“Dark Warm Heart”: my grief over womanhood

This is not a light-hearted meditation. This is about a lot of things, congealing as they sometimes do for me, because of story. This is not the first time such things have solidified in this way, just the most recent.

This is about my grief. It is an old grief. It comes from the child who was not allowed to play tag with the boys, from the girl who was reminded by the men, and women, in her life of her powerlessness, from the adult, myself, who constantly struggles with the shackles of gender, nearly invisible until you move wrong, speak wrong, dress wrong – and run up against them strangling you. This is about being a woman. A woman who is awake. And it is about a story, a horror story that cut too deep, called “Dark Warm Heart.”

I read this story about the same time that Twitter, at least, reeled from yet another shooting. The victim was Karen Smith, an elementary school teacher who married a friend and then realized she had married a monster when he came into her classroom and took her life, as well as the life of one of her students, and then killed himself. This shooting was part of a larger epidemic. The article from Huffington Post discusses the statistics, seen in the above tweet. Teen Vogue did a wonderful job of continuing to unpack this in their article. As the writer Morgan Jerkins observed, “most murderers in murder-suicides are male and the most prevalent kind of murder-suicide is between two intimate partners, such as a man killing his wife or girlfriend.”

I read “Dark Warm Heart” before I knew any of this, of course. Not long before – I think I saw the first fragment of a headline cross my screen only about a half hour later. These stories, the real and the true, tangled in my brain. As they should.

If you want to read the story, the voice is beautiful, the writing is technically solid, the plot is compelling. It is chilling – if you’re into that sort of thing, do go. If you’re not, if you’re just here to listen to me ramble, be aware there are spoilers. Pretty much line-by-line spoilers.

This is a story about domestic violence. About the hunger of the male body and how women must accommodate it. About the isolation of womanhood – about not having anyone to lean on because you are supposed to lean on your husband. This is about how a wife and mother must sacrifice her flesh. I can’t tell if the author (Rich Larson, presumably male) intended for this story to be about that. I can’t tell if they meant this story as a critique, as a piece of feminine horror. For me it didn’t read that way. The character certainly never questioned her choice.

Kristine is a young woman. We presume she is newly married, from the text, though there’s no explicit discussion of how new. Her husband is returned from a research trip to the Arctic, where he has encountered something eldritch and strange. It has changed him. It is made clear, through text, that he chose this change. It may not have been much of a choice, but it was a choice nonetheless. From the story:

the wendigo gives to the man a dark warm heart of human meat. a man can die, or a man can eat. a man travelled by night. he ate the wendigo’s [offering]. the man lives, the hunger stays. hunger is the wendigo.

Through his choice, he is made a monster.

Kristine knows none of this when her husband returns. She knows that she is happy. She knows that she is pregnant. But she realizes something is wrong. He bites her, hurts her. She reaches out to her mother, hoping for advice, or succor.

Her mother tells her that Kristine is obligated to make it work. He’s her husband. She just needs to try harder. Give more. She never asks what, exactly, has made Kristine so skittish. She doesn’t want to listen.

Kristine’s husband, Noel, cannot contain his hunger. To his credit, he tries other ways of assuaging it. He tries to eat himself, but the curse doesn’t work that way. He thinks that he might eat a body in the morgue, but he is not able to get access. Feeble attempts, really. In the end, he has wanted his wife since he came home. His bite marks, forced on her already, tell that story clearly.

“What are you doing?” she whispered.

“Whatever I want,” Noel mumbled into her skin.

He never tries to eat another living person. There are so many other people on this planet, but he tries to eat his wife first, of all the living people in the world. She must be the one to feed his hunger.

“When dad died, you said you’d have traded anything, didn’t you?” Kristine asked. “Anyone or anything.”

Kristine makes a choice, too. Where her husband chose to make a dreadful bargain and live, where he chose to push his hunger, in the end, onto his wife, she chooses to accommodate it. She chooses, at the end of this story, to feed him – to give up a literal piece of her body to his hunger. Whether she should do this thing is never questioned by anyone except her, and then only in the darknesses of her mind.

How easily this story follows the pattern of abuse. The lack of questions, the lack of wanting answers, the isolation. How quickly she is expected to do what is best for everyone else, and not for herself. How easily she succumbs to male violence. How virtuous it must seem.

I am so tired of reading stories which rationalize male violence and female self-flagellation. Which not just rationalize, but normalize, even glorify, these things. Noel was a victim. Kristine was a martyr. Sure. Really Noel was a selfish fool who made a deal with the devil, or something very like it, and Kristine was the innocent told that she must do anything to save him. How often women must pay for the men in their lives’ mistakes, for their aggressions. It’s a uniquely feminine horror story. It’s a story about something that many don’t even acknowledge as an issue in life. And yet it sat wrong, on a day when yet another woman had lost her life to someone who should have been a partner. When the horror is all around us, and not acknowledged, how then do we read a supposedly fictional horror story and not grieve and rage?

I’m not the only person who has asked this question, and the same Tor.com published this timely post the next day on horror and women’s intuition. This post discusses the trope of the woman who, like Kristine, knows something is wrong. Cassandra-like, she tells of doom, but no one believes her. As the author, Emily Asher-Perrin, notes:

…some of these lessons are simply mirror images of terrors we know all too well—like a girl telling someone that she isn’t comfortable, and being told in response that she’s the worst kind of downer for daring to admit it.

Perhaps I just wish that the critique of Kristine and Noel’s supposed romance was laid out in more than unease and thrilling mystery. After all, Bluebeard was a story designed to keep young women obedient and it was a horror story, too. I want someone to acknowledge that the world, that society, failed Kristine. That she was backed into a corner with no one to rely on, no one to turn to, and only once choice: succumb in a way she might survive, or die. That the world fails women every day, and offers them this same choice. I wish, desperately, that this fiction might not just use that struggle, but acknowledge it in solidarity. And I don’t feel that that happened.

Roanoke Author Invasion 2017

What a weekend.

So I want to start off with some background, here, before I talk about selling books and such. I came into this weekend a bit like a jetplane making an emergency aquatic landing. That is to say, I belly-flopped right into RAI because I was straight up out of fuel and had been for two weeks. This is in large part because I over-committed myself this spring. What did I over-commit to? You guessed it. The wedding.

Who’s idea was it to get married again? Why didn’t we elope in September like civilized millenials do? I don’t know the answers to this, exactly. I suspect they were “mine” and “because I said so” but….I really can’t face that right now. So we’ll treat those questions as rhetorical.

In any case, mistakes were made, caterers were contracted, and mothers were roused, so now we’re having a wedding. It’s at the end of May, for those keeping track. If you’ve ever planned a wedding, much less planned one while holding down a full-time job with increasingly more robust deadlines, you may be aware of the state of pure dismay that has come to live in my brainpan. There is far too much to do, and not enough focus to do it all. Thus, when I rolled up on Roanoke Author Invasion, I rolled up with a tongue raw from licking envelopes and a brain that was oozing out of my ears. At least the weather is nice around here this time of year and I didn’t have far to travel – just down the road, in fact. Small favors.

I showed up to RAI with two boxes of books, several handfuls of postcards, business cards, and some sweet buttons. As you’ll see from the pictures, I was not so prepared as my fellow sellers, who had great banners and signs with which to wave and attract customers. Goals for next year. However, considering, I think it went okay. I sold a few books, doubled my mailing list, and gave away a bunch of promotional material. My only real goal here was to get my books in front of some new people, and I accomplished that. Of such minor successes are upstart authors made.

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Do I look tired? I feel tired. Luckily I survived.
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My table from above! I love all of my pretty markers. You can see that people had cleaned out a lot of my stuff by this point.
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A wide view of the room. Look at all those authors!

 

I am happy to say I got a hike in this weekend, once everything was over. I needed that hike. With the stress of the past few weeks, I have gotten about zero exercise in. So this hike, needless to say, kicked my butt. But honestly, it’s the best feeling, once it’s all over. You feel strong in ways you can’t usually feel strong during the week.

I was the slowest member of my group, and I lost them right before the summit. They weren’t where I thought they would be, and I spent some time sitting on the trail down, staring down the valley and contemplating things. It was time I needed. There’s a bit of a war going on in my mind most days, as I’m sure is true for many people. On the mountain everything gets quiet. It seems possible.

When my friends caught up with me, we headed back down and started the long drive home. There was dinner waiting for us at a friend’s house. I loaded some major calories and drank five types of home-brewed beer, and generally had a good time. No pictures of that, but here are some from the mountain.

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This is the tiniest dog. My friend Greg brought it, and its brother. They lasted a mile, I think?
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My red face and a tiny dog in my backpack. They were really a bit too small for boulder hopping.
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I was so far behind everyone for pretty much the whole trip. But I got cool pictures.
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A panorama of the valley and some of the boulders we climbed.

Well, that’s it! I’ll catch you next week with some regular content, but until then I hope you get some outdoor time in!

Depictions of AI

Hey, friends. This weekend is Roanoke Author Invasion! I’m bringing a bunch of books and oddments, so I hope to see you there! I promise to take more pictures this time and post them for you next week, but until then please enjoy this discussion of robots and artificial intelligence.

A few weeks ago I finished Lightless  by C.A. Higgins. It was a masterful book that depended uniquely on interpersonal conflict. Yes, there were explosive moments, but most of the tension was constructed through dialogue and interactions between characters. I definitely recommend this book if you’re interested in reading a good example of solid character-driven plot. I don’t want to spoil anything for you if you haven’t read this book, so my recommendation would be to go read it and come back at this point. We also might see spoilers for a few other books and movies going forward, specifically Ian McDonald’s River of Gods, but I will warn you ahead of time.

Still here? Good.

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One of the characters in Lightless was actually a computer. Ananke was originally not sentient, but gains sentience over the course of the book due to some unfortunate or fortunate events. The depiction of Ananke and her decision-making processes was probably my favorite part of this story. Althea, whom she views as something like her mother, grows to simultaneously love, fear, and hate Ananke – understandable when you essentially have a five year-old-who is devoted to you but has the power to asphyxiate you if you piss her off. I always find meditations on the psychology of an artificial intelligence interesting and I wanted to compare and contrast some other, very differing examples of AI from some recent stories I’ve come across.

One of the oldest versions of an AI story that I’ve found is that of the German silent film Metropolis. You may remember me mentioning this movie in my post on Feminine horror and Ex Machina. In that post I focused more on feminist critique, but we’re going to sidestep the gender issue for a minute (I know, shocking) and just look at the construction of an artificial intelligence in the context of the plot for this movie. The AI in Metropolis is clearly a servant of the devil, possibly being the embodiment of that spirit. Its goal is, simply, to destroy mankind and the works that he has built (“he” being used here because, in the world of Metropolis, there don’t seem to be a lot of women building things – product of its time I suppose). Thus, we see an early depiction of AI as something unnatural and to be feared.

In a more recent iteration of AI, we can look at Ex Machina. Again, see my feminist critique of this movie above. In this iteration of an AI, we see something that is still alien and inhuman. It is not necessarily an ethical creation either. Yet there is some attempt to give this AI reasonable motives for harming others – specifically self-preservation. That said, AI are still not presented as equal to human beings per se, or rather, both humans and AI are evil and twisted in different ways. It remains a pretty dark view of AI, if more nuanced.

Yet a third example of AI can be found in River of Gods by Ian McDonald. (SPOILERS)

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In this story, there are various types of artificial intelligence that have evolved from computer programs. They do not need bodies, since they can download and replicate their programming infinitely in the world of data. The one AI that does seek to grasp at humanity or something like it does so in order to better understand humankind. I’ll leave her unnamed in order to hopefully shield you from being too keyed to what happens in the book. (Spoilers, spoilers, spoilers, look away now.) This AI is brutally murdered, at last understanding the desperation of humanity all too well. She is represented as nearly saintly, sacrificing herself for the good of her kind and humanity. I have to be honest, this book made me enraged – not so much at our decisions as human beings, but at the rules that entrap our corporal selves. In this case, AI is imagined as an evolution towards something more inherently free and everlasting than humanity. It’s a stark contrast against the demonic robot of Metropolis and the very impermanent Ava.

I would argue that Ananke from Lightless most closely resembles Ava as something that is alien and makes decisions with a logic that is not human. Ananke, however, has managed to include emotions that are not logical in her personality – anger comes to mind. Love, or something like it, is another emotion that she consistently expresses. She is a somewhat unique take on AI in that the implication is that those emotions, such as they are, are real in her. Her development is presented almost as that of a child. In that respect, she may more closely resemble the AI in River of Gods who goes among humans. I particularly like this representation, as it seems very believable to me. It makes sense that an AI would take time to come into itself, and that it might want to model itself off of the other beings around it – specifically, people.

There are numerous other depictions of AI in all different stripes out there, and it is always fascinating to see a new take. Do you have a favorite?

Setting as context

Setting is a difficult thing for many writers. It has certainly been my Achilles heel in some of my work, though I like to think I grow with each story. I’ve been thinking about it recently, and I think that one of the best ways of thinking about setting in your novel or short story is as context. Allow me to explain.

It’s really interesting how the context of something changes depending on where and when that something has happened. A kiss, for example, can mean a lot of things depending on who is giving it to whom and where. A kiss under the mistletoe evokes holiday cheer and romance; a kiss by a lake, summer love or lasting commitment; and a kiss in the dark lust or fear.

My S.O. told me a story once about finding an unspent bullet in a bus station. He had just been told how dangerous the city he was traveling to was, and advised to be careful. The bullet made him laugh, because he is one of those rare fools halfway to Buddha-hood already. He kept it as a reminder of the absurdity of life, and it sits now on one of our altars.

The context of a bullet in a city bus station is very different from the context of a bullet in an open desert. I also have a story about finding bullets. When I was a child, my father and I would go walking through a small patch of desert in the still developing boundaries of Phoenix. In early morning, the desert is a place of fragile loveliness. Though I was only three or four, I can clearly remember watching the hot air balloons rise over what felt a vast, flat expanse, the world made of soft, washed out blue and rocky greys and reds. The hot air balloons became bright bursts of color in this near monochrome. The world was nearly silent but for us.

On one of those mornings, my father found a pack of bullets left abandoned by a hunter. They were bird shot, and I remember him explaining what that was. It is a very different kind of bullet than the smooth, metal tipped casing that my S.O. found in his bus station. The casing is usually bright red, made of some plastic polymer designed to more or less disintegrate on firing, spreading small balls of metal outward in a speckled pattern that becomes less dense the farther away the target is. I don’t recall that I had ever seen a bullet before. My father threw them into a small pond, a watering hole for desert creature the hunter had likely been waiting by.

Setting, then, makes a thing more or less frightening. The incongruity of finding a bullet on the sidewalk or in a store raises questions, worries, fears. But a bullet left by a watering hole in the desert seems natural and unthreatening. As a writer, it is important to constantly be aware not only of the context characterization can provide, but also of setting.

Characterization comes more easily than setting to me personally. I understand the implications to someone’s reaction towards a spider if they have been bitten by one before, for example. No one likes pain, so that dislike can easily transfer to spiders. Character becomes context when a person’s memories and experiences shape their reactions to an event or object.

Setting, however, can be more complicated. It shapes and informs character in the form of cultural biases and previous learned experiences.

A great example of setting’s impact on character is an interaction I had with a friend on a hike a few years ago. She is from Burma, which has a tropical, jungle climate. There are over 20 breeds of venomous snakes in Burma. In Virginia there are only three. Of such little differences is setting made. When we saw a snake on our hike, I was delighted. I knew instantly from its color that it was not dangerous and for me it was a novelty. For her, it was a potentially deadly threat, until I provided her the context of our mutual setting. Even then she was uncomfortable with the prospect of running into a snake in the wild – a character trait that was shaped in part by the setting of her youth.

Through the lens of setting as context, and by understanding how that context is related to characterization and plot, we can begin to improve our world-building. And world-building is a writer’s bread and butter, especially in speculative fiction. So the next time you’re writing away and something happens to your character, ask yourself if she would have taken it differently in a different time and place. I think it will be pretty revealing.

Paperback Publishing: KDP vs Createspace

Today I’m going to talk about my experiences publishing paperback books through KDP Select’s new paperback platform, versus my experience with Createspace.

First of all, let’s talk about the platforms.

For a long time, Createspace was the only game in town when it came to independent on-demand publishing. This made it possible for self-published authors and small presses to print paperbacks at a cost effective rate. There was an option to create an ebook as well, but it was generally acknowledged that said ebook was substandard, so most persons going for ebook distribution did so through other platforms such as KDP Select (previously only focused on ebooks) or Barnes & Noble’s ebook publishing platform. Createspace was an Amazon subsidiary, but it wasn’t Amazon as such, so the finances were somewhat separate. Therefore many bookstores, libraries, etc, would still purchase Createspace books if they had gained enough popularity.

Recently, Barnes & Noble came up with a print publishing platform. It did not guarantee access to brick and mortar stores, the major dream of most indie published authors, but did provide competition to Createspace. I wanted to mention this to provide a timeline for the diversification of the print on demand book model, but we’re not going to talk about Barnes & Noble’s publication models here. I have dabbled but I am no expert and so we’ll save that for a separate post when I have time to do more research. This is about my experiences with different mediums.

So, back to Amazon’s companies.

At some point recently Amazon decided to roll out a new option that seems to be geared primarily towards indie authors with ebooks but no print book. This is the print on demand option for KDP Select. Anyone who has taken a stab at indie publishing knows that creating a print on demand book creates one additional cost that can sometimes be prohibitive – the wraparound cover. A wraparound print cover, which needs to be of sufficient size and quality to print clearly and attractively on a print book, is much more expensive than an ebook cover. It sometimes costs as much as twice as much to get a custom cover design for a wraparound versus and ebook. Understandably, for many indiepubbed authors this is not worth it.

Createspace requires that this wraparound cover be uploaded with the book. It has some truly terrible mock-up covers that you can use to make your own wraparound if you are desperate, and also a custom cover design option – meaning you can design your covers through Createspace. I have never used the custom option, so I can’t speak to its efficacy. I have, previously, paid for my wraparound cover through Design for Writers, specifically in this case for the cover of Mother of Creation. You can see it in its native Createspace habitat here. (link)

In contrast, KDP Select’s new platform allows for a much more seamless cover design if all you have is the front cover, which is all you typically do have when you have published an ebook. You can plug this front cover graphic into their cover generator and then use the software to tweak the colors, etc, of the back to create something functional. While you still won’t have as nice of a cover as one designed specifically for you, it is at least a usable prospect. Pictured below, my book (almost a novella) Child of Brii side by side with Mother of Creation. You can see the quality contrast somewhat in these photos. Forgive that Mother of Creation is dusty, this is my proof copy and so it’s a little dog-eared.

The biggest difference is in the back covers, as might be expected. KDP Select wants an author photo and bio on the back of the book – this is more typical for nonfiction books, I think, than fiction. I am not really happy about that, but it at least breaks up the monotony of the all-black cover. With a little more tweaking, however, their design software could be pretty great.

So, KDP Select offers easy ebook conversion, saving money on your print book, though the quality is not as high necessarily. Createspace also holds an advantage in print on demand in that it offers flexible ordering options. An author can order books for the cost of printing and distribution only, and sell them at price at events. In contrast, KDP Select only allows you to order books at price, just as anyone else would.

I got around this last restriction by doing some price tweaking. I took the price of Child of Brii down as far as I could (minimum price is $5.36) and ordered several copies. Then I raised the price back so that I would get a decent royalty, to $7.99, which is the price on Amazon. The advantage of this method over Createspace, despite having to lower the price on your book, is that Amazon offers free shipping on orders over $25 from their distribution center and so this order qualified. I might actually have ended up paying more through Createspace with shipping. That said, my books ordered direct from Amazon were shipped much less carefully than the books I typically get from Createspace. Which I was lucky and didn’t get any damaged copies, that could have easily been the case with the packaging.

All in all it seems that with a few simple changes (allowing authors to order books at cost, for example) KDP Select will be a better platform. I say this only because, while Createspace offers better royalties for direct purchases, most of my sales of print books come through Amazon anyway, or are hand-sold. That said, the versatility of sales options through Createspace for a larger author (someone who has sold over a thousand copies) may outweigh that minor convenience. Being able to find your way into a brick and mortar store is a huge advantage in terms of sales.

Anyway, I will probably stick with Createspace in the future for full-length books, though I may do a few novellas or short stories through the KDP Select platform if the opportunity arises in the future.

Hope this has been helpful to all you indie authors and publishers!


For those who missed the announcement last week, Child of Brii is now available as a print book!

 

 

Child of Brii – The book that was

If you have been reading my stuff for a while, you may remember my first book.  Child of Brii was and is a new adult urban fantasy/romance book. It was my first book that I ever actually finished writing, if not the first book that I started, and it holds a special place in my heart. I took it off sale in February of 2016 and the decision was not necessarily a good one.

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There were a number of things going into that. First, Child of Brii was my first book, and you could tell. That in and of itself wasn’t a problem, but it was also the first book I self-published. Back in 2013, I really thought that self-publishing was easy. So many of my friends had talked about it that way, after all. They all made decent sales and I had it in my head that I could just toss a book up and people would buy it. Some people did.

But I didn’t do a good job with the editing and I didn’t understand the market. The book was riddled with typos and weird gaps, and while I love it, I didn’t want people to think that was my best work. It isn’t.

But Child of Brii is the work of my heart, and for all of the unexpected helicopters in it (sorry, folks, I know that’s jarring) it’s also been my best-received book. People really love these characters, probably because they’re incredibly lovable. And Amaya’s powers are still on my top list of super powers, honestly.

Writing is about being vulnerable. It’s about putting yourself out there and standing by the fact that you will grow and sometimes not be able to look at what came before the same way. I have grown as a writer, I hope. I’m not afraid of my mistakes anymore. It helps that I cleaned up some of the typos.

So Child of Brii is back online! Thank goodness. In honor of this event, there’s a Rafflecopter giveaway! This is my first time using this platform, and I’m excited.

Also good news – part of this republishing included a paperback print on demand book through the new KDP Select platform. If you’re the kind that loves paperback books, I have created a paperback which you can purchase through Amazon only. I’ll also have it available at the Roanoke Author Invasion in April! That’s a free event, so please come by, buy a book or twelve from some amazing authors, and enjoy the after party! I’ve heard there’s chocolate.

I fully intend to sweeten this situation further in the future. I’ve got a great idea for a spinoff story that will be more of the epic fantasy/romance variety – a prequel to the novel. It centers mostly around Brii and her girlhood, such as it was, as a near-deity to a lost and outcast people. I’m in the middle of another story/novelette now, and then I really need to buckle down on some Creation Saga edits, but my goal is to start on that project this year sometime. I’m super excited about it.

Thank you so much for loving this book as much as I do, and loving my work with all of its errors. Your support means more to me than you can know.

Pushing boundaries

Recently, a friend and I were discussing trends in storytelling. We were talking about how, for a while, zombies were the “it” thing to write or make shows and movies about. She argued that now, the “it” thing was exemplified by shows like Westworld. I’ll admit that I haven’t watched Westworld yet, but I’ll take her word for it that the core question of this show is about what it means to be human. She argued that that was the new hot thing to question and interrogate in story, especially in stories in science fiction/fantasy or SFF.

I’ve been thinking a lot about why I write SFF in the past few days, and about what makes a good story in this grab-bag of a genre. I think that my friend has hit on something here. To me, a good SFF story does one thing especially: it pushes boundaries. It stretches our understanding of the world. One could argue that this is what makes a good story in general, actually, but as I am a reader and writer predominantly of speculative fiction in all of its stripes, this is where I feel safest offering an opinion.

Arguably, this pushing boundaries is easiest in SFF, or at least in the science fiction half of the equation, because the genre requires you to think inventively. Take, for example, the prospect of life on new worlds – an eternal question among those who look to the stars. People will be looking for life in the cosmos until they find it or they cease to exist. You can argue we have been looking forever – angels and demons are certainly otherworldly beings, and some creatures from the heavens appear in most major mythologies across the globe in some fashion or another. Yet, the questions that arise when life is found are the most interesting, and can only be asked through speculative fiction. What will it look like? How will we respond to that life? Will we be kind?

The answers to these questions are not just important because they satisfy our curiosity. They tell us something deeply important about ourselves as human beings. The answers to these questions reveal the heart of our nature.

They are most certainly answers that we are already being provided, every day, through our interactions with other beings on our earth, including with one another. And yet, they are not always satisfying either in story or in life. Perhaps this is the other half of what draws me to SFF, that it may be possible to imagine a world that is brighter than ours on the days when it feels dark. If senselessness might make sense, if we could rise beyond ourselves and the bounds of random chance – that world is the world of story, and sometimes the world of life. Those are the stories I most like to read.

You see this clarity, this neatness to life reflected most often in the fantasy side of the SFF genre. There are dangers in the ease of those narratives, but at the same time there are comforts. These narratives offer an answer to our questions of our own nature and worth in a way that is positive, and I think that positive answer can be very important as a way to move forward as individuals and as a society.

The reason I write speculative fiction in all of its stripes is to explore human nature, the essence of what it is to be human in all of its forms. It is my greatest joy to do so. I hope that you, reader, enjoy it, too.

Some exciting news coming next week! Raffle opportunities, general good things…Tune in to check it out.