It Doesn't Have To Be Right…

… it just has to sound plausible


3 Comments

A prospect of space opera

I might have mentioned once or twice I have a new space opera out, A Prospect of War. And since books apparently don’t market or sell themselves – big publishers have whole departments to do that, or so I’ve been told – I felt I’d better wibble on about it a bit. A Prospect of War will be officially launched as a signed limited hardback at Edge-Lit in Derby in July, but if you pre-order now you get a free ebook edition. Or you can buy the ebook straightaway, if you’d sooner have in that format. (ETA: The publisher has moved the book to Kindle: UK and US.)

apow

So, a space opera. That’s like with an empire. In space. With an, er, emperor. But A Prospect of War is not your typical space opera. Despite taking place in an empire that occupies some ten thousand worlds, it’s all a bit low tech. I was going for a sort of Edwardian aesthetic when I wrote it, steel plates and polished wood, but these days I suspect it’ll just be read as steampunk-ish. Which is not necessarily a bad thing.

The reason I designed such a universe was because I didn’t want it to feel dated, no matter when a person read it. I wanted it to be hermetic, with no references to anything recognisable in the real world, or that could have been extrapolated from “current” science or technology. So all the computers are mechanical, and even artificial lighting is generated using the piezoelectric effect. And then there are the five handwavey devices which have made this an interstellar empire – topologic drive (FTL), charger (anti-gravity), directed-energy cannon (big shooty plasma-beamy things), power toroid (cheap energy), and force-curtain (useful for making sure your air doesn’t escape in space). There’s a back-story explaining how a relatively low-tech planet-bound civilisation ended up with these, and one day I may write a novella about it.

Then there’s the narrative of A Prospect of War, which was partly modelled on that of an epic fantasy. Or at least, that was the original plan. There’d be a peasant hero, who’d find himself embroiled in an empire-wide plot bent on… hell, let’s go for the obvious one: a plot to take the throne from the emperor. Your basic consolatory fantasy story. Why not? Except… what makes the peasant hero the, er, hero? If he’s a nobody, what is it about him that results in him leading the fight to save the throne? There’s no magic in A Prospect of War – I mean, that would be like polluting space opera…

Okay, perhaps a suitably science-fictional “magic” power might be okay. Like prescience. It worked for Paul Atreides, after all. True, he was also the son of a powerful noble, but you know what I mean. However, I wanted something a bit more original, and I think I managed it. In fact, this later proved only one of many serendipitous choices I made while I was writing – you know, where you write something because it seems like a neat idea at the time, and then later on in the narrative you realise you’d inadvertently foreshadowed something really cool.

In most epic fantasies, the narrative follows the peasant hero, getting to know him (it’s pretty much always a “him”) first, then showing how he picks up the various members of his gang, which he subsequently uses to defend the noble emperor. Or something. I decided to mix this up a little – the peasant hero would be your typical ingenu but he’d also be pushed and pulled by a couple of conspiracies. Which meant introducing some additional points of view as quickly as possible. This may have been a mistake. The opening chapters of A Prospect of War bounce around among four main characters, rather than focusing on the peasant hero. This means the novel has a somewhat steep learning curve – a situation not helped by my decision to try and avoid big fat lumps of exposition (although, to some extent, exposition was unavoidable, but I hope I kept it to a reasonable level).

The narrative of A Prospect of War, if it were plotted out, would look a bit like a map of a railway network. Sort of. The separate “tracks” of the story meet and cross and bounce off each other as the novel progresses, before eventually meeting up for the transition to the second book. Sometimes they’re chasing a mystery, other times the direction is dictated by the answer to a mystery.

Just to make things a little more interesting, when I was designing the universe I decided that topologic travel would be measured in weeks, but time would have passed more slowly in the real universe – a “time-lag”. On a logarithmic scale. So one week in the toposphere (the sort of hyperspace used by the topologic drive) equals eight days in the real universe; two weeks equals thirty-two days. And so on. A word of advice: never do this. It made working out the internal chronology of A Prospect of War, and its sequels, a complete nightmare. Especially when you have different groups of characters gallivanting about space.

All this focus on plot and the shape of the narrative doesn’t mean I skimped on my cast. It was important to me the characters were as well-rounded as I could make them. The peasant hero, Casimir Ormuz, might be typical of the breed – although he’s no special snowflake (well, perhaps a little bit) – but I hung the rest of the narrative on another four characters. Who, er, all happen to be women. Ormuz is a member of the crew of a tramp data-freighter. The ship’s captain, Murily Plessant, represents one of the story’s factions. Then there’s the Admiral, who is secretly building up a force to defend the throne. Her lieutenant of intelligence, Rizbeka Rinharte, is instrumental in bringing Ormuz and the Admiral together. And finally there’s Sliva Finesz, an inspector investigating financial irregularities high up in the government, who gets dragged into the whole thing. None of these, by the way, are precisely good or bad; it doesn’t fall out into two neat little camps like that. And it gets especially mixed up in the second book, A Conflict of Orders.

The other element of the space opera I spent time developing was my empire’s history. I wanted that sense of deep history you get in the best science fiction. I didn’t quite go so far as putting together a family tree covering 1200 years of the empire’s ruling dynasty… Well, okay, I started one, but I never finished it. But I did write notes covering some six or seven thousand years of history, most of which would never actually appear in the books. I actually made a start on an encyclopaedia, which I thought might eventually make a companion volume…

Next time, I might write about feudalism… in spaaaace.


7 Comments

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.


17 Comments

Welcome to An Age of Discord

What is this, I hear you cry. A space opera? But, Ian, you write hard sf, literary hard sf, the sort of hard sf that needs two pages of bibliography! How can you write a space opera?

Well, it sort of happened like this…

I first started work on A Prospect of War back when I was living in the UAE. I’d previously completed two novels, neither of which were especially good. One was a sort of Dickensian space opera, and the other a first contact novel with a time-slipped narrative. But after working my way through the first seven books of Robert Jordan’s Wheel of Time, and failing to understand why they had proven so successful, I decided to write a space opera trilogy which used the structure of an epic fantasy. It took several goes before I was happy with the universe I was building (early versions probably owed a little too much to science fiction role-playing games such as Traveller).

So, I would have a “peasant hero”, a young man of common birth who proved to have some magical ability which resulted in him leading the forces of good against an attempt by a “dark lord” to overthrow the existing ruling dynasty. But I wasn’t quite ready to throw magic into my space opera. In fact, what I wanted was a relatively low-tech civilisation that had managed to build an interstellar empire using only a limited number of pieces of handwavey technology. I didn’t want it all shiny high tech because I needed to justify the rigidly-enforced social classes. You need those class barriers in place for a peasant hero to break through (and to provide yet more jeopardy to justify his eventual victory). And I wanted an atmosphere of fading grandeur and deep history.

I invented a world which reached an early industrial level of technology, and promptly discovered three satellites in orbit. A space race led to one nation – the most socially conservative and repressive of those on the world – getting into space first… where the astronauts found three ancient wrecked starships. And from them they reverse-engineered: a Faster-Than-Light drive, a cheap energy generator, anti-gravity, a powerful directed-energy ships’ weapon, and a force-curtain. (They actually had a little surreptitious help… but that’s a story for another day.) These five things gave that nation first the planet, and then an interstellar empire.

But my story would be set millennia later, after the empire had declined and a new empire, catalysed by a successful war against another interstellar polity, had been carved out of it. The dark lord would be only the latest leader of a conspiracy which has been harbouring a grudge since the defeat of the old empire…

This was getting bloody complicated. I took some time out from writing to do some world-building… and eventually ended up with a couple of hundred MB of spreadsheets, documents and text files giving details on everything from the imperial government to its military to naming conventions to ancient history. I even built a wiki, with the eventual aim of either publishing it online or in book-form as an encyclopaedia.

A generic space opera image from a wallpaper web site

A generic space opera image from a wallpaper web site

Then it was back to writing the story… which never quite went as planned. This was partly because I’d been too clever for my own good. For reasons which now escape me, I decided that FTL travel entailed journeys measured in weeks, but in the real universe the length of time the journey took was longer, on a logarithmic scale. So a journey which for a ship’s passengers might take a week would see them arrive eight days after their departure; for two weeks, it would be seventeen days… and so on. Since I decided to use four main viewpoint characters, and I’d have them travelling about on different journeys… I had to create a giant spreadsheet in order to keep the chronology straight. It was a major headache.

And that epic fantasy template I’d planned on using… that was getting completely bent out of shape too. I had my four protagonists meeting and then separating and then meeting again, just so I could get them all into position for the end of the first novel. To make matters worse, every time I reached for a space opera or epic fantasy trope to incorporate, it would never quite fit, so I had to either rip it apart or subvert it.

Anyway, I eventually finished the first book, after many years of writing and polishing. It was good enough for John Jarrold to take me on as a client. I started work on the second book of the trilogy. This was a mistake. If you can’t sell the first book of a series, what’s the point of writing the second book? A few years passed. I wrote a few treatments for novels, but no one bit. I wrote Adrift on the Sea of Rains. It won the BSFA Award. I discovered I much preferred writing the sort of literary sf that requires lots of research. I wrote the remaining books of the Apollo Quartet (well, was working on the fourth book). Then a small press – Tickety Boo Press – asked to see my space opera. What to do? I’m not writing that sort of science fiction any more. Won’t its appearance confuse readers who have come to expect the likes of the Apollo Quartet from me?

Decision time.

Now, I still stand by A Prospect of War and A Conflict of Orders. I think they’re good work. And now actually seems like the right time for them to appear. Publishing has changed, the sf market has changed, space opera has changed. Which doesn’t mean I don’t intend to do a little wrangling before they see the light of day. At 200,000 words, A Prospect of War could do with being made a little tighter and punchier. And I changed some background details when I wrote A Conflict of Orders, so I need to retcon them in A Prospect of War. A Conflict of Orders’ 170,000 words will also receive some rewriting. And I’ll finally get around to writing A Want of Reason – which will please some friends, who have been demanding I write it for years.

Space opera is a more commercial, and commercially successful, subgenre than literary hard sf. If An Age of Discord sells well, and encourages people to buy the Apollo Quartet, then it’s all win. There are space operas currently available on Kindle – badly-written and derivative ones – which sell several thousand copies a month. In three years, I’ve sold 1,300 copies of Adrift on the Sea of Rains. Granted, novellas don’t sell as well novels, but all the same…

An Age of Discord does not mean I’ve permanently decamped to space opera. I still have a number of hard sf projects planned, both at novella and novel length. But I see no reason why I can’t write big fat space operas and literary hard sf. But we shall see how well the trilogy does. Perhaps people will hate it, perhaps no one will buy it. Perhaps its time has not come, after all…

 


27 Comments

Space opera trilogy to be published

The news is out… Tickety Boo Press have picked up my space opera trilogy, An Age of Discord, to be published in 2015 and 2016. The three books are A Prospect of War, A Conflict of Orders and A Want of Reason, and they’re sort of a steampunkish widescreen baroque space opera sort of thing. The official press release (see here) describes the general story as…

Those who don’t know history are doomed to repeat it, but those who ignore history do so at their peril. The Empire was born in civil war and now, 1,300 years later, a fresh civil war is brewing. But who is the mysterious “Serpent” who threatens the Imperial Throne? And what can the renegade naval officer known only as the Admiral, and her single battlecruiser, do to combat him? Casimir Ormuz, a young man of low birth, may be the key. Whoever controls him is most likely to win—but he is determined to be his own master.

And then the historical origin of the Serpent’s conspiracy abruptly intrudes into the present… And the civil war becomes a battle for the Empire’s survival.

Set in a colourful and richly-detailed universe, An Age of Discord tells an epic story of derring-do and intrigue, while subverting space opera sensibilities and traditions.

… which is all a bit vague and tantalising-y. As all good blurbs should be.

acoo

I wrote a back-cover blurb for the first novel, and while it may or may not appear on the actual book when it’s published, here it is to give a flavour of the trilogy:

Lieutenant-Commander Rizbeka demar Rinharte is lieutenant of intelligence aboard Vengeful, a renegade battlecruiser commanded by the mysterious Admiral.

Sliva demar Finesz is an inspector in the Office of the Procurator Imperial, and involved in investigating a conspiracy to overthrow the Emperor Willim IX.

Murily Plessant is captain of the data-freighter Divine Providence. She is also an agent of a secret order dedicated to protecting the Empire against the clandestine machinations of its internal enemies.

Although all three women do not know it, they are fighting the same enemy.

Vital to this fight is the young man Casimir Ormuz, a member of Divine Providence’s crew.

Only Plessant and her secret order know the role Ormuz will play… and even then he is far more pivotal than they realise.

Did I mention that the plot is really complicated? There’s wheels-within-wheels and sword-fights and space battles and no space opera cliché is left unmangled by the Sales treatment…

Oops. Forgot to mention. A Prospect of War will be launched at Edge-Lit 4 in Derby on 11 July this year.

PS: An Age of Discord will feature quote marks for dialogue.


1 Comment

Sales report

Loncon 3 is now in full swing. I am not there. After spending last weekend in a field in Derbyshire, drinking and watching a number of metal bands perform, I can’t say I’m especially bothered about missing the Worldcon (though I’m sorry I won’t have the chance to meet IRL a few visitors to the UK I know only from online). Bloodstock was good – I think I enjoyed the music more this year than last, even though initially I hadn’t been that keen on the line-up. Highlights were the sets by Obsidian Kingdom and Shining, and the crowd’s performance during Evil Scarecrow’s set. Other good stuff included Orphaned Land (twice), Rotting Christ, Winterfylleth, Old Corpse Road and Voices. The weather behaved – mostly. It hammered down on the Sunday, and everywhere got wet and muddy, but it cleared up by the evening. Security this year was much improved; the toilets were much worse. A good festival, nonetheless.

Meanwhile… these summer months so far have felt spectacularly unproductive, and there have been days when I’ve had trouble working up the enthusiasm to write, edit, or even get started on a book review… Which is not to say I’ve done nothing. It just feels like it. I’m assuming reviews count. I wrote a fair few of those during June and July. Four for SF Mistressworks, in fact: We Who Are About To…, Joanna Russ (here); Busy About the Tree of Life, Pamela Zoline (here); Worlds for the Grabbing, Brenda Pearce (here); and Judgment Night, CL Moore (here). A fifth went up this week – The Revolving Boy, Gertrude Friedberg (here) – and I have another two suitable books I’ve read but I’ve yet to start on the reviews – Aurora: Beyond Equality, edited by Vonda N McIntyre & Susan Janice Anderson; and Second Body, Sue Payer. I also reviewed Extreme Planets, edited by David Conyers, David Kernott & Jeff Harris, for Interzone (the anthology’s publishers really need to sort out its Amazon page); and I have another book sitting on this desk beside my laptop to review for them, which is, er, already late. (I’ll have it done by the end of the week, Jim. Honest.)

Whippleshield Books continues to quietly stumble along. Sales of Adrift on the Sea of Rains have just passed 1100, those of The Eye With Which The Universe Beholds Itself are over 500, and Then Will The Great Ocean Wash Deep Above has to date managed a tardy 200-or-so units sold. I’m determined to get the final book of the Apollo Quartet, All That Outer Space Allows, out before the end of the year, although at present I can’t predict exactly when. (Which reminds me: I need to buy some more ISBNs.) Aphrodite Terra, however, should appear some time next month. (The contributors were paid on acceptance, so any delay is more annoying than anything else.)

shrimpton

Also, next month, I’ll have a story in Litro magazine. The issue has a “future fashion” theme, and my story, ‘The Spaceman and the Moon Girl’, is about astronauts and space age fashion designers. Sort of. Postscripts #32/33: Far Voyager should also be out some time this year, with my story providing its title. And later this year – no date as yet – Tickety Boo Press are publishing an anthology Space: Houston, We Have A Problem, which contains my story ‘Red Desert’.

ETA: I forgot to mention I contributed a couple of Friday Fives to Pornokitsch – one on sf novels about first missions to the Moon titled, with a great deal of imagination, ‘5 Trips to the Moon’; the other about sf movies set at the bottom of the ocean, ‘5 Pieces of Soggy Sci-Fi Cinema‘.

 

Follow

Get every new post delivered to your Inbox.

Join 2,184 other followers