Inhuman Swill

Workshops days three through six

Fri, 26 Jun 2009 14:08:00 -0500

I was going to catch up on more of the week at the workshop yesterday, but Michael Jackson died and took Farrah Fawcett and most of the internet with him. You live on earth. You know. On Tuesday, Brad Beaulieu made us all eggs benedict with crabmeat for breakfast. This was somewhat suspicious, given that he was first on the critique schedule for the day, but I don't think any of us actually changed our comments because of the fantastic food. Most of us joked about it, though. My first-fifty was the fourth and last to go under the scalpel that day. I got a ton of very helpful feedback. There were elements of the book that I was very happy to hear that people were responding to, I got confirmation that the bits I suspected were big problems really were big problems, and then I heard just oodles of impressions and misimpressions that helped me see where I was setting the wrong expectations, where I was being unclear or vague, or where I was just being silly. Leaving the critique session, my mind was already whirring, working on how best to integrate the feedback I received into the next draft. I was very happy with the way it all went. From this remove, some of the days begin to blur together, but I think I'm pretty safe in saying that we returned to the balcony at the Zane Grey Ballroom to enjoy beer in the open air at an even greater altitude than that of street-level Flagstaff. That happened almost every night. On Wednesday, we began convening in smaller groups to do dissections of full novel manuscripts—or, at least, of whatever portion of those manuscripts does exist. That's been going on in groups of three or four ever since. Each of us was assigned two full manuscripts to read, and in turn had two participants read our own full manuscript. My session took place this morning at Macy's Coffee. Eugene Myers and Rob Ziegler gave me an incredible thorough, helpful, and encouraging critique of my 70,000 words so far. When this book sells, I will owe them a huge debt of gratitude. To hop back a couple of nights, now, on Wednesday evening we had a group viewing of Cloverfield. The movie was a lot more fun than I expected it to be. I found it well-made and effective for what it was, and of course it's always fun to see a city you know well get destroyed by a giant monster. It shared a lot of plot elements with one of my favorite little movies, the 1988 Anthony Edwards thriller Miracle Mile, but of course was a very different film. I jumped when the first explosion hit. For Thursday evening, which would be last night, Sarah Kelly set up a Meet the Authors event at the Wine Loft in downtown Flagstaff. gregvaneekhout was featured prominently in an Arizona Daily Sun article promoting the event, in fact. Six of us sat on a panel of sorts and answered questions about our writing that we had come up with ourselves and given to Sarah. The audience actually outnumbered the panel, and they had good, solid questions for us when we had run out of our own questions. From there we shifted our base of operations to the Beaver Street Brewery. This morning before my critique session, Greg and I rounded up what equipment and food supplies we had in our apartment and hosted a banana pancake breakfast for the women staying in this same building with us. (Most of the men are staying in another place across town.) This was greatly aided, and in fact suggested, by the two boxes of pancake mix we found in our cupboards, and by the bottle of imitation maple syrup in the fridge. I think the pancakes were a hit! Around noon (actually a bit later because on my way back from my critique session at Macy's I realized I had left my leather coat on my chair and ran back only to find that the coat was gone and hadn't been turned in but thank goodness Rob Ziegler had grabbed it for me before he left), we convened as a group briefly so that Mike Kelly could photograph us for the obligatory Locus workshop pic. There is melancholy in the realization that things are winding down, but I'm starting to miss home a lot, and I can't wait to see my wife and dog tomorrow night. I'll be internalizing the stuff I learned this week for a while, and I'm really glad I was able to come. P.S. Greg van Eekhout is best roommate! And his novel Norse Code rocks. Buy it.

Thoughts on novel workshops

Tue, 23 Jun 2009 17:21:00 -0500

The process of critiquing partial novels this week and of having a partial novel critiqued this week has made me think a lot about what a workshop is and what it isn't. I've particularly wanted to share those thoughts with the writers who are attending a Blue Heaven–style workshop for the first time, because talking about novel fragments the way we do is a very different thing from what happens in workshops more oriented toward short stories. It's not my style to take anyone aside and put an avuncular arm around their shoulder, and I don't know that that's necessary anyway, but I do want to say my piece. Your workshop (any workshop, really) is a tool. Your workshop is not a pronouncement from God. Especially when we're doing fragments, you're going to hear suggestions for improving your manuscript that sound absolutely plausible, that are uttered with complete conviction and even vehemence, and that would serve to make the first fifty pages of your novel more involving and exciting and enticing to an editor. But those comments may still be absolutely wrong for the novel you're trying to write. Your job as a writer is to keep your vision for your novel first and foremost in your mind. Yes, your first fifty pages may not be as involving and exciting as they can be, and they may be setting the wrong expectations for the story that follows. Your job, though, is to measure all those comments against your vision for your novel, and to use them as a guide to telling your story in the best way you possibly can. What the comments tell you are where your novel is failing to create the sort of understanding and response in your readers that you are trying to achieve. They are a calibration tool for letting you know how far you've strayed from the mark you're trying to hit. They amount to a differential guide, not to a bible. You very well may end up using some or even a lot of the suggestions you get in the workshop. That's okay. But use them only if they bring you closer to achieving your vision. Remember that only you know what that vision is. Use the workshop to help you craft an opening for your book that clearly and immediately sets the stage for the unfolding of that vision. Remember also that it is a very rare book that appeals to every reader. When people that you respect and admire don't really get or respond to what you're trying to accomplish, it may be that it's because they simply aren't the right audience for your book. Some of their comments may still be useful, but you will probably want to give more weight to the critical comments from people who are the right audience. And when someone doesn't get what you're doing, it may also be that it was just the wrong day for them to be reading your book. I don't know how many times I've picked up a book and utterly failed to connect with the material, but then picked it up a few weeks or months or even years later and found myself sucked right into the story. No reader is static. We all change, and we all have moods that affect the filters we bring to what we read. In many cases—and this is something bobhowe and I used to talk about a lot—it may that a critique is simply an attempt by a reader to find an intellectual justification for something that is really more of an emotional response to the material. This goes for all workshops, of course, but I think these things are even more important to keep in mind when the critiquers are reading only a partial manuscript. We as readers don't know the story's destination. All we can do is offer our impressions of how willing we would to keep walking with you based on what you've given us. You're the one with the map. We've handed you some measurements to help you assess how far astray you've led us. It's your vision, not ours.

Workshop day two

Tue, 23 Jun 2009 06:48:00 -0500

Our second day of workshopping was much like the first. Four first-fifties were done over the course of the day, with a delicious catered lunch of quesadillas in between. Everyone seems to be settling in and getting more comfortable, though as a result the critiques went longer yesterday than they did on day one. Afterward a handful of us went shopping for a few things that were lacking in the rooms here, including half-and-half, real coffee beans, toilet paper, and sufficient beer. Then most of us converged once more on the balcony at the Zane Grey Ballroom, where the beer, as I may have mentioned, is ridiculously cheap, at least by the standards I'm used to. In the late evening, we convened back here for pizza (I'm not sure how, but I exercised unprecedented willpower in making a salad for myself instead), beer (did not abstain at all), and an informal discussion about certain aspects of the publishing industry. I would say more, but what happens at Starry Heaven stays at Starry Heaven. If we decide it should stay at Starry Heaven. This morning we're all heading over to the house where most of the men are staying, where Brad Beaulieu is making us breakfast. Then we'll stay there for our critique sessions. Today will be the last day of first-fifties, and my book is last. I haven't been very nervous until now, but I'm started to feel it a bit. I probably won't be able to eat a lot of lunch. Tomorrow we begin breaking up into various groups of three for in-depth critiques of full novel manuscripts. That's when things really start to get intense! Can't wait.

Workshop day one

Mon, 22 Jun 2009 06:29:00 -0500

The first official day of Starry Heaven went very well, I thought. We critiqued the first four of our twelve first-fifties. (For those curious, we spend the first three days looking at the first fifty pages of everyone's novel, on the theory that those pages have to be strong when they go to an editor or agent as a proposal.) Many helpful comments were offered and received, and there was a satisfying and comfortable lack of drama. Everyone here knew at least one other person prior to the workshop convening, and some of us knew a lot of the other participants. It looks to me like everyone is managing to fit in, which is good. (And we were all glad that E.C. Myers, who had the worst travel luck of any of us, finally managed to make it here late Saturday night. It was too bad that he missed dinner, though.) Lunch yesterday was catered. We had delicious little baked burritos, spicy tomato soup, and chips and salsa. After the afternoon session, a few of us hauled our stacks of stuff still to read down to Macy's and sat around chatting as much as reading for a couple of hours. Then the whole gang convened the Zane Grey Ballroom at the Hotel Weatherford and milled about on the balcony listening to reggae from the festival down the street, and later watching police, fire, and ambulance converge on the crowd. I hope whoever had the emergency down there was okay. Also, we saw a few trucks equipped with snorkels pass by in the street below. (I wish I had one of those for my car in Chicago on Friday. The water in the depression under the Metra tracks at Foster and Ravenswood was well over my axles.) A highlight for me at the Zane Grey was getting to meet Mike Kelly, our organizer Sarah K. Castle's husband. Mike is James Patrick Kelly's brother, and since I also (entirely coincidentally and unconnected to the science fiction world) know Dan Kelly from Brooklyn, I have now met three of the Kelly brothers. My new goal in life is to collect all four! But quite apart from his Kelly family connections, Mike is a charming and fascinating fellow in his own right, a textbook-writing geologist who also designs interactive museum installations. Oh, and the Zane Grey also had Lagunitas IPA on draft! $2.75 a pint! After Zane Grey, we schooled over to the Black Bean Burrito Bar & Salsa Co. for a late dinner. Then it was home, where I crashed disappointingly early. Maybe they stay up later and drink more beer over in the other house. Going to have to find that out tonight. Okay, now I'm going to put on the 2006 FourPlay String Quartet album Now to the Future (which frogworth kindly sent me) and get another critique written.

Sparkly heaven

Sat, 20 Jun 2009 18:14:00 -0500

In other news, I arrived today in Flagstaff, Arizona, to attend the Starry Heaven novel workshop! I'm here with my poor half-finished novel Technomancers, which I hope my fellow workshoppers give a swift kick in the ass. I was hoping that at 70,000 words I'd be close to finished, but as it turns out I'm only about halfway through the first draft. But anyway, Brad Beaulieu and I ended up on the same flight from Chicago and rode together in the 90 mph shuttle van from Phoenix. Sarah Kelly picked us up with Gary Shockley and whisked us off to lunch at the Beaver Street Brewpub where we met up with Sarah Prineas, Sandra McDonald, and Greg van Eekhout and Lisa Will. A pitcher of Lumberjack Lager couldn't get to our table soon enough! Then we checked in at our B&B, where the room Greg and I are sharing pretty much boggled our minds with its palatial dimensions. Blue Heaven will henceforth have a lot to live up to! A trip to the supermarket and our fridge is stocked, although it was pre-stocked with bagels and cream cheese and milk and OJ and coffee and syrup and the cupboard with cereal and pancake mix and stuff when we arrived. Okay, I'm starting to gush. We hear via Twitter that Eugene Myers is having extreme travel complications, but with luck he'll be with us late this evening. I'm now drinking a Four Peaks 8th Street Ale and signing off. The week begins!

See "Little Brother" on stage in Chicago

Sat, 20 Jun 2009 17:45:00 -0500

Cory Doctorow published a smart, exciting political novel for teens last year called Little Brother, as I'm sure you know. Well, the Griffin Theatre Company right here in Chicago has mounted a stage adaptation that's on now. The production runs Thursdays through Sundays until July 19, and I highly recommend you get tickets before they're gone. I saw a preview of the play last week to review it for Sci Fi Wire, and I think you'll enjoy it. I'm told that the production has even more bells and whistles now than when I saw it. The production runs at the Athenaeum Theatre, 2936 N. Southport Ave., Chicago. You can get tickets either in person at the Athenaeum box office, or from Ticketmaster by phone at 800-982-2787 or online at http://www.ticketmaster.com. Come any day you can, but if you show up on Thursday, July 9, Cory will be in the audience. I'm just sayin'. For more details on the production, see the Griffin Theatre web site.

Amazing race

Sun, 14 Jun 2009 12:16:00 -0500

Laura and I had a ton of fun yesterday running Chicago's 2009 Urban Dare race. Urban Dare is a scavenger hunt that takes you all over your city to solve trivia puzzles, collect photographs, and complete a few dares. You're only allowed to travel by foot or on public transportation. You need a phone, a digital camera, and a PDA with internet access—preferably all in one. We started at noon in Oz Park. A trivia question got things underway. Every two-person team was directed to stand in a certain group depending on their answer to a multiple-choice question: In what year did Chicago's Playboy magazine publish its first issue? Since I, ahem, knew the answer was 1953 (come on, Marilyn Monroe was Miss December), Laura and I were in the first group to get our clue sheets and get started on the race. We took our clue sheet to a nearby Orange Julius/Dairy Queen combo to have some ice cream and decipher our clues. We had to hit 11 stations throughout the city. For each clue we had to figure out where we were supposed to go, and what the best order would be for hitting them all. Once we had the locations plotted, we decided to tackle them from north to south. It probably would have been smartest to just hope we would be able to pick up #7 (photo of a Cubs and Twins fan together) somewhere along the way, but we decided to ride up toward Wrigley Field first of all. As it turned out, we found our victims the moment we stepped onto the train. That let us head back to our next challenge without traveling all the way to Wrigley. So we took a combination of buses, trains, and shank's mare all the way from Belmont on the north to Balbo on the south. Along the way we scarfed down eight buffalo wings at a sports bar, tossed beanbags into targets at the Benito Juarez sculpture, assumed the upward bow yoga position, and hobbled around a plaza in a three-legged duo. We bothered passersby to take our pictures all along the route, including a befuddled tourist from Manchester who seemed a little embarrassed to admit that he was enjoying the unseasonably cold and cloudy June weather. At every manned station, at least early on, we asked the race personnel how many teams had beaten us there. We didn't have any delusions that we'd come in first, so we had agreed that we'd take it easy and just have fun. By the time we were staggering up to our final challenge station, though, we were sure we were going to place right down at the bottom of the standings, which didn't sit so well with us. Miracle of miracles, though, when we made it back to our finish line at Kendall's Bar and turned in our passport and photos, we found ourselves with an unofficial place of 20th out of about 60 teams. Not bad! And a fine excuse to indulge in a victory beer. Urban Dare hits a lot of big cities around the country over the course of the year. If they come to yours, there are plenty worse ways to spend a Saturday! And if you run Chicago's race next year, you'd better look out because we're going to kick your asses.

Standing on the corner, watching all the dogs go by

Fri, 05 Jun 2009 09:57:00 -0500

I am easily distracted as a driver or pedestrian by beautiful creatures on the sidewalks. I'm not talking about girls in their summer dresses. I'm talking about dogs. Like the pair of huge, gorgeous English sheepdogs I guy was walking ahead of me yesterday, and which I furtively (and unsuccessfully) tried to snap a picture of. Or the reputed wolf-dog in the neighborhood I've heard reports of, and which Laura met this morning. Paint me jealous! A few weeks ago, I was driving home from taking my mother to Midway Airport at the end of a week-long visit. I had run a few other errands (which included picking up a special-order copy of ccfinlay's The Patriot Witch from the Book Cellar) when up ahead I saw a young woman walking a stunning medium-sized terrier down the street near Winnemac Park. I slowed the car a little. I didn't spare a glance for the woman. I was just thinking to myself, "Wow, now that's a beautiful dog." When I got a little closer, I realized it was our twice-a-week dogwalker taking Ella out for her midday stroll. I had to laugh at myself.

A "Hangover" to relish

Fri, 05 Jun 2009 06:51:00 -0500

Early last week, Laura and I were lucky enough to win an invitation to a preview screening of the new comedy The Hangover, which opens today. Having been seeing the commercials for weeks already, I was looking forward to the screening. From the little I'd seen, the film looked right up my alley. Laura was more cautious going in, especially when our host Capone (of aintitcool.com) gleefully warned us we were about to see some disturbing images. I won't beat around the bush. The Hangover may be the funniest movie I've seen in my life. Okay, that may be a bit of an exaggeration, but both Laura and I—and the rest of the audience—laughed so hard and loud that there was some dialogue we couldn't even hear. We hurt when we left the theater. I haven't laughed that hard at a movie since the first time I saw South Park: Bigger, Longer & Uncut. The film is very cleverly written and structured. It follows a group of three men (Bradley Cooper, Ed Helms and Zach Galifianakis) who have taken their soon-to-be-married friend (Justin Bartha) to Las Vegas for an extended bachelor party. The three men wake up in the morning in a trashed hotel suite rife with clues that something big happened the night before, but with no memory of what that was. Oh, yes, and the groom is missing. The main thrust of the plot details the friends' attempt to reconstruct the night's events and figure out where they lost track of the groom. Along the way, the meet not just a bevy of colorful characters and assorted weirdness, but also a good deal of violence. I'm tempted to drop hints about my favorite scenes—like the taser bit that just keeps getting funnier and funnier and funnier, even when the trailers have spoiled the final punchline—but I will resist the temptation. Given the media blitz that's been going on for weeks, you already know some of those bits, but that's only scratching the surface. You should go in with as clean a slate as possible. As cunning as the screenplay is, it's Cooper, Helms, and Galifianakis that really make the film work. They are more than just funny. They've been allowed to create characters that are, in many ways, unlikeable. Cooper's character is that friend we all have who is charming and smarmy but always manages to make you feel like a pussy. Helms's character is henpecked and packs a really deep streak of ugly anger. And Galifianakis—let's just say that it takes some time to see that at the heart of his fearlessly offputting performance is a very sweet, innocent guy. But despite their frequent bickering, they still hang together and act relentlessly, even with heartbreaking bravery, to track down their missing friend. By the end of the movie, we feel a startling love for all these flawed, determined men. Oh, and did I mention how fucking funny they are? And how fucking wrong this movie is? (Any movie that can get away with slamming a baby into a car door is okay in my book.) I will admit that the laughter is not non-stop. A few short stretches of The Hangover do lag, but that's more than made up for by the intensity of the best sequences. (And by best I also mean most of the sequences.) The female characters in the film get short shrift also. The three important female characters essentially fit the archetypes of Virgin, Bitch, and Whore, and as winsomely enthusiastic as Heather Graham's performance is as the Whore, she is woefully underused. Mike Tyson's extended cameo is funny also, but seems more like a stunt than an integrated part of the movie. And the Asian stereotype wears a little thin. But those are minor quibbles. The script plays very fair with the premise, piling complication on complication, and even providing an answer to the question of why no one can remember the previous night. I can't imagine seeing a funnier movie this year, or having a better time. Go see The Hangover. See it this weekend, with a big, enthusiastic crowd. Stay for the closing credits. And then go see it again so you can catch the lines people were laughing too hard to hear.

Some video links: The real Caesar's Palace Tiger in the bathroom Stu's song

Dave Slusher interviews William Shunn

Tue, 02 Jun 2009 12:37:00 -0500

The mighty Dave Slusher has posted the new episode of his fine Reality Break podcast, an interview series focusing on science fiction and other genre literature. In this eighth episode, he talks to yours truly about writing and podcasting The Accidental Terrorist. This interview was recorded in 2007 but has not been heard until now. Besides my own book, we talk about memoirs in general, writing after 9/11, my experiences growing up Mormon, and how those all have informed my fiction. Dave is a terrific interviewer, and while I usually wince when listening to myself, I'm very, very happy with the way this session turned out. I hope you'll have a listen. If you enjoy it, thank Dave!

The Chicago Media Future Conference, June 13th

Tue, 02 Jun 2009 11:34:00 -0500

If you're reading this, I assume you have at least a passing interest, if not a full-blown stake, in the future of online journalism. Most saliently, how can the business of news-gathering and distribution be monetized? Can it ever make money? How will the news business survive in the future, and what will it look like? How will readers consume news? If you live in Chicago and care about these questions, you owe it to yourself and your community to attend the Chicago Media Future Conference. Organized by Mike Fourcher, Barbara Iverson, and (my friend) Scott Smith, this FREE conference will be held Saturday, June 13, at Columbia College's Film Row Cinema (1104 S. Wabash) from 1:30pm to 4:45pm. The program consists of two moderated 90-minute panels, each with a 10-minute introduction. I hope you'll take the time to attend, but don't do it just on my say-so. Organizer Scott Smith was a guest this past Friday evening on WLUW's Out of the Loop Radio, and you can hear him discussing the conference in this audio stream, starting at about 2:01: (As an added bonus, the segment after Scott's is about the recent ruling in 2006's infamous Jefferson Tap police brawl.) Anyway, the discussion of these topics is already underway at ChicagoMediaFuture.org, and you can follow the conference on Twitter at @chgomediafuture.

Breaking good

Mon, 01 Jun 2009 09:27:00 -0500

All that's going on in the world today and in my life lately has apparently not been enough to drag my short attention span away from Twitter*, but there's a television series that just managed it. A few minutes ago, I finished watching the season 2 finale of AMC's original series Breaking Bad. I should be working on my novel right now, but I've been awake since 3:30 this morning when thunderstorms woke up the dog and consequently woke us up. As long as I was up anyway, I took the dog to the couch and started watching TV shows from the DVR. I watched an episode of Reaper, then an episode of Lie to Me, and then, because I just couldn't resist putting the reward off any longer, last night's episode of Breaking Bad. If you're not familiar with the series, it's the story of a high school chemistry teacher named Walter White (Malcolm in the Middle's Bryan Cranston) who is diagnosed with lung cancer and starts a meth lab to provide money for his family for after he's gone. I love the series not just for the impeccable acting and directing, but for the pitilessness of the writing. Even when Walt makes his best and smartest decisions, the remorseless logic of his situation (and in fact of his own pride and anger) twists him deeper and deeper into a trap of his own making. His bid to save his family—and, it must be said, his desire to demonstrate to himself how smart he is—only ends up driving them all apart, and the consequences for the lesser players who enter his orbit are even worse. Why does this relentless arc make me so happy to watch, even when watching sometimes feels like taking a knife in the gut? Maybe it's something of the same impulse that makes Eminem's rapping so compelling, even when (as in "3 A.M.") the content is repulsive. It's the thrill of watching artists in utter control of their tools. Take Breaking Bad's second-season arc (which I will attempt to discuss without major spoilers). The season opened with a half-burned teddy bear floating in a swimming pool. That image (and the episode's title, "Seven-Thirty-Seven") would not be explained for thirteen more episodes, but gave the viewer confidence that the minds behind the show were not merely flying by the seats of their pants but knew exactly where they were going from the beginning. The season finale opened with the same image, and went further to show workers in hazmat suits laying two shrouded bodies in the driveway of Walt's house. From there, the season finale (like the season itself, in miniature) took absolutely none of the expected turns, and even offered a cryptic glimpse of the teddy bear in a wall mural. In its third act, the episode jumped suddenly seven weeks ahead to detonate the emotional bombs that had been planted all throughout the season. If Walt thought he was finally out of the woods with his family, he was wrong, and the revelation of what Jane's father Donald (John de Lancie—yes, Q.) does for a living sets off a countdown of dread when it dawns just where that damn charred bear is going to come from. Is it presposterous? On one level, yes. But on a more important level, it's absolutely perfect because it illustrates for us, if not for Walt, just how far-reaching the expanding ripples of his first unwise decision have grown. It's a superb example of unity of theme. All kudos to series creator Vince Gilligan, a veteran writer/producer of The X-Files. But to climb down from my ivory tower, I simply find Breaking Bad a thrilling viewing experience. If you appreciate crime drama with nuance and consequence, you should watch it. Season 1 is available on DVD, and I can only assume season 2 will be also before the third season comes along.

* Okay, a much larger part of it is that I'm about halfway through writing a novel called Technomancers, and my larger chunks of time go to reading manuscripts for an upcoming workshop and re-editing old audio files for my new podcast.

"Cast a Cold Eye" available for pre-order!

Sat, 09 May 2009 13:30:00 -0500

What do the Spanish flu and spirit photography have in common? The answer is Luke Bryant—a teenage boy in 1921 rural Nebraska, whose life is changed by both. Cast a Cold Eye is a novella Derryl Murphy kindly invited me to work on with him several years ago. It took us nearly four years to write, batting it back and forth between other projects, and it's now been close to two years since we sold it to PS Publishing. And while it won't be out for several more months, it's finally, finally available to be pre-ordered. There'll be two editions of Cast a Cold Eye that I know of—a signed and jacketed hardcover and an unsigned, unjacketed hardcover. I'll let Derryl himself (via SFScope.com) tell you a little more about the book:

Murphy says, "When we started this story a few years ago, Bill was living in New York and I was in Prince George. We're much closer together now, though, since I'm Saskatoon and he's in Chicago. Cast a Cold Eye is my second collaboration, after the Aurora-nominated short story 'Mayfly,' written with Peter Watts. Bill helped bring a terrific and unique voice to this story, and he also tempered some of my more loopy ideas. Which in this case was a very good thing. "The story itself takes place in Nebraska just after the Spanish flu pandemic, and involves a teenage boy who lost both his parents to that illness. There's also a spirit photographer, ghosts, spooky graveyards, and a friendly, knowing dog. It didn't occur to me until after we'd finished it, but the story is YA friendly, so if you know of any teens or youngsters who might be interested in this sort of story, keep them in mind." [full article]

The book will also feature an introduction by Mr. Charles de Lint. Order early and order often!

"Puppet on a Chain" by Alistair Maclean

Fri, 08 May 2009 08:08:00 -0500

Does anyone write back-cover copy like this anymore?

SUSPENSE ON A RAMPAGE The moment the Interpol agent and his lovely assistants landed in Holland they were in Dutch. He was after a drug ring. Who was after him? First someone killed his contact. Then he ran up against a lethal room clerk. Then a bunch of cute Olde Worlde hay dancers went for him with pitchforks. Then he got mixed up with some macabre puppet makers. It was a Netherlands nightmare—and no waking up. PUPPET ON A CHAIN

I mean, how could you not pay 95 cents for this book with a come-on like that? The Interpol agent doesn't even need a name! Uncut excitement, baby.

Laura running Boston

Mon, 20 Apr 2009 11:50:00 -0500

So Laura is right now running the Boston Marathon. She passed the 10K mark (almost a quarter of the way) a few minutes ago, and is running a 9-minute pace. If she maintains that, she'll come in under four hours. I'm incredibly proud of her! You can track Laura's progress here. Her bib number is 18649. Three more hours! I'm about to take the T out to Boston College to try to spot her there.