Wednesday, April 3, 2019

To post a comment on my blog ...

I have to click the "I'm not a robot button."

I have to pick the stairs in an image.

I have to find the traffic lights in an image.

I have to do that with a new image.

I have to do that with a new image.

I have to find the fire hydrants in a set of images. When I click them they vanish and are replaced by more fire hydrants. I have to keep doing this until there are none left. The last square fills with a fire hydrant five times.

Google suggests I log in. I give it my account name and password.

It requests 2 form verification.

I go into the bedroom and get my phone, come back to my office and type in the number that's been sent.

Google posts my comment.

Thanks, Google! Keeping my blog secure and shit!

Tuesday, April 2, 2019

The World's Greatest Living Science Fiction Writer

Are all writers arrogant? I think it's possible there are some who aren't, but I'm not sure I've ever met any. The idea that I sit down and type a story up, something at least 50% of the human race has tried to do at some point; and then you give me money for it? That's me saying, "Yes, I do think I'm the fraction of a percent of storytellers who should be paid for it."

There's a story Asimov told when he was writing "The Gods Themselves." He was getting older, hadn't written fiction in a long time -- told his editor he feared the field had passed him by.

"Isaac," she said, "when you write, you are the field."

It wasn't true, not even for Asimov. But it's a good attitude.

"World's Greatest Living Science Fiction Writer" -- I've had that compliment twice in recent years. (Once from Fred Lang, another time from a guy on G+.) It's not true, though I'm willing to fight to the death over the observation that it might have been true for them.

But you should act as if it's true. If you have any literary ambition at all, you should be working to write the very best of the sort of thing you do. I mean, I write space opera. Right now, the gold standard in this field is probably still Hyperion. Am I going to outwrite that? Probably not -- but I'm certainly going to try.

The intentional fallacy is real. Just because you intend to do something, doesn't mean you did it, and particularly when you get into the upper reaches of any subject, the intentional fallacy gets stronger and stronger. But without intention? No one ever stumbled into excellence by accident.

Wednesday, March 27, 2019

Broke 100 pages on "Emerald Throne." I haven't written like this since before the kids were born. :-)
Topaz AI Gigapixel, version 4.0. I've been watching this tech for a while -- it's finally reached the point where it's going to make some noise. There may never be a genuinely clean version of Bab5, from source -- but just looking at this, there's no real reason this won't at some point be able to produce upsized copies that are quite watchable. Ditto for Doctor Who.

You may have to click through to compare quality on the images. For some reason the Bab 5 images came through split, but in each case the source is the first image, the upsized the second.

Source

Upsize
Source
Upsize
Source
Upsize
Source
Upsize


Tuesday, March 12, 2019



I think we reached a tipping point a few years ago. For most of Hollywood history, the movies that attracted first rate talent, the very best that was available, had white people, almost always men, for heroes. There were exceptions -- there were always exceptions -- but as a pretty good marker, look at the AFI Top 100 movies of all time, which was put together in 1998: 
 
1. CITIZEN KANE (1941) 
2. CASABLANCA (1942) 
3. THE GODFATHER (1972) 
4. GONE WITH THE WIND (1939) 
5. LAWRENCE OF ARABIA (1962) 
6. THE WIZARD OF OZ (1939) 
7. THE GRADUATE (1967) 
8. ON THE WATERFRONT (1954) 
9. SCHINDLER'S LIST (1993) 
10. SINGIN' IN THE RAIN (1952) 
 
Eight movies about with unambiguous white male leads, two about white women. Only two, even had black characters in any noticeable role, unless my memory fails me: Hattie McDaniel and Dooley Wilson. Hattie McDaniel, of course, won an Academy Award -- first African American to win one, first black person to attend the Academy Awards except as a servant. Dooley didn’t win any awards -- Casablanca was a B movie, in conception, and while it was immensely popular, and won Best Picture, Director, and Screenplay, only Bogie and Claude Raines were nominated, and neither won. But black people really liked Dooley’s character; like Uhura, twenty-five years later, any representation was better than none.
 
But what passed for representation then, before and during WWII, was a little embarrassing to a lot of black people years later. (Uhura, too -- I’ve seen black Trek fans say quietly that they wished she hadn’t been in Star Trek at all, rather than being portrayed as she was. Contrast that with MLK’s plea to Uhura to stay on Star Trek ... because any representation was better than none. (“Do you understand that this is the only show that my wife Coretta and I will allow our little children to stay up and watch?”)
 
So things change. Progress is sometimes embarrassing. As great as Black Panther was -- and it’s the best of the movies I’m going to list in a bit -- feminists had some legitimate complaints about it. Captain Marvel, this weekend, annoyed or angered a number of male POC in my feed, because Nick Fury was treated as comic relief. (“Minstrel,” one fellow sneered.)
 
Supergirl bombed. You probably don’t even remember Red Sonja, and anyway Schwarzenegger got top billing. Catwoman bombed. Elektra bombed. Those movies were so bad and performed so badly that Hollywood, quite sensibly, didn’t make any more of them for decades ...
 
What? You object to that read? Why, just because over the same time period the list of amazingly bad male-led superhero movies was (at least) five times as long?
 
Hollywood is risk averse. The rare occasions someone brave comes along, and actually advances the state of the art -- I’ll limit myself to geek movies here -- you get Star Wars, Superman, X-Men, the Matrix -- all of them at least somewhat surprised the studios making them. (Someone should have noticed Blade’s performance -- but they didn’t.) Probably the first big cape movie that the studios were wholly behind, that they were confident in, was the 2002 Spider-Man. And since then the floodgates have been opened ... for male heroes of a particular skin tone.
 
So the last few years have been instructive, no? This is a list of movies the Usual Suspects predicted, and surely wanted, to do badly, in the last 3-1/2 years:
 
The Force Awakens 12/18/2015 
Rogue One 12/16/2016 
Wonder Woman 6/2/2017 
The Last Jedi 12/15/2017 
Black Panther 2/6/2018 
Crazy Rich Asians 8/15/2018 
Captain Marvel 3/8/2019 
 
These made, respectively:
 
$2.06 billion (FA) 
$1.06 billion (R1) 
$821 million (WW) 
$1.3 billion (LJ) 
$1.35 billion (BP) 
$238 million (CRA) 
$490 million (CM) 
 
Captain Marvel was the 7th best opening of all time -- not of just superhero movies: of all movies. It’s going to break a billion dollars without a doubt. Crazy Rich Asians is notably the only real “breakout” hit in this crowd. Everything else was damn well expected to make money, and was budgeted like it. But they spent only $30 million on CRA.
 
But they point is Hollywood did spend money on these movies. Did acquire the absolute top flight talent to produce them. And the audiences were there for it. Hungry for it. Collectively they made over seven billion dollars. 
 
I won’t talk about the MRAs much. They are what they are. They’re choking today: good. Moving on.
 
But there were POC men who didn’t like Captain Marvel, and feminists who didn’t like Black Panther. And outraged feminists who were pissed at the POC men, and outraged POC men who were pissed at the feminists. And the truth is, none of that’s going away any time soon; everyone has their own perspectives and their own interests in how to tell a particular story. And you can’t have representation in a single movie; the problem with Black Widow’s “can’t have children” storyline wasn’t that it focused on her as a woman in ways that some women didn’t like: the problem was that there were so few roles for female superheroes that the weight of any one of them -- remember Uhura -- exceeded what a given individual role was normally capable of carrying.
 
But here’s what is going away. The people who make these movies are smart, in the aggregate, and over time, they do adjust to the marketplace. Somewhere out there people in a quiet room ran the numbers for Black Panther, and said, “We could have done better with feminists.” And those people did the same for Captain Marvel, and said, “Well, we pissed off black men.” (And I guarantee you they understand how they screwed up with black people on Infinity War.) Thirty years from now, it’s going to be popularly understood that Black Panther and Captain Marvel, though very well made movies, are “problematic” upon certain axes. That they were the best we could do, at the time, well, those old folks didn’t understand things the way we do today. By then there’ll have been individual movies with women, Asians, black people, white people, Hispanics, LGTBQ people, disabled people, all tied to urgent, driving narratives, without preachiness, just there, in the flow of the work. And people will look back at Black Panther, at Captain Marvel, and wish that they didn’t have quite so many obvious flaws.
 
And movies like Casablanca, and Gone With the Wind, and shows like the first Star Trek, will be looked upon as the primitive artifacts of a people nearly as uncivilized as the ancient Romans, and their games in the Coliseum. We’re getting better, and it’s not always fun to remember how it happened. But how we got better is important to remember, or women like Nichelle Nichols, who sacrificed an opportunity to go to Broadway to remain on Star Trek, get forgotten. And nobody wants to forget Nichelle.
 
 
 
 
 

Tuesday, March 5, 2019

I'm a fifth or sixth of the way through "Emerald Throne," depending on whether the book ends up 100K or 125K words -- it'll be somewhere in that range, best I can guess.

It's an odd feeling. I haven't written like this in so long it's hard to remember.

Monday, February 4, 2019

First audio piece for Patreon. It's the only completely surviving file from my NPR days, around 2000. Accessible to everyone.

Wednesday, January 23, 2019

The brain is surprisingly plastic. I've written more between November 1 and today than in any comparable period since "Last Dancer" was published, and that was 26 years ago.

Every time I've sat down in front of the computer, it's come more easily. Skills and ways of thinking I haven't used in decades are abruptly peeking around the corner and wanting to know if they can come back out.

I'm not the writer I was, as a purely machine-level skillset, back then. I know more than I did, I'm a different person to a remarkable degree, but the little story engine in my head isn't back to what it was. Maybe it never will be. But I no longer doubt it's possible to get most of the way there.

Thursday, January 17, 2019


A couple new pieces up at the Patreon, both free to the general public.

A post on toxic masculinity.

The first chapter of Time Wars: The Emerald Throne, which is about Camber Tremodian.


Monday, December 24, 2018



Merry Christmas to those who observe, and Happy Holidays to all.
Available on Amazon, the first new book from Daniel Keys Moran in seven years, "Tales" contains six unpublished Continuing Time stories, and twelve stories scattered around parts of the Great Wheel.

Tales of the Continuing Time
The Shepherds 2049; Leftbehind 2485 - 2489; The Shivering Bastard at Devnet 2676; A Son Enters, Stage Right 2681; Smile and Give Me a Kiss 2821 - 2873; Platformer 3021 - 3022

Other Stories
Realtime; The Gray Maelstrom; Given the Game; Strings; Play Date; Sideways; What Is And Is Not True; Uncle Jack; Old Man; A Conversation in the Kitchen With Her Father; Hell, Next Five Exits; All Possible Worlds

https://www.amazon.com/dp/B07MD64368/ref=sr_1_5?ie=UTF8&qid=1545662078&sr=8-5&keywords=tales+of+the+continuing+time



Saturday, December 22, 2018

Those of you waiting on Amazon "Tales," it might go a little earlier. I didn't figure I'd have a spare day before the end of the year, but I'm open tomorrow. I need to put up "Armageddon Blues" as well -- I thought it was up there, but it never was. I'll also update all the other mobi files, the new versions are better, so if you bought through Amazon, you should be able to update your files yourself.

Tuesday, December 18, 2018

"Tales of the Continuing Time and Other Stories" is available for order. Ordering instructions are below.

The book contains six unpublished Continuing Time stories, and twelve stories scattered around parts of the Great Wheel. Many of them are semi-related -- Georges Mordreaux, from "The Armageddon Blues," appears in two of the non-Continuing Time stories.

Tales of the Continuing Time
The Shepherds 2049; Leftbehind 2485 - 2489; The Shivering Bastard at Devnet 2676; A Son Enters, Stage Right 2681; Smile and Give Me a Kiss 2821 - 2873; Platformer 3021 - 3022

Other Stories
Realtime; The Gray Maelstrom; Given the Game; Strings; Play Date; Sideways; What Is And Is Not True; Uncle Jack; Old Man; A Conversation in the Kitchen With Her Father; Hell, Next Five Exits; All Possible Worlds

Here's the simple version of this: send $8.99 to danmoran909@outlook.com, via Paypal. We'll ship you a copy of The Tales of the Continuing Time And Other Stories, in EPUB (Apple), AZW3 (Kindle), HTML, and PDF format, using the email you used at Paypal.

Here's the slightly longer version.

We updated the ebook versions of all the epubs. They're cleaner and look better on most devices than previous versions. (A couple of the earliest didn't even have tables of contents.)

If you want them and you purchased them previously, say so. We'll go on the honor system here -- I promised people who bought off fsand.com that they'd get upgraded versions forever. You're that person? Tell me which of these you want, in the message field at Paypal.

If you want them and you haven't purchased them previously, add up whatever books you want -- these are the Amazon prices, I'm not allowed to sell them more cheaply.

The Armageddon Blues $0 or $5.99.
A Freeway In My Back Yard $0 or $6.99.
Terminal Freedom $0 or $5.99.

Emerald Eyes $0 or $2.99.
The Long Run $0 or $5.99.
The Last Dancer $0 or $5.99.
The A.I. War $0 or $7.99.

I'm not checking up on anyone. Tell me what you want, pay what's right, and the books will ship today and tomorrow.

Not ready for "Tales" but would still like the updated copies I promised you back in the dawn of the internet? Send me a message here with the books you'd like. I'll send them to you.

Sunday, November 18, 2018

I suppose I'm glad I kept this blog, despite not posting to it for 7 years. G+ is going, FB is a bloody mess. I'll start posting some longer-form material here again, I think.

Sunday, October 30, 2011

Spoilers circle on G+

I'm going to post ongoing bits of things I'm working on on G+ -- no massive spoilers, but if you're interested in reading them, +1 or otherwise respond on this post and I'll add you to the list.

Tuesday, September 13, 2011

On Art

You can’t define art.

You can’t define storytelling.

You can’t define writing except in the most trivial and reductionist way: “words strung together.”

There are no rules. We tell young writers there are rules, because it helps limit the size of the problem they’re wrestling with, but really there are not. There’s technique, and that’s helpful and important: a command of technique is the difference between hit and miss and the ability to reliably produce competent work. But techniques are not rules.

There are no rules of writing I’ve ever seen that do not have exceptions – and let’s not waste our time with “the exception that proves the rule,” since this is merely a phrase misused by people who don’t understand it – it merely meant, in its original use, that the rule had been proven false.

Rules that have exceptions are guidelines, not rules. Orwell’s five rules famously contain a sixth that effectively says, “Except when the rule makes no goddamn sense for what you’re trying to do.” Elmore Leonard has ten rules that should be required reading for young writers – but which some great writers violate repeatedly to good effect. (Leonard, being a great writer, is as aware as Orwell that his rules are merely guidelines: his essay on his rules of writing finishes with an example of Steinbeck breaking these rules to good effect.)

Some rules I’ve had thrown at me over the years – once by Damon Knight, who said I’d convinced him, when we were done:

“A story must not be boring.” Says you. I’ve been bored by lots of stories.

OK, how about: “A story must not be intentionally boring?” Well, Waiting for Godot certainly appears to be.

“A story is a person with a problem.” It can be. But not always: sometimes a story is about something unambiguously good happening to a person.

Maybe even just: “A story must be about a person?” No? One of my favorite pieces of my own writing is a story about a tree, On Sequoia Time.

*

Stories are just a subset of all the kinds of art out there.

Recently a screenwriter I otherwise respect argued that the television show Dexter, far from being one of the best things on television, wasn’t even art: it was pornography, an exercise in pandering to the base instincts of its audience.

I am not writing to defend or even to praise Dexter. I don’t care if you like it, if you think it’s bad trash or good trash or simply brilliant. (I’ll go with “simply brilliant.”) Practically nobody likes George A. Romero’s Knightriders as well as I do, and that’s fine; I’m long past requiring external validation for my tastes, and I still watch Knightriders every year around my birthday, regardless of the opinions of others. (It is one of the best independent American movies ever made, by the way, despite being too long and having a few lapses of tone here and there.)

But the bright line used to consign Dexter to “porn” was this: that art must challenge us (and thatDexter did not, in this writer’s opinion.) That it must take our expectations and confound them, must make us reconsider what we know or believe to be true –

– and absolutely: this is one of the real functions of art, a vital and important function. But it’s not the most important function and it’s not the place where we divide work into “art” on one side and “porn” on another. Art, to borrow a terrible cliché (and Orwell would tell me not to do this) … is an elephant. We see the parts of it that we respond to, we become aware of art because it moves us. The parts that we don’t respond to are not art … for our purposes: but they may be art for the purposes of our neighbors, who are of different ages and genders and backgrounds, who have different life experiences and skills and lovers and friends and family.

Should art challenge us? Yes.

Should it uplift us? Yes.

Warn us? Yes.

Scare us? Yes.

Teach us new things? Yes.

Reinforce what we know to be true? Yes.

Entertain us? Hell yes.

Connect us to one another? Yes.

Let us see through someone else’s eyes? Yes.

Remind us of our common humanity? Yes.

Remind us of the ways in which we’re unusual, or even unique?

… yes.

Art is whatever you experience as art: all that’s required is that some person or persons, in an intentional act, created something that, when you encountered it, caused an emotional or even spiritual reaction in you.

… and there are no rules. There’s technique, and mastery of technique is one of the differences between mediocre and good artists; though probably it is not as important as conviction.

There is a language of art that we’ve learned and taught to one another, and that language changes by art form and by time and by culture and by person. But there are no rules, none, not a one: just people traveling down their personal roads: and for all of us, wherever we are this year, the horizon is the same distance away.

Thursday, August 4, 2011

Sunday, July 17, 2011

Google Profile ...

gplus.to/fatsam

I may post some more to this blog, but mostly I'll be there.


Thinking about going to Google+ ...

Not sure how that'll work, but I'm getting about 20 pieces of spam mail a day (for a while now) from Blogspot spammers. It's wearying. Should be less of that on G+, looks like. If you send me a request at danielkeysmoran at the gmail domain, I'll happily add you. If I do move off Blogspot as a permanent matter, I'll make sure there's a public presence elsewhere, and the last post on this blog will point to it.

Tuesday, June 21, 2011

Singularity University; Datawatch

I'm (very probably) going to be giving a speech at Singularity University on August 3rd. Not clear where this is in San Francisco, but I'll find out -- probably won't have time to socialize in any case. 21st Century Biotechnology. It looks like this might be the start of a longer relationship with them, which would be interesting.

On another subject:


In the case of many hackers, such as those dealing in stolen financial information, chats will take place in private, with new members coming into the group only if they know an existing member. However, in the cases of Anonymous and LulzSec, some of their chatrooms are public. The FBI has set up shop in numerous social media sites, going undercover where necessary to root out hackers and other online criminals, and it would not be surprising if they were actively monitoring IRC channels in this case.

~~~~~

Interesting times. The lulzsec/anonymous crowd is playing for money now -- I hope they know what they're doing. I'm sure some of them do, but not all of them. The problem with groups like these is that any break in pure anonymity is lethal -- you can't trust anyone. People you know well and trust are the biggest threat -- a drill bit on the knee will make almost anyone talk.

And these guys are charging full speed into knee drilling territory.

Saturday, June 18, 2011

Been busy ...

Having one of my periodic low-availability stretches. I've got a hundred odd emails to respond to, a trade paper copy of AI War to get out the door, various other tasks I've promised people ... and I started a new job about 8 weeks ago that's been mostly a disaster. Very nice people -- horrible mess. Won't name the company, but really, the only thing I've got to compare this to is a couple of experiences with startups that went belly up. These guys are a 100 million a year in revenue and aren't going to fail, but it's 1995 in this particular IT shop. The *rest* of the company seems to be well run (or they'd be out of business, given the mess in IT) but man, in the universe of "didn't know what I was getting myself into," this is a world beater.

Friday, April 22, 2011

Books up on Amazon

Emerald Eyes, Long Run, and AI War: Big Boost, are available on Amazon. For some reason Last Dancer hasn't made it through yet. Got my first sale and my first five-star review (probably from the same guy.)

http://amzn.to/eeI91R

"This is the best science fiction story I have ever read. I'm not going to describe how wonderful this book is because I do not have the time to do it properly."

That's a review. :-)

Thursday, April 21, 2011

New Covers - EE, TLR, TLD. Angel Greenwood.

The Amazon covers. They'll go up in new editions on fsand as well, and you'll be able to download them if you like. Last thing we were waiting for to put them on Amazon/Apple/B&N etc.


Tuesday, April 19, 2011

Goodbye, Sarah Jane

Elisabeth Sladen, aka Doctor Who's Sarah Jane, passed away today. Just heard. I've seen most of the episodes of "The Sarah Jane Adventures," but my sons have watched every episode at least twice. Three years ago, when it premiered, it was at least as popular with my youngest as "Doctor Who" itself -- more their speed. Now my youngest is 9, that's probably no longer true ... but it was a good show for them, at the right time. We'll miss her.

I guess we're watching "School Reunion" tomorrow.

Thursday, April 14, 2011

For Fans of Gregory Mcdonald

Just ran across this.

http://brucedesilva.wordpress.com/2011/04/04/gregory-mcdonald-creator-of-fletch-still-has-much-to-teach-us-about-reading-and-writing/

Opens with de Silva's thoughts on Mcdonald (interesting, but not the jewel of this blog post) ... and then goes into an interview with Mcdonald, one I'd never seen before.

de Silva thinks that Mcdonald's in danger of fading and being forgotten -- that would be sad. Fletch and Confess Fletch are two of the best books I've ever read, certainly both in the top 10 of all mystery books.

A while back I posted my top 50 favorite novels to my Facebook profile -- I'll repost it here -- and yep, two Mcdonald novels make the top 30:

~~~~~

Mentioned to a friend he'd written one of my 20 favorite novels recently; a couple weeks ago I got That Email, the one where someone wants your list of Every Good Book Ever Written. So, here it is. The only ground rules were that no book I'd only read once could make the list, and nothing I hadn't read within the last ~15 years could make it -- my memory's not that good. There are several novels that got dropped because I hadn't read them recently enough -- David Gerrold's third Chtorran novel, Spinrad's Bug Jack Baron, Steinbeck's Grapes of Wrath. Wallace's "Infinite Jest" dropped because I only read it once. OTOH, Gerrold's "Man Who Folded Himself" made it in because I just reread it about a month ago and it was vastly better than I'd recalled....


The first two novels are my favorite novels, the clear #1 and #2. After that, a different day would get you a different order -- though the broad bands (I broke them up into 5 groups of 10) wouldn't change that much, I think.


My 50


1-10

Lonesome Dove, Larry McMurtry

Childhood's End, Arthur C. Clarke

Catch-22, Joseph Heller

USA Trilogy, John Dos Passos

The Lord of the Rings, JRR Tolkien

Huckleberry Finn, Mark Twain

The Dispossessed, Ursula K. LeGuin

Lord of Light, Roger Zelazny

Fear and Loathing in Las Vegas, Hunter S. Thompson

The Left Hand of Darkness, Ursula K. LeGuin


11-20

Lolita, Vladimir Nabokov

Great Sky River, Gregory Benford

The Moon is a Harsh Mistress, Robert A. Heinlein

The Green Ripper, John D. MacDonald

100 Years of Solitude, Gabriel Garcia Marquez

Great Sky Woman, Steve Barnes

Merlin Trilogy, Mary Stewart

The Maltese Falcon, Dashiell Hammet

Confess, Fletch, Gregory Mcdonald

The Great Gatsby, F Scott Fitzgerald


21-30

Out of the Silent Planet, C.S. Lewis

Citizen of the Galaxy, Robert A. Heinlein

Night Watch, Terry Pratchett

Protector, Larry Niven

Streets of Laredo, Larry McMurtry

Carpe Jugulum, Terry Pratchett

Pale Gray for Guilt, John D. MacDonald

Life, the Universe, and Everything, Douglass Adams

Fletch, Gregory McDonald

The Big Sleep, Raymond Chandler


31-40

Sheltering Sky, Paul Bowles

Heroes Die, Matt Stover

A Knight of Ghosts and Shadows, Poul Anderson

Second Foundation, Isaac Asimov

Handmaid’s Tale, Margaret Atwood

“The Sacketts,” as a body of work, Louis L’Amour

Beyond the Blue Event Horizon, Frederik Pohl

The Perfect Thief, Ronald J. Bass

The Man Who Folded Himself, David Gerrold

Pale Fire, Vladimir Nabokov


41-50

The Forever War, Joe Haldeman

Flynn’s In, Gregory Mcdonald

The Unbearable Lightness of Being, Milo Kundera

L.A. Confidential, James Ellroy

Demolished Man, Alfred Bester

Doomsday Book, Connie Willis

Hyperion, Dan Simmons

Even Cowgirls Get the Blues, Tom Robbins

Ringworld Engineers, Larry Niven

Red Harvest, Dashiell Hammet


I cheated a bit. There’s no Sackett novel that would make this list by itself, but I have gone back to it repeatedly over the years. (I might have snuck in Steve Perry's Matador books under the same theory, but I only read most of them recently and I've only read most of them once -- but they do for me very much what L'Amour does.) I also cheated by throwing the entire Merlin trilogy in there as a single book – fuck it, it’s my list, and I never read that a book at a time; I start off with “The Crystal Cave” and read through “The Last Enchantment.” (And hardly ever bother with the fourth, “The Wicked Day,” which Merlin’s not in.)


Two “Great Sky” titled novels in the top 20. You know what to do now, authors, if *you* want to get onto this very exclusive list.


If I were including children’s novels, Susan Cooper’s “Dark Is Rising,” Madeleine L’Engle’s Time Series, various Patricia McKillip novels, and C.S. Lewis’s Narnia would certainly make it in.

Tuesday, April 12, 2011

Twenty-five years today since "Graceland"

It was a slow day
And the sun was beating
On the soldiers by the side of the road
There was a bright light
A shattering of shop windows
The bomb in the baby carriage
Was wired to the radio

"Boy in the Bubble." A line from this song has appeared in every CT novel to date -- "Lasers in the junble," "bomb in the baby carriage," "age of miracles and wonders," and in AI War, "Don't cry, baby."

A Freeway In My Back Yard

Now available at Amazon as well as FS&. My remaining novels -- the four Continuing Time books, Armageddon Blues, Terminal Freedom ... and then somewhere down the road, possibly even "The Ring" -- I'll post about here when they become available on Amazon. (Or in the case of "Armageddon Blues," Amazon and FS& pretty much simultaneously.)

I'm going to settle on either Lulu or CafePress this week for POD. I have zero expectation I'll make any money off POD, but I'm sure willing to be wrong.

If you've bought off FS& already, the update will be ready a little later today -- version 1.1, which includes epub & kindle for the first time. (Getting the screenplays to look OK in both those formats was difficult, but we got there.) You can, as always, download the new version for free.

~~~~~

If you were a fan of "Quantum Leap," go see "Source Code." Amy and I went to a matinee this morning, and while it mins some of the same territory as QL, it does so knowingly and gracefully and is a pretty little jewel of a movie. Scott Bakula's telephone-only cameo includes an "Oh, boy," just for people like us.