ALT.Chronicles Legacy Fleet

 

ALT.Chronicles Legacy Fleet

ALT.Chronicles Legacy Fleet

Sometime last night another anthology dropped. This one is a little different and very special as a result. It’s already hit #1 in Kindle Store > Kindle Worlds > Science Fiction & Fantasy and we got there in less than 24 hours which may be a new record for a Peralta gig.

Featuring stories by Nick Webb, Will Swardstrom, J.E. Mac, David Adams, Ralph Kern, Patrice Fitzgerald, Kev Heritage, Jon Frater, Matthew Alan Thyer, Peter Cawdron, K.J. Fieler, Joseph Robert Lewis, Christopher J. Valin, and Felix R. Savage. Edited by Therin Knite. 

These are the untold stories from the Legacy Fleet universe – a universe of conflict , of alien invasion, and of human resistance and courage in the face of overwhelming odds.Spanning a time between the First Swarm War – and humanity’s first devastating encounter with the alien race – and the events of the Legacy Fleet trilogy, these fourteen stories chart the human drama behind an epic 75-year vista of Earth’s expansion in space, and the dawn of the Second Swarm War.Stories like these:

A man mentally linked to the alien Swarm weighs the cost of reaching out to them through the link, to stave off humanity’s destruction…

A group of friends in the Air National Defense discover firsthand the terror in mankind’s first encounter with the deadly Swarm…

A destroyer discovers a dormant Swarm carrier, that suddenly awakens…

A training academy cadet finds her legendary strategy in ship-to-ship battle simulation inexorably changing her own life…

A flight engineer begins to uncover the truth behind a decades old conspiracy theory, that now threatens the survival of the human race…

…And nine more stories, from the creator and authors of The Future Chronicles, the #1 bestselling speculative fiction anthology series on Amazon today.

If you loved the movie, if you loved Legacy Fleet, you’ll love the television series. Because here it is, the entire season, this amazing collection of episodes, of short stories–Alt.Chronicles: Legacy Fleet.

The early reviews are excellent too. Take for example:

ACLF_Review

People are enjoying the stories, that’s great news. Right now the anthology is selling for $3.99 US which is about a dime cheaper than the cup of awful coffee I just paid for. I poured it out and will replace it as soon as I can get to the good coffee shop. Take a good, long look at that cup you’re holding in your hand. Can you afford to support the arts? Probably.

Advertisements

Chronicle World’s Legacy Fleet

LegacyFleet

Yeah, this is an announcement with a cover reveal. Coming in August from The Future Chronicles and the universe of Nick Endi Webb‘s bestselling trilogy Constitution, Warrior, and Victory.

CHRONICLE WORLDS: LEGACY FLEET


Chronicle Worlds: Legacy Fleet is Samuel Peralta, Nick Endi Webb, Therin Knite, Dave Monk Fraser Adams, Peter Cawdron, Patrice Fitzgerald, Kat Fieler, Jon Frater, Kev Heritage, Ralph Kern, Joseph Lewis, James McCormick (J.E. Mac), Felix R Savage, Will Swardstrom, Matthew Alan Thyer, Christopher Valin

Interview with Susan May

Susan May

Susan May


Not only has author Susan May written a very compelling contribution to the FROM THE INDIE SIDE anthology this collection is largely her brain child. The story of how this came to be is told well in this interview of Suspense Magazine and it too is compelling, much because it underscores the idea that all a writer needs is one part good idea, one part determination, and one part words in a manuscript to find success in publishing.

Susan May is a mom and a author who has turned out some excellent writing. I got the opportunity to talk shop with her recently and if you’re looking for some excellent advice than I recommend that you read on.


MT THE WAR VETERAN was a difficult story for me to read. Your descriptions of Jack Baker’s life long guilt and PTSD induced anxiety, while not the same as my experience, provoked me in a way I found simultaneously uncomfortable and familiar. Excellent writing from start to finish. Even while I suspected what you might be doing with the story I felt compelled to read on, knowing that there must be some resolution, wondering how Baker would end. All the while feeling some kinship with this survivor of a different conflict. What about the horrors of war and the example from Salinger compelled you to write this story? Without giving too much away, was there an idea, beyond the carnage of battle, that you wanted to explore with this piece?

SM Thank you for your wonderful compliment. I guess Jack Baker puts paid to the idea that writers cannibalize their our own experiences. I’m a mom in Perth, Western Australia and I’ve no experience of war except what I’ve seen in films and read in books. I’m a long way from being an octogenarian, too. So Jack’s about as far from my experience as you can get.

While watching the Salinger documentary I was simply struck by something said by one of Salinger’s war buddies. He talked of still seeing armaments explode in his living room and bedroom fifty years after he experienced them. He didn’t preface it with “visions” or “imagined,” he saw these things as if they were real. I couldn’t stop imagining how terrible the original event must be to create that.

I don’t plot my stories, so all I had was that image. The battle scene, Jack’s guilt, all came from Jack. In fact, the scene on Omaha Beach came as a surprise to me. When I realized Jack was taking me there, I was forced to do some research. So I listened to recordings of surviving soldiers and read transcripts. What I wanted to explore was the aftermath, not the battle. What happened on that beach to create Jack’s guilt was all Jack behaving instinctively as a character. I wanted him to be a hero because that’s what happens in the movies, right? But he couldn’t be. He was just a normal person faced with an extraordinary situation.

MT Michael Bunker has mentioned that you were the originator and primary orchestrator of the FROM THE INDIE SIDE project. Bringing together this many independents authors must have been a challenge at times. Were there low points, when you thought the project might not ever make it to press, that you were able to overcome? Were there learning experiences that you might share with writers who might be interested in following your lead?

SM I’m an eternal optimist, so I never thought we wouldn’t get the book published. What I didn’t realize at the onset was what a huge job it was to manage an anthology project, especially with three of us conferring with each other.

I’m twelve hours in time difference from David Gatewood and Brian Spangler who live on the east coast of the USA, and that was the thing that was most challenging. A few times I’d wake up to a dozen emails, in which I was copied in, of them discussing something that I missed because I was asleep.

When it came to bringing together the authors, that was easy. Hugh Howey had enthusiastically agreed to participate back in May 2013 after I interviewed him and reviewed WOOL for Suspense Magazine. He was the first author. I knew with him on board we’d be turning writers away. Brian wrangled a few of other authors and then some of them suggested others, and I had already a few I’d rounded up, so the group assembled pretty quickly.

My advice if you are crazy enough to want to manage an anthology to publication, is to set up a plan first that includes everything you need to decide on like price, costs, launch date, even how you want the chapters laid out—what side you want the numbers, etc., and then work back from there. Allow time before the launch for things to go wrong. We spent a week on formatting problems that sneaked in from a glitch in some coding that we hadn’t factored in.

I calculate I spent at least seventy to hundred hours on this. To me that’s a book I could have written that I will never get to write. So be certain that it’s worth it to you. It’s a great exercise in building your brand and connections and possibly there is a small amount of money in there. Of course, you are splitting it between thirteen people so there’s not a lot.

My other advice is to be firm on quality. You need to ensure the stories are good, put in a proviso to your offer that it’s only an invite to participate, not a given. We were just lucky. It was thrilling reading the stories as they came in. By the time we had Peter Cawdron’s in as the last story, we knew we had something special in our hands.

MT Beyond them all being speculative fiction and short stories the tales in FROM THE INDIE SIDE don’t seem to share much in common. They are not all set in the same place or time and they don’t have any common reference or theme. Was this freedom a conscious decision?

SM We’re indies and this book was to show the quality of work we indies are capable of, so the only limitation we had was that there was a limit of 10,000 words. Then Peter Cawdron and I ignored that. So there you go, indies can’t help but break rules. So freedom was in our blood before we even started. All the authors, except Sara Foster and Mel Hearse (who’d never written any fiction before—crazy, talented writer that she is) were already writing in the speculative fiction genre, so we knew they would all fit together but be varied enough to offer something for everyone.

MT Have you thought about organizing additional anthologies in the future? Is there anything in the works currently?

SM Absolutely it’s going to happen again. I love the opportunity of meeting and working with other authors. And I love the short story form, and I believe it is enjoying a resurgence with eBook publishing. I want to contribute to that. Watch this space for later in the year.

MT I share your belief that “when it comes to writing you know what needs doing; you just need to make yourself do it,” but I disagree that the first steps are not the most daunting. Rejection, regardless of its source, is a cruel instructor and obscurity is perhaps the most merciless judge. What advice can you offer writers, especially independents, who find themselves wallowed deep down on the best seller’s lists?

SM I stick by my original comment with reference to me, but that is my opinion and probably due to my life experience and personality. We all come to this business with different experience, lifestyles, skill, and expectations. So what I find difficult or easy will be different to you or another writer. When I first hopped back into writing seriously in 2010, I began by writing a lot of short stories and entering them in competitions. That is a quick way to accumulate rejections, but the positive is you build a body of work as you learn to handle the ego bashing. That first eighteen months I cried a lot—a lot, but slowly I started placing in competitions and eventually having stories published in anthologies. It built my confidence. The whole time I kept writing novels. I’ve got 1000 pages of two novels on a thumb drive—work that will probably never be published. Since then I’ve written a lot and when I jumped into indie publishing mid-2013 I’ve keep up a constant pace.

My advice is to keep writing and do it for the love. You must get better if you keep at it. It’s a natural progression like building muscles. Now with self-publishing you can build a body of work quickly. Put up your short stories, your novellas, essays and books. It’s all buying an extra ticket in the lottery of success and another product in your book store.

I love writing. It is part of my day now and if I miss a day, I feel itchy. If you can get to the point where you don’t have to tell yourself to do it, where the call of writing is the master, then I think you are on your way. Eventually, I believe, the walls of the dam must burst from the weight of your passion. So obstacles and wallowing seem to disappear.

MT In the Forward to FROM THE INDIE SIDE Hugh Howey makes a very compelling case for being an independent author. He writes, “Just think about how many other adventures await, how many unknown authors are out there, fully independent, bending the rules while creating something extraordinary and new.” As an independent author myself I’m convinced and the success of FROM THE INDIE SIDE is compelling and enviable. But there remains a lot of fuzziness between “I have a manuscript” and the publish button which results in plenty of amateur and unpolished books. In an ideal world, what might indies do to help each other plan and polish their work more completely?

SM I’m not big on workshopping my work. I don’t really believe in working with other indies on that level. I don’t have beta readers except for my husband, who is brilliant on pointing out pacing issues and confusing sentences. The minute I have to explain something to him, I know I’m going to have to rewrite that passage. He’s my average reader.

Then my next step is sending it off to my editor. Finding an editor with whom you work well and who is also available when you need them is a challenge. If you have niggling doubts about your editor’s work or even whether you are the right fit personality-wise listen to your gut. It’s been a search to find my current editor. I’ve tried a few, but the one I have now works really well with me, they don’t cost a fortune, and I’m learning from them as well.

So that’s my system and from that I believe I put out stories that are as polished and as entertaining as any traditional press. I review books directly for all the big publishers and, believe me, a lot of their releases definitely need more work. Everyone is trying to rush their work out there, including them. I believe you should do the best you can, use an editor, run it by a person or a few people you trust, and then put it out there and forget it. Don’t keep fiddling with improving it. That typo that you think you missed isn’t going to make a lot of difference to sales or fans. So in a nutshell, keep going and you will work out your own system and pace and if that includes other indie authors—great. If it doesn’t, then that’s okay as well.

Indies can help each other by sharing blog posts like what you are doing, Matthew, and highlighting other great authors they’ve read—spreading the word. So many authors write to me asking can I review their book, but the first thing an author should do is build a relationship and help other authors. Eventually, the goodwill will come back to you.

MT Do believe that there are any specific or unique challenges for Australian independent authors that citizens of other countries might not encounter?

SM Well Australians are lucky because we start the day before almost anyone else in the world. The only problem with that is that the biggest English speaking markets don’t wake up until our day is almost over and they are on the other side of the planet. In saying that, what a boon ePublishing has been for us because we can sell to anyone in the world.

The USA is the biggest English speaking market, so I write in American vernacular and have an American editor so they can pick up any Australian words that slip in. We think we speak the same language, but not quite. Certainly we spell many things differently. My spell checker is set to US, so even my emails are in American because I can’t be bothered changing the auto-correct. My friends must think I can’t spell.

As I mentioned earlier, if you’re collaborating, the time difference can get annoying in a slight way. It’s very expensive to ship from CreateSpace to here as well. The postage and time wait is a killer.

But these are minor niggles, and as everybody knows Australia is one of the best countries in the world in which to live, so I’m not going to complain about the tyranny of distance. There’s so much amazing talent coming out of Australia that clearly whatever challenges there are, the Aussie contingent has pushed through.

MT Is there anything you would like to say to your readers before we sign off?

SM I would like to thank you, Matthew, for having me on and being such a great supporter of FROM THE INDIE SIDE. I’m humbled. To the readers: I thank you for using your precious time to read anything that I write or another professional indie writes. I always know that readers have a choice how they spend their time, and reading is only one choice.

If readers take the time to read my book, that is just wonderful, and I hope that I repay them by ensuring they enjoy their time with my work. I write what I call commercial “everyman” fiction that most people should be able to get into quickly and enjoy an escape, with a satisfying ending. Changing people’s view on life or putting in some deep and meaningful message on purpose is not my thing.

In my mind, I’m welcoming readers to a great little party, providing some well-prepared food, introducing them to some fascinating people, and doing my best to ensure they have a good time. If I’ve done my job right, they’ll hopefully want to visit with me again. That is my only goal. My books won’t win any literary awards, but my goal is to win readers. They’re more important in my world.

Interview with Author Peter Cawdron

Peter Cawdron

I very much enjoyed Peter Cawdron‘s contribution to FROM THE INDIE SIDE, and I say this while acknowledging that the story did not immediately pull me in. Yet, after a page or two I could not put the story down. The first time I read it, I set out to read a couple of pages and crash for the night; I had just run a good collection of miles. I was beat, but I couldn’t. THE MAN WHO REMEMBERED TODAY that good. Honestly, it made me want to hear this anthology as an audio collection similar to METAtropolis.

I really enjoyed Peter’s story and I also enjoyed working with him to create this interview. Dig in, you will too. And when you’re done, go pick up a copy. These stories are that good, you’ll lose sleep.


MT I really enjoyed THE MAN WHO REMEMBERED TODAY. Kareem became a hero because of circumstance not because of amazing prodigy. It was equal parts crime story and temporal switch, and while I never really understood what was happening to our hero’s memory, I didn’t have to suspend my disbelief to be convinced. Where did you find the inspiration for this compelling short?

PC Yeah, that’s the nice thing about short stories, not every detail needs to be supplied, some can be left for the reader to ponder. In this case, why Kareem remembers the future is never explained, but the implication is that he’s wrapped up in the fate of his brother.

Racial profiling is a big deal in our society, and not just for law enforcement. We make all sorts of judgement about people based on appearance without an iota of reason behind our conclusions. Often, these attitudes are subconscious and we don’t realize we’re pigeonholing people based on their race, their gender, etc. And that got me thinking about how awful it would be for someone to be caught up in a dragnet. I liked the quandary the story posed — that Kareem has knowledge of future events, is entirely innocent, but is powerless to get anyone to believe him.

MT The ending to THE MAN WHO REMEMBERED TODAY made me think that this might be the first installation in a series. Do you have plans to develop Kareem and Deb? If so what can you tell us about them.

PC I’m tempted. It really depends on how much readers warm to the story. If there’s interest in a sequel, I’d love to write one and so deliberately left the ending open for that reason. And besides, stories have ends, but life goes on. I wanted to show that our glimpse into their day was just one chapter of the larger story that is their lives.

MT How did you become involved in the FROM THE INDIE SIDE project?

PC I was a late substitute, the guy called off the bench at the last minute. Jason Gurley reached out to me and asked me if I had any stories lying around that might suit an anthology. I didn’t, so I started hammering the keyboard. I’m glad he asked or this story would never have seen the light of day.

MT THE MAN WHO REMEMBERED TODAY seems like a bit of genre departure for you, compared to your bibliography. It is less classic science fiction and more speculative. Are you branching out?

PC Good writers challenge themselves. When choosing a story, I look for something that is both interesting to me from an exploratory perspective and technically challenging in one way or another. My latest novel, FEEDBACK was written largely because the storyline is so audacious I wanted to see if I could actually pull it off. I think I did, but I guess you’ll have to check the reader reviews to see if they agree. When it came to THE MAN WHO REMEMBERED TODAY, it was the challenge of not taking the easy path. I wanted to avoid the tried and tested scifi I love and dabble. Oh, and I loved the title. It’s anachronistic throwback to the pulp stories of the 50s, which hooked me right into the project.

MT I am very interested in the tools and processes other writers use to create their works. In THE MAN WHO REMEMBERS TODAY you have a impressive collection of action scenes. These are notoriously difficult scenes to write, especially with detail and clarity and you pulled them off well. How do you treat scenes like this? Do you use any special tools or techniques when writing action?

PC Normally, I’d do a mind map of a story, but with this story I couldn’t help but dive right in. When editing, though, I listen to my stories read back to me by the computer. By involving two senses while revising (sight and sound) I find I can get a good feel for the rhythm of a story.

MT In the afterword to your story you talk about the value of short fiction. And about how it has inspired some excellent movie productions. I usually dislike most film productions based on a novel length books, finding that the screen writers, directors, and editors necessarily need to chop up a perfectly good story in order to cram it into a watchable movie length. It occurs to me that short form may actually lend itself to this sort of transformation much better. Do you think this is true? If so, explain why, for instance, short fiction like Philip K Dick’s THE MINORITY REPORT makes a better film.

PC Novels establish character by peering inside the mind of a protagonist, which is something no movie can ever do. As much as I love watching a good movie, even with all their special effects they can never achieve the level of immersion you find in a novel. If stories are an iceberg, then the movie is all you see above the waterline, while the book is everything in the depths below. I think short stories and novellas work better as movies precisely because they’re a closer match. Like movies, they don’t have time to establish character familiarity and rely on interactions to reveal subtleties.

MT Was THE MAN WHO REMEMBERS TODAY something you had sitting in a drawer or did you write if specifically for the FROM THE INDIE SIDE anthology.

PC It was a vague what-if idea in the back of my mind that would have never been written outside of an anthology. Having written it, though, I’m now more interested in the short story format. Ideas are easy, execution is hard. The nice thing about a short story is the execution of the idea is that little bit easier. I look at what Jason Gurley has done with his short stories THE CARETAKER and THE DARK AGE and I’m inspired to write more in this manner. Being part of FROM THE INDIE SIDE has shown me that high-quality short stories are every bit as important as full length novels.

MT In the Forward to FROM THE INDIE SIDE Hugh Howey makes a very compelling case for being an independent author. He writes, “Just think about how many other adventures await, how many unknown authors are out there, fully independent, bending the rules while creating something extraordinary and new.” As an independent author myself I’m convinced, but I want to know if you would offer Indies advice about what they can do to reach those readers? You seemed to have figured out the ins and outs of discoverability.

PC Oh, I don’t know that I’ve been discovered just yet. Indie writing is tough. You’ve got to be incredibly patient. It’s a slow, long hill to climb, but writers are not in competition with each other. We’re in competition with Candy Crush and Facebook, reality television and movies. I smile whenever someone says they couldn’t put a book down because it means reading was more important to them than a dozen other distractions. Reading is chicken soup for the soul.

How does an upcoming author get discovered? By respecting the reader. Books are cheap. Even at fifty bucks a copy, a book’s financial cost is pittance. The real cost is the reader’s time. I try to never lose sight of that.

Writing a novel is relatively easy if you stick with it. Getting someone to read your novel, that’s the challenge. The only way to get read by a broad variety of people is by showing the utmost respect for your readers, by refining and revising, and that’s something I’ve found takes time and growth in maturity. With half a dozen books to my name, I feel like I’m only just learning to write.

It takes time and exposure to grow as a writer so get something out there. Polish your work. Get involved in writing workshops. Refine, revise and edit. Personally, I’m growing from one paragraph to the next.

MT Does music influence you while you write? You’ve got a list of favorites on your web site and I’m wondering if you crank up U2 or Dire Straits when you sit down and bang out the next chapter.

PC I write to all sorts of music, from Norah Jones to David Bowie, John Mayer to INXS and, as you note, U2 and Dire Straits. I don’t know that it influences what I write, but I deeply appreciate music with a heartfelt message. Chasing pirates by Norah Jones, as an example, is a song about a book she was reading that kept her up all night. I’d love to know the title of that book, and would like to imagine my writing can be just as inspiring.

MT I take it you have a day job. A commute. You have a family that requires your attention too. The standard twenty-first century responsibility package. How do you make time for writing? Does your writing space reflect this?

PC Yes, I work for a company that conducts performance tests of computer applications. I have a 45 minute commute each way, and I’m torn between Twitter, Facebook and reading books while on the bus. I’m a reader wrestling with the same demands and distractions as everyone else. Reality TV was the best thing that ever happened to my writing career, driving me away from the television. Once the kids are in bed, I’ll try to get in anywhere from 60-90 minutes writing. My wife is very long-suffering in this regard, as she knows how much I enjoy getting lost in a fictional universe.

Thank you for your interest in my writing and all the best in your writing career.

News

First, the good news. This weekend I received a letter from the DetCon1 Programming folks and I quickly shot off a reply. I’m headed, once again, to Detroit, Michigan for a summer convention.

I don’t know what it is about that part of the world, but man you “Yoopers” sure have a thing for SFF. I’m not complaining. Not even a little bit. In fact, I’m sort of ecstatic to visit Michigan in the middle of the summer. I’ll get to hang out with the mucky-mucks for a couple of days. Meet new friends and share with colleagues. I’m currently planning on driving so if you’re interested you’ll get to experience my overlander first hand.

Yesterday I nailed down my reservation at the hotel, and there is even the possibility that my beautiful and talented wife might join me on this excursion into intense geekery.  And for that I am even more excited than I have the words to express. I might have to bump up the reservation and get a room with a view.

In other news I have lined up a couple more author interviews for FROM THE INDIE SIDE. Be excited, you’re going to get buckets of new author blood really soon. Peter Cawdron is due this upcoming Friday. Followed by Ernie Lindsey, Susan May, and Mel Hearse.

In the mean time, if you’re looking for something to read you won’t be disappointed with this anthology. The diversity of voices and tales means that you can pick and chose what you’d rather read based on your mood in the moment. And, even though it is thicker than a Chilton’s Auto Repair manual, it won’t break your budget at $4.99 (kindle price).

While you’re supporting independent authors you should give me a try. I’ve just put out a short story of my own which is turning into something of a series. ON THE LEFT FOOT: A TALE OF THE LONG EARTH is only $0.99 on Amazon and it will transport you from that dull, slightly musty bus seat into an otherworldly back country filled with the rich scents of waking pine trees and fresh trout.

Also, last weekend I added another couple of thousand words to the next in the “sports in space” series UP SLOPE. It is on target for spring release and I’m pretty happy with how the story is coming along. You don’t need to read the first in the series to understand the story, but if you gave THE BIG RED BUCKLE a gander you would not be disappointed.

Next up, this morning I was browsing through your many, many Facebook posts when I came across a real gem from Jacqueline Carey, who is a formidable presence in the the world of wordsmiths to say the least, and she has something really poignant to say about our professional organization.

I don’t mean to imply that the blame for all that ails SFWA lies with its most senior members.  I’m sure it doesn’t, but I can only speak to what I’ve observed, which is that there’s an undeniable generational push-back against changing mores that’s a significant part of the problem.  I don’t want SFWA to lose its identity or its sense of history, but if it’s going to remain relevant, it needs to adapt.  Honor the past, but celebrate the present and look toward the future, too.

I can thank my wife Tess for getting me hooked on Carey’s Kusiel series, late night readings from Kushiel’s Dart were something of a treat back in the early days of our relationship. It is sexy stuff, but with careful and complete construction, deep plots that make it difficult to sleep (even though you have work in the morning).

At ConFusion I had only the briefest of encounters with Carey, but her opinion, and the action (or inaction) she is willing to undertake in order to achieve a clear and unmistakable expression, is admirable. And she has done a wonderful job of laying out all the things SFWA might be missing its maddening rush to cling to BS and drama.

I mean… seriously?  The publishing industry is undergoing seismic changes, changes that affect every single author in (and out of) the genre.  E-book pricing and royalty rates, the antitrust lawsuit, DRM, the rise of indie publishing, Amazon’s slow-burning bid for a monopoly, dwindling brick-and-mortar stores, the commodification of fan fiction, promotion in the age of social networking, the Google Books lawsuit, the consolidation of the Big Six into the Big Five, etc.  There’s a lot to talk about!  And yet when it comes to SFWA, it seems all the oxygen in the room was—and still is—being sucked up by a discussion that has no business taking place in this day and age.

When I first started to accumulate rejection letters one of my primary motivations to be a writer was SFWA membership. I wanted to be included in the group and run along side others doing the same thing. In my past life as an engineer I belonged to a variety of professional organizations, and for the most part, this was a useful and even necessary requirement for inclusion within the network of people working in the field. They kept me appraised of the major currents in my industry and helped me make good decisions that ultimately made me a better engineer.

The realization that SFWA membership might be beyond my reach, even with the growing collection of SFF bearing my name, gave me pause. I started to ask myself, “What could I get out of this relationship if I take the time to jump through their hoops?” The answer that I reached basically amounted to not much that I couldn’t find on my own. I’ve got KBoardsGoodreads, and conventions for community, inspiration, and to keep me appraised of what is and isn’t happening in the writing world. The organization’s Writer Beware blog tends to be far behind the 8-ball when it comes to breaking news and new predatory practices that harm creatives, and its contributors spend at least half their time tooting their own horn. The organization has become, in many respects, just a breading ground for drama and discontent.

So, with that in mind, I’m going to extend some kudos to Jacqueline Carey, I think she is doing a good thing and I hope the best for her and wish her luck. Yes, she has lost her nomination privileges for the Nebula, but her opinions are already well respected. I’d happily read anything she recommended, her cogent and considered opinion has lot more weight than an award.

And finally, I wanted to take a moment to pass along the announcement that Michael J. Sullivan‘s next book is available for pre-order. And if you order now, you’ll get a pile of extras and bonus stuff … early. This is a series I’ve had on my W2R list for a while and Mr. Sullivan is an excellent dude.

So, I will round out today’s news and announcements with one more place for you to spend your hard earned dough on books. Click on through to this announcement for all the details and goodies.

State of the Short: From the Indie Side – Sci-Fi Anthology

From The Indie Side

From The Indie Side

Let me make one thing clear before we being. I am not a professional book reviewer. I am not an editor, nor do I possess the critical eye necessary to be a very good one. That said, I like to read. And I know what I like when I read it. And, when I’m reading with my eyes and not my ears (thanks Audible), I usually spend a good deal of time deconstructing what I love, as well as what bothers me.

If you were to get your hands on my iPad you could open up my Kindle app and review pages and pages of notes and highlights in just about any novel resident in my library. I rarely if ever sit down with a paperback without a highlighter and a pencil. I’ve even been known to flow chart story lines, just so I can get the low orbital view of a book’s landscape. So while I’m not an editor or a reviewer, you might say that I enjoy understanding why one thing works while another may not.

I have been a long time fan of short-form fiction. Anthologies are even better because they bring so many yummy bite sized piece together. Paolo Bacigalupi won a devoted fan with Pump Six and Other Stories. What a roller coaster ride of dystopic fancy. And I’ve made it my mission to read, and re-read, anyone who ever contributed to METAtropolis largely because each and every one of those stories were just that good. And sometimes I open these books just to read one at a sitting, and it always feels like I’m plucking the best chocolate from the box.

Recently I picked up an advanced copy of From the Indie Side from Michael Bunker. He is one of a number of independent authors, some well established and some writing their way up through the ranks, who made a contribution to this anthology.

From the Indie Side does not fail to deliver. You will discover dark chocolates that require a nice glass of red to fully appreciate and lighter, sweeter morsels that will delight. It has a little something for everyone and since completing it cover to cover I’ve enjoyed going back and re-reading everything from Jason Gurley’s The Winter Lands and his dark, luxuriant pros to Hugh Howey’s well told coming of age tale Mouth Breathers.

What is, perhaps, even more interesting about this anthology is that it is all independent authors. Somehow, all of these people managed to set aside enough time to pen tales within a genre, that could then be collected together. It is a true collective artistic endeavor with the same quality and polish you might expect from a Big Ink publishing company. But there was no outside, organizing power, no invisible hand of the publisher moving money and time around to make this anthology possible.

That gives me a renewed sense of hope that this Indie business can be made to work. That people can overcome their inherent differences and the physical challenges of distance and time to produce such a fine anthology tells me that short form fiction still has a place.