While there are still dozens of progress reports to post to the Serial Box, it looks like I only have two more old newsgroup posts that will be reposted here.
From a newsgroup post dated February 22, 2016:
Over New Year’s I recorded most of the Syfy channel’s “Twilight Zone” marathon to my DVR, and I’ve been working through that collection little by little, mostly while exercising.
Last night I watched “What You Need,” based on the “Lewis Padgett” (Henry Kuttner) short story of the same name*, and one of the minor characters was a pretty girl in a bar who had this light-up-the-room smile. I didn’t recognize her, but she was eye-catching and could act, so I was curious what had happened to her, so I watched the credit and saw her name was Arline Sax.
Later I looked her up. Turns out she changed her name to Arlene Martell, and had a modest career — a lot of work over the years, but never a real break-out role. And I’d seen her in her best-remembered role, but would never have realized it was the same person. She played T’Pring on “Amok Time” on the original Star Trek.
It strikes me as somehow perverse to take an actress with this astonishing lovely smile, and cast her as a Vulcan who never smiles.
* I have this odd relationship with Kuttner’s original story. I kept coming up with this idea for a fantasy story, and starting to get enthused about it — I even started writing it once or twice — before remembering that Kuttner had already written it. It got to the point that I wrote myself a note, which I keep in my “ideas” folder (both hardcopy and virtual), telling myself in no uncertain terms that IT HAS BEEN DONE, and better than I could.
At least I never actually finished it, which is more than you can say about “Alterations,” my inadvertent rewrite of William Tenn’s “Brooklyn Project,” which I actually sent out to market once before realizing what I’d done. (It was rejected, of course.)
There are fifty-four newsgroup posts still in the queue, but (a) I won’t repost all of them, and (b) a lot of them, probably most of them, are progress reports that will go in the Serial Box instead of here.
From a newsgroup post dated October 14, 2014:
Had odd dreams last night; one was clearly the result of being on six (!) panels at Capclave, but the other isn’t quite so readily explained.
In the last dream, which was still going when I woke up, a reader was asking me (in e-mail, I think) when I was going to get back to my “Cyber War” setting, and whether it connected to my other story settings.
I explained that yes, it was connected to my two time-travel series, “The Deleted Dinosaurs” and “The Time Meddlers.”
None of these three actually exist, of course, and other people have written series called “Cyber War” and “Time Meddlers,” but “The Deleted Dinosaurs” sounds promising. Anyway, in the dream I’d written multiple stories in all three series, starting in the 1980s.
In that earlier dream I was one of the headliners at a second annual event where the first one had gone spectacularly well, to the point the organizers (I might have been one of them, it wasn’t clear) had done very little preparation, on the assumption that everything would go smoothly because it had before. It didn’t; no one could remember the schedule or find the printed programs (though we all agreed that they existed, albeit in insufficient numbers).
The event was some sort of writer-training thing. There were supposed to be panels and workshops, but the lack of organization meant those weren’t happening. At some point I took the bull by the horns and began lecturing a large audience on manuscript preparation — a lecture I have actually given, but not for a decade or more because it’s out of date in these days of e-mail and electronic submissions. I remembered its obsolescence when I woke up, but I don’t think I did during the dream. (The dream was interrupted by a neighbor’s yapping dog, but I went back to sleep and eventually dreamed about that three-part SF series.)
The lecture dream clearly resulted from Capclave, but the program at Capclave was actually superbly well run this year except for being too long — it started at 3:30 Friday (I was on that panel) and ran until 5:00 Sunday (I was on one of the last set, too; there were three at that hour, instead of just one). It was well-attended, too, except for that last slot.
The connected-stories thing, though, just comes from being a writer for a long time.
I don’t usually remember any of my dreams, let alone two semi-coherent ones from a single night; I’m not sure what to make of it. I’m pretty sure there was yet another dream I almost remembered in between the lecture and “Deleted Dinosaurs,” but I can’t recall any details.
District of Columbia
Idaho (slept through it on a train)
Prince Edward Island
all the others
Other countries visited:
Wales (but just barely)
Japan (never left airport)
Iceland (spent a couple of hours in Reykjavik’s airport (which
is in Keflavik))
South Korea (spent several hours in Incheon airport.
Questionable as to whether they count as countries:
It used to be that there were places in the world no one you knew had ever seen, foods that you’d never heard of, things you’d never done, and the strangeness of these things was part of their appeal.
Then my daughter lived in Shanghai. I still can’t get over how weird that is. My daughter, my little girl, was living and working in Shanghai, on the far side of the frickin’ planet.
She’s back, but now her brother is working in Hangzhou. In fact, I may have been to conventions in dozens of states, but Julian’s been to conferences in lots of countries. He’s visited Costa Rica, Canada, Mexico, the Bahamas, China, South Korea, Argentina, Paraguay, Australia…
There is no more “exotic.”
And this summer, on just a few weeks notice, I accepted speaking engagements in Hanoi and Athens. International trips used to take months, even years, of preparation and planning, but I was in Vietnam four weeks after I got the invitation.
From a newsgroup post dated August 9, 2013 (exactly four years ago!):
I’m listening to the soundtrack of the movie version of “Tommy.”
That was a spectacularly bad movie. Listening to this I’m reminded over and over of all the places it went off the rails, all the wrong choices they made, from casting to setting to pacing.
But you know, it didn’t have to be. I don’t think the story is unfilmable. They just did it wrong.
Yeah, the original WW1-to-1930s setting has very serious problems, but 1945-1960s doesn’t work much better. Aging Tommy at the time of the murder from three or four to six wasn’t an improvement — by six most kids are a little more resilient. It was apparently done entirely to preserve the rhyme scheme in “1921”/”1951.”
Oliver Reed was miscast. Ann-Margret… well, better, but still not great. Tina Turner sounds like brilliant casting as the Acid Queen, but in fact she was pretty bad.
The most disappointing thing to me, when I saw it, was the visuals. I mean, here you have something kinetic and visual at the center of the story — pinball — and you do nothing with it! Elton John looked totally stupid on stilts, and when they show him playing he’s terrible at pinball, draining every ball instantly.
Ken Russell was not the right director, to put it mildly.
Someone should remake it. Seriously. With modern CGI you could do a fine job on the surrealistic parts, show things from Tommy’s warped point of view. Move it to a contemporary setting. Have Captain Walker lost in Iraq or Afghanistan or somewhere in Africa; you don’t need to get specific. And modern mass media make a pinball (or videogame) cult more plausible — he’d be all over YouTube.
It could be cool.
From a newsgroup post dated May 28, 2013:
There’s a website at http://iwl.me/ called “I Write Like” that purports to analyze one’s prose and match it to a well-known author. I tried it out last night.
Taking a passage from On A Field Sable told me I write like Jane Austen. A chunk of One Hundred Suns, though, matched Arthur C. Clarke.
Graveyard Girl was where it really got interesting, though — my first pass got Cory Doctorow. I decided the sample I’d used wasn’t typical, so I tried again and got Jack London. Then I removed one paragraph from that, and it was Cory Doctorow again.
Not exactly consistent results.
http://iwl.me/ is still there.
From a newsgroup post dated May 23, 2013:
I hesitated about reposting this, and I apologize, but…
So I saw a link to an article entitled, “What Gay-Bashers Can Learn from Baseball Players,” and my thought as to what gay bashers can learn from baseball players was, “Choke up on the bat, so you get more concentrated power at the point of impact…”
Note: I have, once or twice, come up with even more appalling reactions to posts, reactions that I successfully resisted putting online anywhere. This is, I think, the most vile I ever put in print.
From two newsgroup posts both titled “Work in Progress: Bait (title will probably change),” and both dated April 21, 2013; I retitled it because (a) “Bait” did change titles, and (b) it isn’t really about that story in the first place.
“Bait” is now Veran the Fair and the Thieves of Borgran, and it still isn’t finished.
Today I got thinking about the setting, and realized I’ve been inventing too many backgrounds from whole cloth lately, instead of fitting stories into existing settings. Because of the way its magic works, Bait doesn’t work in Ethshar…
Setting of twelve novels and eleven short stories so far, beginning with The Misenchanted Sword. Many more planned, some begun. Multiple forms of magic with fixed rules, but none of them fit Bait.
… or the Bound Lands…
Setting for A Young Man Without Magic and Above His Proper Station. Unwritten/partially written stories in this setting include On A Field Sable, Assassin in Waiting, Swordsmen of the Fallen Empire, Untrue Names, The Prince’s Return, etc. Magic… well, there are actually three kinds, something the characters themselves don’t realize. I know the rules of sorcery (as do many of the characters), but there’s also wizardry and chaos magic.
You know, I could maybe make Bait work set in the Cousins. Hmm. But I’d need to rework some of the magic, because sorcery does everything through wardings and bindings, and that doesn’t allow for the teleportation spell I need in Bait, and it does allow for
…it would be a tough fit for Barokan…
Setting for the Annals of the Chosen: The Wizard Lord, The Ninth Talisman, The Summer Palace. No further stories contemplated. Magic is derived entirely from spirits, which doesn’t fit.
…or the Lands of Man…
Setting for the Obsidian Chronicles: Dragon Weather, The Dragon Society, Dragon Venom. No further stories planned, really, though a prequel called Lord Dragon was discussed a few years back. Magic
is vaguely defined, subtle, and complicated, and neither the magic nor the geography matches what I need in Bait.
…and it would only fit the Restored Lands if we go back the Great Pollution, probably before the Final War.
The Restored Lands (name subject to change) are the setting for The Dragon’s Price, an unfinished novel intended to be first of a series called The Signs of Power. Wizards are extinct; magic now takes specific forms indicated by specific birthmarks on the few people who can use it, and is strictly regulated by a theocratic regime.
(Though that’s maybe an interesting idea, that it is the Restored Lands long before they needed restoration.)
That could work, but would add theological complications, as there are real gods who can intervene in the mortal world in the Restored Lands, and I don’t want divine interference in Bait.
I don’t even remember what I called the setting for “Arms and the Woman” and Meant for Each Other, but it doesn’t work there unless, once again, it’s set in the distant past, before the Extinction.
“Arms and the Woman” is a published short story; Meant for Each Other is an unfinished YA novel. I like their setting and hope to re-use it elsewhere, eventually — it’s a world where (once again) wizards are extinct, but lots of their leftover magic is still cluttering up the landscape. But no wizards means no Bait.
I don’t think it’s really a good match for Meloria or the Inner Lands, from The Innkeeper’s Daughter, either, though that could maybe be made to work.
I’d need to rewrite what I have of The Innkeeper’s Daughter, I think, to make the magic match up better. The Inner Lands are ruled by the evil Lord Gorzoth, and a prophesied hero from Meloria is coming to try to kill him. Magic is complicated, poorly understood, widely but erratically distributed — not a good fit.
But on the other hand, I realized that it could fit the setting for an unwritten story called Home is Where the Heart Is. In fact, using that setting works really well.
Home Is Where The Heart Is consists of one page of notes and a lot of stuff in my head, I hadn’t actually started writing it yet, and until today I had no intention of ever using its setting for anything else, but it would work great for Bait, so there we go.
The working name for that setting is now The Wizardly Desmesnes. It’ll probably change.