the job of setting an agenda for the meeting. There was no one else to do it. So I sat down and thought, "What do we need to know about to discover life in space?" Then I began listing the relevant points as they occurred to me.

[...]

I looked at my list, thinking to arrange it somehow, perhaps in the order of relative importance of the topics. But each one seemed to carry just as much weight as another... Then it hit me: The topics were not only of equal importance, there were also utterly independent. Furthermore, multiplied together they constituted a formula for determining the number of advanced, communicative civilizations that existed in space.

The result of Frank Drake's list was, of course, the Drake Equation:

I'm not going to define each of the variables in the equation at this time, but you will see this equation again soon.

Benevolent (Close Encounters of the Third Kind) or deadly (Independence Day), contact with the alien "other" is one of the basic themes of science fiction. And we as readers and moviegoers thrive on this content. The basic premise of Is Anybody Out There? is that we are not alone, but that we haven't quite figured out ET's mode of communication. And/or we haven't yet learned what is important to ET to intrigue them enough to even want to make contact with us mere Earthlings. That is what the stories in IAOT? explore.

But the Fermi Paradox and the Drake Equation bring to mind another story by one very special author, George Alec Effinger who, alas, is no longer with us. The story is called "One." I would have loved to have included this story in Is Anybody Out There? as the antithesis of the anthology's theme, but all the included stories were written expressly for the book, and "One" was previously published in 1995.

I will leave you, for now, with this question:

What if we really are alone in the universe: How far would you go in search of that truth?

[Read the story "One" by George Alec Effinger]

---------------
Footnotes:

1. The excerpt entitled "The Origin of the Drake Equation" was adapted and updated for Astronomy Beat from Is Anyone Out There? The Scientific Search for Extraterrestrial Intelligence (Delacorte Press, 1992) by Frank Drake and Dava Sobel.

2. From author Paul McAuley's Introduction to Is Anybody Out There? co-edited by Nick Gevers and Marty Halpern (Daw Books, 2010): "The galaxy contains between one hundred billion and four hundred billion stars: even if only a small fraction possess planets capable of supporting life, and technological civilisations arise on only a few of those life-bearing planets, there should still be a large number of civilisations capable of communicating with us. And although the distances between stars are very large, and even if exploration of the galaxy is limited to speeds below that of light, exponential multiplication of interstellar colonies would mean that a determined star-faring civilisation would be able to visit or colonise every star in the galaxy within 5 to 50 million years, a trivial span of time compared to the lifetime of the galaxy. From these basic assumptions and calculations, Fermi concluded that Earth should have been visited by aliens long ago, and many times since. But where was everybody?"

One additional note: Seth Shostak, the SETI Institute's senior scientist, is author of Confessions of an Alien Hunter: A Scientist's Search for Extraterrestrial Intelligence (National Geographic, 2009).

June Links & Things

This is my monthly wrap-up of June's Links & Things. You can receive these links in real time by following me on Twitter: @martyhalpern; or Friending me on Facebook (FB). Note, however, that not all of my tweeted/FB links make it into these month-end posts. As with prior months, June was a busy month, so there is a lot of content here. Previous monthly recaps are accessible via the "Links and Things" tag in the right column.

• Mediabistro's @galleycat recommends that writers try SmartEdit, a free software program. No, this program won't edit your manuscript, but it will find clichés, along with overused words and phrases. The link showcases a SmartEdit of The Wonderful Wizard of Oz by L. Frank Baum. I've tested the program on a couple short story manuscripts, which revealed little of interest; but I'll be using it shortly on a novel I am editing.
• Speaking of editing: Guest blogger @JaneFriedman shares an interesting piece [hint, hint] entitled "How to Influence Editors in a Way That 90% of Other Writers Don't." Jane writes: "One of the most important qualities of successful people I know (regardless of profession) is that they understand what motivates the people around them. Some authors—even though they are experts in understanding the hearts of their characters—forget to look into the hearts of editors and agents.... Well, how do you win anyone over? You start by listening and showing you understand." (via @RachelleGardner)
• I found this next link via the Facebook page of Testy Copy Editors [And though it's not my page, I certainly would qualify!]: From CNN.com comes "Why 'Amercia' needs copy editors.": "But most important is that a copy editor stands in for the reader, gingerly reshaping, clarifying and correcting things before the reader can see them and post an excoriating comment. But more and more publications are laying off their copy editors, replacing them with Web designers or more reporters, or with nothing."
• In past "Links & Things" I've included links to blog posts by both Kristine Kathryn Rusch (@KristineRusch) and @DeanWesleySmith, both of whom post regularly on the business of books and publishing. In a recent "Business Rusch" post, Kris tackles the difference between traditional publishing and indie publishing, or, as she words it: the difference between "hurry up and wait" and "wait and hurry up." This latest Business Rusch post has more than 75 comments, too.
• After reading "The Business Rusch" above, you might want to read this post on duolit entitled "8 Questions to Ask Yourself Before Deciding to Self-Publish," by guest poster @AndrewGalasetti: 1) How will my readers benefit? 2) Do I mind the long wait for traditional publishing? 3) If so, is it because I'm impatient? 4) If so, will my impatience negatively impact the quality of my writing? 5) What skills do I possess? 6) What skills can I outsource? 7) How will I outsource these skills? and 8) How bad do I want it? You'll find the details at the link. (Via Hugh Howey's FB page; see my May Links & Things for more on Hugh Howey's self-publishing success.)

"Today we celebrate our independence day!"

Good morning. Good morning. In less than an hour, aircraft from here will join others from around the world, and you will be launching the largest aerial battle in the history of mankind.

Mankind, that word should have new meaning for all of us today.

We can't be consumed by our petty differences any more.

We will be united in our common interest.

Perhaps it's fate that today is the 4th of July, and you will once again be fighting for our freedom. Not from tyranny, oppression, or persecution, but from annihilation. We're fighting for our right to live, to exist. And should we win the day, the 4th of July will no longer be known as an American holiday, but as the day when the world declared in one voice:

"We will not go quietly into the night!
We will not vanish without a fight!
We're going to live on, we're going to survive."

Today we celebrate our independence day!

—President Thomas J. Whitmore
    July 4th, 1996

Reviewing the Apocalypse

I've thoroughly enjoyed reading Stross' 'Laundry' series for years now and seeing how Britain's brave secret agents fight creatures from extra-dimensional space whilst dealing with the latest round of meetings and Civil Service budget cuts. Having worked in government I find this really funny because it's true (the bureaucracy I mean, not the extra-dimensional creatures...)

—Graeme Flory, Graeme's Fantasy Book Review

Earlier this year, on January 27, I posted a blog update entitled "Doing Charles Stross's Laundry with Style," in which I wrote about working on the author's newest Laundry Files novel, The Apocalypse Codex, for Ace Books. And, specifically, that the publisher required that I provide a Style Sheet along with the edited manuscript.

The Apocalypse Codex will be published this month and the reviews are starting to appear. All very positive, so far....

I opened this blog post above with a quote from Graeme Flory's review on his Fantasy Book Review blog. Here is another snippet from his review:

...Stross appears to be of the mind that he is done explaining all the technical stuff that underpins this setting....We've had a few books for it all to sink in and now it's time for the plot itself to have some room to breathe. It's a great move on Stross' part; his plots are normally brimming over with cool stuff anyway but the extra room allows things to ramp up to another level.

And Graeme concludes his review with:

...there are still some nasty surprises in store to trap unwary characters and make The Apocalypse Codex a book that you simply have to finish. My only regret is that I finished the book too quickly and now I have to wait for ages until the next installment.

I suspect every author would like to read a review of their work end like that!

The second review is from Elias F. Combarro (@odo), whose name you may recognize on this blog. In a blog post on May 9, I linked to Odo's review of my Alien Contact anthology on his Spanish-language blog Sense of Wonder. If Spanish isn't your thing, Odo also now posts all his reviews in English as well. As a follow-up to his review, Odo also interviewed me about a week later. I've included a link to the interview in that previous blog post as well.

But back to The Apocalypse Codex -- Odo writes in his review on Sense of Wonder:

I found The Apocalypse Codex a bit closer to urban fantasy than the previous books in the series, and some parts even reminded me of The Magician King by Lev Grossman and Kraken by China Miéville. The plot is tighter, more interesting and easier to follow than some of the other novels of The Laundry Files.

And the last paragraph of his review ends with a dire warning:

All in all, The Apocalypse Codex is possibly the best novel of The Laundry Files (and my favorite book of 2012 so far, together with Existence by David Brin) and that is a lot to say. Buy it. Read it. You don't know when CASE NIGHTMARE GREEN will happen and you'd better be prepared.

Orbit Books, the U.K. publisher of TAC, has kindly made the book's Prologue available online for your reading pleasure. So, if you're not already familiar with The Laundry and Bob Howard, here's your chance for a sneak peak at the new novel.

Is Anybody Out There? -- Variant Covers and a Second Printing

While attending SETIcon II this past weekend, one of the attendees, who was purchasing a copy of my co-edited anthology Is Anybody Out There? (Daw Books, 2010), pointed out to me not only a difference in the books' covers but also that some of the books were a second printing. Learning that your book has sold well enough to necessitate a second printing is always great news. And to learn, too, of the cover variants was surprising as well.

In preparation for SETIcon, I had previously ordered a number of copies of Is Anybody Out There? direct from Penguin Group (USA) Inc. Aside from checking that the number of books in the box was accurate and that none were damaged, well, that was as far as my keen observations went.

I've tried to scan the covers to show the differences, but the glare and all prohibits such distinctions. So, I will do my best to explain.

For all you completists out there: What we discovered is that the first printings had a matte-finish cover, whereas the second printings had a glossy cover, with a press line on the left side of the cover about three-sixteenths of an inch from the edge. Another way of describing a press line (possibly "press line" is not the correct term, but that's how I know it) might be a manufactured/built-in reading crease near the left edge on the front cover.

Also, the first printings have the full number line 1 through 8, whereas the second printings begin with the number 2.

But wait, there's more! When I returned home that evening I pulled out my own first printing of IAOT? -- a copy that I had received in 2010 when the book was published -- and verified the full number line. This copy has a glossy cover but no press line.

So, we have two different covers on the first printing: glossy and matte finish; and a different cover than either of those on the second printing: glossy with a press line.

Is anybody out there? Does anyone really care?

Unfortunately, I had no knowledge that the book was going back to press. Had I known I would have alerted the publisher to the two typos (at least the only two that I am aware of) and asked that they be corrected. One typo is in the David Langford story, "Graffiti in the Library of Babel," and the other is in the Ray Vukcevich story, "One Big Monkey." Sorry, guys....

Writing 101: Reality Check

Fair use allows me to use the cover art to this wonderful manga comic Reality Check!, however truth in advertising requires I state that this blog post has absolutely nothing to do with this comic. I just needed a catchy graphic that contained the words "Reality Check" -- and this Rikki Simons comic [full title: Super Information Hijinks: Reality Check!] serves that purpose.

My reality check, the one about which I am writing today, has to do with that point in a writer's life when s/he has to come to grips with the manuscript they've been working on for months, possibly even for years.

In mid-2007 when I was acquiring for Golden Gryphon Press, I received a submissions query from a writer who was a fan of "pulp sword & sorcery" fantasy fiction. He explained that since little fiction had been written recently [at the time of this query] in the style of Robert E. Howard and Lin Carter, among others, he had written his own pulp sword & sorcery novel and was seeking publication.

His email was well-written and quite intriguing; he had my attention, so I replied in kind. In his next response, he attached a copy of the full manuscript, but included a caveat:

...the opening couple of chapters are admittedly the weakest portions of my novel, and I am at a loss as to how to improve them, so if you wouldn't mind reading ahead to chapter three or so where the real action begins, I would greatly appreciate it.

Trust me, this is not something I want to hear as an acquiring editor, that the first two chapters of a submission are weak and the author is at a loss on how to fix it. [Maybe just begin the novel with chapter 3 and weave in the necessary back story from chapters 1 and 2 where appropriate?]

So I read the first three chapters; actually, the novel began with a lengthy prologue, too! The overlong, wordy, winding sentences, that seemed to ramble on and on, nearly drove me to drink (well, at least an excessive amount of coffee)... As a test, I rewrote one paragraph (only two sentences!) without all the unnecessary verbiage and reduced it from 84 words to 77 words. Doesn't seem like much but it made a huge difference in the flow of the paragraph. In another scene he introduced five major characters -- plus a demon -- all with names that weren't...well, they weren't as easy to pronounce as "Conan."

So I sent him a response that included quite a bit of feedback: the paragraph example from above, the overwhelming number of characters in the scene from above, a few examples of sentence structure issues (misplaced phrases), grammar errors, etc. I also suggested that he find himself a local writers group, through a bookstore, or library, or college, so that he could obtain feedback from fellow writers. His response to my email was quite cordial [I had also mentioned that I was leaving Golden Gryphon Press at the end of the year] but not what I had expected:

Thanks for taking the time to evaluate my submission, and best of luck to you, as well, in your future endeavors. As for your suggestion to allow my work to be critiqued by some manner of reader group, I will have to pass, as I generally find writers to be a rather pretentious lot, and I have no desire to associate with such. Just so you know, I wrote this novel for my own personal amusement, and only decided to shop it around to publishers at the behest of friends and family. Obviously, based upon your critique of my work, I should just stick to writing for pleasure as I obviously haven't the necessary skills to compete in the professional market nor do I have the drive to make myself more competitive. Lesson learned.

That, boys and girls, is a reality check.

Ray Bradbury....

In my month end Links & Things post for April 2009, I included the following entry on Ray Bradbury:

Ray Bradbury, during his regular appearance at the Los Angeles Festival of Books, remarked that this may be his final appearance unless the LA Times resurrects its "Book" section, which, like most of the paper, has seen staff and page counts cut over the years. Bradbury worked for the LA Times "Book" section more than forty years ago! He shares some anecdotes in this article, including how he typed the manuscript for Fahrenheit 451 using a "pay" typewriter in a basement room under the Powell Library on the UCLA campus. The typewriter required 10 cents for 30 minutes. Bradbury came each day with a bag of dimes. When the manuscript was complete, he had spent $9.80. (via @GalleyCat) [Good luck, Ray, on getting the "Book" section reinstated!]

The link above is to a brief article in the Los Angeles Times and well worth your time (no pun intended) -- and includes a photo of ole Ray signing books at the LA Festival of Books. His appearance there will be sorely missed.

Speaking of Ray's love of the printed word, and the joy he took in signing copies of his books and stories, I thought I would include one such book in my library that I personally had Ray Bradbury sign many years ago:

You'll have to pardon the inclusion of my thumb in the photo, but the book is too fragile (the binding glue is completely dried out) to lay flat. The signatures, from top to bottom: Ray Bradbury, Philip K. Dick, Robert Sheckley, Isaac Asimov, Alan E. Nourse, and Chad Oliver -- all past masters, all of them now gone.

There are far more knowledgeable and eloquent tributes to Mr. Bradbury across the web today -- particularly this one from the LA Times, which includes twenty-one photos of Bradbury from throughout his life, beginning at age 3. But I just wanted to acknowledge his passing with this very brief post.

Ray Bradbury
(August 22, 1920 – June 5, 2012)

May Links & Things

This is my monthly wrap-up of May's Links & Things. You can receive these links in real time by following me on Twitter: @martyhalpern; or Friending me on Facebook (FB). Note, however, that not all of my tweeted/FB links make it into these month-end posts. May was another busy month, so there is a lot of content here. Previous monthly recaps are accessible via the "Links and Things" tag in the right column. 

• What would the publishing world be without another "authors beware" entry.... In this case I'm referring to Open Casket Press, Living Dead Press, and Undead Press. Don't be fooled: these three presses are all run by the same individual: Anthony Giangregorio -- and when "Tony" mentions his "editor" (Vincenzo Bilof) he's also talking about himself, though he wants you to believe that he is referring to some other nebulous individual. New author Mandy DeGeit was excited to have her first published story accepted for an Undead Press anthology -- that is, until she discovered after the story was published how the "editor" had rewritten her work, going so far as to include a paragraph of a dog beating (and sexual arousal) that was never in the original story. Mandy's sad tale went viral shortly thereafter, and when Richard Salter read it, he decided to go public as to why he pulled his novel, World's Collider, from Open Casket Press. You can read Richard's blog post, which also contains a link to Mandy's blog post. Bottom line: Stay away from Open Casket/Living Dead/Undead Press and Anthony "Tony" Giangregorio/Vincenzo Bilof. You have been duly warned.
• But I'm not quite finished with Tony Giangregorio. Author Adam-Troy Castro posted a lengthy Facebook piece concerning this individual; since only FB users could read said post, I asked Adam to repost it elsewhere, and he graciously complied. So now non-FB users can read his "Secret Sequels" post. Here's a quote: "What Giangregorio has done is specifically, and deliberately, hijack the name of a better work and superior work to his sequel; he is specifically saying, 'This is a sequel to Dawn of the Dead.' Which he has no right to do."
• I spent Memorial Day weekend at the annual BayCon convention here in Santa Clara County. One of the many panels in which I participated was entitled "Editors, Agents and Other Endangered Species"; the moderator, Dario Ciriello, posted a recap of the panel, with particular emphasis on the "editors" part.
• Hugh Howey. Recognize that name? If not, neither had I, until May 14 when I read in Publishers Weekly online that film rights to his science fiction series Wool had sold to 20th Century Fox -- and partnering with Fox on the film deal is Scott Free, none other than Ridley and Tony Scott's production company. So I purchased a copy of Wool myself, and in the process learned that Hugh Howey had originally self-published Wool as a series of five novellas. The book will be published in hardcover in the UK, and the author is currently at work on a prequel series. If you search out Wool you will read nothing but rave reviews of this book. It represents one of the true self-publishing success stories, the result of a great story and great writing, and hard work. Howey's guest blog on IndieReader provides some personal history on Wool and how the movie rights came about. And he even writes on his own blog about receiving payment from a reader who originally obtained a copy of his book for free from a pirate site. As Howey writes: "How cool an exchange is that?"
• Self-publishing is, of course, what everyone is talking about, especially when you read success stories like Hugh Howey's above. Rudy Rucker (@rudytheelder) has posted a four-part series on his step-by-step road to creating an ebook, which includes working with HTML code and apps like Calibre and Sigil. Begin at part one: "Getting Started," and you'll find links at the top of each page to get you to parts 2, 3, and 4. In part 4, you can even purchase the ebook edition of Rudy's How to Make an Ebook for only $1.95 from his own Transreal Books press.
  

To Every Thing There Is a Season....

On Saturday, July 1, 1989, I drove nearly 400 miles -- with my wife and young daughter in tow -- in order to meet Leo and Diane Dillon. They were appearing that weekend at Westercon 42, at the Anaheim Marriott Hotel.

The Dillons weren't the artist guests of honor, but somehow I had learned they would be in attendance at the convention. (Remember, there was no online "social media" then like there is now.) According to Tom Whitmore [more on Tom in a bit], the Dillons tended to turn down GOH invites, but they were in the middle of a book tour, and managed to squeeze in some convention time into their hectic schedule. Regardless of how I heard the Dillons were planning to be at the convention, I was planning to be there, too.

Nebula and Hugo awards for Best Novel

Upon arriving in Anaheim on Saturday, July 1, we stayed at my parents' house [the house, alas, that I finally sold in April] as they lived only a mile or so from the hotel. And while my wife and daughter spent time that weekend with my family, I made my way to the Marriott and Westercon 42.

In addition to my family and a couple pieces of luggage, I had also brought with me two fairly large boxes (printer paper boxes) of books that I had hoped to have Leo and Diane Dillon sign. Among the approximately 50 or so books were all 36 original Ace Science Fiction Specials, edited by the late Terry Carr, in which the Dillons had done the cover art.¹ Obviously this was back in the days of my book collecting mania. I still have these books -- and probably about three thousand more -- I just don't worry about getting them signed any longer. (That is, unless the book is one that I edited and/or the author is a personal friend.)

To successfully get all of my books signed, I needed some dedicated time with the Dillons. So, I approached Tom Whitmore, who was on the Westercon 42 staff, and asked for his assistance. Tom was one of the three founding partners of the Other Change of Hobbit bookstore in Berkeley; I knew Tom from spending far too much time (and undoubtedly far too much money) at that particular bookstore during the mid-to-late '80s and '90s.

Leo and Diane Dillon were presenting a slide show of their work in the afternoon, I believe it was on Sunday, July 2; following the slide show presentation, Tom graciously escorted the Dillons and me to a smaller room where we could have some private time -- and, in fact, Tom even remained by the door to ensure we were not interrupted.

But before all the signing was the Dillons' slide show presentation. I have this vague (after 23 years!) memory of the event, and truly wish that a recording of the Dillons' commentary was available. They showed slide after slide, discussing the particular technique used with each one: wood block prints, batik (or some similar process), various mixed media; and the occasional hassles they had with art directors, deadlines, and such. How Leo fell asleep while painting late one night and Diane picked up right where he had left off... How each piece they did was a collaboration of ideas and skills: what they themselves referred to as the "Third Artist." They touched on -- but didn't dwell upon -- some of the difficulties they encountered in the late '50s and '60s as an interracial couple.

Tom Whitmore also reminded me that it was this slide show that the Dillons presented an unfinished cover for The Last Unicorn. I don't recall the full story (i.e. how the cover came to be, and then remained unfinished), but Tom informed Connor Freff Cochran -- Peter S. Beagle's agent, co-producer, publisher, etc. -- about the unfinished piece; Connor then contacted the Dillons and had them finish the piece for a reprint edition of the book.

Tachyons Proven To No Longer Be Imaginary

According to Wikipedia:

A tachyon is a hypothetical particle that always moves faster than light. Most physicists think that such particles cannot exist because they are not consistent with the known laws of physics....Today, "tachyon" often refers instead to imaginary mass fields, which cannot exceed the speed of light and have come to play an important role in modern physics.

This past week I visited the newly remodeled and greatly enlarged office of Tachyon Publications in San Francisco. Of course, the remodeled office was only new to me as I haven't visited in the past year due to familial issues, now resolved, which I previously blogged about. But my lateness doesn't detract from the beauty of the new office: the bay windows, the wood flooring, the unique cinder block walls toward the back half of the office space, the openness -- and the fact that the rear two-thirds of the office is tunneled into the side of a hill (thus the cinder blocks)!

I detest driving in the city of San Francisco, so I have to rely on public transportation. This means I take the CalTrain commuter from the San Jose station to the San Francisco 22nd Street station, whereupon I am then chauffeured to the office in the Tachyonmobile. Unlike tachyons, though, CalTrain does not move at superluminal speed. In fact, the trip each way takes approximately one and a half hours, with a myriad of mind-numbing stops in between. But before one can even consider boarding a train at the San Jose station, one must first find a parking space! I circled all three parking lots, and then re-circled the last parking lot to its very edges and found what I still believe to be the very last available slot in all of stationdom. Then, once a parking spot is found, one must pay tribute to the god of parking.

I was graciously met at the 22nd Street station by Jacob Weisman, editor and publisher, and Jill Roberts, managing editor. I communicate with Jill regularly via email, and Jacob and I chat occasionally on the telephone, so an opportunity to get together -- and also share a lunchtime meal -- is always welcome.

The day prior to my visit, cases of Tachyon's newest book, The Sword & Sorcery Anthology, edited by David G. Hartwell and Jacob Weisman, had arrived at the office; following our lunch, Jacob dutifully packed up review copies and comp copies, later to be shipped out. In fact, since I had worked on this book as well, I was able to take a couple comp copies home with me, thus saving Jacob a wee bit of packing time and postage.

Sense of Wonder and Alien Contact

Elias F. Combarro has recently posted his Alien Contact (publisher Night Shade Books) review and interview (conmigo) on his Spanish-language blog Sense of Wonder.

First, the review.

[Note: If Spanish is not your preferred language, Elias has graciously translated his review into English as well, which is the content from which I will be quoting. However, each page, English or Spanish, links at the bottom to the other version.]

On themed anthologies, Elias writes: "...I don't want to read the same story twenty times. I want to explore many different approaches to the same topic. I want to be surprised and amazed. I want to be shown something new, something that I didn't even imagine that could be done." He goes on to state:

I've recently had the pleasure of reading Alien Contact, an anthology edited by Marty Halpern. It is the perfect illustration of how to assemble a wonderful set of stories devoted to a fascinating theme. All the stories selected by the editor are excellent examples of human contact with alien races (not necessarily a first contact) but no two of them are alike.

[...]

This amazing variety of takes on a single theme is one of the strongest points of the anthology. Throughout all the stories included in the book, we explore, from different points of view, a fascinating topic: ourselves as seen by a stranger.

[...]

The stories of the book are complemented with an invaluable source of information: before Alien Contact was published Marty Halpern blogged about each and every individual tale, providing extremely interesting details and, in some cases, even the full text of some of the stories. While reading the book, I frequently revisited Halpern's notes and that certainly added a lot to the experience.

Let the wild rumpus begin....

In memory of Maurice Sendak

June 10, 1928 – May 8, 2012