FOCUS THE BRITISHSCIENCE FICTION ASSOCIATION MAGAZINE FOR WRITERS

POINTS OF VIEW Christopher Priest puts writing into perspective PRING 2007 FOCUS

Editorial Editor Martin McGrath 48 Spooners Drive, Park Street, St Martin McGrath, the new editor of Focus, on getting Albans, ALz 2HL what he always wanted [email protected] How to market your book online Focus is published twice a year by the British Science Fiction Brian Turner looks at some of the ways you can use the Association. The magazine aims to present high quality articles Internet to help you sell your book about the art and craft of writing and, in particular, science fiction writing. Contributions, ideas ana correspondence are all welcome, What makes a good story but please contact the editor first if you intend to submit a lengthy Simon Morden reflects on his experiences as a Clarke article. Award judge and the qualities of gripping storytelling Individual copyrights are the property of the contributors and Let's face the future with a smile editors. Views expressed herein are not necessarily those of the Jetse de Vries has a challenge for writers - he wants you BSFA or BSFA committee members. Errors and omissions are the to tell him a story where the future is better than the responsibility of the editor ISSN: 0144-560X © BSFA 2007 present, and he wants it for Interzone BSFA Information Masterclass: Point of view President Sir Arthur C Clarke, CBE Christopher Priest is one of the Britsh SF's outstanding Vice President Stephen Baxter stylists. He begins his series of articles on the nuts and bolts of writing with a look at point of view. And he has some suggestions about what you can do with your Treasurer Martin Potts dream sequences 61 Ivy Croft Road, Warton, Par for the course NrTamworth, B79 oJJ Terry Jackman considers what an aspiring author should mtpottsOzoom.co.uk look for in a residential writing course Membership Services Peter Wilkinson (UK and Europe) 39 Glyn Avenue, New Barnet, Herts, EN4 9PJ The joy of Craig bsfamembershipOyahoo.co.uk Nick Wood reports on what he learned at this year's Arvon writing course Membership fees UK £26 pa or (Unwaged -£18 pa). Scriptwriting: From page to rage (part 2) Life membership Ten times annual rate (£260) Gavin Williams concludes his article on the trials of Outside UK writing a script Joint/family membership Add £2 to the above prices Short fiction markets (UK & Ireland) Cheques (Sterling only) should be made payable to "BSFA Ltd" and sent You've written the story, here's some ideas for where to Peter Wilkinson at the address above or pay via Paypal on the BSFA you might try to sell it website at www.bsfa.co.uk. Subscribers from outside the UK are invited to pay via the website. A lesson in purpose British Science Fiction Association Ltd. Dev Agarwal finds continued value in Gibson's Registered in England and Wales. Company No. 921500 "Gernsbeck Continuum" Registered address: 61 Ivycroft Road, Warton, Tamworth, Staffordshire, B79 oJJ 8SFA Website www.bsfa.co.uk BSFA Awards Ian Snell 16 Napier Road. Oxford. OX4 3JA [email protected] Orbiter Writing Groups: Gillian Rooke Southview, Pilgrims Lane, Chilham, Kent, CT4 8A8 Other BSFA Publications Vector. The critical journal of the BSFA Features, editorial & letters: Niall Harrison Flat 6, Arvon House, 3 Boyn Hill Avenue, Maidenhead, Berkshire, SL6 4ET [email protected] Book reviews: Paul Billinger 1 Long Row Close. Everdon, Daventry, Northants, NN11 3BE [email protected] Website: www.vector-magazine.co.uk www.vectoredtiors.worldpress.com Matrix: News and reviews Commissioning Tom Hunter 246e Bethnal Green Road, London, E2 oAA matrix_editorsOyahoo.co.uk

Features & News Claire Weaver 246e Bethnal Green Road, London, E2 oAA matrix_editorsOyahoo.co.uk All cartoons in this issue courtesy www.matrixmagazine.co.uk of www.nearingzero.net Website 2 FOCUS SPRING 20C CAREFUL WHAT YOU WISH FOR

Welcome to the fiftieth issue of Focus. believe people can be taught, learn and There’ll be no looking back in this improve. I have been taught, learned issue, but it wouldn't be right to let the things and improved a bit. So that’s my moment pass without thanks to all the goal with Focus, to find those people other editors who got us this far.They who can help us all write better.To may be gone but none are forgotten! start debates that make us think about So. big number, new era and a new our writing and to take this business of writing seriously. You know the old saying about being In my first ever Focus, I'm delighted to careful what you wish for. just in case you welcome aboard three new contributors get it? Well, I've got it and I'm beginning who. I hope, are going to be regulars to see that I really should have been a over the coming issues. little bit more careful about my wishes. Jetse deVries is one of the editors Let’s take a brief diversion into the of the revitalised Interzone, which means darkened hallways of history - back that if you write short fiction in the UK. before towers fell and iPods rose, back he's the guy you want to impress. He's and back to ancient times, nearly six agreed to write a regular piece for the years ago. I'd been a member of the BSFA magazine and will give us the editor’s- for a while. I was just starting a PhD and eye-view of the writing game. reckoned I had some time on my hand Dev Agarwal is a writer with a and fancied having a go at one of the number of short story credits to his BSFA magazines.And Focus was looking name who is working on his first novel. for an editor. I met Dev about three years ago on "Pick me! Pick me!” My email pleaded. an Arvon writing course and I was And they did. impressed by how seriously he took his To edit Matrix. writing, how comfortably he manipulated ‘Til do it," I said."But I won't write language and how determined he was. anything. No way! I'll just do the lay up." Dev. I hope, will give us the aspiring "Fine,” they said. writer's viewpoint. Four years, twenty-three issues and at At that Arvon course Dev and I least 100 reviews later. I staggered away were lucky enough to have as a tutor an fascinating article on the elements Cover from Matrix now a doctor, a daddy and Christopher Priest - whose (sometimes necessary to construct a good story. artwork: back working full time as a journalist. brutal) honesty, commitment to great This is just the start. I hope, of a Tied [ye And then, they said. Focus needed an writing and experience left a real mark significant makeover of Focus. I'm hoping © jj||ja on me as a writer (I didn't write another more of you will want to contribute. Saniova "Pick me! Pick me!" My email pleaded. thing for a year, but since then I've sold I'm hoping we'll publish stuff that you'll And they did. Oops! almost every story I've written). When I find stimulating and helpful. I'm open to Now what have I got myself into? had the idea to ask an established writer suggestions, keen to hear from anyone Because what the hell do I know to contribute a "masterclass” on aspects who believes they have material to about writing? I mean I've made a (very of writing. Christopher Priest was at the contribute and desperate to hear what modest) living churning out articles on top of my list. Actually he was so far off you want to read about. everything from necrotising fasciitis to the top of my list I didn't think there was Part of the BSFA's reason for contracts for actors in the era of digital the remotest chance that he'd say yes. existence is to encourage the creation television, but I'm not a writer. but generously he agreed, and I hope you of high quality works of science fiction. I I've sold the odd short story, and find the first part of his series, on point hope that we can use Focus to do a little there’s one of them I don't totally hate, of view, illuminating. bit to help the Association meet that but no one who reads them is going Having mentioned the writing course goal. to be blown away by my mastery of at Arvon it is a neat coincidence that this Martin McGrath language and my carefully modulated issue features pieces by Terry Jackman style. I'm not that kind of writer. and Nick Wood on writers' experiences So what am I going to do with a of those sometimes fraught, sometimes whole magazine about writing! enlightening gatherings, We've also got a Contribute! First, recognising that I know nothing. feature on marketing your book online The deadline for the next issue of Focus is: I’m going to get others to give the advice. by Brian Turner, a piece on scriptwriting Second. I'm going to take it seriously. from Gavin Williams and my esteemed Friday 27 July. 2007 Great writing is undoubtedly art. but predecessor as Focus editor, Simon Send your submissions/queries/suggestions to: the process of writing is a craft and I Morden, is still around - contributing [email protected] 3 ALIpRING 2007 FOCUS HOW TO MARKET YOUR BOOK ONLINE

So you get a publishing deal 1. Get your own domain The Marketing - great! It doesn't matter whether Why? It allows you control over your Let's assume you have the website up it's self-publishing or traditional online identity, and also empowers and running, giving you a platform for print publishing, we'll assume that you to host your own website. Think: your internet presence. you've reached your goal, because the brand identity. Make sure you register Now comes the marketing. principles of marketing online apply the it yourself in your own name. For At this point, lots of writers make a same in any instance. .uk domains, register at 123-reg big mistake, and start joining forums So, what now? How are you going lwww.123-reg.co.uk) - for .com/ and newsgroups to advertise their to sell your book, and how can the .net and .org domains, register at book. This isn't marketing on a budget internet help? First comes the website. somewhere like Registerfly Iwww. - this is forum spamming. And it's registerfly.com). liable to get you a reputation for being The Website an annoying dumb-ass. Your website is your business presence 2. Get a website built No argument. online. And that's a very important point Be wary that a lot of UK design Let me let you in on a little to underline. companies now charge the earth, then secret - the internet is not simply Of course, you may not know very outsource to the Third World to pocket a string a websites - its a massive much about websites or how to build a hefty profit. Get recommendations. interconnecting community of people one, which may present a problem. It really doesn't have to cost the earth in itself, and websites are the nodes If you're serious about your work, - there are also plenty of companies of communication between these you need to be serious about it in a out there who will help set you up communities. business manner. online Ifor example, www.britecorp. Scenario: you're at the bar with a Far too often, new published writers co.uk) simply and inexpensively. couple of friends, when a complete get their mate Dave down the pub to stranger runs up to you. interrupts your build a website for them. This is a big 3. Decide what other features you want conversation, and tells you that they've no-no. Don't be too adventurous too quickly written this genius book and you must Sure, we live in a world where many - think about what will be useful for read it - then disappear again. people can build a webpage, and that visitors, and build up in stages. If you That's the real-world equivalent of includes your mate Dave. But we're not invite user participation be very aware forum spamming. Are you buying from talking about building a webpage or a that you'll probably have to build traffic them? website - we re talking about building to your website over time to make these Now consider this: you're at the bar a business, and anchoring it on the effective. with a couple of friends, when another internet at that. Try to be simple but effective, and friend comes over, chats, then tells you If your mate Dave isn't already don't simply think about features to about this great book they've read. managing a very successful online draw visitors in - think about visitor You can be that friend - join lots of business, he has no place in trying to retention. Just posting news regularly online communities, discuss general build yours for you. can help by encouraging readers to issues with people - give a little to the You need to get professional help on return regularly and rewarding those communities you join. Then you can setting up online. who do. and so can slightly more take a little by suggesting your book. While there are plenty of companies adventurous tools, such as podcasting. Not often, just as much as is absolutely out there who are witling to do so by But, you don't want a guestbook - necessary for you to capture attention charging you your entire advance, what it'll get filled with links to porn, viagra, without coming across as pushy. you need to do first is find out what and casino sites within a month. That starts the ball rolling - you get actual issues you need to address. If you're feeling adventurous and noticed. People will even be tempted to Luckily for you. there are business would like a forum, don't opt for phpbb buy your book just because they know forums online |http://www.platinax. just because it s free - you'll get hacked you and you seem kinda nice. co.uk/forum/) where successful within a year, and there goes your site. Now you're starting something internet entrepreneurs will be happy If you're on a budget, get the free SMF - if they like your work, they will tell to help and provide advice - technical forum lwww.simplemachines.org) - if similarly interested friend. That's New issues you need to watch for. the right you're really serious, spend money Marketing lwww.cluetrain.com). questions you need to ask, and anything with vBulletin lwww.vbulletin.com). If you're marketing on a budget, else you need to bear in mind to reach For security tips on securing forums being able to set yourself up within your website goals. and websites against spammers, go to communities who share an interest in And just to help you get started, Security Watch Iwww.securitywatch. the genre you've written for is a great here's a couple of key tips: co.uk). start. 4 FOCUS SPRING 20C

If your work is good, you start know what they’re actually do for you. For more niche interest areas, run generating good referrals and Some will claim to be able to halve your different keywords as appropriate. recommendations from people. This PPC budget - but all they do is switch Some major SFF forums include: helps your sales platform, and for your campaign on and off during the Chronicles network Iwww. some, it can really snowball... over a day. Seriously. chronicles-network.com) - probably couple of years. TIP: MSN is relatively cheap at the biggest of its kind, and very UK By itself this is not going to be present compared to Yahoo! and Google focused enough of a marketing campaign for Adwords for marketing on at present. SFFWorld (http://www.sffworld.coml most authors. The painful truth is that, - another big forum, with a very well at some point - and if you are really 3. Advertising developed content section serious about promoting your work Believe it or not, advertising is often SF Fandom (www.sf-fandom.coml - you're going to have to start parting a very inefficient way to generate - more media focused, but worth a visit with your cash. sales. The margins are often poor, and Of course, also remember that There are a couple of key ways you sometimes advertising campaigns websites love to get free books to can do this Imix and match according to are created out of vanity than any real review. And online book reviews help your marketing strategyl: brand awareness exercise. drive your online presence. As with many above points, you're Be generous and offer free copies 1. Search Engine Optimisation ISEOl going to have to exercise some initiative to website like the above, or search If you got a good team to work on your here - not least in finding websites with for review sites and tell them who website, it's already search engine real traffic in your genre area that will publishes your book, and what it's friendly. actually convert to sales profitably. about. Which is great, because search It can be done, but try not to get Overall, the more you try to develop engines are one of the major methods carried away with too much too quickly your presence across the internet, the people use to find information online. - remember, you're not looking for your more likely it is people will notice you Increasing your visibility through name on every second webpage, but an and want to find out more - by reading SEO means increasing the likelihood actual return on investment. your books. of capturing new readers who were Find a way to measure and track And then telling their friends what a looking for something you happened to responses. If you can, link the adverts great read you are. be able to provide. you place on each external website to a However, be warned - there are page on your site specifically set up to Conclusion some SEO practices that can get you cater for that advertiser. It allows you to These are just a few starting pointers to wiped out from Google. Yahoo!, MSN, see exactly how much traffic that advert marketing yourself online. etc. Make sure you know what these is generating. If you're serious about being a are before you let a single company talk This sounds like a lot of work, but writer, you're going to have to treat it you into overly-aggressive tactics. as you are now a business, you need seriously as a business - that's if you Also, don't simply shop around to apply some initiative in building a want to aim to be as successful as on price - there are SEO companies business platform online. possible. out there who charge a fortune just And that means building up because some people are stupid i. Viral marketing a reputation to get people more enough to pay that price, and there are Generating a presence in online interested in you and your work. others who charge peanuts and are communities, blogging, and otherwise That may seem daunting, but the only good for monkeys. Try and find a keeping your profile up. are the best same can be said for writing a book. middle ground. ways of marketing. You got this far - don't give up now. You should also be realistic Even better still, they're usually free So to end. here's a few simple - search engines gorge themselves on - just time-consuming. business tips to help you with your information. Provide it by generating It's a slow and gradual process, but writing business: lots of interest content, especially as we know from those whose works by blogging, or even running a small sell really well, it generally takes some 1. Be professional at all times forum, and push to keep active. time for "Word of Mouth" to catch on. - alienate your industry and readers And be patient. You're not likely to Your job is to try and ensure that you're at your peril; be an overnight success, so keep your always in the right place - until you 2. Mind what you say in public - internet goat long-term. reach the right lime. search engines can be your friend... Online communities are probably the or your enemy; 2. Pay Per Click IPPCI most easily abused but most rewarding 3. Have clear goals - what you think Another way to market your site is PPC places for developing your internet you can achieve, and how to achieve - those ads to the right of Google when presence - it can put you into direct them; Brian you do a search. touch with your targeted audience: your 4. Remain flexible - the internet is Turner is On the one hand, it can be a great best potential readers. adminstrator as changing as the sea, so learn to way to raise the profile of your website Finding those communities can be of The surf the waves; and book and gain yourself high-quality a slog, and sometimes you'll have to Chronicles 5. Persevere - success is 10% sales leads. PPC can be a very effective bite your tongue a little if you find other Network innovation, and 90% perspiration marketing process. members, even community staff, a little Iwww. - or something like that; On the other, it can be a very fiddly annoying at times. Ultimately, in these chronicles- process, and if you don't learn how to places, you are a guest and generally 6. Track your spending - don't throw network. track sales conversions with keyword you will be given every hospitality you good money after bad. make sure com), and targeting, then you can end up burning need. Be courteous at polite at all times you know what returns you're online sf&f money. where humanly possible. getting; discussion If you have a large enough PPC To find these online communities, 7. Keep it real - keep your imagination site and an budget, it may be worth hiring a try to use search engines using in storytelling, and be practical in aspiring company to manage the account for keywords such as "science fiction" your business dealings; author. you. Just ensure that if you do. you "fantasy" and "forum" or "community". 8. Good luck! 5 7______FOCUS WHAT MAKES A GOOD STORY?

A good story, well told.' but which went absolutely nowhere It is natural for people to grow and Judging the 2005 Arthur C Clarke - nothing had changed, no one had change through the passage of time. If award meant reading 47 novels in a changed. your characters don't, they won’t be as few months. It also meant working out engaging as those that do. Something non-trivial has to be at stake what I thought made a good story - The changes they go through could If nothing is at stake, then why something I could compare the diverse be radical, subtle, or a mixture of both, should anyone (not least the story’s styles and subjects against - or doom but change they must. They might gain characters! bother? myself to thrashing around in a sea of a better insight into themselves, they It doesn't have to be earth­ indecision. (As it was, we were almost might have new knowledge about the shattering: the fate of a world, a nation, late for our own awards' ceremony.) world to assimilate. a president, a person even. It just So I decided what I looked for most has to be important to the characters The outer struggle must be mirrored by in a novel was a good story, well told. concerned. It can be a marriage, or a an inner struggle. In this article, I intend to concentrate business, or keeping a child off drugs. If, to take an extreme example, a on the first, and not on the second A story about lost car keys can be trivial character is racist, yet they find - though parts of well told' have - unless there’s a body locked in the themselves in a position where they impact on the 'good story', in that it's boot. find their attitudes challenged - a much easier to tell a good story than a foreign soldier protecting a village - the bad one. story should show them struggling with For me, 'story' has three parts. It Characters their attitudes. It need not necessarily needs a plot, it needs characters, and We have to identify with the characters show them 'winning'. it needs a setting. If I find all three, I 'I do not care about these people' are stand a chance at finding a good story. the seven deadly words no author Archetypal characters wants to hear. In the baldest sense, if I Archetypes are more than symbols Plot U -rTj within storytelling: they seem, for It has to do something some reason, to resonate deep That 'something' is making the reader it 1 do not within the soul (apologies for getting want to read on. It is a non-trivial task metaphysical!. to get someone so caught up in a story care about what If I say ‘Hero' or 'Mentor' or that they don’t want to stop. 'Magician' or ’Trickster', you What it doesn’t need to do is preach happens to the immediately conjure up how each of the gospel, contain a moral or push these archetypes behave. It isn't what any particular agenda you might have. characters, I will they look like, or whether they're male Preaching in general, makes for bad or female, young or old, or where they storytelling. This is not to say that come from and how they speak. It's your story is bad because it contains a not enjoy the what they are. Once you have a good message - but the message should not idea of how your character will behave be your primary reason for telling the story. in any given situation, you have a character that will live within the story. Amongst story. many other The story has to go somewhere do not care about what happens to the Vicarious experience things, The somewhere doesn't have to be to a characters, I will not enjoy the story. Another aspect of your characters' including geographical location, or be your typical This does not mean that your development is the ability to give having ’quest’ story. But events that happen protagonist has to be a saint, but it vicarious experiences to the reader. previously to the characters have to in some way does mean that your protagonist has I'm a bloke; I have no idea what it's like edited this affect them. Things cannot be the same to be real. And look, people identify to give birth. Unfortunately, neither magazine, at the end as they are in the beginning. with anti-heroes - some of the most does my wife, so I can't ask her... but Simon For the Clarke awards, I had to compelling storytelling in literature and then again, I've never shot anyone at Morden is pick a shortlist of six books. It is no film revolves around characters whose point-blank range, I’ve never put on the author of qualities are far from all good. an armoured exoskeleton and fallen to The Lost Art, coincidence that the six I chose all had Another War good stories and were well told. Too Earth from the edge of space, I've never and Brilliant often I read a book which had strong The characters should be changed by been tortured to death, I've never talked Things. characters, an interesting set up. their experiences to aliens living inside my head, I've 6 FOCUS

never been stalked by a fallen angel. influence the plot, the setting should Yet. at various times. I’ve tried to convey influence the plot. someday precisely how this feels. The setting should influence the Part of a storyteller s job is to make characters' actions unreal things real. Its not a question This one is obvious, but so easily Ehey'LL of describing the scene, it's living it missed. The setting can be interacted through your characters. with. It can be picked up. thrown, read, looked through, lit. sat in. walked reaLise houlj Setting around. Your characters should be Setting is where your characters are doing that - if they're in a library, they and the plot happens. Setting should be should be whispering, looking around, luchh they treated like another character - neither reading the spines of books. If they're in described to death nor so entirely a coffee shop, they should be drinking superfluous to the plot so that your coffee, eating muffins, clattering story could have happened anywhere. teaspoons. are to Setting is more than just background The setting should be memorable and flavour it is the foundation of the story. imaginable have me The setting should matter to the plot Your readers are relying on you to paint Setting is the third leg of your story, a word-picture which is sufficient for inasmuch as Rapunzel would be them to both imagine the scene and Steve Sneyd nowhere without a tower or Hansel remember it the next time you use it. and Gretel without the Gingerbread Over describing and under-describing They try to make me House. It isn’t just a painted curtain are both problems - you need to be behind your characters. It has flavour, able to give a sense of place without ashamed of my status, my atmosphere, a solidity to it. The setting drowning the reader with two or three immortality, should be integral to the plot because it pages of adjectives and adverbs. This is a character. is. admittedly, pretty hard to do straight saying do i not feel so off. but it can be learnt. The setting should influence the plot inferior, unable progression to share the edge then- In precisely the same way characters promise of an end brings, my wine no real taste, my art flat without precipice theirs teeters over, seeing And finally... such neat paradox far wider deeper than mine A word or two about research, there is a character who used it better because ever will be, can do: broad middle ground to inhabit between I took the time and trouble to find out i smile at the bastards, those the twin evils of doing no research at what weapon he had. I knew what it all, because after all. you're making all looked like, how heavy it was, how shortlifes, wait them out, this up. and spending all the time you accurate it was. how he fired it. should be writing, reading. Why is research important? Because dance on As a rough rule of thumb, you should it adds the flavour of authenticity to their graves year after know stuff that has an impact on your your story. If. as writers, we re trying story. This can range from simple to suspend the reader s disbelief, decade after century things - seasonal weather patterns anything that helps is good. Anything buy generations in Nairobi - to obscure things - what that hinders is bad. Worst of all is the sort of sniper rifle a Russian veteran point where the reader is suddenly of mayfly critics can’t wait of Afghanistan would use. A friend dumped out of the story by the writer to enjoy life will say just once put out the call to discover how doing something stupid. far a palanquin - that’s one of those And specifically, why is research what i want to hear chairs carried on poles at shoulder important when you're writing SF or of what i create keep price up height - could be carried by one team fantasy? Aren't you just making stuff of slaves in one day. Another friend up? I would argue that you have to despite fact of life actually arranged a test. About ten do more research than if you were will never enjoy sort of miles is the answer. writing chick-lit. For contemporary As another rough rule of thumb, you fiction, the world is a given. If your boom their artists get post­ should never be tempted to use your world is different in some way. it death research findings to show your readers has ramifications over the whole how much research you did for your of history and society. Nothing is a story. That rifle I’ve just mentioned given anymore. Sorry to add to your was never discussed or described in workload... the story I used it in. But I knew the 7 FOCUS LET'S FACE THE FUTURE WITH A SMILE

In my first column for Focus under optimistic story about the American bleakness. And I sincerely wonder if Martin McGrath s stewardship land Midwest was like trying to pass a writers really like a challenge. thanks to Simon Morden for the fictional story about a Theory of So here it is: write an ambitious previous years!. I d like to start with a Everything through an editorial board story about how the future changes challenge. consisting of Albert Einstein. Richard for the better: one that is convincing, In the last couple of years, Feynman, and Edward Witten. Well- as well. As realistic and plausible as SF short stories have been nigh impossible. you can get it. Then send it my way predominantly dark and pessimistic. Also, Tor editor Patrcik Nielsen when I re-open Interzone for email Not all of them - there are obvious Hayden had planned to edit an submissions (probably May 2007, exceptions, tike for instance Jason anthology called Up, to be filled with but keep an eye on our website and Stoddard s "Winning Mars" \IZ #1961 stories about how the future changed Ralan.com), or to another market. - but the majority most definitely for the better. That was back in 2002. Get it out there. is. I was discussing this with the and as far as I know that project is Of course, this doesn’t mean we afore-mentioned Jason Stoddard, still on ice. should go back to unlimited, naive and we agree that it’s almost as if it’s Now. I’m not asking you to please optimism of the pulp era, or the 50s. forbidden to write an uplifting story. the readers of HCN. However. I am It also means we shouldn't aim at Problem is, that writing a getting fed up with all these dark and the romance genre's HEA (happily convincing optimistic story is difficult, dystopian stories. I agree with Jason ever after) as a prerequisite. No: we very difficult. Or. to quote Gardner Stoddard when he said that Paolo live in the 21“ Century, so give me a Dozois: "As someone who has written (Bacigalupi) is a great writer, but 21" Century story. Let it be grounded post-apocalyptic stuff myself. I can that his stories sometimes make me in the real, but a real that is more tell you that it IS easier. It’s easier scream in despair, because of their than just nihilistic, cynical, diffident, to write about how the current or disinterested. The progress world went wrong than it is to come can be incredibly hardfought. the up with believable ways how the * I sincerely progress can be met with all possible current world is going to survive and resistance, have setbacks, and all. prosper Ito say nothing of changing in But in the end, let there be some kind unexpected ways)." wonder if of progress. For example. High Country News In short, give me a gritty pollyanna, IHCN] magazine put out a call to writers really like and show me it's not an oxymoron. submissions for the 2006 Summer And. while we're at it. let it be Jetse de Reading Issue, calling for a short ambitious. Joe Sixpack getting a Vries is: a challenge. ) ) a) A techni­ story that showed how things better job is trivial. Jane Doe winning developed for the better in the an office argument is boring. Reach cal special­ American Midwest. They already had for the sky: try to find at least a ist for a a dystopian story IPaolo Bacigalupi’s partial solution, a partly positive propulsion "The Tamarisk Hunter"), and wanted development from the great problems company; bl One of to offset it with an optimistic one, of our time. You could do worse than and they were willing to pay well 130 reading through Edge's article "What Interzone's editors; cents a word). “We re not looking Are You Optimistic About? Why?'. online here: http://edge.org/q2007/ c) An SF for an idyllic utopia, but a realistic assessment of people and their place q07_index.html, where some of the short story writer with in the landscape." Many stories greatest minds of our time answer were sent in. none were taken. Or. to exactly that question. Obviously. stories quote their Special Summer Reading Jason Stoddard and I are not the only upcoming ones who are tired of this trend of in Hub, Issue’s editorial: "Some interesting depressive thinking. Postscripts, glimmers, but no one had a plausible and Clarkes- explanation for how we might get Don't be a part of the problem, from here to there." be a part of the solution. Write that world Maga­ At LACon IV. Paolo Bacigalupi told story: it'll be a hard, enormously zine; me that the readers HCN were both hard. But the reward is phenomenal d] All of the Be inspired, and then be an above; extremely well-known and highly critial about all matters Midwest, inspiration. Let’s face the future with el None of the above. so that trying to write a convincing a smile. 8 FOCUS MASTERCLASS No.1: POINT OF VIEW

This is the first of what is planned to be a regular their own position. I can’t really see how to avoid two very different subjects. The first is long, the series. My brief from Martin McGrath is to pass on that here, but at least you know where you stand second is short. The first will be familiar to anyone some ideas about the craft of writing. OK. but it when reading what follows. I have also always who has been to a writers’ workshop, but is none will have to be in bits, and in no particular order. If believed that writing is something that cannot be the less always worth going over. The second is a contradictions emerge [they probably will), then that taught, but it can be learned by the right person. personal quirk, the subject of a lifetime’s private will only reflect the subjective nature of writing. This Agree or disagree you may. There’s nothing definitive ranting, a sign of a battle lost but one where the is a territory where there are no rules. here, but a few summaries of things I've found fight goes pointlessly on forever... Well, there is one. The rule book says you’re helpful. As the series develops [if Mr McGrath allows INo. it’s not maps in fantasy novels. Those might not allowed to go and scour through my back-list it to) inconsistencies as well as contradictions might come later.) in search of rotten examples that will prove I can emerge. Well then. dish it out but can’t take it. Connected with this. The exercises are exercises, not ideas for stories. Christopher Priest Please do not send the results to me. I ve always believed that when a known writer offers 2007 writing advice, then he or she is basically defending As we have no particular order, let's start with

Point of view in fiction, the viewpoint variants that follow. of the story, seems endlessly Some of the greatest works in misunderstood. Some writers never science fiction have been told using seem to grasp it; others become first-person viewpoint: The War of hidebound by it. Many people simply the Worlds and The Time Machine don't know what it is. Others say it are perhaps the greatest, but there doesn’t matter. Some writers say are many more. Other examples are they know all about viewpoint, yet legion, both within the sf genre and every time they type more than three without. My own choice of favourite consecutive sentences they reveal they first-person novel in the mainstream haven’t the foggiest idea what it is or is a close-run thing between Great how to use it. Others claim that writers Expectations and The Magus. paying attention to viewpoint are To write effectively in the first paying attention to a hobgoblin of little person, the writer must imagine and minds. Interestingly, perhaps, many describe everything from the point publisher's editors have no awareness of view of the narrating character. PRIESTLY of it, haven't the faintest idea about Only the five main senses may be EXERCISES how it should be used, nor why it summoned: sight, sound, taste, touch, Describe the room you are in as matters. For all these reasons it is one smell. (OK. add telepathy, etc., if it's you walk around in search of the elements of literature which is that kind of SF.) If the narrator is not of a long rope [Use first- of the purest interest to writers. there when something happens, it person narrator. Mat 500 Viewpoint is directly related cannot be described as part of the words) to narration, or storytelling. It's a narrative (but a messenger rushing Now describe the room you are in. way into the character's minds and in with the news can certainly impart told from the point of view experiences, and therefore a way of the event to the narrator). You cannot of someone hanging upside gaining access to the reader's mind. It impute feelings or sensations to down from the ceiling. is literally a point of view, as seen and other characters. If the narrator His/her ankles are held described by the author, getting into embarrasses a woman friend of his, by a rope. A candle flame the mind of or behind the eyes of the he may notice only that she looked characters. embarrassed, or responded in an is slowly burning through In fiction, there are six different embarrassed way. The narrator cannot the rope. [Use first-person ways of treating Point of View. say that she felt embarrassed. If the narrator. Max. 500 words narrator falls asleep or is knocked - last one must not be First-person narrator unconscious, the narrative must stop ■■Aaarjhr) This is by far the most common until consciousness returns. Now describe the room you are in. Christopher Priest is an direct viewpoint device: any story Once you start imagining a story told from the point of view award-winning author of or novel told by T is being narrated through this particular viewpoint, you of someone who rushes in to novels such as The Separa­ by the central character, the author quickly understand its limitations and investigate a crashing noise tion, Fugue for a Darkening disguised as his leading actor. It is also its range. and smell of burning sisal. Isle and The Prestige, the easiest to describe and recognize, Some writers loathe the first- lUse first-person narrator. amongst may others. and helps elucidate the less obvious person and claim that it narrows the Max. 500 words. I 9 PRING 2007 FOCUS

possibilities of what they can write his books have a first-person narrator, about. At least one editor agrees but there is usually someone else - a few years ago, she banned first- who is the protagonist. In The Kraken person narratives as an editorial Wakes it is the narrator's wife Phyllis policy, because she said it was who does everything interesting or impossible to write good SF or fantasy significant in the story. In The Midwich from such a narrow viewpoint. (Lucky Cuckoos it is Zellaby. the talkative, for her that Wells and Lovecraft had opinionated man who owns the big given up writing by then.l house in the village. In The Day of While acknowledging the the Triffids it is (arguably! Coker, the limitation. I have always believed radical social theorist. It is certainly that first-person narrative, handled not Bill Masen. the narrator, who correctly, will actually widen a writer s observes everything but does almost possibilities. nothing. For one thing, the T viewpoint In Midwich the narrator. Richard can be very readable and interesting, Gayford, is knocked unconscious at because the reader will quickly start the end of Chapter 1. only recovering identifying with the character. A story three pages into Chapter 4. How does told as an account of direct personal the story continue in his absence? It s experience can be gripping a puzzle Raymond Chandler never It represents our normal solved, because whenever Philip experience of the world: we go. we Marlowe was knocked unconscious, see. we smell, etc., and can only nothing more happened until he infer what else is going on beyond was ruefully rubbing the back of his our immediate senses. Most of us head and finding his desk had been perceive our own lives as mundane. ransacked. But what was it like to fall in love with a glamorous enemy spy. or go over Third-person leading characterls), PRIESTLY the Niagara Falls in a barrel, or meet close focus EXERCISES Third person singular Che' or she ! Oliver Cromwell in person? This is A and B are arguing. The narrative the stuff of fiction, and a first-person but the narrative is concentrated on is focused on A (a man), but account of such things gets our one character. Let s say it is she . She B (a woman! annoyingly wins immediate attention. In our real lives has a name, a life, an appearance, the argument (Use third- we cannot experience the crashing of memories, feeling, experiences, the plane we are not on, the mudslide conversations, relationships. She person. close focus. Max. destroying the village we left several leads the plot of the story, but the 500 words.) years ago. the love affair between narration is tied to her as tightly as A and B are arguing. The narrative two acquaintances ... but if someone it would be as if she were telling the is focused on B la woman), tells us or describes it to us. we gain story herself. but A la manl annoyingly an interesting second- or third-hand When we follow her viewpoint, the concedes in the first line insight that might tell us something reader can follow only what she does. that she is probably correct. about the other person land if you use If she interacts with other characters, He has remembered that he the technique in fiction, you might we see only her point of view of that must be somewhere else, reveal something about the narrator). interaction. If she runs, falls in water, but can't reveal to her where. All this sort of thing, handled properly, has sex, eats dinner, the reader lUse third-person, close will enhance the sense of realism. finds out how it feels to her but not focus. Max. 500 words.! Also, seeing events from only one to anyone else. In dialogue, she says point of view means the narrator will what she thinks but can only hear inevitably miss seeing certain things. what other people say Ishe has no Or misunderstand what other people access to their thoughts). If she for say to him. Or blunder into a trap the example embarrasses someone (see reader might sense has been waiting above! she can only notice that the for him. Opportunities for irony, other person looks embarrassed, or humour, suspense and unreliability responds in an embarrassed way. To are endless. do otherwise (for instance, to have the other character think. How dare that PRIESTLY First-person narrator, at a slight bitch speak to me like that? ) would be EXERCISES distance to break the narrative convention you The essence of this approach is that have adopted. Your new car is stolen white your the narrator is present during the This kind of third-person narrative back is turned. The thieves principal events of the story. He or is in widespread use. and it has many ate two teenagers who argue she witnessed the story and wants to attractions, not least of which is that with each other while they report it. but was not the protagonist. the slight extra distance away from the drive away Describe. (Use The technique has some of the central character allows the author a first-person, at a distance same advantages and disadvantages greater freedom with language. The Mai 500 words I of a plain first-person narrative. But authorial voice can write lyrically, Two fnends discuss you while you it adds an extra dimension, a certain descriptively, allusively, etc., whereas are in the other room (Use distance from the main events, if the voice is locked behind the eyes first-person, at a distance allowing for comment, elucidation, of a first-person narrator, the author Mai. 500 words) context. should try to write as if he were the Probably the best-known land most narrator. Suppose the narrator is an subtle! practitioner of this style in the uneducated thickie with a limited SF genre is John Wyndham. Many of vocabulary - to be consistent the 10 FOCUS SPRING 20

whole book should be written as if by perpetrator. an uneducated thickie. Not much fun Because you know the plot in in that for either reader or writer. Third advance, you can select one or more person narrative allows a distance, of your characters to succeed, or to be more room for manoeuvre. eaten by a tiger, or to be impoverished, Note that the sub-heading or to win the lottery. You can also mentions character or characters. change your mind. If you briefly tire of One of the advantages of third- the characters you can swoop up into person narration is that shifting over the air again, and have a look around to another character s point of view at the scenery and describe it. even if is much more natural... but in the the characters themselves are unable present category we are considering to see it. The story is yours. You have close focus: a narrative that authority over it, and the characters concentrates on one person at a time. are subservient to your will. Within this remit it's possible to Yes ... you are Go- switch from one character to another, No. stop!, don't let it go too far! You or from one character to several are not even a lower-case god to these others, but the close focus should be people, since they do not actually maintained. Because of that, if the exist.(This is called a reality check. viewpoint switches too often it simply The Sims don't exist, either.) However becomes confusing to the reader. you are all-seeing and all-knowing. (Reader, frowning: "Which 'he' are we The word 'omniscient', used in the talking about now? I thought he went sub-heading above, is probably as to Sweden on the previous page.”) close as it gets, but Ursula Le Guin, for The solution is to think structurally: example, says she dislikes the word perhaps only shift viewpoint whenever in this context. She says that for her a new chapter begins, and stay with it contains a hint of judgmental sneer. the new viewpoint until the end of that Who can argue with her? Le Guin chapter, then change again. (This was prefers involved author'. But you get the technique I used in my incredibly the general idea. ancient novel 4 Dream of Wessex.) If Changing viewpoint is not an issue you find you want to change viewpoint here. It is in fact the whole idea. The more often than that, maybe you are real narrator [the author! is not part writing in the wrong voice, so see of the story, so he/ she can hand it below: there are three more choices over to the characters. However, the to come. general warnings about viewpoint­ Close-focus third-person narrative change are still valid. Do it too often also has the advantage that by and you risk confusing the reader; staying locked in on one person at a you will also throw away chances for time, there are the same perverse dramatic tension or irony. opportunities as writing in the first When to be an involved author? person: missing the point, not noticing I believe it could boil down to the things, misunderstanding, not being question of authority or control. Some present when something important writers make their stories up as they happens. Irony occurs. go along, others work everything out in advance. The instinctive writer PRIESTLY Omniscient or "involved" author will tend to prefer a first-person or EXERCISES (third person) close-focus third-person viewpoint, You are at a soiree in Petersburg. Imagine you the writer are able to because the character and the author hover at will above your characters will discover the details of the story Imperial Russia. The year is and the events they are enacting. You as they unfold. But if you are able to 1805 The drawing room is may describe what you see without work out your plot in advance, and filled with princes, counts, fussing about whose viewpoint is being the setting, and the main characters, generals, viscounts, who are borrowed. At any time you may swoop then you would benefit by the greater chatting about their social down to look closely at them, or at descriptive freedoms of the omniscient lives. However, they are all any of them. You know what they are viewpoint. aware that war is about to thinking, what they are intending to do. I'm one who makes things up as break out They disperse to what they did before the story began I go along, but I accept this is not confront Napoleon s army as and what they are likely to do once the the only way. My own experience he invades Describe (Use story is over. is that once a story gets going the involved author, third person As they fall in love you are there to characters tend to take over, and all Formal titles, patronymics help them along, or to judge them, or thoughts of controlling them have to and suffixes allowed. Mai. to warn them of shady pasts. As the be abandoned. This seems natural and 600.000 words! happy couple fall into bed shedding exciting to me. But controller writers There are six named competitors their clothes in randy eagerness, think my way is chaotic and unreliable. in a 100-yard dash. Describe you are there to have a quick peek at Everyone has to find what’s best. the race from start to what's going on under the bedclothes, finish. lUse involved author, or to retreat prudently from the room Fly-on-the-Wall (or 'detached' author before things get out of lor into) hand. (third person) third person. Formal titles, If one of the characters embarrasses The sub-heading says it all. The patronymics and suffixes not the other, you are there not only to author writes from a completely necessary Max. 500 words feel the humiliation of the victim, but detached viewpoint, comparable or 100 yards.) to share the pangs of regret of the (say) to a CCTV camera or a webcam. 11 FOCUS

PRIESTLY The only events described - action, writer has lost control of the material. dialogue, etc. - are what can be EXERCISES Third-person narrator, at a A man steps mautiousty into observed or heard. We never enter the PRIESTLY minds of the characters. Descriptions slight distance a bath and sits down. EXERCISES should be exact and detailed, but what I mention this for sake of T he waters much too Repeat the exercises from If (Use is revealed by them? completeness, but it is I think rarely third-person, at a distance hot. While he is trying to This is an interesting way to write used in modem fiction. It's the third- Max. 500 worts.) scramble to safety, a woman if you can sustain it. The effect can be person counterpart of no.2 in this he does not know enters the cool, ironic, sometimes humorous, series: a named character who is room Describe lUse fly- sometimes didactic ... but it can also present during the main events of on-the-wall. third person. seem flat and 'alienating'. The point is the story, but who either takes a Max. 140“ J that by leaving a lot unsaid, the writer minor part in them or no part at all. A A man is standing on the main is inviting the readers to make their servant or slave, perhaps, or a child, a pier at Orty Airport. Paris. own interpretations. Here is an extract relative, a friend. He witnesses a scene of from Blind Date by Jerzy Kosinski Questions of unreliability might violence, and an image (19781: arise, which suggests interesting of a young woman s face. levanter woke from his afternoon nap. He ways in which this viewpoint might be Describe. (Use fly-on-the- bathed, dressed, and went down to the hotel deployed by an ambitious writer. wall; third person. Max. 500 dining room. After dinner, he wandered into The psychological restrictions of words.) the hotel bar for a drink Sitting alone in the no.2 will apply, but also the relative bustling cocktail lounge, he watched as a freedoms to diversify a little. woman entered with two small girts: all three Viewpoint is from a limited third- had thick blond hair and pale green eyes. The person. not the principal character, woman scanned the room for an empty table, whose feelings may be described, but and quickly navigated a path through the las abovel is present at the events only crowd to the vacant table on Levanter's left as a witness. Once she was seated, she began to inspect the room She glanced briefly at Levanter, but Conclusion when she saw that he was looking at her. her To sum up. the main requirement of gaze quickly shifted viewpoint is that you understand it. Although one can deduce that then use it properly or imaginatively to Levanter is the central character, gain the effect you most require. Never we learn nothing about him from the assume it is unimportant, or that it will text. Nor do we learn anything about sort itself out. Like so many elements the woman and the girls. We observe of literature it is silently present and everything these people do. and the essential, it goes unsuspected or rest is up to us. unnoticed by most readers, and it Viewpoint change is irrelevant here, is misunderstood or ignored by bad because there is no viewpoint. Should writers. a viewpoint become apparent, the

DREAM SEQUENCES A dream sequence is one in which story playing symbolic roles, and it PRIESTLY the central character either falls must go on for at least three pages. EXERCISES To most readers, some things asleep and has a dream, is knocked A man falls out of a plane at unconscious and has a dream, or is are abundantly clear. Firstly, the 35,000 feet He is saved wandering around in an aimless state dream they are reading is completely by a giant white dove who and has a dream. unlike any dream they have ever reminds him of his mother Dreams in fiction are always experienced themselves. Secondly, The dove deposits him enraging, maddening and pointless. the psychological hang-ups are safety in a swamp, which They are employed by lazy writers, never fascinating, or for that matter has yellow water and which who believe in error that if they invent even mildly interesting. Thirdly, any smells of excrement. a dream it will provide them with a suspicion of symbolism means you short-cut. In this short-cut they can have to try to interpret it. or Iworsel Describe his dream that telegraph the character's hang-ups. have to remember it in the long night. [Max. 3 pages, then neuroses, fears and other features of pages that lie ahead and in which hide) character which could and should be everything is likely to be influenced established by conventional literary by this bloody dream. And fourthly, means, but which are thought to after half a page of this stuff, the be too hard or time-consuming. thought of at least another two and a Similarly, the same lazy writer, half pages to come means... it's time sensing a tricky plot development to slam the book closed. ahead, thinks a dream will prepare If you have read this short, the ground symbolically. lucid and enviably calm argument In this we detect the three main about dream sequences, and rules of the lazy writer's dream you subsequently write a dream sequence. It must have hints about sequence. I will personally track you fascinating psychological hang-ups. it to your lair and hurt you. must have other characters from the 12 FOCUS SPRING 20C PAR FOR THE COURSE: WHAT COURSE IS RIGHT FOR YOU?

So you start writing. It's not as simple How do you choose? send samples of your work as it looked, but you persevere. Then Try this checklist; pointers I have beforehand? Will there be one- you realise you could do with more learned, the hard way. Ask yourself: to-one sessions as well as group objective help than family and friends. 1. Am I ready for this? - you should ones? The time has come to interact with consider a group before a course, 5. Where? - Is the venue/ strangers. and the honest truth is if you can't organisation established and Most of us begin by joining like­ take criticism, or meet deadlines, experienced, and somewhere you minded types willing to help each you're not likely to learn much want to go to? other, local circles or online groups from a solid week either. Don't take any of the above for granted, like orbiters. Naturally these vary, but 2. What should I expect? - Is the because some deliver a lot less, and its they're free, they're potentially land course geared to your experience your money. But there are some very usually) helpful, and you can always level, or the genre you are worthwhile courses out there. move on if one doesn't suit. working in? If you're not sure Going further means paying, what's on offer, ask for details. If So how do you get the most from your say for local college classes or you're still not. either ask again, final choice? correspondence courses. A postal or look further. 1. If possible prepare beforehand, or course I tried had a money-back clause do some reading. if you completed it without earning 2. Submit the best sample you can. your fee back but the only thing I recall Research but don't send more than the learning from it was how to format permitted length. an article, despite the fancy texts and as widely as 3. Make sure you pay attention. structured coursework! The fiction That doesn't mean spend a week side actually put me off. You may find taking copious notes. You'll see a better one, but that was my money you can. Look little with your head down, and wasted, and it made me cautious. good tutors will provide them. on the net, 4. Find a balance between getting So what's next? actual work done and chatting You may not be Shakespeare lyetl but with other members; both are you reckon you're improving; getting or writers’ valuable. closer. Time to consider a more 5. Listen more than talk? concentrated approach? magazines, or 6. Look around you for the For a very few this could be a degree strengths, and weaknesses, of course, or something like Clarion, six ask the group both the tutor s writing and the weeks in the USA or Australia, but most other members'? Learn from people are prevented by the time and everyone. cost involved (think in thousands]. So you know ? ? the most likely choice is a one-week What if the week still isn’t what you residential course run by a published thought? writer; essentially an activity holiday, 3. Who's who? Do you know this 1. Take a breath before you but shouldn't you enjoy it? writer? Do you like/appreciate complain too loudly? Did you (A note here; it's often possible for their work? Have they done this make unreasonable assumptions, non-writing partners to go too, but before, or are they in some way e.g. does the tutor have time to Terry it's a good idea to consider: do you qualified' to teach you? Being discuss your entire novel and do Jackman want them, and will they actually enjoy able to write doesn't always the same for sixteen to twenty coordinates it? Will you be better off talking to mean able to pass on their others? Or indeed can everyone the BSFA's them rather than the other members knowledge. How do you find out? read through ten thousand words online Orbiter in the evening? Will they want to be By tracking websites or articles, from everyone else and have time groups. surrounded by a group discussion on or opportunities to hear them to write as well? Contact the gremlins in your writing?) speaking, eg at conventions or 2. Did you really expect to hear her at signings. Ask yourself, do I want nothing but compliments about terryjackman Finding the course for you to spend a week with this person? your writing? IBtiscali. Research as widely as you can. Look on 4. What's what? - Is the course 3. If you still feel disappointed, then co.uk for the net, or writers' magazines, or ask planned, rather than artistically say so, politely. That way maybe further the group you know already. fluid'? Are you asked to the tutor can alter the format a information. 13 Spring 2007 FOCUS when uue are reminded ld remember Steve Sneyd

‘in spite of things gone silently out of mind and things violently destroyed, the Poet binds together by passion and knowledge the vast empire of human society." William Wordsworth, ‘Preface to Lyrical Ballads, 1802

bit, especially if others agree. At i had to follow Kxandra one day when we die we’ll worst, you might help improve the she was just crazy enough rise again on heaven that is next course. to do what she'd said Earth itself so many towers Lastly, how can you make more use of how the experience? before he goes she'd said 1. Ask yourself, what did I learn, and am I doing anything about it? i’m going to have him get his he said so perfect glorious Don’t throw the notes in a drawer, sperm he looked just like the use them. then ill have his child holograph 2. Rewrite a piece you submitted, and study the result. we have from last time not 3. If you got something from then we'll have one of our own the experience don’t forget to won’t need to wait for Them changed a bit that’s what he spread the word. That way the best courses will prosper, and to send one once a whatever said everyone who should will profit. she’d said on Earth they’re thousand years i said immortal if we My own favourites? Arvon is generally fun. and they appoint two he’ll be all alone she’d said stay faithful when we rise again writers in charge. They don't do SF he won’t have a guard every year though. As with other there we'll be immortal too courses the standards can vary with the writers chosen, not necessarily i’ll just go straight in when i because of their writing skills, as he won’t be able to resist me have my daughter by him - it mentioned earlier, but because of she’d grinned no man can might their teaching ability or the amount of hard work they contribute. Still I’d be a son i’d said she’d sneered recommend them. he’ll be tied exhausted My best so far? A fantasy course all that journey and then she’ll be immortal too our OUR with Juliet McKenna at Castle of Park. The dearest (wouldn’t you know all those hours poet we won’t need Earth it?| but the course ticked almost all anymore well my boxes. The quirky venue, safe all those epics old Earth be free al last she’d got in easy from interruptions, gave me friendly staff and super food, and even a four how beautiful how wonderful poster! The writer had both literary how sad all those wars deaths i sneaked in behind and hid and and organisational experience, watched demonstrated throughout, and was nice enough not to vanish from sight heroes i said she was onto him straight away between sessions either, which you heroines she’d said and how she shouldn’t count on. the Empire was made all had him like she'd said for an It was enjoyable and educational, and I can tell myself I didn’t waste through instant my money but no. money doesn't guarantee results. Not being a celeb'. all the stars how we’re still i thought the great lion head I may not win the Booker prize just yet. or sign that million dollar deal. part of it even though the ships planned It's a gamble. never come any more or any to bite hers off midmate she Let's hope some of us will win it. screamed See the page opposite for the goods from there or any and then in climax he burst a Oexperiences of Nick Wood, who tribute from here still we’re flood attended this year's Arvon sf writing course. part of it if we stay faithful of clockwork rust 14 FOCUS SPRING 20C THE JOY OF CRAIG: EXPERIENCES AT AN ARVON COURSE

Ever watchful for a writing course of 'cognitive estrangement'? More to was the individual feedback provided or book on writing that would the point though, is it actually integral by both Adam and Justina, who gave distract me from actually writing; to the story's core concern, or just tutorials to each participant, and I spotted the Arvon science fiction exotic 'window dressing’? discussed the stories they had been course while browsing on the Web, There was a lot more too, dealing given to read. The detailed feedback I quickly signed up and. in the last with the nuts and bolts of writing, I got from both Adam and Justina week of August 2006, trundled down such as structure, characterisation, felt extremely helpful and, needless a steep valley track to an old grey style and spec-fic markets. We even to say, is still something I’m trying manor house. I found out that the got to hear Gwyneth Jones read from to put into practice. (One aspect of place had been owned previously her White Queen trilogy, which was a the feedback was the need to find by the poet Ted Hughes and was wonderful experience, but tinged with consistent and significant space and known as 'Lumb Bank’, based on the the anxiety of knowing she was an time to write, rather than scribbling outskirts of the village of Heptonstall impossible act to follow - yet follow frantically in stolen moments.) in West Yorkshire. Deeper into the we had to. as the next day we were I think it also helped that we had cobbled stone village is St.Thomas' all expected to publicly read from our a lot of good fun too - we discovered Churchyard, where Sylvia Plath lies own writings! the thriller writings of Craig Thomas buried. {Firefox, Playing with Cobras etc) An impressive and daunting - which, along with a generous literary heritage suffused the place but no communal wine budget - illuminated then - and I felt the first stirrings of our evenings together. |For those performance anxiety. These were doubt the art who might be interested, Adam allayed to some extent at our first has written an online commentary group meeting - there 'Ted Hughes’ of writing lies entitled The Joy of Craig’ in the Valve revealed herself reincarnated as a at: www.thevalve.org/go/valve/article/ friendly and lazy black feline, who in writing, thejoy_of_craig/l took turns to sprawl on any willing It felt like much was learned in a laps. The group of participants densely packed week - but no doubt for the week’s writing course was not attending the art of writing lies in writing, not an interesting and eclectic mix of attending writing workshops or aspiring writers seeking to develop writing reading books on writing. It does their craft. The tutors for the course give me some pleasure to feel I have were Adam Roberts and Justina workshops or made a start by at least writing about Robson; who took turns to present a writing workshop. Actually. I did but were always there to support reading books write a story at Arvon - now if only each other and chip in as needed. I can get someone to buy the damn Adam tended to be the more obvious on writing )) thing! Oh well, back to more 'real' and informatively chatty extrovert; writing - short stories, that defiant but Justina’s contributions, although novel - ah, but first there’s that new quieter and a little less frequent that Having said that, the expectations Craig Thomas book to get through... Adam's, were apposite, insightful and proved far worse than the event helpful too. - despite having an aversion to public Adam Roberts' Gradisil has So what did we learn then? performance. I managed the (literal!) Obeen nominated for the 2007 Valuable for me was the exercise spotlight reasonably well, with a Arthur C. Clarke Award. to identify the core concern of the minimum of stuttering. (I think the (short) story we were working on in occasion was smoothed to some Justina Robson's Living Next one sentence. This was challenging extent by a collegial atmosphere O Door to the God of Love has been but useful in terms of helping to and liberal sprinklings of excellent nominated for the 2007 Philip K ensure a focused story with a unifying red wine.) There were some great Dick Award. theme. The issue of the 'novum' readings by the other participants For more information on the IDarko Suvin) was interesting to which proved a fitting finale to the OArvon Foundation and the Nick Wood explore too - i.e. what is the point of course. courses they offer, visit: www. is an difference’ in the story that provides But what was most helpful of all arvonfoundation.org aspiring the contrast with the real, the sense about the Arvon course? For me. it author 15 «Lspring 2007 FOCUS SCRIPTWRITING: FROM PAGE TO RAGE (PART 2)

"Hello, I'm trapped in the belly of a script intensive form than novels (i.e. Shorter), greatest part of the work - and often and I can't get out. Please send help but WAY more structurally reliant. Novels the joy of it, too - comes from sitting quickly!” can easily be cursive, ambling, mood down in front of that page or screen and At this stage, some real fun occurs pieces and the author doesn't really need bullying their imagination out onto the - it's back to play school! Everyone gets to know what going to happen on the next page. You really feel you’re working, markers and great whopping sheets of page until... well, the page before, really. solving problems, breathing life into paper and starts drawing all over the In Screenwriting, by contrast, you need characters and events, digging out walls! Sort of... and not always. But now to know pretty much everything up-front, glittering sentences from the sheer word you've been properly employed it's time day one. and preferably two weeks before face. That's when you feel the burn. man. to "break* the story in full i.e. time to that. You end up with, who knows, five good flesh out your tentatively mapped out dirt I am quite rigid in my preparation to pages after you've finished, and it has tracks into fully realised plot lanes (this is write, even after breaking the story with the emotional weight. A good days work assuming you weren't already asked to do colleagues, and I usually go on to take you can feel and hold. Writing a script so with a full-length ubertreatment- see. an extra stage or two just to ensure my feels much more like empty calories, I told you it was a messy, contradictory plotting is sound and that everything is because banging out the actual dialogue process!. ticking along like clockwork. I write the is almost like an afterthought, once all This tends to mean getting into whole story out in bullet points on wee that earlier work on structure is done. It's a room with a small group of people filing cards and blue-tac them to the wall the dotting of is and crossing of t's and - producer, head of development, and so that I can see the whole story laid out. it s not where the real graft is located. If possibly script editor (well, definitely Whether it's because you are employing you've done all your planning property the in TV, occasionally in film! - and just a different, visual part of your brain, actual, physical writing should flow like talking ideas over, thrashing shit out. or simply it's the perspective of seeing water. It's here that the collaborative aspects the narrative (aid out in its entirety, this One other piece of wisdom, which is of screenwork come into their own for a is very good way to spot flaws in the easy to lose sight of when it's just words writer. Writers - particularly if they come planning, and to painlessly to test, and on the page, is that a script is a visual from a prose background - are typically shift around, elements simply by moving medium... so make it visual. This is more trapped in a room all day, alone, slaving cards around the structure. It's something than just the basic writer's creed of over a hot keyboard, so it's a real rush I heartily recommend. From that wall I Show Don't Tell. A script will be seen, so to spend creative time with other people'. then write a very detailed step outline, conjure up that experience visually and Days just talking ideas, arguing, getting up to thirty pages, into which goes all my it'll have more chance of jumping the inspired and sparking off other thoughts other satellite notes and jottings from the gap into actual production. Think of how and experiences. This is when you might bus. many times you've read a review which use visual aids, sketching out story arcs Then I start the draft. criticises an adaptation of a play for not and wotnot on bits of old wallpaper then Again, this might all seem needlessly escaping its "stage-bound* origins. One pining them proudly up on the wall so anal. but. honestly, it is worth labouring interesting exercise is to go through your you can all stand back and uhm and ahh over. As has already been observed script and see whether, if you removed in unison. As many people know most screenwork is expensive by its very ALL of the dialogue, would it still make big. long-running American shows work nature, and you wilt always be limited any sense? If not. it may be worth taking primarily in this fashion (New Galactica. by what your team - whoever they might a second pass at it. The dialogue is the Fnends. you name itl employing big be - is prepared to fund. This can be a candy on the cake. The pictures are the Writers Rooms, sessions where everyone budget concern, but isn't necessarily, as cake. They are the bones of how you sits around a conference table with hot certain genres have certain requirements. tell the story. After all, it's not radio. In part two of and cold running doughnuts and talks out Fbr instance, a standard feature script Remember that small visual incidents his feature on the show. After all the laughter has died for a Romantic Comedy should come in can have huge power when magnified up scriptwriting. down, the tears of the vanquished have at approximately an hour and a half, an on the screen. Gavin dried and the stories all worked out. the hour three quarters. That's 90 to a 105 So. screenwriting, to recap: planning Williams individual episodes are then divvied up pages, the rough rule of thumb being that hard, writing easy (sort of). Re-writing...? offers some amongst the staff writers, who mainly one page of script equals one minute of Oh sweet Jesus- thoughts on work on-site at the show's production screen time. So, should you deliver up. offices, and they go off to make the magic oooh. say a 162 page document, then The hundred-bladed, revolving, flesh­ the progress that is TV actually happen. there is a problem... As has. er, been cutting rewrite machine or "I know it of a script, In our version, too, once everyone patiently explained to me at some length doesn't work, but it was YOUR idea in the from initial is satisfied with the road map you've in the past. first place!" idea to vague collaboratively created it's time finally Clearly, it pays of to get your planning OK, my cardinal rule of scriptwriting waving - deep breath - to go away and write a absolutely licked before you even start would have to be: Don't Love it Too Much. distance of first draft of your script! typing “Scene 1...*. Again, the comparison Don't. Oh no. no. no. no. Don't, don't do the screen. Now. scripts are a much less labour to prose is useful: for most novelists the it. No. 16 FOCUS

Of course, you need to love it enough grisly indifference of an infanticidal pet rat one of the biggest challenges you face. to write it with passion and integrity and which eats its own young. There are some. ahem, challenges that's a difficult balance to strike, but if All my personal angst aside, however, that you can only chuckle at, though. A the project is too precious to you. you are it actually does stand to reason that recurring problem I find is the Booby­ only leaving yourself open to pain. pain, the opinions of many people from all trapped note. At a script meeting one of pain. and. possibly, ulcers. Save your other stages in the production process your colleagues will very insistently flag love for prose. You are much less likely to should feed into your rewrite. A novel is up a change to the story they are certain suffer heartbreak with a novel, because a complete edifice, an expression of one you should make. So. you're a pro. off you you only have, really, your editor to answer person and what they want to say. Most go and assiduously implement exactly to and argue with. In screenwriting importantly, it's a finished product. You those notes they gave you. However, EVERYBODY gets to chip in. and pretty don't get a package from Amazon with when you all come back to discuss the much everyone else has more power than the latest Dan Simmons and then have following draft the same person, point by you. This is especially and horrifyingly to hire a hundred other people to help point, vehemently criticises most all those true of film, as opposed to TV. you put it together. A script, by contrast, changes they told you to make, but - with TV is often described as a writer s is just the start of a film. To get it into a the bare-faced innocence of a babe - as medium, whereas many film producer's form where an audience can access it you if they were all your idea! Granted, this is would rather deal with a writer through need an army of other - equally skilled just human nature, but it doesn't make it a medium. Writers are considered, at - professionals to come in and apply their any less silly. best, a necessary evil and. at worst, an craft to the project. I like to think of a Interesting ethical questions can arise, un-necessary evil, which is why many big script as a framework, the bones of a film, too, if exterior talent is drawn into the American movies cavalierly start filming which everyone else comes along and project during its period of development. without even a finished script, having layers a beautiful skin onto. For instance, you might be encouraged it completed, piecemeal, as shooting Furthermore, it is naturally true that to rewrite or beef up certain characters progresses. It is also why all of those there are actually many, many quite in the script if an established performer movies are unmitigated horse shit. That'll fabulous, generous and creative people has expressed interest in the role. Were teach em. working in all levels of the screen trade they to come on board it would be much An added insult here is that, in film, - as there are in every industry - and it's easier to secure a budget, or a series you don't even own the rights to your quite possible to go through your entire commission, and it's very tempting to idea. Unlike TV. where you tend to retain career with nothing but happy, cordial capitulate. I was once asked to honey up ownership of the concept you created, working experiences to speak of. But. for a role in this manner, add a big speech, in film when a producer comes on board all the reasons outlined above. I d still include some more comedy business, they buy out the rights to your script so as say you should probably hold the whole because a famous actor - and friend to be able to "fully exploit the property". circus at a distance of. well, at least half of the producer - was tempted to take As I understand it this is supposed to an arm's length. the part. I was happy to do it. It wasn't mean that you can't, further down the The actual, physical process you go any great distortion of the material, line, suddenly throw a shit-fit and cause through when rewriting is pretty simple since the character in question was a major ructions in a multi-million dollar and deceptively benign. Once you have lot of fun. anyway, and able to bear the juggernaut, but it's still a tough trick. delivered your first draft - and a tong magnification II think the change helped What it means in practice is that, if you enough interval has elapsed for your the script a little, in fact! - but it does created a TV idea then you can always colleagues to read it and cogitate - you'll present an intriguing set of dilemmas, keep a hand in if you want to. and retain go back to the office to talk it over lit particularly if any of these aspects had some level of influence. In film, you can could happen over e-mail, but face to not been the case and caused me to risk be fired off your own script. Yeah, I had face is better and more common in my damaging the script by altering it. It is. to take a moment to let that one settle in experience!. You go in, you chat and however, just the way the world works when I first heard it. Smarts, doesn't it? receive their notes, then go away to write and canny professionals learn to tack It's not universally true, of course, but a second draft. You deliver it, they read it, into these winds and sail with them, not in creative disagreements over the content you return for more notes. Wash, rinse, against. of a novel a novelist should win out more repeat... ad nauseam (components of your One terrible, central reality, though, times than they lose. With a script your contract, notwithstanding). which the rewrite process reveals and odds are probably, what, one in five? Who For a writer rewriting is mostly always which you always have to be aware of is knows? Not great, and, yet, you are the horrible, and always, always necessary just how goddam long the process takes. guardian of the writing. You are the only but. due to the nature of the business, Screenwriting takes forever Seriously, person who has an overview of the whole you often get rushed into it before your you can get old waiting for your script narrative and people will miss crucial brain has quite had time to settle and get to hobble onto the screen |l m currently aspects of the story, tinkering with them sufficient distance or perspective from doing rewrites on an original script I first in a way which could throw off everything your first draft work. This can make it a wrote back in 19991. else. You are the one in a position to offer very painful process for the writer and But not here, in our little imaginary continuity throughout the making of the it's not uncommon to go through ten. article world, where everything is going film and you have to stick to your guns, twelve drafts or (many! more to get it well. In fact, much better than well... The speak up even though the momentum is right. Things will change, then change script is down. It's done. It's rewritten often not on your side. This doesn't make back, sexes of characters might migrate, to the nth degree. It's lean, it's tight, it's it any easier to accept or to deal with, and some may disappear entirely and. if things visual. The producers love it. the exec in some areas of the industry writers are aren't going well, it can be tough for you to producers love it. The money loves it! still routinely treated in a pretty appalling find solid ground amongst the constantly The broadcasters/studio love it. too. It's fashion. shifting morass of A plots. B plots, going to get made. Yep. actually be shot One option to avoid a sense of sullen midpoints and dangerously untethered and finally escape from the bindings of impotence is to become a writer-director inciting incidents flapping round the room. those bare, white pages. You've won, yourself and actually make the films you For everyone else the rewrite can be quite you're going to be okay! You can see the write. You retain far more control that a clinical process, but for the writer it's flickering silver - or cathode-ray - light at way, but that may not be the job you very personal and you feel like you are the end of the tunnel. had in mind. My advice? Maintain that constantly being judged and criticised. Run towards the light! Runl emotional distance from all screen work. Learning to deal with this constructively And good luck. Again, don’t love it. Don't merely kill your - and hang onto the spirit of that idea you Fingers crossed you don't need it when babies, treat them from day one with the wanted to write in the first place - can be the reviews roll in. 17 AxSPRING 2007 FOCUS UK SHORT FICTION MARKETS

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Post. To address above, smf or similar or on Pantechnicon By post from address above payable ■ disc IMS Word. RTF! www.pantechnicon.net 'Scheherazade' 1 Purchase Eds Andy Frankham-Allen & Trudi Topham nb Schehera’adescwtentedifocstep 1 £350 single issue. £9 50 three issue Medram: Online dow with next cut after that ftrtixe of the | subscription Genre Modern fantasy/sf/horror rrugiw c unclear 1 Online via Paypal by post to address above, Payment none Twisted Tongue payable'! Denyer' Submissions (Temp, closed to Ma length 50.000 [longer works will be submissions) serialised) www.twistedtongueco.uk Reprints considered/no simultaneous Editor Claire Nixon submissions/query belote submitting Medium: Pnnt/online. 4 per year www murkydepths.com Email editors Bpantechmcrm net Isend only Genre: Hotrot/dark fantasy/SF Eds. Terry Martin. Matt Wallace & GA synopsis initially) Ainsworth Post: no Submissions Medium Print. 4 per year Temp closed, reopens 1 May 2007 Purchase Genre ’Dark speculative fiction' SF/dark Max length not specified, will serialise Published free, online only fantasy/horror novellas Jupiter ** Payment 'prorated from 500 words up" Postscripts Payment £10 Io "Eds Choice'. others none Jupiter, 19 Bedford Road. Yeovil, Somerset, Email- Iwistedtonguel3blueyonder.co.uk. MS BA2I 5UG PS Publishing. Grosvenor House. 1 New Max length: 5.000 words (firm! Word, text attachments www.jupitersf.co.uk Road. Hornsea. East Yorkshire, HUI 8 IPG No reprints/no simultaneous or multiple Post: no Ed. Ian Redman www.pspublishing.co.uk Purchase Medium: Print. 4 pet year submissions Ed. Peter Crowther Email subsBmurkydepths com. word or rtf £150 pdl download. £4 50 single print issue, Genre: SF/poelry Medium: Print, < per year attachment only no subscription Payment: comp copies Genre. SF/fantasy/horror/crime & supense Post: no Payment Not set. pro-rates, on acceptance Online from www lulu com/twistedtongue Submissions Ma: length 10.000 words 12.000 min) Submissions £1.75 Issue 10 Ipromol. £4.75 single issue. No reprmts/no simultaneous or multiple Mar length: not set £16 four issue subscription submissions Query with synopsis before subrmtting/no Email submissior.saiupilersf .co.uk. MS Oniinewa Paypal multiple submissions Word/RTF attachments Email editorflpspublishing co uk Nemonymous ftet . to address above Post To address above, smf or similar (submissions close on Purchase 31 March, 2007) Purchase £2.75 single issue. £10 four issue www wordonymous esmartdesigncom (26 foui issue papertack subscription/ £100 four issue hardback subscription subscription Ed. Des Lewis Online via paypat or by post to address Online via Paypal. by post to address above, Medium Print, irregular payable ’Ian Redman' Genre Fantasy/honor/sf/slipstream above payable 'Peter Crowther' Payment £50 pet story Midnight Street Premonitions Submissions (temp, closed to Pigasus Press. 13 Haaely Combe. Arreton, Max length: 8.000 words submissions) Isle of Wight. P030 3AJ No reprints/no simultaneous submissions/ Immediate Direction Publications. 7 www.pigasuspress.co.uk Whispers of maximum 2 stories per submission Mountview. Church Lane West. Aldershot, Ed Tony Lee Wickedness Email Anonymously emailed Isee website Hampshire, GU1131N Medium: Print, irregular Whispers ol Wickedness. 9 Henry Cross lor details on how Io do this! in body of www.midnightstreel.co.uk Genre: SF/modern fantasy/horror/slipstream Close, Shipdham, Thetford, Norfolk, IP25 7LQ email, no attachments Ed Trevor Denyer Payment: £5 per 1.000 words www.ookami.co.uk Post: no Medium: Print. 3 per year Submissions Ed 0 Purchase Genre: SF/dark fantasy/horror/slipstream Max length- 8.000 words Medium: Print. 4 per year/online Email dflewis480hotmail com lor back Submissions No reprinls/no simultaneous or multiple Genre: Horror/dark tantasy/sf issues, no subscriptions Max length 6,000 words (some flexibility! submissions Submissions nb PMis/ik stones anonymously - author Reprints considered/no simultaneous or Email: no Max length: 4.000 words 12,000 online! credits only pMiM in subsequent issue multiple submissions Post to address above. SME or similar No reprints/no simultaneous submissions/ or online post-publication In Nemonymous 1 Payment: £2 50 per 1.000 words, comp copy Ireit issue/ata til authors names mil h? Purchase Emad tdenyerBntt world com. in body ol Payment none, comp copies published« random order m the magazine, £4.50 pet issue, no subscription email or as attachments Emad whisperstBookam co uk. attached but readers mH iWInow wrote each story Online via Paypal or by post to address above payable Tony lee’ MSWbtdHe Post: no Medium Print. 2 per year Genre Hornxftantasy/SF Scheherazade Purchase (closed to submissions) £3 smgle issue, £10 four issue subscription Online via Paypal or by post to address Max Length 8.000-20.000 words 14 Queens Park Rise. Brighton. BN? 92F abtwe payable' Peter Tennant' No reprmts/sanultaneous submissrarts wwwsctaco.uk allowed/no multiple submissions Ed Elizabeth Counthan Payment £35 per story and three compb- Medium: Print, irregular RECENT PASSINGS mentary copies Genre: SF/fantasy Two magazines. Scrfan/astic and Here & Email submissionsi3tnquorum.com. Payment Token Now both declared to be dead markets in attached MS Word or RTF files Submissions early 2007. Post: to address above. SMF Currently closed to all submissions Status unclear after next issue [see note) SOMEONE MISSING? £5.99 single issue, no subscription Email: No We've tried to make this list as compre­ hensive as possible, but if we've missed Triquorum, Pendragon Press, P0 Box 12. Online via Paypal Post: Not at present Maesteg, Mid Glamorgan. CF34 OXG Fnguorum publishes only novelettes ■ stories Purchase a market then please get in touch with Focus at: www.triquorum.com mth a minimum 8,000 words up to 20.000 £3 50 single issue/£9 00 last Iwo issues * Editor: Christopher Teague Fabulous Brighton anthology focusmagazineiantlworld.com 19 A LESSON IN PURPOSE: GIBSON'S GERNSBECK CONTINUUM

I was a teenager when I first read Gibson sweeps him across California. - the echo of jazz.” William Gibson, some time ago in That much geographical movement Gibson is a unique voice and an the 1980s. His writing has influenced in a short story could be too much, obvious pitfall in reading him closely my understanding of what both but the narrative stays tightly focused is that you end up mimicking him. science fiction and fiction itself can as the story unfolds. The Californian However, studying how his voice accomplish. His novels present cities are emblematic of the different speaks can show you how to develop fully realised, three-dimensional flavours of America, filled with "Coca­ your own: what words work, how long universes. He immerses you, as he Cola plants like beached submarines, to spend on each scene, how much immerses his characters, in the heart and fifth-run movie houses like space to devote to each character. of the story and the worlds that he the temples of some lost sect that Bruce Sterling wrote that builds. had worshipped blue mirrors and "Gernsbeck" is ultimately about Dev Agar­ Recently I’ve been rereading his geometry". science fiction itself, "the shambling wal has collection Burning Chrome. "The The story balances conflicting figure of the SF tradition." The published Gernsbeck Continuum" in particular tones - humour and terror both narrator confronts an alternative non-fiction offers lessons in brevity, specificity, feature when the protagonist is universe where the world evolved in vari­ and conjuring a sense of place in an confronted with a vision of the future from the Aryan perfection of Amazing ous genre absolute minimum of words. filled with blond Aryan supermen. Stories. In "Gernsbeck", this world publications I have been told that I can be too This moment typifies the trick of of perfection collides with the post­ and fiction ornate. Gibson is the very antidote effective SF. as the reader is moved Vietnam cyberpunk generation of the in Aeon, to ornate writing, as he builds mise credibly from the everyday to the 80s. The story is a complete piece: Altairand en scene with barely any authorial fantastical: clever, humorous and with a distinct Albedo One. intrusion. "I penetrated a fine membrane, a conclusion, and offers the further His story Gibson also excels at balancing membrane of probability... lesson of having a purpose to your "Queen of detail with storytelling and crafting "Ever so gently, I went over the fiction. Engines" evocative moments. In "Gernsbeck" There is nothing ornate about this is an the protagonist is located in London "And looked up to see a twelve- writing. There is nothing even dated honourable through the specificity of a Greek engined thing like a bloated about it. The story was first published mention in taverna on Battersea Park Road. He boomerang, all wing, thrumming its in 1981, and in the intervening years the current then pauses in Tucson with a vivid way east with an elephantine grace, cyberpunk has fallen in and out of Tear's Best description of drinking beer by a so low that I could count the rivets in fashion. Good writing, however, Fantasy & poolside in brilliant sunshine, before its dull silver skin, and hear- maybe hasn't. Horror.

Couch, n.

Soft, squishy and voluminous organism whose unusual mode of reproduction involves locating itself near a television set and secreting a skin-absorbed retrovirus containing couch-genes.