I’ve been out and about online this week, expressing a few thoughts.
Discussing the women of The Aldabreshin Compass for the Bristol Books Blog Since noble women in the Aldabreshin Archipelago are all about glamorous frocks and fabulous jewellery, how exactly is that an image of female empowerment?
As well as her guest post here Gail Z Martin has written a very interesting piece for Barnes & Noble on “All Kinds of Strong”. Not yet another post about strong female characters but considering the many and varied forms that strength of character can take, irrespective of gender.
Martha Wells flags up five books with unusual methods of travel over at Tor.com It’s long past time writers were bolder in thinking outside this particular box.
Fantasy Cafe’s Women SF&F Month is well worth browsing through. A post that particularly caught my eye this week looks at Tomboy Princesses.
Lastly but by no means least, and while not directly related to writing, assuredly relevant to challenging historical assumptions, the National Gallery in London has a new exhibition featuring people of African and Asian heritage in 19th and early 20th century Britain.
Thanks to Wizard’s Tower Press successfully navigating the various arcane procedures demanded by Amazon etc, the ebook edition of Eastern Tide can now be purchased from your preferred e-retailer.
Getting the final volume of The Aldabreshin Compass out in ebook has set me thinking about the challenges for a writer when it comes to concluding a series. Since I’m always interested to know what other authors think about a topic that’s got my attention, and noticing her current epic fantasy story is now reaching its own conclusion, I invited Gail Z Martin to share her thoughts on this particular topic. As you’ll see from reading this piece, that was an email very well worth me sending.
Gail Z Martin
When the End Comes
By Gail Z. Martin
Saying goodbye is hard, especially to the people who have been living in your head.
Ending a series is bittersweet, because it brings a story arc to a conclusion, but it often means that those characters who have been in your thoughts every day for years, maybe decades, won’t be hanging out with you anymore.
So how do you wrap up a series in a satisfactory way, and in today’s digital publishing world, is goodbye ever really forever?
I’ve put a bow on two series now: The original Chronicles of the Necromancer/Fallen Kings Cycle series that runs from The Summoner to The Dread, and the Ascendant Kingdoms Saga series that ranges from Ice Forged to Shadow and Flame. I’m happy with the outcome in both cases, but it’s always sad to reach the end of the journey.
As a reader, I still feel sad thinking about series that ended the adventures of characters I’d come to love, like the Harry Potter series or the Last Herald Mage series. The series came to a planned conclusion, but it was still sad nonetheless that we wouldn’t be going on new journeys together. Having those experiences helps me make my own decisions as an author to give readers the best wrap-up possible and leave the characters at a good stopping point.
For the record, I think the whole debate about ‘happy endings’ is bull. A book’s ending is an arbitrary point chosen by the author. In the real world, we all have good days and bad days. If we are telling a story and chose to end the write-up on the character’s wedding day or the birth of a child or a big business success, that would be a ‘happy ending’ but it doesn’t ensure that tomorrow the character wouldn’t be hit by a bus, which had the story continued would make it a ‘tragic’ ending. That’s why I don’t think happy endings in and of themselves, properly led up to and reasonably executed are unrealistic. It’s an arbitrary decision of when we stop rolling the film on our character’s lives and let them go their way unobserved. I don’t buy into the idea of tragedy being more real or honest than happiness, or that a tragic ending is more legitimately literary than giving your characters the chance to go out on a good day.
So here’s what I think matters when it comes to wrapping up a series or a multi-book story arc:
1. Wrap up the loose ends. Make sure you’ve got all the characters accounted for, the plot bunnies caged, and the stray threads tucked in neatly. Don’t leave us wondering ‘whatever happened to …”
2. Give us closure. It may turn out that fate and free will are illusions and everything is mere random chance, but if it does, human minds will still be driven to assign meaning and context. So whatever journey or quest your characters have taken, make sure that by the end, we know what it all meant and what comes from it. Leave us with a sense of purpose.
3. Glimpse the future. None of us knows what tomorrow brings, but that doesn’t stop us from making plans. So have your protagonist face the future with the intent to move forward, and let us know what that looks like.
4. Provide emotional satisfaction. If you’ve made us care and cry and laugh and bleed for this character, then the least you can do is give us the emotional satisfaction of knowing how the character feels when it’s all over, and perhaps how the other key characters feel as well.
Now for the second part—do we ever have to really reach the end? Thanks to ebooks and the advances in self publishing, it’s possible for authors to continue to create new adventures in series long after the books are out of print or a series has officially ended. After all, authors can make a profit off self-pub sales levels that are far below what a traditional publisher considers viable. Readers love to get additional canon stories. And of course, there are also a growing number of book series that have been reanimated by new writers (Dune, for example) after the original author dies.
I truly think that series extension via ebook is going to continue to grow. There’s a lot of upside, and very little downside. I’ve written three novellas in my Ascendant Kingdoms world that fill in part of the six-year time gap that occurs early in Ice Forged, and I have another three in mind for later this year. (The three stories currently available are Arctic Prison, Cold Fury and Ice Bound, and the coming-soon collection of all three is The King’s Convicts.) They’re every bit as much ‘canon’ as the books, but they’re extra stories that flesh out characters and set up later events.
Likewise, my Jonmarc Vahanian Adventures are prequels to The Summoner, adding up eventually to three serialized novels of backstory for a very popular character. So far, there are 18 short stories and there will be three more novellas by the end of the year. And in the case of the Jonmarc stories, the original publisher asked to do a collection of the first ten short stories plus an exclusive eleventh and bring out the collection in print and ebook (The Shadowed Path, coming in June 2016). That’s a win for me, for readers and for the publisher, because it keeps existing fans happy while potentially bringing in new fans, and it helps me keep a light on for the characters until I get to write the other six books in the series that are bouncing around in my brain.
So there you have it—goodbye doesn’t have to be forever. Every series ending is the beginning of a new series extension. Virtual immortality, for our virtual characters. Seems like a win-win-win to me!
About the Author
Gail Z. Martin is the author of Vendetta: A Deadly Curiosities Novel in her urban fantasy series set in Charleston, SC (Solaris Books); Shadow and Flame the fourth and final book in the Ascendant Kingdoms Saga (Orbit Books); The Shadowed Path (Solaris Books) and Iron and Blood a new Steampunk series (Solaris Books) co-authored with Larry N. Martin.
She is also author of Ice Forged, Reign of Ash and War of Shadows in The Ascendant Kingdoms Saga, The Chronicles of The Necromancer series (The Summoner, The Blood King, Dark Haven, Dark Lady’s Chosen); The Fallen Kings Cycle (The Sworn, The Dread) and the urban fantasy novel Deadly Curiosities. Gail writes three ebook series: The Jonmarc Vahanian Adventures, The Deadly Curiosities Adventures and The Blaine McFadden Adventures. The Storm and Fury Adventures, steampunk stories set in the Iron & Blood world, are co-authored with Larry N. Martin.
Her work has appeared in over 25 US/UK anthologies. Newest anthologies include: The Big Bad 2, Athena’s Daughters, Unexpected Journeys, Heroes, Space, Contact Light, With Great Power, The Weird Wild West, The Side of Good/The Side of Evil, Alien Artifacts, Cinched: Imagination Unbound, Realms of Imagination, Clockwork Universe: Steampunk vs. Aliens, Gaslight and Grimm, and Alternate Sherlocks.
Find her at www.AscendantKingdoms.com, on Twitter @GailZMartin, on Facebook.com/WinterKingdoms, at DisquietingVisions.com blog and GhostInTheMachinePodcast.com, on Goodreads and free excerpts on Wattpad
Wizard’s Tower Press will be rolling out the ebook edition of Eastern Tide to the usual online retailers this week. Exactly where it appears and when will largely depend on their arcane processes, so I’ll post updates when sightings are confirmed.
Meantime, here’s the fourth of Ben Baldwin‘s superb illustrations to whet your appetite And do feel free to contact Ben if you’re interested in having prints of these wonderful covers to hang on your walls.
Artwork by Ben Baldwin
There’s another interesting piece for the ‘Nobody Knew She Was There’ series on Sarah Ash’s blog. Stephanie Burgis explores what inspired her to become a fantasy writer – and how Joseph Haydn and the world of eighteenth century opera appear in her latest novel: Masks and Shadows.
And do check out Sarah’s own books as well as Stephanie’s, just as I heartily recommend Kari Sperring’s work alongside Justina Robson’s. All very different writers but equally worthwhile reading!
Over at Fantasy Cafe, Kari discusses Justina’s Quantum Gravity series – the books and their reception. OUR BODIES, OUR STORIES, OURSELVES.
I’m a great fan of this series – as evident from this snapshot review I wrote back in the day
Science and dragons overlapping show how hard drawing the line between fantasy and SF can be. Justina Robson’s Quantum Gravity series erases that line altogether. In this near-future world, the quantum explosion of 2015 linked Earth to the elven, fey, demonic and elemental realms, not to mention the death dimension. In Keeping It Real (Gollancz 2006) and Selling Out (Gollancz 2007), logic and weirdness combine to make perfect sense.
Special agent Lila Black is a fusion of woman and machine assigned to protect an elven rock-star who someone’s trying very hard to kill. Who’s showing abilities that should be impossible given the nature of Zal’s innate magic. This is something of particular interest to Lila’s handlers, given humanity’s lack of magic is proving rather a disadvantage. If either of them are to survive, she must keep all her wits about her, picking and choosing among allies and enemies alike. It’s no use relying on the artificial intelligence plugged into her brain or incidental advantages like guns in her forearms and rocket-jets in her heels. The series thus far is vivid with inventive detail and the unexpected continually erupts to shake the unwary reader.
For those of you who do Facebook, there’s a story-by-story readalong going on in the Fantasy-Faction – Fantasy Book Discussion page. Since my story was first up, I was naturally delighted to read
*Coins, Fights and Stories Always Have Two Sides*
There’s three things I love about this first story by Juliet E McKenna.. First, it’s logical and realistic. There’s as much detail about Erlin’s day to day life as you need to know that he and the other camp followers live hand to mouth just like the soldiers, every action has a consequence, and there’s no bottomless bag of rations or gold coins for adventurers to live on. Second, following on from that, there’s grit – but not grim. A subtle difference that I think makes the punches hit harder. Third, Juliet has a real way of giving snappy character descriptions that stick – one guy is just called croppy-head, another just the snake. I saw the twist coming, but it’s not quite what you think…
And the discussions of subsequent stories have been very interesting.
Last but by no means least, there’s a new podcast to check out. Breaking the Glass Slipper kicks off by discussing gender inequality in ‘best of’ lists.
The team introduces themselves thusly
Welcome to the brand new podcast, Breaking the Glass Slipper. There are so many wonderful women writers of science fiction, fantasy, and horror but they are often overlooked.
This podcast series was inspired by writer Juliet McKenna who recently commented on her blog about the many so-called ‘best of’ genre fiction lists that were conspicuously lacking in entries written by women. Science fiction, fantasy, and horror are genres created and loved by women as much as men, and yet the majority of the dialogue surrounding them still suggest that women are in the minority. We are here to prove to all genre lovers that there is a place for female writers and great female characters amongst the men folk!
Join your hosts, Megan Leigh, Charlotte Bond, and Lucy Hounsom as they discuss the genres they love, writers they envy, and characters they wish they could be.
I think that should be enough to be going on with over the weekend
EDITED TO ADD – Marie Brennan on The Series Payoff. With the ebook edition of Eastern Tide about to hit the virtual bookstores, this is naturally of particular interest to me!
Now I really will go and do some other work.
I’m very much looking forward to the return of A Game of Thrones on the telly. Though it will be a different experience this year. I won’t have to spend the next couple of months trying to telepathically divine if an article I’m about to read will include a massive potential spoiler from someone who’s already read the books. Because while I’m up to date now, I hadn’t read any of the stories behind the series before it hit the screens.
Wait, what, how? I’m an epic fantasy writer, surely… But here’s the thing. I find it incredibly hard to read epic fantasy for enjoyment while I’m actively writing a novel in that genre myself. I’m too focused on issues of craft and analysis to just lose myself in a story. I did buy a copy of A Game of Thrones back in 1999 but it sat on the TBR shelf for years…
Until word of the television series spread. At which point I very firmly put it aside. Because I wasn’t about to miss the opportunity of seeing an epic fantasy on the screen where I didn’t already know the plot. One of the things that’s stayed with me ever since watching The Fellowship of the Ring with my then-young sons, was how very different their viewing experience was to mine, since they had no idea what was coming next. As far as they were concerned, Gandalf was dead and done with. In The Two Towers, they were on the edges of their seats with anxiety over the outcome of Helm’s Deep. Actually, one of them ended up on my lap. I wanted something of that for myself for a change. By and large, I’ve mostly succeeded.
Then, at the end of each season, I’ve read the books up to the point the TV story has reached. That’s been extremely rewarding, as a reader and as a writer. I’ve had the visuals and voices from the production’s designers and actors to enhance my imagination. I’ve also had the chance to appreciate the adaptation’s choices and to assess the different opportunities and impacts on offer through written versus visual storytelling.
What now, though? I won’t have The Winds of Winter to hand when the end credits on Series Six’s final episode roll. Happily there’s plenty of other epic fantasy to read, so how about we share a few recommendations? Need not necessarily contain dragons. I’ll kick things off by recommending Stella Gemmell’s The City – with the review I wrote for Albedo One magazine below.
Though you needn’t write a lengthy analysis in comments yourself – the title and author is sufficient. That said, feel free to share what makes you particularly enthusiastic about a book and/or to flag up a review elsewhere.
Stella Gemmell – The City (Bantam Press/Transworld)
The reader’s double-take here will be because while Gemmell is a name synonymous with the gritty, realistic tradition, this story is written by Stella, not David. Surely this makes the debut novel hurdle ten times higher than it is for most writers. How many people will read such a book primed to dismiss it as shameless cash-in or pale imitation? Even though it’s a matter of record that Stella Gemmell is a journalist in her own right and worked with her husband on his Troy trilogy, concluding the last one after his death. Well, I didn’t read the Troy series; as a Classics graduate I very rarely read anything derived from texts I studied so thoroughly at university. So I’m coming to The City entirely new to her writing.
Stella Gemmell’s skills as an author are immediately apparent. There’s a sophistication in the story-telling as the episodic structure commands attention and engagement from the readers. A disparate and separated cast of characters are initially wandering the sewers beneath a great city, reminiscent of Byzantium but with a character all its own, and troubled by the first hints of slow-moving disaster. Though the flood that sweeps through the sewers is anything but slow-moving, sundering and reassembling the men, women and children who we’ve just met. Bartellus, former general, disgraced and tortured for a crime he’s not even aware he committed and no one ever explained. Elija and Emly, fugitive and orphaned children who barely remember daylight. Indaro, warrior woman, torn between her duty and her longing to escape what she’s seen and done.
When the flood has come and gone, the story has leaped forward and the reader must work out how this fresh narrative relates to what has gone before, and fathom links between old and new characters such as Fell Aron Lee, aristocrat and famed general coming up hard against the unwelcome realities of life as an epic hero. Meantime, readers must also piece together the emerging pieces of the plot, by which I mean both the story itself and the conspiracy that’s developing to challenge the Immortal Emperors. It’s their insistence on perpetual warfare which is ruining so many generations’ lives. Gradual revelation poses successive questions which prove to have unexpected answers. From start to finish, the tale is impressively paced with constant surprises, not least where apparently trivial elements seeded early on come to fruition, and as the scope of the storytelling goes beyond the City itself, to show us its place in the wider landscape and the history of this world.
There’s more than enough death and brutality to satisfy grimdark fantasy fans but from the outset there’s something more and richer. There’s compassion in Stella Gemmell’s writing that’s all too often lacking in current epic fantasy, leaving those stories sterile and readers distanced. Here, readers will be drawn into caring over the fate of even minor characters. More than that, the rising death toll isn’t merely there to thrill readers with vicarious slaughter. Just as Gemmell assesses the cost to common folk of selfish noble ambition, she also reveals how the suffering that results is essential to creating men and women with the dogged endurance, physical and mental, needed to challenge their Imperial masters. Especially since this is epic fantasy, not alternate history, and that means magic at work. Gemmell thinks through all the implications of the Immortals’ sorcery with the same mature intelligence, right to the very last page, leaving the reader to ponder what might follow after the book is closed.
This is the most satisfying, intelligent and enthralling epic fantasy I’ve read in many a year. It stands comparison with the finest writers currently developing and exploring the enthralling balance between realism and heroism in the epic fantasy tradition that David Gemmell pioneered.
Over at SFFWorld, the assorted authors of the Fight Like A Girl anthology have been having a say about oh, all sorts of things. Part One of the mass interview is now up and Part Two will follow at the end of this week.
Meantime, Roz Clarke has posted her video highlights of the launch day in Bristol over on YouTube. You’ll want to settle in with a tea, coffee or other beverage of choice as it’s 50 minutes worth of readings, discussion and sword/knife fights. In which I demonstrate various things including how to get someone to cut their own throat without leaving any of my fingerprints on the weapon
Digging around in the hard drive for something else entirely, I found some photographs which prove the now-Student Son’s interest in Star Wars cosplay really is nothing new…
(posted with his permission)
Mummy’s little Sith, at the Art of Star Wars exhibition, the Barbican, London. August 2000.
Return to the Light Side, fancy dress birthday party, June 2002
(Light saber blade courtesy of Dad and some photoshop-type software…)
ComicCon 2015 All grown up… and yes, that’s now a ‘real’ light saber…
I never imagined I’d have so much in common with Leia Organa
I once had an amiable conversation with a scientist who genuinely couldn’t see what so enthrals me about history. When it’s happened, the past is done, according to him. Once you know the facts, where else is there to go?
Ah, but whose facts? Because this isn’t maths where a particular equation always gives the same result or chemistry where adding Stuff A to Stuff B has a predictable, repeatable outcome. One of the most fascinating things about studying history is analysing the interpretations of a particular set of known facts and seeing what that particular view tells us about whoever drew those particular conclusions. Because historical scholarship invariably tells us as much about the time and place where it was written, and about who wrote it, as it tells us about the actual historical period under discussion.
For those who were interested when I talked about this at Fantasycon 2015 – and begging the indulgence of any genuine academics reading this – here’s a brief and necessarily broad-brush look at the ways in which classical Greek homosexuality has been viewed in successive decades. Because as the first hand sources make very clear, intense friendships between teenage boys and older men were common and even encouraged. This much is known – but what exactly does that tell us about the society of Athens in the 5th century BCE, according to the historians?
According to classical scholars writing in the 50s and 60s, these were perfectly wholesome relationships where gentlemen with more worldly and military experience would mentor and advise the next generation of Athenian citizens – and there’s absolutely no reason to assume any sexual component to these relationships. NOT AT ALL, according to the prevailing not-very-sub-text of those scholars, because as we all know, Decent Chaps Do Not Get Up To That Sort Of Thing! They would cite the mockery of effeminate characters in Aristophanes’ comedies as indisputable proof and move briskly on.
The thing is, these scholars were not in denial. They weren’t lying or distorting the facts. But they were most assuredly viewing the past through the lens of their own times and society. These are academics who would have been educated and be working in predominantly if not exclusively male environments where the Old Boy Network was a flourishing institution. Given study of the classical world was considered to be the study of history’s greatest thinkers and institutions, a shining example for civilized men to emulate ever since the Enlightenment, seeing similar relationships to their own at work in Classical Athens merely served to endorse their belief in the essential and inevitable benevolence of the patriarchal status quo.
More than that, given the way in which that particular system of education considered the classical world’s stamp of approval defined so much that was worthwhile and praiseworthy, the idea that these friendships could have been homosexual relationships is quite simply untenable for them. Because these men grew up, were educated and were writing in an age when homosexuality was illegal. And not merely illegal in a way that wasn’t actually a problem because kindly, blind eyes were turned. Gay men were imprisoned. They lost their jobs and their families. Some killed themselves. Some killed others to protect their shameful, filthy, guilty secret – as it was seen back then. If you want some idea of society’s prevailing views and their reflection in the media, look into the case of John Vassall, a British civil servant who was blackmailed into spying for the KGB. If the Profumo Affair hadn’t come along, Vassall’s case would be the definitive 60s sex scandal.
So for those scholars to uphold classical civilisation as an exemplary model on the one hand and on the other, to accept that it also included behaviour which they’d been taught to believe was repellent, was quite simply impossible.
Fast forward to the 1970s and 80s when legalisation and the gay rights movement meant gay men could be out, loud and proud, challenging prejudice head on. Now we can find classical scholars offering very different views. Of course all these relationships were fully and physically homosexual, as far as their equally honest and sincere interpretations are now concerned. Without the shame-based culture promulgated by subsequent religions, men in Classical Athens were able to express their natural sexuality exactly as they wished before the obligations of citizenship demanded wives and children from them. Bisexuality was effectively the norm, not the exception, certainly according to some.
Obviously, a degree of decorum was expected. According to this scholarship, that same mockery in Aristophanes makes it plain that the 5th century equivalent of aging, flaming queens were a joke. But homosexuality itself was entirely accepted and acceptable – which of course means that those gay rights proponents could and would now claim that very same Classical Civilisation Stamp of Approval previously so jealously guarded by The Establishment.
Fast forward again to scholarship in the 21st century and to current interpretations informed by the ways in which understanding of gender and sexuality is moving beyond a purely binary view. Not only as a result of campaigners’ efforts but also as an unforeseen consequence of other things. After decades of denial, the issue of AIDS forced civil and military authorities to acknowledge the reality of same-sex encounters in all-male environments such as prisons and the armed forces. Public health considerations required supplying condoms both for avowedly gay men and for those who would have same-sex liaisons even though they still considered themselves wholly straight and who opted for heterosexual relationships outside such environments. Which, for instance, casts quite a different light on Socrates sharing a blanket with Alcibiades while on military service and subsequently marrying a woman as a good Athenian citizen was expected to do.
These days the idea that young men might experiment sexually with each other before settling into heterosexual marriage is (hopefully) unremarkable. Now Aristophanes’ mockery is seen not as lampooning gay men for their sexuality but as targeting those whose excessive self-indulgence of sexual alongside other appetites mean they are failing in their duties as citizens. Provided a man meets those obligations, how he chooses to satisfy his sexual desires, gay or straight, isn’t the central issue, according to current readings. Add to that, there’s now plenty of evidence for male and female prostitutes working in classical Athens and no stigma in visiting them.
Which isn’t to say that these relationships between teenage boys and older men aren’t a concern for current scholars. It’s the cause for concern that’s changed. When 5th century sources say that the younger partner should be beardless and with hairless thighs, does this mean prepubescent? If so, academics are now very keen to discuss how very much later puberty occurred in the days before modern nutrition, with secondary sexual characteristics appearing as late as sixteen or seventeen years of age. And how old is the senior partner in that particular historical context? Primary evidence is emphatically cited for such relationships only being socially acceptable for men up to their late twenties or early thirties. Scholars flag up contemporary sources condemning those in their forties and fifties seeking out the very young – in other words, exactly the sort of men whom we now consider predatory paedophiles. It’ll be interesting to see if these interpretations still stand unchanged in twenty years’ time or if they are considered at least in part, as a reflection of this particular decade’s belated acknowledgement of, and overdue resolve to prevent, child abuse.
So it really is at least as important to look at who’s telling you something about history, and the time and context within which they are working, as it is to look at the thing itself. Personally I think this is particularly important for writers of epic fantasy who may well start out, at least, by drawing on the history they recall from school and on general resources, particularly online, which are far more likely to draw on recycled and outdated material than to be keeping current with the latest academic research.
And of course, looking at who’s telling you something is an equally valuable skill when it comes to analysing the pronouncements of modern politicians and the mass media so eager to push their own political and commercial agenda. As Cicero used to say – and he was no slouch when it came to manipulating opinion – ‘Cui bono?’ Who benefits?
Over on Kate Elliott’s website, I’ve contributed a piece on Tropes to her Worldbuilding Wednesdays series of posts – all well worth reading, incidentally, just like her novels.
Just what is a trope and what should you do with it?
It’s one of those words batted back and forth in creative writing conversations, and if everyone else nods wisely but you don’t actually know what it means mostly you’ll mostly sit quietly and try to work out what it means from context.
Unless you can stealthily look up a definition in an online dictionary. Though that may not be overly helpful. According to the Concise OED, it’s ‘a figurative (e.g. metaphorical or ironical) use of a word’, from the Greek/Latin for ‘to turn’. Merriam Webster is more useful. ‘A common or overused theme or device’.
Oh, so it’s another word for cliché? Yes and no, and this is why this particular word has become useful in discussions about plot, character, setting and all the other intricacies of creating convincing fiction.
Meantime, over on Joshua Palmatier’s blog, the Table of Contents for ALIEN ARTIFACTS has been announced.
What’s this particular anthology about? Well, here’s the back cover copy…
What might we run into as we expand beyond Earth and into the stars? As we explore our own solar system and beyond, it seems inevitable that we’ll run into aliens … and what they’ve left behind. Alien artifacts: what might they reveal about us as we try to unlock their secrets? What might they reveal about the universe?
In this anthology, nineteen of today’s leading science fiction and fantasy authors explore how discovering long lost relics of alien civilizations might change humanity. Join Walter H. Hunt, Julie Novakova, David Farland, Angela D. Penrose, S.C. Butler, Gail Z. Martin & Larry N. Martin, Juliet E. McKenna, Sharon Lee & Steve Miller, Andrija Popovic, Jacey Bedford, Sofie Bird, James Van Pelt, Gini Koch, Anthony Lowe, Jennifer Dunne, Coral Moore, Daniel J. Davis, C.S. Friedman, and Seanan McGuire as they discover the stars and the secrets they may hold—both dark and deadly and awe-inspiring.
My story now has a title, The Sphere, and if you click through you can look for clues in the list of tales from everyone else. As well as seeing the very fine cover art and for details on the book’s publication date and how to order it.
And by the way, do check out Joshua’s books, and novels from his alter ego Benjamin Tate, the next time you’re looking for a good read.