- About Me
- Great Hugo Read
“I see you’re reading The Grasshopper Lies Heavy,” [Childan] said. “I hear it on may lips, but pressure of business prevents my own attention…A mystery? Excuse my abysmal ignorance.” He turned the pages.
“Not a mystery,” Paul said. “On contrary, interesting form of fiction possibly within genre of science fiction.”
“Oh no,” Betty disagreed. “No science in it. Nor set in future. Science fiction deals with future, in particular future where science has advanced over now. Book fits neither premise.”
“But,” Paul said, “it deals with alternate present. Many well-known science fiction novels of that sort.”
–Philip K Dick, The Man in the High Castle
There’s one unavoidable name when reading the Hugo winners: Heinlein. For anyone following along at home, we’ve now made it through thirteen months and four Heinlein novels, with one coming up in December. It’s been, to be frank, a mixed bag. I know there are Heinlein devotees out there, those who devour every word he’s written and love them to pieces. With the four books we’ve read together these last few months, I’ve now read 6 Heinlein books.
I can honestly say I thoroughly enjoyed two of them. I rather liked reading Starship Troopers, though I like the movie better (sorry-not-sorry), and I loved reading Job a dozen years ago.
You’ll notice neither book from January on that list of books I loved. That’s not to say I disliked them, it’s just to say I didn’t love them.
This time around, the Hugo Awards served up one of his adult books, and the Retro Hugos served up one of his juveniles.
Stranger in a Strange Land is the most famous science fiction novel of all time. At least, that’s what my copy says on the cover. I will admit, I know no other science fiction novel name dropped in a Billy Joel song, though I do wonder what books others might think deserving of that title. The book is certainly Heinlein’s opus, and in many ways is the quintessential Heinlein book. Which is to say it delves deeply into the philosophical, allows characters to expound for chapters on end, and eventually includes a woman offering herself to a father figure.
Alright, that last one isn’t necessarily quintessential, but is something I’ve stumbled across in both this book and, more literally, in Farnham’s Freehold.
But the debates, those have shown up in several of his books. In Starship Troopers they took the form of future military history classes, expounding on the nature of force and citizenship. In Stranger it’s the nature of religion and humanity. I’m never sure where the characters end in a Heinlein novel, and the author takes over. Perhaps I don’t actually want to know.
There were some hard jumps in Stranger that didn’t sit well. There is, most startlingly, the sudden introduction of a Greek chorus looking down on the action from heaven. It’s necessary for the conclusion of the novel, but even in a book that has Martians, an element like that is a rather sudden change.
It’s an odd shift to jump from a novel postulating a religion based on group sex to one of Heinlein’s juveniles. Farmer in the Sky was originally published in Boys’ Life, the magazine for the Boy Scouts of America. Which is important, as it explains why one of the primary plot points revolves around whether or not the main character will achieve Eagle Scout status. It’s always hard to figure out what to say about novels that I liked but didn’t love. It’s a novel that I read, a novel that I put down, and a novel that I’m already having a difficult time putting thoughts together on.
What can I say? Not every novel is going to win over 100% of readers.
And so the Read pushes on, into a month of alternate history. Our primary read is one of the scions of the Nazis-win-WWII novels, The Man in the High Castle. The secondary read postulates a Confederate victory in the Civil War in Bring the Jubilee.
I’ve been beating around the bush with my recent short story sale. I like to make sure everything is nice and official before giving details about the whens and wheres. However, there’s now a live table of contents, so it’s pretty damn official at this point.
I’m going to be in the upcoming Bad-Ass Faeries 4: It’s Elemental.
This is the latest in the award-winning anthology series, and I’m excited to be part of it. More so that I’m in it with one of my best friends and writing cohort NR Brown. There will be an official launch of the anthology at this year’s Balticon with the full and proper launch date currently scheduled for some time in September.
For those unfamiliar with the series, it delivers exactly what the title promises. Each story focuses on a different faerie, and their general ass-kicking ways. This fourth edition is broken into the elements of Earth, Air, Water, Fire, and Spirit.
To go briefly behind the scenes of the anthology, each element was judged separately. My story, The Face of the Serpent, is among the Fire Element stories. NR Brown’s is among the Water. That means we weren’t in direct competition, which was a comfort, because her story is damn good.
I’ll be talking about the anthology more, worry not. I’m just excited I can get out these initial details.
Cold! The writer is god damned cold and ready for this winter to end!
That said, January was a pretty damn good month. My new writing schedule is working out. If you’re here, you’ve probably noticed the uptick in blog posts, and I’ve enjoyed having a few days a week dedicated to short stories. One is making the rounds, another got written and is an editing pass away from going into circulation. Plus there was the sale in late December, more on that later in the week.
Plus, a few days ago I wrapped up the rough draft, extremely rough draft, of the generation ship novel I’ve been working on. It clocked in at just over 70,000 words, which is a little disappointing, but it also needs a lot of work. Nothing about its current length, or arrangement, or plot is untouchable. Because isn’t editing fun?
February will present a few challenges, including a night where we’re dropping the baby off with her grandparents and just getting out for a night. I don’t want to give myself that day off, but it means finding some earlier writing time than I might normally.
State of the Author’s Bees. They’re alive! The bees are alive! We lost one hive early in the winter, but the other is hanging in there. We had a warm day this weekend (well, warm for this winter) so my wife took a look in the hives. The dead hive apparently fell victim to a mouse invasion. Which is a shame, but it’s also nice to have a specific cause to point to. The other hive is alive and kicking. So we gave that hive all the uneaten stores of the dead hive, some tasty sugar syrup, and a patty of artificial pollen.
The queen should start laying new eggs soon. They’ve only got another month until they’re through the worst of it, but it looks like we’ll actually bring a hive through the winter. First success in four tries, but we’ll take it. It means there’s also a good chance of being able to harvest some honey this summer. Not a lot of honey, but some.
So. Forward and upward! This month the Great Hugo Read delves into alternate history with Phillip K. Dick’s classic novel The Man in the High Castle, and one of the books that inspired Dick, Bring the Jubilee. The novels are at the forefront of what are now two of the standard tropes of alternate history, exploring what would happen if the Axis or the Confederacy had won their respective wars.
Disney has announced their first official princess of Polynesian descent. Yes, I watched and loved Lilo and Stitch, too. But she’s not one of the official Disney Princesses. This new character, Moana, will be the first official Disney Princess of Polynesian descent, and this is a big deal. An extremely big deal. An extremely big deal that I don’t understand in the least.
Not the Disney Princess thing. Alright, I sort of don’t understand that either. Like is Tinkerbell a princess, or is that a different thing? And why was there a period between when Brave came out and when Merida became an official Princess. Or why the two main characters from Frozen aren’t yet official Princesses. Or why Kida from Atlantis doesn’t count. Is it because only three people saw Atlantis? I’m sure I’ll learn these things over the next few years and still not understand them. But that’s not what I’m talking about.
I mean I don’t understand why it’s a big deal. Wait wait wait, stay with me. I don’t mean that in the dismissive way the internet typically means it. I mean, simply, that it’s impossible for me to understand it. It’s impossible because I’m a white male living in the United States of America. I have grown up in a culture that is based around me. My likes, my experiences, my interests. I am in all the media, television, movies.
I am Legion.
Which means I can’t possible understand what it’s like to be unrepresented in media. What it’s like to not see a face that looks like mine. Only…more attractive. When a movie starring a non white male fails, it’s because the movie going public doesn’t want to see a female lead. Or an African-American lead. Or an Asian-American lead. Or…anything that makes the lead not a white male. But no one has ever, or likely ever will, suggest that a movie failed because people don’t want to see a white male lead.
This is privilege. It’s not something I’m proud of, but it’s something that I have in bushels. I can’t escape it. I’ve had times where I’ve ripped over it without seeing it coming. I can’t get rid of it. All I can hope to do is be aware of it.
However, while I can’t possibly understand it, I’m glad to see Disney making this move. I’ve seen some accusation of tokenism, but any increased inclusion must start somewhere. So now we’ve seen a Native American princess, a Middle Eastern princess, an African-American princess, an Asian princess (yes, I get that it’s problematic trying to represent all Asian cultures with a single character), and next is a Polynesian princess.
And I know this is a big deal because, with only one piece of unofficial artwork released then retracted by Disney, there is already a proliferation of fan art on the internet.
There are people out there who have been unrepresented, or underrepresented, in film. And now they’re gaining that representation, they’re finally getting a chance to shine. Perhaps the closest I can come is when a fringe hobby or interest of mine makes its way into a movie. But I know that’s not exactly it. There’s a difference in being excited that a character in a movie is also interested in curling, and a character in a movie who looks like me.
While I can’t understand what it’s like to be suddenly represented in the media, I can understand that this is making people happy. Specifically, it’s making little girls happy. As a daddy to a little girl, I know what a great joy it is to see her happy. I will bend over backwards, do whatever it takes. With this movie, Disney is making little girls happy. Which means it’s making the mommies and daddies of those little girls happy. And that’s a net positive in the world. And a net positive that opens up narrative possibilities for the company at the same time. It’s a win for everyone, except those unfortunate grumpy souls who see inclusion as a zero sum game.
I doubt there will be a future where more and wider demographic groups won’t understand a lack of representation. Though that doesn’t mean it’s not a noble goal to work towards.
I just hope the movie is good.
Oh lord, the worlds. After I’ve finished reading through the character sheets and looking at how characters are built in the game, it’s time to look at the rest of the book. And that’s where worlds are born and live.
This is one of the power of systems designed to translate across multiple settings. It’s what GURPS tried so nobly to get right, though I found it often got lost in all the rules. It’s what Fate Core has achieved thus far.
I used to buy those old GURPS books. Never played the game much, but the books were fantastic resources. They would take a setting, such as Steampunk, or pulp adventure, or Discworld, and walk through not only new rules for the location, but go through the major points of the genre. The essential stories, the essential movies. They weren’t about creating restrictions, they were about showing how the base rules could be expanded, and how to tell stories in these worlds.
That’s what running a game is, after all. It’s telling stories. This isn’t advice to grab these books and start telling stories entirely in these worlds. Unless you’ve been properly licensed to do so, in which case you certainly aren’t reading this. But this is advice to grab books set in interesting worlds, and find the bits that interest you. Grab the books that are guides through a genre, and follow their examples.
Or, just grab the books at random. Like I’ve been doing through Bundle of Holding. Look through them, and find the bits that interest you. Find the things that make the worlds fun or unique. Take small bits, change them around, make them your own.
And then, once you’re done checking out the character sheets, creation, and reading about the world…maybe grab some dice and a pencil and actually play one of the games. Cause that’s fun, too.
In 1996 a doctor immigrated to the United States from England. Not because he found a better hospital to work at, but because he found a different network. Yes, the individual in question was no medical doctor, but instead Doctor Who, transitioning from his traditional home on the BBC over to the Fox network. After a backdoor-pilot was produced and run as a movie of the week to blockbuster ratings, the network jumped at the chance to air the newly Americanized series, and slated it for a Sunday time slot in the 1997-1998 television season, pairing it with the fifth season of The X-Files to create a two hour block of science fiction.
The show had a bumpy start. Existing fans of the BBC series were constantly frustrated by the re-establishment of so many basic elements of the mythology (and even some changes to the core notions, such as the Doctor now being half human). New fans were often overwhelmed by the 35 years of history the show traveled with. It was an awkward middle ground, but the show persisted, pulling in 12-15 million viewers a week. Which was enough to keep the network happy, though not thrilled. An attempt was made to goose the ratings during the 1998 November sweeps when the two shows crossed over with a single two hour narrative that saw the Doctor help stem an invasion from the shape-shifting bounty hunters. This episode also saw the departure of Daphne Ashbrook as the Companion, killed during the climactic battle.
Ashbrook’s departure was the first kink in the armor. While long term fans of the British show understood that Companions came and went, and that even the Doctor changed faces every few years, American audiences were accustomed to more continuity in their programming. The second season also saw some cost cutting by the show. The Master, recast from the television movie, steals the TARDIS, stranding The Doctor in present-day San Fransisco for most of the season. While the show never went to truly exotic locales, due to budgetary restraints, this locking down of the Doctor changed the tenor of the show considerably.
The big news hit in the third season. While his TARDIS was restored, the show was losing viewers. Worse, it was about to lose its star. McGann announced his intent to walk away from the show at the end of the season, forcing Fox to weigh their alternatives. Cancellation was discussed, but the show was still proving profitable, and though the viewership had shrunk, the remaining fans were devoted to the show. Fox made a blockbuster move, courting George Clooney who had announced his own departure from ER. Clooney was looking to pursue his movie career, but couldn’t pass up the chance at such an iconic role. He agreed, but with a stipulation.
He would only do thirteen episodes.
Fox assented to the demand, largely in hopes that Clooney would change his mind once on set. He was set, however, and his rapid departure ushered in an instability of casting as Fox jumped from one actor to another, sometimes keeping a Doctor for as long as a half season, sometimes stunt casting an actor for a single two-parter. It was seen as a guest role, even though it was the star of the show, and focus moved away from the Doctor himself and towards the more stable companions. After two seasons of this, Fox saw the writing on the wall and announced the show would end after its fifth season. With The X-Files ending the same year, it was a blow to science fiction on Fox.
20th Century Fox held on to the rights to Doctor Who, however, denying the BBC an opportunity to reboot the show on no less than three occasions between 2001 and 2008. Finally, in 2010, they were in a position where they were forced to exercise or lose the rights. Not wanting to put the character back on television, they attempted a feature film. Believing that saddling the character with now 45 years of back story was asking too much of the audience, Doctor Who was to be rebooted with a fresh origin story.
There was initial promise. Wanting to return the Doctor to his roots as an older character, not to mention in hopes of casting the first British actor to play the role since McGann, Fox landed their dream actor, Patrick Stewart. He’d been central to not one, but two science fiction franchises, why not a third? Unfortunately while the casting was well received, the movie was panned by critics, largely for Damon Lindelof’s confounding back-and-forth time travel plot. The movie made a profit, but not enough of one to justify a sequel. However, Fox still puts out direct-to-DVD follow-ups every few months starring a British actor known mostly for the PBS Masterpiece Mystery series Sherlock in the main role, just to hold onto the rights. And they’ll probably keep doing so. They’re cheap enough to put together, and just enough people buy them.
If y0u believe in alternate universes, somewhere out there might be one where Fox passed on the show. Where the BBC started it back up. And where it was done right. However, the various attempts at Americanizing the show left it a shadow of its former self. I hope they know the bullet they dodged by the McGann version failing. It’s not that McGann was bad. He was great. He was my first Doctor, watching him on Sunday nights on Fox. But everything else around the idea was so bad, so cynical, so…not Doctor Who.
In this space last week, I talked about using random character sheets to explore different approached to character creation. Let’s pull some of those character sheets back out and look at an important aspect. This doesn’t come up in every role playing game, but any system with more than four stats is going to make the player pick which skills they’re good in…
…and then pick their dump stat.
This is probably my favorite part of putting a new character together. In most systems, every character is great at something (though in Call of Cthulhu, you get to be merely competent in one or two skills). This will usually dictate what skills a character can pick up, and how they’ll find their way out of a situation. For a character good at swinging the epic Mordenkrad Hammer (Brutal 1), for example, every problem is going to look like a nail to smash.
But when actually role-playing a character, player decisions are often informed not only by what a character is good at, but by what they’re bad at.
RPGs force this issue. Writers are on their honor to remember it. When building characters for stories, I’ve had this problem. It’s easy to think about a character’s competencies, it’s less obvious to think about a character’s incompetencies. While a character being good at things might get them out of a problem, being bad at things will get them into problems. And that’s the heart of drama.
As I’m writing this post, I’m anxiously waiting for my Hugo nomination PIN. So I haven’t filled out a nominating ballot in any official sense, but I have started thinking of some notions of what I’d like to support. I don’t suspect I’ll make much of a difference in the process, but at least I can do what I can to provide some categories with new nominees.
Dramatic Presentation: Short Form. Yes, yes, I know this is my bugaboo category. And, yes, I know it’s going to come down to Day of the Doctor vs The Rains of Castamere, which isn’t actually a bad pairing as Day of the Doctor was head and shoulder above any of the nominated Doctor Who episodes last year. However, I’m still firmly behind giving Welcome to Night Vale some support. Specifically, the two part episode The Sandstorm.
Dramatic Presentation: Long Form. There’s are two categories within Dramatic Presentation that I don’t believe have ever been nominated. One is video games, the other is theatrical presentations. Theater and the Hugos are an awkward combination, as most theatrical shows don’t reach a broad enough audience to make a blip in the Hugo process, but this year I’m going to include one on my ballot. Specifically Mike Daisey’s All The Faces of the Moon. Yes, it’s that Mike Daisey, infamous for forcing This American Life into issuing a rare retraction. The show was a massive monologue delivered over 28 consecutive days and released on podcast. It’s hard to tell where the extemporaneous portions end and the scripted (or, at least, planned) elements begin. The whole of the story takes a gradual veer into urban fantasy, and is a lot of fun.
I don’t expect either of these to end up on the final ballot. Perhaps that’s why I’m pointing them out now, just to demonstrate some support for things other than episodes from the big two television series and Hollywood releases in the dramatic presentation categories.
I’ve not talked about the bees in a while.
We went into the season with two fresh hives, package bees that took the trip up from Georgia. So, as one does, we named the queens Peachtree and Umbriel. This was an entirely unnecessary step as both hives staged coups and installed new queens during the early summer.
This was a less-bad year for bees in Northern Virginia. Still not a great year, but not the horrible year that we went through with our first attempt. Both hives made it through the summer and fall looking hale and hearty.
It’s been an odd winter around these parts. We had early snow, we had our share of the polar vortex taking temperatures down into the single digits, but we’ve also had some surprisingly warm stretches. During the first of these warm periods, we saw bees venturing forth from both hives to do some foraging. Unfortunately during the warmer weather this weekend, bees only came out of one hive.
So we’ve apparently lost a hive. However, that’s the pessimistic way of looking at things. Instead, we’re looking at the positive: our hives are half full. This is a major improvement over last year when we lost one hive to robbers during the early autumn, and the other hive was empty by this point in the winter.
There’s still a lot of winter ahead, but the bees have survived some of the worst of it already. This is fantastic news because year two of a hive is the earliest point for honey harvesting. It’s no guarantee that we’ll get some nice tasty honey even if the hive does make it, but we’re in so much better of a place now than we were last year. Crossing fingers.