Inhuman Swill : Fantasy
            

First things first. You look fabulous. Happy Valentine's Day, you sexy thing, you!

Second—look, I don't know how many more ways to say this. It's time for you to help support our Kickstarter campaign for the Glitter & Madness anthology. There's less than two days left to hit our funding goal and get it done.

If you don't recall, Glitter & Madness is the new anthology edited by Lynne M. Thomas, Michael Damian Thomas and John Klima, chock full of speculative stories about the secret history of 20th century nightlife and party culture. The book will be published by Apex Publications and will feature a standalone novella from New York Times bestselling author Seanan McGuire set in her InCryptid universe. There will also be stories by Alan DeNiro, Amal El-Mohtar, Daryl Gregory, Damien Walters Grintalis, Maria Dahvana Headley, Kat Howard, Jennifer Pelland, Tim Pratt, Cat Rambo, Tansy Rayner Roberts, Diana Rowland, Sofia Samatar, David J. Schwartz, Rachel Swirsky, and yours truly.

What's more, there are plenty of exciting recent developments. For instance, Amber Benson of Buffy fame, an accomplished writer and director in her own right, is going to write the introduction to the anthology. How cool is that?

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My "Glitter & Madness" Q&A

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William Shunn gets glittery at Icebar Tokyo
It feels like we Glitter & Madness participants are, like, in NPR Fund Drive mode. I've already told you all about this anthology project, and if you still want to know more about it, you can head on over to the project on Kickstarter. What I'm here for now is to answer a quick Q&A designed by the editors of the anthology:

  1. What about the theme drew you to the anthology?
  2. Who doesn't love rollerskating and nightclubs and drugs and sex and debauchery? Who didn't enjoy copious amounts of them all in those gloden days of youth? Well, um, I guess I didn't. I was a Mormon. Okay, I did rollerskate, but I felt guilty about it.

  3. We're often told to write what we know. Did you draw your G&M story from your own nightlife experiences?
  4. I love to write things that I don't actually know. My clubbing experience was pretty much limited to once seeing Gene Loves Jezebel play at Club DV8 in Salt Lake City, and I was terrified for my soul the whole time. My story is actually about slippery souls in Chicago clubs of the '80s, which is why I'm writing it with my wife Laura Chavoen. She's the one who knows exactly what that scene was like.

  5. What's your favorite way to make life more glittery?
  6. I go to a comfortable bar with my wife and friends and drink classic-style cocktails until a glittery haze drapes everyone and everything in sight. Templeton Rye is involved.

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Love rollerdisco? Love science fiction and fantasy? Then you need to support the Kickstarter campaign for the Glitter & Madness anthology!

What's this, you ask? It's a new anthology edited by Lynne M. Thomas, Michael Damian Thomas and John Klima, chock full of speculative stories about the secret history of 20th century nightlife and party culture. Think glam rock! Think rollerdisco! Think glitter! Think madness!

The book will be published by Apex Publications and will feature a standalone novella from New York Times bestselling author Seanan McGuire set in her InCryptid universe. There will also be stories by Alan DeNiro, Amal El-Mohtar, Daryl Gregory, Damien Walters Grintalis, Maria Dahvana Headley, Kat Howard, Jennifer Pelland, Tim Pratt, Cat Rambo, Tansy Rayner Roberts, Diana Rowland, Sofia Samatar, David J. Schwartz, Rachel Swirsky, and yours truly!

In fact, I'm writing my story together with my fabulous wife Laura Chavoen, so you can be among those contributing to support her fiction debut! And the anthology itself will debut this August at the San Antonio Worldcon, with an otherworldly party at the world-famous Rollercade! Groovy!

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If you're in Milwaukee today, come out to Boswell's Books this afternoon for the book launch party for Bradley P. Beaulieu's debut novel The Winds of Khalakovo. It's going to be a great event, and the after-party at Cafe Hollander will include a rapid-fire reading featuring Brad, Kelly Swails, John Helfers, Matt Forbeck, and me.

Get all the details here. Hope to see you there!

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Nice review

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Via the PS Publishing newsroom, here are excerpts from Peter Tennant's recent Black Static review of my collaboration with Derryl Murphy, Cast a Cold Eye:

This short novella does many things right. For starters, its setting is immaculately captured on the page, with a real sense of rural Nebraska in 1921 coming over thanks to a wealth of tiny details, such as the ins and outs of photography or a look inside the house of a wealthy widow. There's a strong emotional grounding too, for both Luke and the society in which he is placed, an aching sense of despair undercut with a feeling that perhaps the worst is past, so people can look to the future with hope, an optimism confirmed in its denouement. Characterisation is spot on, with no-one who can be considered either evil or a criminal, just ordinary men and woman with all the flaws and virtues that implies....

The supernatural side of the story is suitably understated, so that we believe but also take on board the possibility that the ghosts could only exist inside the hearts and minds of the people who see them. With a subtext suggesting that the spectral world is just another aspect of life, wishing us neither good nor evil, but just there, a case could be made for Luke as the 'I see ghosts' boy from Sixth Sense picked up, rather like a reverse Dorothy, and put down in rural Nebraska, but that might be stretching things. In any event, I thoroughly enjoyed this book and recommend it without reservation.

Order yourself a copy, without reservation, here.

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On the Zane Grey Ballroom balcony
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.

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Thoughts on novel workshops

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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.

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Workshop day two

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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.

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Workshop day one

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Starry Heaven convenes
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!

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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:

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The Accidental Terrorist 30th Anniversary Sale

Signed editions
that even a
missionary
could afford.

Order yours now!

William Shunn

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