Story Saturday: Neverwhere (Again)

III

I’m a slow reader. Pretty busy. So I’m only about 76% of the way through Neverwhere by Neil Gaiman. I’m enjoying it too much to rush through it just for the sake of a blog post.

Last week I said:

In Neverwhere, Neil Gaiman takes the tropes of fairy tales and reinvents them for a story about class conflict in modern London.

Let’s look at some of those fantasy tropes and see how Gaiman uses them in his own unique way. But that will require a…

Spoiler Alert!

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Good vs. Evil

The ultimate fantasy trope, one which some find outdated and clichéd, is Good vs. Evil. The modern fashion is for things to be morally gray, with no one purely good or purely evil.

Well, Gaiman can be as modern as any author; but in this book, he actually hews quite closely to the trope. There is Good: Door is good. Her late father Portico was good, an idealist who aspired to unite London Below for the betterment of all. Richard Mayhew thinks all he wants is to survive and get home; but it’s his innate goodness that draws him into the story in the first place. Unlike the rest of London Above, when he sees someone in trouble, he cannot look away. He has to help Door. And thus he becomes part of London Below.

And there is Evil. Mr. Croup and Mr. Vandemar are walking avatars of Evil. The Velvets are seductive Evil. Others are vain, selfish, spiteful, hateful. But worst, perhaps, is the banal evil of London above: the ability for Londoners to look right past the suffering of London Below.

The most modern, morally gray character is also the most popular with many readers: the marquis de Carabas. He would slice your throat… if there were something in it for him. He would save your life… but only if he owed you something (or perhaps because it would put you in his debt). He trades in favors, and he always fulfills his obligations. And he expects you to do so as well.

Hero

The novel is many things: an allegory, a quest, an engaging yarn… But in the main, I think it is the story of Richard Mayhew discovering the hero inside him. He starts as a slightly out-of-place Scotsman in London. In the end, he is one of the most recognized heroes of London Below. And he is a hero not because of strength or bravery, but because of a deeper decency: whenever he faces a choice, he ultimately does the right thing, even if it frightens him.

Dark Lord

All right, I’ll say it again: SPOILER ALERT! I MEAN IT! The Angel Islington is a classic Dark Lord, though more in the style of Saruman than Sauron. He made a horrible mistake, and he thinks he sees a way to make the world right – no matter who he has to lie to, manipulate, or kill to get there. He is literally a Fallen Angel, a classic Dark Lord type.

Quest

The entire story is, in essence, a quest. Or perhaps more accurately, a Quest Chain, where each small Quest raises a new question, leading to a new Quest. At first, Richard seeks the Floating Market and Door, while Door and the marquis seek a bodyguard. Then the group seek the Angel Islington to tell Door who killed her family. Then Islington sends them to get a key. Once they get the key, they have a new quest to find Down Street, the new path to Islington. In this summary, the plot sounds mechanical, like levels in a video game. But Gaiman hides the mechanics behind rich characters and a thoroughly imaginative world.

Magic

Oh, there’s magic. It’s not flashy like Harry Potter. It’s subtle like Gandalf, maybe moreso. But Islington scries via a pool. The Nightsbridge steals travelers away. The Earls Court resides in a subway train that cannot possibly hold it. And is it merely indifference that makes London Below invisible to London Above, or is it a spell?

Oh, and… SPOILER ALERT! The marquis de Carabas comes back from the dead.

Oh, there’s magic in London Below. It’s just subtle and inconsistent, and you don’t want to rely on it too much.

Medievalism

There’s a touch of Medievalism in the book. The fashions range from gothic punk to ancient, with medieval represented. And the social structure is baronies and fiefdoms. But the Medievalism is more of a flavor than a dominant theme.

Ancient World

Somewhere ancient Roman Legionnaires still roam Below. Croup and Vandemar claim to have caused the fall of Troy. Islington caused the drowning of Atlantis. London Below is as old as London itself, and some of the denizens are older.

Races

This trope, perhaps, is nowhere to be found in the book. Croup and Vandemar are surely not human, though in human guise. Islington is literally an angel. And the Velvets seem human, but are closer in nature to vampires.

But aside from those, every character you meet is seemingly human. Door’s face is sometimes described as “elfin”, but it’s never explicitly said that she’s an elf (or that there are elves). So I think it’s safe to say that this book is populated primarily by people.

Oh, and rats. Be nice to the rats. You never know when you may need a favor from a rat.

The Daily Blog Schedule, Week 2

My Daily Blog plan for the next week:

  • Story Saturday. Neverwhere by Neil Gaiman. (Again. I read slowly, and I have a lot of other things to do.)
  • Science Sunday. The Boom Star in My Back Yard.
  • Market Monday. Analog Science Fiction and Fact.
  • Talking Tuesday. Tools of the Trade.
  • Work-in-Progress Wednesday. Today I Am Paul, the novel. (Again. That’s why it’s In Progress.)
  • Thinking Thursday. Random thoughts.
  • Friend Friday. Kevin Ikenberry.

Friend Friday: Joshua Sky

It was less than a year ago, at the Volume 32 Writers of the Future Gala and autograph session. I was there as a returning past winner, which meant I was out of the spotlight. I could simply enjoy the festivities, congratulate my V32 brothers and sisters, and meet people.

Yeah. Meet people. All these writers, predominantly introverts, and we’re supposed to spontaneously meet people. Why came up with this idea?

But then suddenly this guy starts asking me questions about the contest. And about short fiction. Really good questions.

And that’s how I met Joshua Sky, a real kindred spirit. Joshua is a screenwriter, as well as working other roles in Hollywood; but he has a real passion for short fiction, science fiction especially.

More than that, Joshua is fascinated with the history of the field, and the culture. He has the fortune (?) of living in Los Angeles. On the downside, that means long, frustrating commutes. On the upside, that means he can attend the famed Los Angeles Science Fantasy Society, where he has access to their fantastic archives… and also to some of their fantastic, famous members. For Joshua, that’s a true treasure trove.

And he has put his research (both there and elsewhere) into a project: interviews with science fiction authors for Omni Media. I was honored to be one of his interview subjects, and it was the best interview I have had so far. Joshua doesn’t just ask a stock set of questions. He makes a point to read some of the author’s best works as well as their bio and web sites, and then he creates unique questions for each author. It’s a very personal interview every time. Here are his interviews so far.

It’s a short list, but he’s adding to it. Keep an eye out for more.

But Joshua is more than a science fiction historian, he’s also a short fiction author. Two of his stories have appeared in Omni, and I expect we’ll see more and in more markets soon.

And he’s an essayist. The House Had Eyes falls on the edge between memoir and fiction. It’s a tribute to Ray Bradbury, and it perfectly captures the wistful nostalgia and sense of loss of a great Bradbury tale. This one’s special. I give it my highest recommendations.

So that’s my friend, Joshua Sky. I hope you enjoy his work!

Thinking Thursday: Chorizo Pie

Thinking Thursday is supposed to be about random thoughts; but after nearly four hours of commuting today, my only thought is: I hate snow!

So instead of searching for a topic, I’m going to share a recipe I just discussed with my friend Tom Lavey of L&M Precision Machine Inc., makers of high-quality LRTs (Little Round Things). Here’s a Mexican-inspired variation on a traditional Irish dish…

CHORIZO PIE

1/2 lb. Chorizo (or substitute 1/2 lb. ground beef with taco seasoning if Chorizo is unavailable)

1 can whole kernel corn, drained

1 can diced tomatoes, drained

1 can refried beans, drained and whipped

1 large can black beans, drained

1 ½ lbs. mashed potatoes, whipped

1/4 cup shredded Mexican style 4 cheese mix

Chili powder to taste

 

1. Mash the potatoes thoroughly, and then whip them. You don’t want lumps, and you want them smooth enough to spread.

2. Whip the refried beans as well. Again, you want them smooth enough to spread.

3. Drain the corn, black beans, and tomatoes. Dice the tomatoes.

4. Depending on the brand, the Chorizo may be in a tube or a square. Break it into small, loose bits.

5. Brown the Chorizo over medium heat in a skillet.

6. Start the oven preheating to 400 degrees F.

7. Reduce the heat under the chorizo to simmer and mix in the corn, tomatoes, and black beans. Add chili powder to taste. Stir in thoroughly and continue to simmer until the oven is preheated.

8. Pour the Chorizo and vegetable mix into a large glass baking dish and spread evenly in the bottom.

9. Using a fork, scoop the refried beans on top of the chorizo and vegetables and spread out into a layer, being careful not to mix into the layer below.

10. Again using a fork, scoop the mashed potatoess on top of the refried beans and spread out into a layer, being careful not to mix into the layer below.

11. Sprinkle the top of the potatoes with chili powder to taste.

12. Sprinkle the Mexican style 4 cheese mix across the top of the potatoes.

13. Bake for 30 minutes or until the top of the potatoes is lightly browned.

 

Serves 3 to 5.

Work-in-Progress Wednesday: The Oncoming Storm

…Millie turns back to the pond. “Oh, please, Carey, take pictures. I want to show Mom and Dad.” Many kids Millie’s age have wrist comps they can use as phones and cameras and music players and games. Millie has shown little interest in those. She has me and I can make calls and I can take videos. I have no immediate need of this video data, so I open a Cloud connection to stream the video directly to storage.

Today I am Brad. I do not know why I am on my knees. That is not a natural position for Brad. So I stand, darken my silicone skin, and square my shoulders to stand tall. As Brad, I have cleaning to do. So I start walking towards the closet…

“Carey!” Millie squeals.

I look down. I am standing in the tadpole pond and wondering who is Brad and why was I him.

“I am sorry Millie,” I say. “I do not know –” I stop. I do not know what happened to me and I worry that I may be a risk to Millie. I stare around at the rushing stream on one side and the deeper main channel on the other side. I see storm clouds upstream, and I worry: can I get Millie home safely if something within me is malfunctioning?

“That’s okay, Carey,” she says. “Did you get the video? Did you get a picture at least?”

I check my Cloud storage.

Today I am Frances. Dr. Zinta is testing my emulation net. As Frances, I have simple tests to perform in the functional testing lab. Picking up the dropped objects, sorting them into their proper locations. I look around. “Now where did I drop those tadpoles?” I say. “All I see are frogs.” Dr. Zinta stares at me oddly. Somehow I know that this is odd for her even though I’m still learning her emulation profile.

“Dr. Zinta,” I say, “I think something is wrong.” She looks at me. “Dr. Zinta?”

Once more I’m standing in the water. I back carefully out. “Millie, I think something is wrong,” I say. “I’m going to call your father.” I open a phone channel.

“G9A27, why did you call me Dr. Zinta?”

“Is that not your name?” I say.

Dr. Zinta plugs a diagnostic scanner into my chassis. “It is, but you always call me Dr. Jansons.”

I puzzle over that. Finally I answer, “I find that in casual conversation humans are more comfortable with given names.”

“G9A27,” Dr. Zinta says. “I’m afraid there’s something wrong.”

“I am afraid there is something wrong,” I say to Millie. “I think we should get home now.”

“But Carey, we just got here.”

“I am sorry, Millie but, this is a matter of safety. I must insist.”

“But Carey…”

I put my foot down, literally, emphasizing my insistence. “Millie, we can come back when I’m functioning properly. We must get home right away.”

She looks up at me, and her eyes grow more intent. “Are you all right, Carey?”

I cannot lie to her. “I am functional but I will need maintenance.” Then I look at the rocks across the ford. “But I am still sufficiently in control of myself to carry you across the court. I think we need to hurry.”

“All right.” She lifts her arms and I pick her up and start across the rocks.

We are on the largest rock when lightning flashes far upstream and the roll of thunder hits us. My emergency weather radio kicks in, and –

Today I am Brad. I still have cleaning to do. I do not know what I am carrying but I sent it down so I can go fetch the broom. I turn and head for the closet; and suddenly somehow I’ve fallen through the floor and into rushing water all around me. Somewhere I hear a child screaming, but I see none when I look around. I see no water either, but my tactile senses tell me I am bobbing, tossed about by rushing water. My metal ceramic frame and my silicone sponge body are buoyant enough for the water to carry me along, farther away from the fading screams, the source of which I still cannot see.

“Again,” says the voice in my radio receiver, “possible flood conditions. Residents are urged to stay out of the floodplain.” Somehow I am in the stream, at least 10 meters downstream from Millie as she stands on the large rock, screaming at me. I am bobbing up and down in the water, being carried away; and then I bump into something. I have hit a branch sticking out from a submerged log. I grab it and I hold on to try to keep myself from getting washed even further away.

“Carey,” Millie screams. “What’s wrong?”

I wish I knew what is wrong. There are gaps in my data record. Accessing those gaps, I see that I was asleep during those periods. Just an ordinary, unaware medical care android. Each period of unconsciousness corresponds to a message to or from an external data feed. Somehow external feeds are interfering with my operations.

Yet strangely, I have memories from those sleeping periods. Memories from the MCA test labs. Current memories: the time signature is today, within the last few minutes. I need Dr. Zinta to explain; but first I need to get Millie to safety before the waters rise.

— From Today I Am Paul (The Novel)

Talking Tuesday: How to Make $2.38 per Mile

  1. While driving down the road at an average speed of 60 m.p.h., or 1 mile per minute.
  2. Dictate science fiction at an average rate of 50 words per minute.
  3. Transcribe that dictation at a cost of 1.25 cents per word.
  4. Sell that fiction at a professional rate (i.e., 6 or more cents per word).

Bingo! $2.375 per mile!

Of course, these are all averages. Some days, the weather and traffic conditions won’t let me average 60 m.p.h. (That might actually mean more minutes, more words, and more money per mile.) Some days I’m more talkative than others. 50 words per minute is about my minimum, and I often manage 100.

And of course, step 4 is the trickiest part: actually selling the words. If I can’t sell them, then I’m actually losing 63 cents per mile.

But selling is, in large part, a matter of craft, practice, and persistence. And belief: if I didn’t believe it were possible, I never would’ve made it this far in the business. Not that I’m claiming any sort of expertise. I’m very much still a new writer. But I’m a new writer with a lot of sales and a couple of awards; and almost all of those stories were dictated.

Dean Wesley Smith and Kristine Kathryn Rusch (among others) talk of the importance of writing from your story brain, not your analytical brain. Your story brain has been absorbing stories – listening, watching, reading, playing – for decades. It knows what makes a decent story, if you can just get out of its way and let it work. I know this sounds like a load of pop psychology; but when I started listening to them, I started selling stories. And I haven’t stopped.

But “getting out of your brain’s way” is different for each of us. It means finding a place and building a habit where storytelling comes natural to you. For some, it’s their office, with their favorite music, and no distractions. For others, it’s their favorite coffee shop, with their favorite beverage and no distractions. For Kevin J. Anderson (who has dictated his work for years now, maybe decades), it’s his favorite hiking trails, with the Great Outdoors and no distractions. (You notice a theme here?)

For me, it’s my Jeep:

Not exactly no distractions, but minimal. Dictating is about the same as talking to a passenger. When traffic or weather is bad, I ignore the microphone. When conditions are favorable, I talk. At 50-100 words per minute.

It’s about habit. Once I’m in the habit (it’s easy to fall out), every day is the same. I listen to the last five minutes of yesterday’s recording, to remind myself where I was. Then I start my Jeep, start driving, and start talking. On a good day, I dictate 50 minutes, and wrap up as I pull into the parking lot at work. Then when I leave work, I repeat. So on a very good day, that’s 100 minutes at 100 words per minute. 10,000 words. Two weeks to a first draft of a novel.

Do I maintain that pace all the time? Heck, no! Weather and traffic and errands and moods all interfere. But if I stick with it, I can do at least half that. I’m pretty happy with it. And I’m ecstatic about the really good weeks.

In future installments of Talking Tuesday, I’ll discuss my process, as well as other approaches you might take.

Market Monday: Digital Science Fiction

Digital Science Fiction (part of Digital Fiction Publishing Corp.) is the first pro-paying market to print one of my works. That by itself is reason for me to be grateful to them; but that’s not why I’m recommending them to you. (Unfortunately they’re closed to all but flash submissions at the moment, but keep an eye on their submission status! Reprints only at this time.)

No, the reason why I recommend Digital SF and the whole Digital family is a two-word answer: Michael Wills.

Michael is the publisher, and he has a strong sense of personal and business ethics. His contracts are some of the most author-friendly that I have seen. (In fact, he had three pro authors help draft them.) But most important… When he started Digital, it was a pro-paying original market (a series of anthologies, essentially a magazine). He made his wife a promise: he would give the magazine a fair shot, but it had to be self-supporting. He would pay for it from internet ads and from sales of the anthology, but not a dime would come from the family budget. Before he would let that happen, he would shut it down.

And when the time came that it wasn’t self-supporting, that’s exactly what he did: he shut it down. He paid all creditors. He returned all rights for all stories he had “bought” but not yet published. He closed it down owing nothing to anyone, and keeping his promise to his wife. Digital survived, selling back issues and a few small novel projects, but the magazine was gone. He handled the whole thing honorably, and I never hesitated to tell people: Digital was my first pro sale, and Michael is a good man.

Then a little over a year ago, things changed, and Michael came up with a new business model to revive Digital Science Fiction: reprints only, published as online shorts, then collected into anthologies. It seems to be going better. Digital has been producing a lot of works.

But, oh, reprint only except for one thing: Michael went back to every one of the authors who had sold him stories that he had had to return and said, “If first rights for that story are still available, I would still like to pay you and print it.” He didn’t have to do that, but it was the honorable thing to do. These authors went through a sadly common experience: the thrill of selling a story, then the disappointment of the market closing before the check arrived and the story appeared. It’s a sad thing, but it happens. Only this time, Michael made it up to them.

So that’s three different actions that convinced me that Michael Wills is an honorable publisher: the author-friendly contracts, the promise kept to his wife, and going back to buy the stories he hadn’t been able to buy before. I trust this man, and I recommend this market.

Oh, and if he happens to reopen for originals, I’ll add three more words to my reasons to submit to Digital: Christine Clukey Reece, who edited the original anthologies, and who I hope will edit future original works for Digital. She was my first pro editor, and I didn’t know what to expect. She suggested only five changes: a couple of paragraph breaks added, a break removed, and a couple of word changes. And every single one of her changes made my protagonist’s voice sound more like the voice in my head. She picked up on what I was trying to do, and she found the places where I had failed to do it. Christine kinda spoiled me for future editors, and I will happily work with her in the future if I get the chance.

Writing Goals 2017

I guess the flip side of a Year in Review is setting out some writing goals to work toward. Dean and Kris talk about the difference between dreams and goals. A goal is something that is (mostly) within your power. If you work on it, you can make it happen. A dream is outside of your control. It might happen, but you can’t make it happen. Yet if you define your goals properly, they can make your dreams possible. “Win a major book award” is a dream. You can’t make the nominating committee or the voters like your work. But “Write a great book” is a goal: you can try and keep trying until you succeed. And if you never achieve that goal (great book), there’s no chance to achieve that dream (book award). Sell a story? Dream. That’s up to the editor to decide. Submit a story? That’s all up to you.

So with that clear, these are my 2017 writing goals:

  • Finish Today I Am Paul (The Novel), and get it to my agent.
  • Write something for the Jim Baen Memorial Short Story Award.
  • Finish “The Adventure of the Martian Tomb”, a science fiction mystery starring Nick Aames and Rosalia Morais.
  • Finish “The New Sheriff in Town”, the second Nick and Rosie mystery.
  • Write “The Horace Gale Affair”, the third Nick and Rosie mystery.
  • Finish “The Captain’s Tree”, the story of a generation ship.
  • Finish “Uncle Roy’s Computer Repair Shop and Used Robot Parts”, a humorous near-future story.
  • Write the next Milford Creek novel.
  • Finish Starchaser, a YA fantasy novel.
  • Finish Debts to the Fallen, a Military SF novel.
  • Write a story TBD for an undisclosed invitation-only anthology.
  • Finish For Want of a Sword, a fantasy mystery novel.
  • Write White Hart in the Headlights, a fantasy novel.
  • Write the train story (you’ll know it when you see it).
  • Write the story of the snowy road.
  • Write the story of the human cop and the dinosaur cop.
  • Write the next Fog story.
  • Write the next Buddy story.
  • Write the next Hamal story.
  • Write more short stories.
  • Write more novelettes.
  • Write more novellas.
  • Keep submitting. The Saturday rule: any story still on the shelf on Saturday has to go back out to another market.
  • Submit to more foreign markets.
  • Submit to more reprint markets.
  • Write The Daily Blog (almost) every day.
  • Write nonfiction articles for select markets.
  • Attend a workshop (in person or online).
  • Apply for the Schrodinger Sessions (assuming they’re held this year).
  • Attend ConFusion.
  • Attend CapriCon.
  • Attend the Writers of the Future gala and meet the class of V34.
  • Attend the Tennessee Valley Interstellar Workshop.
  • Attend FenCon.

Too ambitious? Probably. That’s a schedule to make Gama Martinez weary! But…

Aim high, miss high.
Aim low, miss low.
Aim at nothing, hit nothing.

I prefer to aim high.

Science Sunday: Near Earth Objects

Inspired by this Sci-News article, I was going to write about Near Earth Objects (NEOs) and what would happen if one hit us.

But then Radiolab did it so much better than I could. Take a listen. Or watch it here, with dino-puppets!

So I want to take a different approach to the topic: deflecting a NEO. There’s a lot on the topic on Wikipedia, including links to sources. What I find interesting here are these crunchy bits:

  • “It has been estimated that a velocity change of just 3.5/t × 10−2 m·s−1 (where t is the number of years until potential impact) is needed to successfully deflect a body on a direct collision trajectory.” I don’t want to minimize the challenge here, but that’s not nearly as bad as I’d feared. 0.035 meters per second, divided by the number of years of warning. That’s 1.3 inches per second. Suddenly the task seems feasible. Except…
  • A typical NEO of interest is 140 meters in diameter. Assuming for simplicity that it’s a sphere, that’s 1.43676E+12 cubic centimeters. Assuming a density similar to Earth’s (5.5 grams per cubic centimeter), that’s 7,902,152,721 kilograms. For round numbers, call it 8 million tonnes. We don’t have to move it fast, but there’s a lot of it to move.
  • That means that with one year of warning, we need to impart 4.84E+06 joules of kinetic energy. If it’s one month, we need 6.97E+08 joules. Two years: 1.21E+06. In case it’s not obvious yet, early detection makes a big difference in the cost of deflection!
  • For those (like me) who aren’t accustomed to thinking in joules – especially large numbers of joules – here’s a comparison: “The terajoule (TJ) is equal to one trillion (10^12) joules. About 63 TJ of energy was released by the atomic bomb that exploded over Hiroshima.” So that’s 6.3E+13 joules from a small, primitive atomic blast. That’s 90,000 times what we need for an average NEO with a month’s warning!

We can do this. It’s a matter of engineering, politics, diplomacy, commerce, logistics, and orbital mechanics, but we can do this.

Now for Science Sunday, I want to look at the story potential in the science, so here are some thoughts…

The figures above are for the smallest NEOs we’re currently tracking. They come larger – more rare, but they do. If I change my spreadsheet for a dinosaur killer (10km across), the energy requirement is 1.76E+12 joules (with one year warning). That’s a little bigger, about 3% of a Hiroshima blast. Still pretty feasible. But with one month warning, it gets a lot worse: 2.54E+14 joules… something like 4 Hiroshimas, assuming 100% of the energy went into moving the rock. It won’t. I’m not a nuclear engineer nor a rocket scientist, so I can’t guess what the actual efficiency would be. No better than 50%, I’m sure, since half the blast points away from the rock. A big nuclear blast ought to do it, if used right, so it’s still possible.

But when we talk about “warning”, what we’re really talking about is time between the blast and the possible impact. If we see that dinosaur killer two years out, but it takes us 22 months to decide to act, we are dead as the dinos. Somehow we have to get that nuclear device out to where the rock is. Right now we spend years – decades, even – planning relatively simple space missions. This one won’t be simple, and it has to be done right the first time. So a major source of story conflict can be the diplomatic and political effort to get people to act when they don’t believe they have to – until it’s too late.

Now I’ve been talking about nuclear deflection because it’s the simplest to calculate and explain, but that’s only one of many proposed methods. Kinetic impact, rocket engines, ion drives, gravity tractors, mass drivers… They’re all different ways to add that tiny delta V to that great big rock; and no matter which method you use, the required change in kinetic energy is the same: a lot, but not impossible.

Of course, as Carl Sagan warned, if you can deflect an asteroid away from the Earth, you can also direct it toward the Earth. That seems suicidal, but it might work for a doomsday weapon.

And always remember: this isn’t fiction, it’s probability. A dinosaur killer hit us before. If we take no action, one will hit us again. It’s only a question of when. We can’t answer that question without data, so watch the skies!

The Daily Blog Schedule

One way I hope to make it easier to maintain The Daily Blog schedule is to plan out my topics in advance. So here’s my plan for the next week:

Story Saturday. Neverwhere by Neil Gaiman.

Science Sunday. Near Earth Objects.

Market Monday. Digital Science Fiction.

Talking Tuesday. Introduction to dictation.

Work-in-Progress Wednesday. Today I Am Paul, the novel.

Thinking Thursday. Random thoughts.

Friend Friday. Joshua Sky.