Monday, April 2, 2018

A little something for the weekend...

Ready Player One • Movie review by Sean CW Korsgaard •


Depending on who you ask, Ready Player One is either a fun science fiction adventure and loving tribute to the nerd culture of the 1980s, or the personification of everything wrong with modern geek culture and nostalgia. Regardless, the moment Steven Spielberg announced he would be doing a movie adaptation, I was intrigued. America’s greatest living filmmaker, the man who made a career of turning airport novels into generational cinematic touchstones, tackling a book that partly serves as a love letter to nostalgia for an era he helped define? It made one hell of a selling point, at least if Spielberg could stick the landing.

Luckily, with Ready Player One, not only does Spielberg stick the landing, he delivers a rip-roaring adventure that may be the most entertaining movie he’s made in over 20 years.

Ready Player One follows Wade Watts, or as he’s known in the virtual reality world of the OASIS, Parzival, as he joins the ranks of millions of gamers questing to be heir to the throne of the world’s late trillionaire creator, James Halliday. Alongside a group of his friends, he makes the first breakthrough in the contest, making him the most famous player in the OASIS, and the biggest target of corporate suits like Nolan Sorrento, who seek to win the contest and twist the OASIS to their own ends. Risking fame, fortune, the fate of the world, and their very lives, Wade and his friends are in a race to the finish, and on the journey of a lifetime.

Sunday, April 1, 2018

Book Release

THE RECOGNITION REVELATION
• by Henry Vogel •


RAMPANT LOON PRESS is excited to announce the release today of THE RECOGNITION REVELATION, the thrilling conclusion to Henry Vogel’s critically acclaimed Recognition Trilogy. THE RECOGNITION REVELATION is available now in both Kindle ereader and trade paperback formats, and is free for Kindle Unlimited subscribers. 
“Struck from the template of classic space opera, this tale of intergalactic adventure hits all of the right notes. It has a likable hero and heroine, nasty villains, a plot full of intrigue and unforeseeable surprises, and a colorfully rendered outer-space backdrop against which its well-paced events unfold.”
—Publisher’s Weekly BookLife Prize Critic’s Report

To make the deal even better, this week only, we’re putting the first two books in the series on a Kindle Countdown promotion. If you buy them right now, the Kindle editions are just $0.99 each. Wait three days, and the price goes up to $1.99 each. Wait a whole week... No, you don’t want to do that. Better buy ‘em right now.

Book 1: THE RECOGNITION RUN

“A great new series by Henry Vogel. In addition to his usual sci-fi thriller/adventure story, Vogel has added a generous splash of mystery, a computer slicer (hacker) character, and an atmosphere of political intrigue among royal families, reminiscent of C. J. Cherryh’s Foreigner series and George R. R. Martin’s Game of Thrones series, only with a more positive attitude. I can't wait to see how the mystery unfolds in the sequels.”
» Get the Kindle edition

» Get the Trade Paperback


Book 2: THE RECOGNITION REJECTION

“This is a well-woven tale with captivating characters. I really enjoyed the character development, especially of the villains, in this second book in the series. It also has lots of unexpected plot twists and a surprising new enemy is introduced. Vogel really demonstrates his vivid imagination in this book, especially when describing the experience of being a data “slicer.” I had a hard time putting this book down and stayed up way later than I planned to finish it. I can’t wait to read his next book!”
» Get the Kindle edition

» Get the Trade Paperback


Book 3: THE RECOGNITION REVELATION

Just released! Hot off the presses! If you’ve ever wanted to be the first person to review a new novel, here’s your big chance! Buy it today!
» Get the Kindle edition

» Get the Trade Paperback


Tuesday, March 27, 2018

Talking Shop


Op-ed • "Building the Right Protagonist," By Eric Dontigney

                                                                                                                                                                               


I’m an organic writer. Mostly that means I don’t outline my novels. It’s not because I’m too good for outlines. Honest. I tried outlining several of them. It’s because the books always drag me off in some direction I never expected. The thing I do try to pin down before I start writing is the nature of my protagonist. Just as importantly, I don’t generally start with character details. Here’s why. 

If you make your protagonist a teenager wizard, for example, you’re largely stuck with coming of age issues. A teenager can struggle with identity, but only in a context of self-discovery. The fluid nature of teen identities means we don’t set a high bar for personality consistency. The pitfall is that it cuts off narrative avenues like an identity crisis.

An identity crisis really only works when it happens to someone with a stable, defined personality. Give Harry Potter an identity crisis, and we chalk it up to growing pains. He’s still figuring himself out. Now, give Dumbledore an identity crisis. That’s a very different animal. It’s potent and jarring because we expect Dumbledore’s core identity to remain essentially stable. What we hand-wave away as growing pains for a Harry functions as a full-blown existential crisis for a Dumbledore.

You also bump into limitations on moral quandaries if you make your protagonist a hardcore hero or anti-hero. Heroes set a pretty high bar for what’s moral. I like to think of hero morality as idealized or amplified everyday morality. They act in the ways we think we should or wish we would in the clutch. There’s not a lot of wiggle room to make a hero act immorally in an acceptable way.

Look at all the flack Man of Steel took for having Superman kill Zod. It’s not like he was a sympathetic villain, either. That dude was insane, bent on wiping out humanity, and actively trying to murder innocent people. If there was ever a good candidate for a public service homicide, Zod was the guy. Yet, despite it being a literal act of last resort, we expected Superman to find a better way.

Anti-heroes pose their own challenges because they’re basically villains. It’s tough to put them into a plausible moral quandary because they see violence, intimidation, and crime as viable solutions to problems. Wolverine is a hyper-violent mass murderer when you get down to it. For all his suave charm, James Bond is a blood-soaked hitman on a government payroll. These characters only work because they’re a shade less awful than the people they fight. They can’t process tough moral questions because they’ve largely rejected normal morality.

All of those challenges contribute to why so many authors select everymen or everywomen for protagonists. They sit in the moral middle-ground between hero morality and villain morality. You can plausibly push them in either direction with the right circumstances. They are simply more malleable than a full-on hero or anti-hero.

After reading all that, you might think it’s an absolute necessity to know the plot details before you start. I’m sure it would help, sometimes, but it’s not a requirement. What you really need to know ahead of time is what kind of journey the main character will take. Once you know that, you can build the protagonist who will be the most interesting on that journey.

Let’s say, for example, I want to play around with a loss of faith. That defines key attributes of the protagonist. The protagonist is probably younger. People who hang onto some kind of faith into their 30’s and 40’s tend to keep it. That faith must be misplaced in some fashion. It must be crucial to how they live their life and make choices, otherwise its loss is meaningless.

I’ll grant you that’s a pretty bare bones character profile, but it does some important things. It’s enough to help structure how this character will think, talk, and act on the page. People who believe in what they’re doing treat it differently than people going through the motions. They’re more passionate and often a little blinded by the light.

It’s also enough to tell me the character can’t be an established hero or anti-hero. If they were locked into one of those two roles, a loss of faith journey wouldn’t track. A hero has already been through that crucible and come out the other side stronger for it. An anti-hero has been through it and found the world fundamentally wanting.

Building the right protagonist must start with knowing what kind of journey the character will go through. It tells you critical things about who the character can be. Not to mention putting some bounds on what they can or can’t do in the opening act. Once you know those things, you can start layering on the details that make a character distinct.
________________________________________________

 Eric Dontigney is the author of the Samuel Branch urban fantasy series and the short story collection, Contingency Jones: The Complete Season One.  Raised in Western New York, he currently resides in Memphis, TN. You can find him haunting obscure sections of libraries, in Chinese restaurants or occasionally at ericdontigney.com.

Eric’s last appearance in our pages was “Memory Makes Liars of Us All,” in Stupefying Stories #13, his next will be “Lenses,” in Stupefying Stories #21, and later this year we’ll be releasing his paranormal mystery novel, The Midnight Ground. Watch for it! 

________________________________________________

“Talking Shop” is an ongoing conversation in which writers talk about the craft of writing, the business of writing, and what it takes to make it as a writer here in the 21st century. If you’d like to join the conversation and write an article, please send a query first to Bruce Bethke at submissions@rampantloonmedia.com.

Friday, March 23, 2018

NEW on SHOWCASE


Fiction • “2018: The Year in Review,” by Kersley Fitzgerald •



Hey, it’s Roshni, and this is Organech, the podcast about where life meets technology.

So, it’s almost the new year, 2019, and we’ve seen some big changes this year, haven’t we? Heroin addictions are down, as well as addictions to other prescription pain killers. Suicides are lower than they have been in years, and still falling. Deaths by heart disease, down. Domestic violence, nose dive. Weirdly enough, pet ownership is up, as are musical instrument purchases and rentals.

But that’s not really what we talk about on Organech, so here’s some stats more relevant to tech and how it influences our lives. Hours of computer games played was cut in half around the world. The number of social media users is up slightly, but obsessive use, you know, where people are on Twitter and Instagram all day long—nonexistent. E-books are selling like wild, including my book, Security in the New World, so thank you very much for that. More strangely? ISIS recruitment on Twitter is nil.

But here's something we’re just beginning to understand—all of this, the drugs, the domestic violence, the video games—they’re all related. And that relation is the continuation of a story we’ve talked about before.

I’m sure you remember the podcasts we’ve done on Cambridge Analytica over the last couple of years. They were a division of the British company Strategic Communication Laboratories Group, a company that uses studies in human behavior to tailor-make online ads for people, you know, like how you “like” a post about your friend’s new boots and all of a sudden every page has ads for boots. Unless, of course, you’ve downloaded Privacy Badger to make your surfing experience a little more anonymous.

Anywho, Cambridge Analytica is the more political arm of the SCL Group. You may remember they promised to push undecideds to vote for Brexit in the UK and then worked on the presidential campaigns of Ted Cruz and Ben Carson before briefly working with President Trump. They couldn’t quite deliver what they’d promised, which was nothing less than in-depth analysis of every voter in America as well as the social media tools to sway their vote. They claimed they didn’t have the time to complete a full workup, but we all knew it was just a matter of months before they had American voters in their sights.

Until the Big Hack. Of course, the data from your Alexa, Cortana, Siri, and Google Home were supposed to be secure, but we all know what happened in January. I really wonder where North Korea comes up with such good hackers. For at least a couple of weeks, we tossed all our voice-command systems and avoided social media except to say how we had all changed our passwords and used checks to pay our bills.

It was mid-February when Yoyodyne Cybernetics released Valet. The ad campaign didn't focus on turning lights on and off, or writing a grocery list, or telling you if your outfit was on-trend. It was all about the security. And when neither the Ukrainians, Israelis, nor the North Koreans could hack into their databases at the annual Zero Play hacker competition, Valet became the electronic butler of choice.

The great thing about Valet is that it combined all the Big Brothers into one. Off the bat, Yoyodyne had contracts with Apple, Google, Amazon, and even Facebook. Convenience without the push of a button for the low, low price of your privacy.

But it worked. This thing is so sophisticated it can help with homework in a bedroom, make suggestions for a grocery list for a diabetic in the kitchen, and not order that toy from Amazon that your toddler really wants in the den. There have been no security breaches. And since the data is held in server farms in Europe, for ten Euros and a nicely-worded letter, you can have a copy of your own profile.

Not that there’s much data to be stored. Valet works on algorithms. It analyzes what it tracks, finds the patterns, then turns those patterns into mathematical formulas without saving the raw data. When someone’s actions match a formula, it responds with a corresponding formula that meets your needs.

By March, Apple, Google, and the others were benefiting so much by Valet, they were paying Yoyodyne. By April, the owner of Yoyodyne, Mr. Francisco A. Truist, had the cash to make another big move.

He bought Cambridge Analytica.

Surprised? Not very many people knew. We tried to get an interview with Mr. Truist, but we’re told he’s a very private person—ironic, no? We did get a nice letter. By mail. It reads:
Thank you for your interest, Roshni. I've been a fan of Organech for many years. [Aw, that's sweet. Or possibly stalkerish. Not sure.] I’m afraid I can’t give interviews, but I also don’t want any ambiguity about the purpose of Yoyodyne, our Valet, or Sociology Research Operations ("Cambridge Analytica" was so pompous!).

We simply exist to make the world a better place. We believe in privacy, efficiency, and good will. We do not believe in political pandering, gratuitous commercialism, or emotional manipulation. I think we’ve made a pretty good start, but we plan on getting better. Look out for our next venture: Solid Truth, an algorithm that will verify accurate news articles.

Keep up the good work,
Al
So, we asked you, the listening audience, what you thought. Do you have a Valet? How’s it been? Are you going to keep it?

Charlie from Portland, Maine, wrote in. She said she got a Valet in August to help her eight-year-old son with homework. Within a week, she started seeing Facebook ads and articles on dyslexia treatments. So, she brought it up to the doctor at her son’s next appointment, and guess what? After three months of therapy, his reading has improved a full grade.

Pablo called us from New Mexico. His wife was recently diagnosed with Celiac disease. She was so sick that he had to do all the shopping and cooking, and he had no idea how to feed her. She had already used Valet for her shopping, but he noticed the program started making its own lists with recipes attached. The dishes were mostly what they ate regularly, but the more he follows Valet’s instructions, the healthier his wife gets.

We have about four-hundred of your letters, emails, and calls. Each one brought me a little closer to getting my own Valet—you remember the disaster last year when I tried a Google Home for a week! Most of your stories were about the little things. Like, prompting you to reschedule a meeting to make your son’s band concert, finding that perfect gift for your mother-in-law, or posting a link that shows how you can actually do something about the cause du jour instead of just talking about it.

But it was Sherry from Tulsa who convinced me. She had cut off all her social media after the Big Hack, which doesn’t sound so bad except that she suffers from depression and uses Facebook to connect with her friends, family, and a support group. The day she took too many pills, Valet called her husband at work. He got there in time. When she came home, she opened Facebook for the first time in months. It was a while before she realized all the posts, all the Tweets, and all the Instagram photos she saw were positive and personal, as if they’d been hand-picked just for her. And she’s doing much better.

So, I jumped in. I got a Valet. It connects to my Apple Watch and my husband’s Android phone. So far it’s notified me when my son was choking in the other room, reminded me that my dinner guest is a recovering alcoholic, and tracked the GPS on Rex’s collar when he ran away. Twice.

It’s a weird kind of privacy, isn’t it? Instead of our personal data stored somewhere, it’s like Valet is inside our heads.

Right now, it’s a privacy I’m willing to share.



Kersley Fitzgerald has been a member of the Stupefying Stories crew since before the beginning. She wrote this piece in response to the 12/22/17 Friday Challenge, and given recent events, we just had to publish it now. We stand by all attendant ironies.

Kersley writes that this piece was “totally inspired by Manoush Zomorodi and her podcast Note to Self. It’s awesome. But she had nothing to do with this.”

Thursday, March 22, 2018

Talking Shop


Op-ed • “Worldbuilding in Urban Fantasy,” by Eric Dontigney •

                                                                                                                                                                               

Worldbuilding is the bane of science fiction and fantasy writers. Whether you construct one from scratch or adopt the world-next-to-the-world approach of urban fantasy, you must confront this hurdle. It’s a hurdle that many writers stumble over. 

For some writers, worldbuilding becomes an exercise in an overwhelming recitation of details. It’s not urban fantasy, but go take a look at the early Wheel of Time novels for a good example. Jordan spends a staggering amount of page space on details about the world. It doesn’t make the novels intrinsically bad, but it did make them longer than strictly necessary to tell the story well.

For many urban fantasy writers, the solution is to pick a real place and assume people know the geography. I cite for you most novels set in a big city. This is problematic. Even people who live in those cities often lack a good handle on the geography. Unless you’re a cop or a cab driver, you probably spend most of your time in one neighborhood.

That assumption of understanding makes it’s easy to fall back on shortcuts that deprive readers of important details. For example, let’s say I set a novel in the Los Angeles area. It’d be very easy to set a meeting at Dodger Stadium and write, “We drove to Dodger Stadium.” Easy as pie, right? Well, not so much.

If my characters were hanging out in Pasadena, they’re probably looking at a 30-40 minute drive depending on traffic. They might pick up 134 West and then California State Route 2 South. If they’re coming from Compton, on the other hand, it’s more like an hour of driving on I-710 North and I-5 North. These might not look like hyper-salient details, unless your bad guy sets the meeting for 15 minutes from the call.

There is no realistic way your characters can make it there on time. Now, you’ve got some choices for building tension. Your characters can negotiate for more time. Your characters can try to make it on time but at the risk of interference from law enforcement. They can arrive late and find a grisly consequence. All of this gives you a chance to shed light on your characters motivations, decision-making process, and history. You get all these narrative gifts from not taking the shortcuts.

A related problem is when writers pick cities they don’t live in and make basic errors. The early Dresden Files books were reportedly bad about this. That annoys people who know better, though casual readers won’t care. Getting the details right when you do this is no mean feat. I once spent a couple hours staring at maps, doing real estate searches, and reading news articles so I could write one accurate paragraph about Chicago. You have to make your own judgment call about how important accuracy is going to be in your book.

The flaw in world building that I notice in most novels is what I call the vacuum setting. The entire story happens in a place seemingly disconnected from the rest of the world and from personal histories. That’s a jarring failure in a time of high geographic mobility, social media, and instant communication.

Look around at your circle of friends. I’d bet you that many of them have moved at least once in their life. Most of them have probably moved at least once or twice as adults. You’re probably still communicating with people who moved away or that you moved away from. You probably get random text messages and Facebook chat messages from friends or family. I like to think of these things as the salt and pepper of daily life.

Yet, so very often in urban fantasy, we hear about the protagonist’s past but see no evidence of it. He or she never gets random text messages from a sibling, friend, business associate, or parent. They never call someone in another time zone. Police databases never seem to reach beyond the county border. Residents never seem to be transplants to the town or city.

It’s like the protagonist stepped through a dimensional curtain at the town border. Unless that’s a plot element, though, it leaves readers wanting.

So, how do you bridge the gap? My preferred method is to start with a few obvious indicators that there’s a world beyond the edge of town. Have your protagonist take a call from someone looking to enlist their help or a family member who wants to talk family politics. The protagonist has to beg off because of plot reasons and offer some explanation to their current companions.

This lets you build some personal history into a natural conversation instead of info-dumping. It firmly establishes that, yes, things do exist beyond the edge of town. Our protagonist has existing and ongoing relationships with mostly off-screen characters. (This also a good way to obliquely introduce characters you want to use in sequels.)

It’s also effective at humanizing your lead character. He or she faces ordinary limits like not being able to do everything or be everywhere without necessitating some kind of soliloquy about that fact. That makes the world you’re constructing feel more familiar. Who hasn’t been overbooked and wished that they had a clone to send on some task.

Stage two of my preferred method is giving your protagonist mundane tasks. Magical firefights and showdowns with the powers of darkness are cool, but you’ve got a couple hundred pages to fill. Everybody eats. Everybody shops. Have it happen on the page. It lets you talk about the setting in a natural way.

Our protagonist needs toothpaste, so she needs to go find a store. That lets her interact with everyday people in everyday ways. She needs to ask for directions. Drive around looking at things. Get lost. Ask for directions again. Wait in the aisle while someone spends five minutes choosing between Crest and Colgate. Deal with a lazy cashier. All of which supports the fiction that this is a believable place.

Worldbuilding is unquestionably in the details, but it’s about using the right details. Use common technologies to support the idea that there’s a fully-fledged world beyond the borders of town. Show that the protagonist has relationships and responsibilities that aren’t related to the current crisis. Leverage the mundane to help you explore the environment. You’ll get a more believable world.

Tuesday, March 20, 2018

Talking Shop


Op-ed • “Boldly Going Beyond,” by Guy Stewart •



I completely agree with Eric Dontigney’s assessment of the problems with “SF, Diversity, and This Author’s Dilemma.”

I’m pretty sure that if I agreed with his solution, I’d have to quit my job. After almost thirty years teaching science, I’m now a counselor at a predominantly black, semi-urban high school, and I am a big, old, fat, white guy. People tell me I’m effective at connecting with many of my students…
 
Rather than compliments, let me offer this anecdote: Shortly after I finished my degree, one of the counselors left. She was a Latina and led the Latin@ Culture Group at the school. As there were no spare bodies to slip into the role, it was mine. Even I could see the absurdity of that. The night of the weekly meeting arrived, I opened the room, and after the kids had gathered, I stood up and said, “It’s obvious what I am, but you’re stuck with me. The only way I can learn anything about you is if you teach me what I should know.”

They were so startled that they spent the next nine weeks working hard to help me understand what they thought was important and what issues they faced. I even learned enough to defuse a potential explosion when, on Cinco de Mayo, an administrator came to me to ask “my kids” to stop trying to hang the Mexican flag in the school foyer.

Whoa. Knowing by then what Cinco de Mayo meant to them, I went out and offered to hang the flag outside my office door for the rest of the day—in full view of anyone who came into, or even looked into the office. They were good with that.

I agree with Mr. Dontigney when he writes, “I don’t want to get it wrong, and it would be laughably easy to get it very wrong. Having access to information is not the same thing as understanding it. Facts and truth are not identical.”

However, the solution is not to avoid the issue. The solution is relationships. He writes, “We live in a diverse world.”

That’s it exactly!

Monday, March 19, 2018

Talking Shop


Op-ed • “Politics, Fandom, and SFF,” by Eric Dontigney •



As an extremely minor player in the field of science fiction and fantasy, I frequently approach SFF culture from the perspective of a fan. I geek out over new seasons of Doctor Who. I wish more people were watching Stan Against Evil—seriously, it’s awesome. I watched Firefly when it was still on TV. So, in a peripheral way, I’ve always been aware of politics as a component of SFF itself and of SFF culture.

I had a nascent understanding that the Star Trek franchise was preaching at me about things, although as a kid I was often perplexed about exactly what. I was aware that Buffy the Vampire Slayer was trying to undermine tropes about women in SFF and to promote some kind of feminism: I think it failed miserably. I know a lot of people disagree with that, but it doesn’t mean I’m wrong. Go back and rewatch some episodes. Whedon gave her physical superpowers and made her emotionally incompetent. He could just as easily have titled it Brad the Vampire Slayer. At least then the emotional incompetence would make more sense... but I digress.

Politics has often been prominent in SFF literature. The early Dune books were a bare-knuckle warning about theocracy and totalitarianism. Point to any Heinlein book and you’ll find politics. Robert Jordan reveled in the politics of his Wheel of Time series. It makes sense. If you’re going to write stories about the near future, distant future, or about the society on a made-up magical world, avoiding politics is nigh impossible. At its best, fictional politics becomes a commentary on actual politics without violating the narrative thread.

A while back, though, something weird started happening. Instead of using SFF stories as a vehicle to critique culture and politics, people have been turning the whole of SFF into politics.

Thursday, March 15, 2018

Op-ed • “Notes Towards a Manifesto,” by Bruce Bethke •



It seems I need a manifesto.

I’m not entirely sure why. I’ve gotten along for decades just fine without one. But everyone seems to have a manifesto these days, and I’m beginning to feel embarrassingly underdressed without one. As we’re working to improve sales and develop the Stupefying Stories and Rampant Loon Press brands, people keep asking me, “What does Stupefying Stories mean?”

Um, “stupefy” is a transitive verb. It means to stun, astonish, or astound. So—

“No, no, what does Stupefying Stories stand for? What does it mean? What’s your agenda?”

Ooh. Agenda. I don’t like that word. It makes me nervous.

Tuesday, March 13, 2018

From the SHOWCASE archives...

Fiction: • “No Accounting for Taste,” by Lance J. Mushung •



I sat on a bench on one side of the small, battleship-gray drop bay of my patrol cutter, Oliveria. The last month and a half of the patrol had been mind-numbing, but taking a ship of wasters into custody would soon make it all worthwhile.

Wasters violated the regulations prohibiting the dumping or processing of toxic waste anywhere except on Ogre, a rogue planet at the edge of nowhere. However, with typical perversity, the government had made the regulations difficult to enforce. It stipulated wasters had to be caught red-handed, and that was exactly what I intended.
The other two humans of my crew, Ngoc and Dieter, were sitting on the bench across from me. The faceplates of our sky-blue environment suits were open, allowing me to study their expressions with no trouble. Ngoc’s delicate light tan features indicated satisfaction, the look of a person about to right a wrong. Dieter’s Nordic face looked eager.

I needed no mirror to know my expression. During a drunken celebration right after graduation, I’d overhead fellow graduates talking about me. One had said, “Antha’s face changes from pretty and gentle to feral and fierce whenever she anticipates action.”

Dieter twisted toward Ngoc. “I wonder why the wasters come here instead of just dumping their tox into a star somewhere? There’s much less chance of getting caught that way.”

“You can ask when we have them. All I know is Mother Nature here will thank us.”

I ignored their ensuing chatter and whispered to Olive, Oliveria’s A.I. and pilot, using my suit mic and our private frequency. “I’d like to work on the summary of an arrest report.”

Olive answered in her distinctive melodic voice, “Ready for dictation...”

» Read the rest of the story »


Monday, March 12, 2018

Talking Shop


Op-ed • “SF, Diversity and the Author’s Dilemma,” by Eric Dontigney •


A common, and wholly accurate, refrain is that much of contemporary entertainment still aims at a white, male demographic. Movies and TV focus on white men or largely white ensemble casts. Ratings giant NCIS long-featured one of the whitest casts on TV, though a scan at the current roster shows some improvement. A look at any recent highest paid actor/actress lists shows the vast majority are white and highest of the highest paid are always men. The logic is pretty simple from there. If the highest paid actors are white dudes, the top-billed films probably focus on them. The problems in contemporary video games and comics are widely acknowledged. Surely, though, speculative fiction literature does a better job.

You’d think so, but no. SF literature routinely features white men as the POV character or the protagonist. Why is that? Well, published SF literature is predominantly written by white men, usually straight, often living in the US, Britain, or Western Europe. One of the precepts of writing is to write what you know. What these authors know best is being a white, straight, male and living in the developed world. I can speak about this with some authority because I’m one of them.

“Well,” someone might say, “that doesn’t excuse you for not writing more diversity into your fiction.”

You’re right. On the face of things, it doesn’t excuse me. We live in a diverse world. As an American, I live in one of the more culturally diverse countries in the world. I have ready access to cultural traditions that aren’t my own. So, why, under those conditions, am I profoundly hesitant to include characters of diverse cultural backgrounds and experiences? It’s simple.

I don’t want to get it wrong, and it would be laughably easy to get it very wrong.

Saturday, February 24, 2018

A little something for the weekend...

Black Panther • Movie review by Sean CW Korsgaard •



Ten years into the Marvel Cinematic Universe, every time you think they’ve peaked, they’ve proved us wrong, and yet with Black Panther they very well might have outdone even themselves. Where delivering the black answer to Iron Man would likely have been enough, instead, they’ve done far more with Black Panther, delivering an Afro-futurist James Bond with the level of mythos and background characters usually reserved for something like Star Wars or Lord of the Rings. It’s grand, it’s great, and brother, let me tell you, it more than delivers on the hype.

Following the events of Captain America: Civil War, Prince T’Challa, the Black Panther, returns to Wakanda to bury his father and assume the throne as the new king. He takes control of a kingdom facing a crossroads, and a decision on which path to take for the future of the isolated African nation: to continue the centuries of isolation, or to open Wakanda to the world, for good and for ill. The path will not be an easy one. With foes like Ulysses Klaue and Erik Killmonger taking shots at T’Challa abroad, and the sins of the father being laid bare at home, one thing is for sure: uneasy lies the head that wears a crown.

Monday, February 5, 2018

Stupefying Stories #20 Book Release: After Action Report


Thanks to everyone who helped promote last Friday’s release of Stupefying Stories 20.

I’m pleased to report that in the 24-hour promotional period we gave away 968 free ebooks, catapulting SS #20 to the #1 spot on Amazon’s Science Fiction Anthologies bestseller list. Between this and the results of the SS #19 release promotion, I think we can now safely consider the Alice Cooper Theory to be proven. That is, it’s easy to hit the top of the charts. All you need to do is something big enough, loud enough, ridiculous enough,  and expensive enough.

Staying at the top of the charts, though: that’s the next mystery to be solved.

I’m also pleased to report that the hoped-for knock-on effects have materialized, to some extent. These promotions do lift the sales of our other titles. Compared to buying Amazon or Facebook advertising, these free ebook promotions produce a far better return on investment and are a far more effective way of introducing readers to the kinds of books and stories we publish. So if you’re one of those people who wrote to me to say something like, “I almost feel guilty taking it for free,” don’t be. We want you to take free ebooks when we offer them. We want you to like what we’re publishing, and most of all, we want you to tell your friends about what we’re doing and how much you like it.

But if you truly do want to repay our kindness, then here’s something you can do that will really help: write a review.

It doesn’t have to be much. A line or two will do: something as simple as “I really liked [this story]” or “Nice collection. Didn’t totally bore me to sleep.” Amazon, we’ve learned, will cheerfully collect your star ratings, but only attaches them to the listing for a book if there is some written comment.

Reader reviews really do help. It takes ten reader reviews just to get Amazon to notice. At fifty reader reviews all sorts of good promotional things kick in. The whole point of Amazon’s marketing system is to find out what people like and then sell them more of it. Ergo, your comments really do matter, because that’s what Amazon tracks to determine what the marketplace likes, and comments from confirmed purchasers (which includes everyone who’s downloaded a free ebook) matter most of all.

End of sermon. Time to pass the collection plate. If you’ve downloaded any of these ebooks during any of our recent free ebook promotions and enjoyed what you read, please take a minute to rate the book and comment on it.

Thanks,
Bruce Bethke
Stupefying Stories | Rampant Loon Press

Amazon links:
Stupefying Stories 12
Stupefying Stories 13
Stupefying Stories 14
Stupefying Stories 15
Stupefying Stories 16
Stupefying Stories 17
Stupefying Stories 18
Stupefying Stories 19
Stupefying Stories 20


Thursday, February 1, 2018

Book Release / Free eBook Friday

STUPEFYING STORIES #20 ESCAPES!



To celebrate the release of STUPEFYING STORIES #20, we’re giving away the Kindle edition FREE for the cost of a click—but only for the next 24 hours, beginning at Midnight tonight, West Coast time.

Tell your friends! Tell your family! Tell people you know who aren’t such good friends but still like to get free ebooks! Share the news!

But share it soon, because at midnight tomorrow night, this book goes back to normal price.

» DOWNLOAD ISSUE #20 RIGHT NOW


STUPEFYING STORIES #20
features the gut-grabbing cover story, “Zombie Like Me,” by Clancy Weeks, along with a terrific mix of fantasy, light horror, demons, abominations, vampires, old family secrets, very nasty little fairies, and Bo Balder’s remarkably strange but charming story, “Alien Whispering.” If nothing else, read “Endeavor to Dream on Broken Wings,” so you can someday tell people that you were reading AJ Finley before anyone else had heard of her.
CONTENTS:
THEIR NOSTALGIA WILL BE VERY MUCH LIKE OUR NOSTALGIA • by Eric Cline
HOW TO BUILD A TRAIN • by Brandon Kempner
ENDEAVOR TO DREAM ON BROKEN WINGS • by AJ Finley
PILES OF DUST AND BERRIES • by Sadie Bruce
ALIEN WHISPERING • by Bo Balder
LUCKY FIND • by Lance Young
SECRET SEED • by Shannon Norland
ZOMBIE LIKE ME • by Clancy Weeks


But wait, there’s more!

To sweeten the deal, we are also giving away, absolutely FREE for the cost a click, Book #1 in Henry Vogel’s bestselling Fugitive Heir trilogy. Here’s the pitch:


In a galaxy where psychics are hunted outlaws...

Matt Connaught’s parents have vanished. He knows that they are still alive. But powerful people want them to stay vanished, and if Matt reveals how he knows what he knows, his life as a free man is over.

To rescue them, and save himself, he must become…


» DOWNLOAD THE FREE EBOOK NOW

» BETTER YET, GET THE ENTIRE SERIES

» ALSO AVAILABLE ON AUDIO BOOK


(The audio books, it’s worth noting, are typically free with an Amazon Audible trial subscription.)

(It’s also worth noting that if I was writing a review of this book, I’d begin by saying, “Imagine if Robert Heinlein had written Slan,” as that really does pin the idea down in one succinct phrase. A pity no one has used those words in a review yet.)


And one more thing....

Authors and publishers really appreciate it when readers take the time to put in a good word for a book they like. It’s not just for our egos: word-of-mouth really helps to sell books. If you take any of these free ebooks, and you like what you read, please, please, please take a moment to give the book a good rating, or put in a good word for it on Goodreads, or maybe even write a quick review. The authors you like will appreciate it, and they will show their appreciation by writing even more great books and stories for you to enjoy!

Thank you.