Aug 30

You might be in a Mike Reeves-McMillan story if:

You might be in a Mike Reeves-McMillan story if:

1. You’re a competent mid-twenties woman; a gnome; or both.

2. Your romance has a good chance of not working out.

3. The world is against you being who you are. The world is going to have to change.

4. You have that one friend who’s more like a sibling.

5. There’s casual sensawunda.

Aug 28

Smart thinking, well expressed (quelle surprise) from Ann Leckie on the idea that “I don’t like this thing, so…

Smart thinking, well expressed (quelle surprise) from Ann Leckie on the idea that “I don’t like this thing, so people who claim they like it must have an agenda”.

I don’t think I would like N.K. Jemison’s Hugo-winning novels, but it’s because they sound dark and harrowing, and I don’t enjoy that. That’s why I haven’t read them.

I’m perfectly willing to believe that other people like them. Having read one of her other books, and some of her blog posts, I’m also very willing to believe that they are good.

Sometimes things win awards that I think are mediocre in terms of craft (again, I don’t expect that Jemison’s books are among those), but I’m still willing to believe that people liked them. Those people were looking for something in a book that is different from what I look for.

https://www.annleckie.com/2018/08/27/on-liking-stuff-or-not/
Aug 28

One of the reasons I started indie publishing is that I wanted to control my covers.

One of the reasons I started indie publishing is that I wanted to control my covers.

This piece gives an insight from an editor into the trad-pub process as regards covers, and how things changed over time for one writer’s books.

Originally shared by Kam-Yung Soh

A look at the covers for Octavia Butler’s books. “From an editor’s point of view, it’s vital to obtain a great piece of cover art for every book you publish. An outstanding book cover can make a first-time writer. It can separate an author from the pack on crowded bookshelves. It telegraphs the right message to the perfect readership.

Given all that, why do some book covers go so wildly astray? More than thirty years in New York publishing have given me some answers.

[…]

The original 1987 cover from Warner Books [for Dawn] shows a white woman awaking from what appears to be a medical procedure of some kind. However, early in chapter 1 of Dawn we read this very clear description of Lilith, the main character, from her own point of view: “Once, they put a child in with her—a small boy with long, straight black hair and smoky-brown skin, paler than her own.”

Now, was this a case of artistic error, or was it an example of a publisher deciding that a black woman on a book cover would turn off too many potential purchasers? If it was the latter, it’s far from the only case of cover art designed to avoid the depiction of characters of color. Octavia’s editor and art director from that time are no longer alive, so we can’t be sure of the thought processes involved. But we can take a look at Butler’s other covers from early in her career to see how they were handled.”

https://theportalist.com/octavia-butler-cover-art
Aug 27

People see what they want to see, and there are plenty of SF speculations going on today that tell us more about…

People see what they want to see, and there are plenty of SF speculations going on today that tell us more about today’s concerns and those of the authors than about the future.

(Warning: Paywall/get-the-app annoyingness on Flickr.)

Originally shared by David Brin

Interesting historical document. A 1964 Playboy interview with Asimov, Pohl, Anderson, Serling, Bradbury, Budrys, Clarke, Sturgeon, Blish, Heinlein… Dang they could and should have then included Judith Merrill, C.L. Moore, Leigh Brackett, but still, kinda fascinating. Naturally, where they were on-target, you feel a sense of awe. As you’ll wince at some myopia and failure to see what should have been obvious. And an unfortunate cartoon. But hey, we’ve made progress!

https://www.flickr.com/photos/42665617@N07/5890605945/in/album-72157627091727742/

https://www.flickr.com/photos/42665617@N07/5890605945/in/album-72157627091727742/

Aug 27

When I envision people in the future interacting with technology, it’s generally seamless – so much so that I don’t…

When I envision people in the future interacting with technology, it’s generally seamless – so much so that I don’t need to describe its interface. It becomes like magic.

Originally shared by Singularity Hub

Tech Interfaces Need to Get Better. Extended Reality Can Help

https://suhub.co/2oaWoOj

Aug 25

So this is the story of Monty’s hauls.

So this is the story of Monty’s hauls.

Back in a rural part of the southern US somewheres, there was a feller name of Andrew Montgomery, but everyone just called him Monty. His hobby was hauling things.

See, Monty had built himself what he called, for reasons mysterious, his “Yuma hauler”. What Yuma had to do with it, nobody could figure, but Monty’s boast was that this contraption could haul anything that had two ends. And if it only had one end, why, that Yuma hauler could make it have two ends.

It was basically an oversized motor, a reinforced chassis, some caterpillar treads, and a set of low gears. And any time anyone in the county wanted something hauled, whether it was a car out of a ditch or a stump out of a bog, they called Monty. He’d bring the Yuma hauler and get the job done, and he never even charged for it; did it for the sheer love of the haul. But usually folks would talk him into accepting some food or beer or like that.

Now, there were two fellers round about that weren’t so happy about Monty and his Yuma hauler: Alexander and Richard Shaw, or Sandy and Rocky, to their friends. See, the Shaw brothers had the towing contract with the American Automobile Association for that county, and thanks to Monty, the only business they got in that way was folks passing through what didn’t know about Monty’s hauler. And not a lot of folks passed through. The Shaws had a garage as well, but they always resented that they had to keep a tow truck running and barely made enough to cover its upkeep, year to year.

Well, one day, seems that Bob Veritt’s big old eighteen-wheeler broke down just off of the highway, and needed a tow. Bob and his wife Maureen ran a small independent trucking company, or, to be more accurate, Maureen ran the trucking company, and also Bob. It was a standing joke in the county that if you asked Bob for his opinion, he’d have to call up Maureen to find out what it was. People round and about, out of their hearing, used to refer to the Veritts as “the Maureens”.

Be that as it may, on this occasion when the truck broke down, Bob couldn’t get a hold of Maureen to ask her what he should do – her phone was out of charge, or some such – so he did what everyone in the county did when something needed hauling. He called up Monty.

So soon enough, here comes Monty on top of his Yuma hauler, grinning all over his face in anticipation of a good haul. He fairly loved to haul things.

He and Bob hitch up the tow cable, only the tow point on the old truck has broken off, so Bob crawls under and attaches it to whatever he can find. He’s got a full load of bagged cement in the tractor and trailer, and he says to Monty, “You reckon that thing of your’n can haul all of this? Should I maybe unhook the trailer?” His hand creeps to his phone, like he wants to call Maureen and ask her.

Well, that was like a challenge to Monty. “‘Course she can!” he says. “My Yuma hauler can haul anything that’s got two ends.”

He starts it up, and puts it into gear.

The cable comes up taut, twang, and commences to vibrate.

The truck ain’t moving.

Monty narrows his eyes and changes to a lower gear, then feeds the Yuma more diesel.

The cable creaks.

Then, all at once, with a terrible tearing sound, the whole front of Bob’s truck, where the engine is, parts company with the cab and flies into the air, narrowly missing Bob. It bounces off the road, and Monty only saves himself by leaping off the Yuma’s seat into the ditch. It comes down on the seat, thud, and the Yuma’s engine coughs into silence.

Bob and Monty stand there looking at the smoking ruins of their respective vehicles for a few stunned seconds. Then Bob says in a small voice, “I guess I better call Maureen.”

And that is the story of how the Maureens went from the hauls of Monty’s Yuma to the Shaws of Triple A.

Aug 24

Editors, take note.

Editors, take note.

I remember a particular amateur editor who didn’t know English language nearly as well as she thought she did. I had to fight her in order to retain my style and voice in a short story I submitted to an anthology (and swore never again to participate in any project she was a part of).

Like V.S. Naipaul, I studied English language at university, so I was able to explain why some of her edits were incorrect; but a lot of it came down to “this is in my voice; don’t edit it so that it’s in yours”.

I have worked with a lot of editors, and the true professionals help me to bring the best out of my writing. They only suggest changes when things are unclear, misleading, or incorrect. I was an editor myself at one time, and it’s one of those professions in which, if you do your job well, nobody notices.

Originally shared by Alexander M Zoltai

V.S. Naipaul Writes an Enraged Letter to His Publisher After a Copy-Editor Revises His Book, A Turn in the South

http://www.openculture.com/2018/08/v-s-naipaul-writes-enraged-letter-publisher-copy-editor-revises-book-turn-south.html