It Doesn't Have To Be Right…

… it just has to sound plausible


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Launch days

Well, April was an interesting month, last week was an interesting week. It’s not everyone who has two novels published within three days of each other, and sees the end of one series and the start of another. Two very different novels too – and not just in size, 45,000 words versus 190,000 words…

Screen Shot 2014-10-08 at 3.46.35 PMFirst, the final book of the Apollo Quartet, All That Outer Space Allows, was launched on 27 April – on Kindle and paperback only. The signed limited hardback edition will follow later this month. Some time over the next couple of days I’ll be putting up a page on the Whippleshield Books web site to pre-order copies – and yes, I’m happy to reserve specific numbers (but it has to be less than 75, of course), although people who have purchased specific numbers of the other books of the quartet will of course get first call. All That Outer Space Allows, which is a novel and not a novella, was a hard book to write – as indeed have been all four books of the Apollo Quartet. But I think they’re good work and they occupy a space in the genre I’d plan to explore further… even if I have to self-publish again.

apowThen, on 30 April, Tickety Boo Press soft-launched the first book of An Age of Discord, my big fat space opera trilogy, A Prospect of War. It’s ebook only at present. There’ll be a paperback and a signed limited hardback launched at Edge-Lit 4 in July. A Prospect of War couldn’t be a more different book to All That Outer Space Allows. It’s my attempt at a commercial science fiction subgenre. I kept the prose plain, and limited the complexity to the plot (which is, er, quite complex). There are no fancy literary tricks in A Prospect of War, I just rang a few changes on your standard space opera tropes. A Prospect of War will be followed in October by A Conflict of Orders, and in March 2016 by A Want of Reason. I also have plans for a couple of novellas set in the same universe, but we’ll see how things go…

Ebook copies of both books are available for review. Drop me a line if you’d like one. Or, er, both.


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All That Outer Space Allows teaser

Back on the 1 March, I read out a piece of Apollo Quartet 4 All That Outer Space Allows at the second SFSF Social. It seemed to go down quite well. And since the release of the book has been a little bit, er, delayed, I thought I’d post the text from my reading as a taster. So here you are. It’s from chapter two. Enjoy.

Walden says nothing about the physical at Brooks AFB or, months later, the interviews at the Rice Hotel in Houston; but for a week after his last trip to Texas he swaggers more than usual. Ginny knows this unshakeable confidence is as much a coping mechanism as will be, should he fail, his subsequent realisation he doesn’t really want it anyway. But she hopes he succeeds, she wishes she could go into space herself. But she knows that, at this time, it’s an occupation reserved for men— no, more than that: reserved for men of Walden’s particular stripe, jet fighter pilots and test pilots. She calls him “my spaceman” one night, it just slips out she is reading the latest issue of If, there’s a good novella in it by Miriam Allen deFord, and Ginny’s head is full of spaceships and spaceship captains; but Walden turns suddenly cold and gives her his thousand-yard stare. He starts to explain the competition is fierce, he won’t know how he’s done until he hears from NASA… but he breaks off, scrambles out of bed and stalks from the room.

Ginny puts the magazine on the bedside table, but her hand is shaking. She sits silently, her hands in her lap, and waits. He does not return. Fifteen minutes later and he’s still not back, so she rearranges her pillows, makes herself comfortable beneath the sheets, and reaches out and turns off the bedside lamp. She has no idea what time it is when he eventually slides into bed beside her, waking her, and whispers, Sorry, hon. She rolls over, closes her eyes and tries to re-enter the vale of sleep, where marriages are blissful, life itself is blissful, and she is as famous as Catherine Moore or Leigh Brackett.

They wake at 0430, the shrill ring of the alarm dragging them both from sleep. While Walden goes for a shower, she wraps herself in a housecoat and heads for the kitchen. There is breakfast to prepare—coffee to roast, bread to toast, eggs to fry, bacon, beans and hash browns. She does this every day, sees off her man with a full stomach and a steady heart. Here he is now, crisp and freshly-laundered in his tan uniform, hungry for the day ahead. He takes his seat, she pours him juice and coffee, slides his plate before him, and then sits across the table and watches him eat as she sips from a cup of coffee. She should be getting up before him, making herself ready, dressed and made up, to greet him when he awakes—but countless past arguments have won her the right to make his breakfast and see him off to work without having to do so. The housecoat is enough.

They kiss goodbye at the door, and he strides off to the Chevrolet Impala Coupe in the carport. Though she wants to go back to bed, there is too much to do, there is always too much to do.

After clearing up the breakfast things, she makes herself another coffee and settles down to catch up with her magazines, she is a couple of issues behind with Fantastic, and this issue, the last of 1965, features a novella by Zenna Henderson and stories by Doris Pitkin Buck, Kate Wilhelm and Josephine Saxton.

Later, she will get dressed—and she will dress for comfort, not for appearance’s sake—and she will get out the Hermes Baby and she will work on her latest story. She made the decision years before to incorporate elements of her own life—and, suitably disguised, Walden’s—into her science fiction, so she feels no need to visit libraries or book stores for research. She has a stack of issues of Fantastic Universe, If, Amazing Stories, Galaxy, World of Tomorrow in a closet—they are all the research material she needs. Galaxy, for example, runs a science column by astronomer Cecelia Payne-Gaposchkin; Amazing Stories has featured science columns by June Lurie and Faye Beslow since the 1940s. Walden, of course, has a library of aeronautics and engineering texts in the bedroom he uses as a den, and Ginny has on occasion paged through them—not that Walden knows: his den is for him alone and she allows him the illusion of its sanctity; naturally, it never occurs to him to wonder how the room remains clean.

Ginny is feeling lazy today. She likes to think she has an excellent work ethic when it comes to her writing, but some days she finds it hard to muster the enthusiasm to bang on the keys of her typewriter. Especially when she has just read something she thinks she can never approach in quality—and that, she sadly realises, is true of the Saxton story in the magazine she is holding. Josephine Saxton is a new writer, from England, and this is her debut in print. Ginny only wishes her first published story, just four years ago in Fantastic, had been as good.

The blow to her confidence decides her: she will leave her current work in progress until tomorrow; today she will catch up on her correspondence, she owes letters to Ursula, Judith and Doris, and she really ought to fire off a missive to Cele with her thoughts on the issue she has just read…

After she has showered and dressed in slacks and shirt, she finds herself outside on the patio, gazing east across the roofs of Wherry Housing toward the Air Force Base and Rogers Dry Lake, and beyond it the high desert stretching to the horizon, where the Calico Mountains dance in the pastel haze of distance. As she watches, a jet fighter powers up from one of the runways and though it is more than a mile and a half from her, she can tell from its delta wing it is a F-102 or F-106. Its throaty roar crowds the cloisonné sky, there’s a quick flash of mirror-bright aluminum as the aircraft banks, and then the fighter seems to fade from view as it flies away from her. She wonders if it is Walden in the cockpit, she has no idea what he does from day to day once he enters the base; officially, he is a research test pilot in the Fighter Test Group, but she does not know what he researches, which fighters he test pilots. Not the North American X-15, she knows that much, an aircraft which intrigues her because it is also a spaceship—it has flown more than fifty miles above the Earth, right at the edge of space, at over 4,000 miles per hour. And it even looks like a spaceship, like a rocket, as much at home in vacuum as it is in atmosphere. She would like to know more about the X-15 but it’s a sensitive subject in the house. Walden has tried to get on the program but has been refused, and he wears the refusal badly. Perhaps that’s why he was so keen to apply to become an astronaut.

Ginny is a California girl, a real one, born and bred in San Diego in Southern California, not one of those “dolls by a palm tree in the sand” from that song on the radio. She has history in this landscape of deserts and canyons and mesas, though she grew up beside the limitless plain of the Pacific. Here in the Mojave she is hemmed in by mountains, they encircle her world, her flat and arid world, where the small towns are so far apart they might as well belong to their own individual Earths. Standing here, gazing in the direction of Arizona, she finds it easy to believe Edwards is the only human place in the world, a lonely oasis of civilisation—and she knows her husband thinks of it as a technological haven in a world held back from the best science and engineering can offer by the short-sightedness of others. To some degree, she thinks he may be right. But she is also a housewife, and she lives in a world in which bed linen must be changed, clothes laundered, meals cooked and checkbooks balanced. She envies Walden his freedom to ignore all that—he can have his “life in the woods”, but only because she manages his world.

And now she really must get on with her letter-writing… although the lawn looks like it needs mowing and the end of the yard is beginning to look a little untidy…

And here’s the cover art…

Screen Shot 2014-10-08 at 3.46.35 PM


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Reading out loud

One week tomorrow, I’ll be giving a reading at the Sheffield Fantasy & Science Fiction Social Club, along with US author Dana Fredsti. This takes place on Sunday 1 March, from 4 pm onwards, in the Old Queen’s Head (next to Sheffield bus station). There will also be a raffle, with lots of prizes (people rarely go home empty-handed), and plenty of friendly chat. This is the second event put on by SFSF Social – the first was on 24 January and was very successful.

Time permitting, I plan to read a very short excerpt from Apollo Quartet 4 All That Outer Space Allows, and then another very short excerpt from my forthcoming space opera, A Prospect of War. I’ve no idea how well it’ll go – if the Apollo Quartet has taught me not to give books long titles because typing them out all the time is a complete faff, I suspect reading from A Prospect of War will probably teach me to pick character names I can actually pronounce…

So, come along – it costs nowt and it’s an excellent way to spend a Sunday evening.

oldqueenshead


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2014 and me

This time last year I said 2013 hadn’t been a particularly good year, but this year has been worse. Admittedly, last year felt bad, but quite a lot of good stuff happened during it – including winning the BSFA Award. This year… well, the event of 2014 was Loncon 3, and I chose not to go to it (for a variety of reasons which felt right at the time). I did, however, attend the Eastercon in Glasgow, Edge-lit in Derby and Fantasycon in York. No trips abroad, sadly. I also went to Bloodstock Open Air festival, and it was a good one.

Only three of my stories saw print in 2014. ‘Waters of Lethe’ appeared in Perihelion SF in June; ‘The Spaceman and the Moon Girl’, my first ever sale to a literary magazine, appeared in Litro #137 in September; and ‘Far Voyager’ provided the title to the latest Postscripts anthology, #32#33 Far Voyager, in November. Another two stories were due to appear in an anthology this year, but its appearance has been delayed.

ps3233

Speaking of delayed… I’d hoped to have Apollo Quartet 4 All That Outer Space Allows out in 2014. My initial hope was to have it ready for Loncon 3, but by July I was still busy doing research. And sort of feeling out the story and how I wanted to tackle it. Once I started writing it, and decided it was going to be a short novel rather than a novella, publishing it by the end of the year seemed unlikely. So it’s going to be a 2015 release and I’m aiming for the second half of January.

I’d used MPG Biddles to print the paperback editions of Apollo Quartet 1 Adrift on the Sea of Rains and 2 The Eye With Which The Universe Beholds Itself, but they went bust in June 2013. So I had to use Amazon’s CreateSpace for book 3 Then Will The Great Ocean Wash Deep Above. And now that I’m running low on my stock of books 1 and 2 in paperback and would have to use CreateSpace to replenish… I decided it was a good opportunity to produce a second edition of each. New cover art, such that all four books will look like a set; and even some bonus material to up the page-count as CreateSpace can only put lettering on the spine for books of more than 100 pages. One advantage of this is that Amazon will print and carry its own stock, so I won’t make a loss every time I sell them a book. I’m also hoping shiny new editions will give sales of the books a kick in the pants – as too will the appearance of book 4 All That Outer Space Allows. As of 12 December 2014, sales of books 1,2 and 3 stand at 1,160, 540 and 255 respectively.

All of this had unintended consequences for another project I was working on: Aphrodite Terra, a mini-anthology of six stories about the planet Venus. Again, I’d planned to have it out for Loncon 3, but that didn’t happen. And given the amount of work I’ve ended up doing in the last quarter of this year, I’ve had to knock that into early 2015 too. I hope it’ll be worth the wait.

On the non-fiction front, I was interviewed at the beginning of the year by some Spanish bloggers – the Spanish-language version appears on Leticia Lara’s Fantástica Ficción here, and the English version is on Odo’s Sense of Wonder here. I was also interviewed on Confessions of a Book Geek for Sci-Fi November. I reviewed 23 books for SF Mistressworks and 3 books for Interzone. I also started a new reading project: postwar British women writers. Only two books read so far – by Storm Jameson and Susan Ertz – but it’s an informal, unstructured reading project so there’s no rush. I also contributed a pair of ‘Friday Fives’ to Pornokitsch: 5 Trips to the Moon in June and 5 Pieces of Soggy Sci-Fi Cinema in August.

2015 should prove… interesting. I’m determined it will be a more productive year than 2014 has been. Once All That Outer Space Allows and Aphrodite Terra are out, I plan to get started on a literary hard sf novel. I also have a stand-alone novella I’d like to write. And some short stories – I have several I started this year but never quite managed to finish. Toward the end of 2015, I’d like to gather together my space fiction stories and publish a short collection through Whippleshield Books. I also have another little project I’m considering tackling, a sort of pendant to All That Outer Space Allows. But we’ll see how everything goes.


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Finger on the Zeitgeist

So I started writing Adrift on the Sea of Rains sometime in 2010, and then the film Apollo 18 was released in September 2011 – although I didn’t publish my book until April 2012. And then I wrote The Eye With Which The Universe Beholds Itself about a mission to Mars, and published that in January 2013… by which point Andy Weir’s self-published novel The Martian was doing so well, it was bought by a publisher for six figures who then published it in January 2014, and now it’s being made into a movie by Ridley Scott. I decided to write about the Mercury 13 for Then Will The Great Ocean Wash Deep Above, and so does Kelly Sue DeConnick in Captain Marvel, which was collected as In Pursuit of Flight in late 2013. And BBC Radio 4 broadcasts a documentary on the Mercury 13 in November 2014. And for the final book of the Apollo Quartet, I’m focusing on the wives of the Apollo astronauts, and among the books I’ve used for research is Lily Koppel’s The Astronaut Wives Club… which has been adapted for television by ABC and will be broadcast in spring 2015…

apollo11_eva1

So it’s not just me writing about these things, but on the other hand it’s not like I’m getting any benefit from their appearances in popular culture. Clearly my marketing department is not doing its job properly…


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Structural engineering for fiction

There are many ways to be innovative in fiction writing, but the method which appeals to me the most is in looking at the different ways in which narratives can be structured – not simply in order to tell a story, but also in order to direct how the reader experiences that story. It’s something I was conscious of while writing the Apollo Quartet.

The most obvious structure, and the most common, is the linear narrative, in which events are ordered chronologically from start to finish, and typically seen from a single viewpoint. Then there is the multi-threaded narrative, in which different viewpoints all offer differing views of the events described by the story. There is also the time-slip narrative, in which two or more narratives running in different time contexts together lead to, or explain, the resolution. In most of these stories, the resolution offered to the reader is the one experienced by the protagonist. While in a multi-threaded or multi-viewpoint narrative, the reader might be possessed of more information than the protagonist, and so have a better understanding of the reasons for, or the nature of, the resolution, the end of the story is still immersive inasmuch as it takes place within the story.

structure-axo-q-theatre

While writing the Apollo Quartet, I decided to play around with the concept of narrative structure. I started out with a variation on common narrative structures, but with each instalment moved the focus of narrative understanding further out of the story and closer to the reader – while still maintaining what appeared to be a typical narrative format.

Corkscrew chronology with double twist
Adrift on the Sea of Rains has two narrative threads, one moving forward in time from the first line of the novella, and the second a series of flashbacks which are presented in reverse chronology. Both feature twist endings – but the twist of the reverse chronology narrative is what kickstarts the forward chronology, in effect forming a closed timelike loop of the entire story.

Delayed reaction external resolution
In The Eye With Which The Universe Beholds Itself, there are still two narratives, and they’re time-slipped, one in 1979 and one in 1999, but I wanted the novella to have two resolutions – one experienced by the protagonist, and one that only the reader understood from clues buried in the narrative and ancillary texts. I structured the novella to give what I called “a B-52 effect”, named for the cocktail not the jet bomber. I’d come across the idea of a coda “hidden” behind a glossary in Iain M Banks’s Matter – although I’m told Tolkein did it in The Lord of The Rings – and I really liked the idea of a short section after the end of the story which redefined everything the reader had read. But I decided to take it one level further and not categorically state what it was that redefined the story. I would include clues, scattered throughout the narrative and glossary, and the coda would be the final piece of the puzzle. In other words, the reader figures out the resolution for themselves outside the story.

Narrative action at a distance
And in Then Will The Great Ocean Wash Deep Above, I chose to put more of a burden on the reader. In part, this was a consequence of the stories I was determined to tell. I wanted a narrative featuring the Mercury 13, I wanted a narrative featuring the bathyscaphe Trieste… but how to connect the two? I considered a number of somewhat obvious solutions before having an epiphany one day while making my way to the pub to meet up with friends. I wouldn’t connect them, I’d let the reader find the connection – but I would give hints to that relationship. And the chief element of that relationship is that actions in one narrative world could turn out to have consequences in the other narrative world, despite there being no actual relationship between the worlds – in fact, their only relationship is that they run side-by-side within the pages of Then Will The Great Ocean Wash Deep Above. The connection between the two is not only completely artificial, it’s an artefact of the nature of reading.

Narrative context mismatch
I’m reluctant to discuss the fourth book of the quartet, All That Outer Space Allows, in too much detail, but I will reveal that it’s structured according to what I call “narrative context mismatch”. Like the preceding three books, the narrative or narratives will on the surface appear to be straightforward, either chronologically linear or time-slip, but there is more going on than initially meets the eye – and it’s both a consequence of the act of reading and the artificial nature of story.

Novellas, I’ve found, are perfect vehicles for this sort of structural engineering or experimentation. Short stories are simply too short, and while there’s nothing preventing any of the above being used in one, the word-length may make them too obtuse for the reader as there’s simply not enough room to provide all the necessary clues. Novels, you would think, would make for more fertile ground – and there are indeed novels which do some very interesting things with their narrative structures, I’m thinking especially of Ash: A Secret History by Mary Gentle and Lord Byron’s Novel: The Evening Land by John Crowley. But novels are also a far more commercial format for fiction, and as a result – particularly in genre – they tend to stick to tried and tested narrative structures. The experimentation, if it does exist, typically occurs in the setting or viewpoint.

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