Coming Soon

September 23, 2015


Coming this October, The Moreau Quartet Volume Two. Amazon is accepting pre-orders, and next week I’ll be starting another Goodreads book giveaway. (Watch this space.)

In other news: In the /r/Fantasy subreddit, I will be holding an AMA on September 29th. (If you don’t understand any of that, just follow the links.)  That means I’ll be answering questions live online, starting around 7pm Central Time on the 29th.  The AMA thread will be posted around 11AM Central Time, so you’ll be able to post questions in advance.  To participate you’ll need to set up a Reddit account, which isn’t that difficult.  Hope to see you there.

A literary snob pisses on Terry Pratchett’s grave

August 31, 2015

A couple of days ago, Toni Weisskopf posted a link to this letter from Edgar Rice Burroughs to a young Forrest J. Ackerman. It’s a pithy letter, shorter than most blog posts, but is a prescient rebuttal to this hot mess of a Guardian article appearing almost exactly 84 years later.

The Guardian:

Life is too short to waste on ordinary potboilers.


No fiction is worth reading except for entertainment… If it forms the habit of reading, in people who might not read otherwise, it is the best literature.

The Guardian:

By dissolving the difference between serious and light reading, our culture is justifying mental laziness and robbing readers of the true delights of ambitious fiction.


That, however, seems to be a universal pedagogical complex: to make the acquiring of knowledge a punishment, rather than a pleasure.

Our critic at the Guardian seems to be of a piece with Forrest J. Ackerman’s long forgotten teacher. Great literature must require effort! If something is accessible, one need not apply. . . Not like anyone from the cannon of English literature ever wrote for the masses *cough*Dickens*cough*. And while our critic sings the praises of Jane Austen’s Mansfield Park, somehow I suspect he might contemplate seppuku before deigning to touch a modern regency romance.

So while our arbiter of taste at the Guardian says “I am not saying this as a complacent book snob” I may just invoke the words of that author of 16th Century potboilers and say he “doth protest too much.” After all, who but a snob would open a critique of an author by saying “I have never read a single one of his books and I never plan to. Life’s too short… Pratchett is so low on my list of books to read before I die that I would have to live a million years before getting round to him.”

If you wanted to efficiently display literary bigotry, mean-spiritedness, close-mindedness, and pretention all wrapped in a bundle of industrial strength smug, and do it in as few words as possible, you couldn’t do better than emulating this opening. Of course, our “critic” does let us know that he “did flick through a book by him in a shop, to see what the fuss is about, but the prose seemed very ordinary.”

I guess this guy isn’t a Hemingway fan either.

But, I think, the worst part of this vile literary emetic is its apparent genesis. Our “critic” was upset at “the huge fuss attending and following [Pratchett’s] death this year.” Read that again. Our purveyor of literary light, our guide to the right and good in the fictive universe, is upset that people made a fuss when Terry Pratchett died. I know there’s this British thing about reserve and overt displays of emotion, but really… can someone’s heart be so black to object to people’s sorrow over the man’s death? Oh, and just when you couldn’t think less of his argument, he throws a swift kick at Ray Bradbury’s corpse as well.

So, in conclusion, I suggest if you want to critique the ovure of a recently deceased author and want to be taken seriously you avoid the following pitfalls:

  1. Don’t admit you never read the their work, or intend to in the future.
  2. Don’t call the readers of their work lazy.
  3. Don’t say no one should have made such a big fuss when they died.

A point about the Hugos that someone needs to make. . .

August 27, 2015

Those people on the other side of the debate, the ones you attack with such righteous fury, who called down your wrath by acting in such an asinine and nasty fashion. . . they’re you. They’re called to this genre by the same love of different worlds and different realities, aliens and spaceships, dragons and wizards. A lot of them were the same weird kid in high school. They like D&D, or Star Trek, or Doctor Who, or Guardians of The Galaxy. And some of these folks have lucked out by being able to make some money, even have a career doing what they love.

They are not orcs designed in some dark wizard’s lair, they are not some inscrutable alien horde come to slaughter us and lay eggs in our corpses, they are not some shadowy cabal bent on destroying what is right and good with the universe, they are not evil.

They are just fans with slightly different taste in fiction. They are fans that got understandably angry when other fans derided, belittled and otherwise seemed to condemn the things they loved. Fans that perceived insults and, as humans are wont to do, threw insults back. Fans that, like you, will argue that the other guy threw the first punch.

If you don’t like what’s happening to the genre, maybe you should consider how many times you’ve said how horrible those other fans are. It shouldn’t be hard to understand how they feel, since you’re reacting in exactly the same way.



(I leave as an exercise for the reader to determine if I am addressing the Puppies or their opponents.)

Yes, I’m a little pissed, how can you tell?

August 24, 2015

Fuck this shit!

Up to now I’ve been pretty quiet about this, but you all have finally pissed me off. I’m seeing all sorts of grandstanding, self-congratulatory, “I’m so fucking proud of fandom,” nonsense all over the place. This is some sort of high-water mark for the genre. Schadenfreude for everyone! Crush the puppies! See them driven before us, and hear the lamentations of their women! Yay us! We won!

If you’re part of that cheering squad, fuck you.

This is what you’re cheering: A bunch of guys came to the game trying to get people to win. A bunch of other guys came to make people lose. The latter was victorious. So you’re all cheering, “Yay! People lost!”

Applauding “no award” means nothing but your own profound joy that everyone in the category lost. It means you are celebrating their defeat.

It means you celebrate the fact that a pair of women editors who’ve done fantastic work in the genre for decades, who managed to pull in record setting numbers of votes, were successfully blocked from getting an award because mumblemumble-hate-mumblemumble-misogyny-mumble. It means you are okay that, given the traditional meaning of “no award,” fandom pretty much up and said to Sheila E. Gilbert and Toni Weisskopf that, “no, really, we don’t think you should have this Hugo, and furthermore, we really think you aren’t worthy to be on this ballot.”

That is what you’re cheering.

So fuck you.

If you start saying “collateral damage,” Fuck you.

If you start saying “but the puppies…” Fuck you.

If you start saying “if they distanced themselves from…” Fuck you with a rusty chainsaw.

All of the above is an attempt to deflect responsibility. Fandom decided that voting “no award” across the board was a reasonable response to the Puppies, and that’s what they did. The people who did so, the people who encouraged them to do so, and the people cheering the results, are all taking a massive steaming sour-burrito dump on the careers of two women who’ve probably done more for the genre than the whole lot of knee-jerk puppy kickers put together.

So, yeah, if you’re blabbing on Facebook about how proud you are about all this, I’m pretty much losing my respect for you.

And Coming This Month!

August 3, 2015


This month sees the omnibus re-issue of Forests of the Night and Fearful Symmetries in a single snazzy new package: The Moreau Quartet Volume One.  For those of you that are worried about breaking up of the original Moreau trilogy, no worries. A) Fearful Symmetries is a direct sequel to Forests of the Night, and can be read in that order and B) The Moreau Quartet Volume Two will be following in October.

If you want to get your hands on a copy for free, I’m sponsoring a Goodreads book giveaway for the month of August:

Goodreads Book Giveaway

The Moreau Quartet by S. Andrew Swann

The Moreau Quartet

by S. Andrew Swann

Giveaway ends August 31, 2015.

See the giveaway details
at Goodreads.

Enter Giveaway

7 Things in Every SF/F Story

August 1, 2015

Last weekend I had a fun time at the Confluence convention in Pittsburgh. One of the panels I attended was titled “7 Things That Every SF/F Story Contains.” Kudos to the panel moderator Joshua Palmatier who managed to be the best moderator of any panel I was on, and that includes the one I moderated. Somehow, going item by item, the panel managed to segue into each other’s points almost as if it was planned that way.

Since we each made up our own list, I thought I might as well share mine with everyone.

Seven Things That Are In Every Science Fiction and Fantasy Story

  1. Every SF/F story is going to have some major point of divergence between the reality of the story and the reality as the author understands it. i.e. THE IDEA. This can be magic or new physics, werewolves or some new invention, an alternate history or simply a setting in the nebulous “future.” However, without that, you’re writing something other than SF/F.

  2. Every SF/F story will engage in some form of extrapolation; some examination of the broader consequences that follow from THE IDEA’s existence. i.e. WORLDBUILDING. In other words, the IDEA doesn’t really matter if it doesn’t cause some other changes in the universe around it. In fact, the reader is sometimes going to be introduced to those changes before they’re shown the actual IDEA. (see #6 below)

  3. Every SF/F story will posit some type of PHILOSOPHY, an idea of how the world, and human nature, works. This can be implicit, or explicit, but is grounded in the choices the author makes when deciding what consequences of THE IDEA are most plausible. The author can try as they might, but the story will have some core ideology: imagine a novel about a future matriarchal society as written by Margret Atwood, then by Ayn Rand, then by John Scalzi, then by John C. Wright. . . not going to be remotely the same story.

  4. Every SF/F story will have some necessary connection between THE IDEA and character and plot (and probably setting). The story could not exist in its current form without THE IDEA. If the character, dialog and plot could be moved to any other contemporary or historical setting with only slight changes, it really isn’t SF/F, it’s just a mystery, western, thriller &c. dressed up in SF/F drag.

  5. Every SF/F story will have some proxy character to introduce the story world to the reader. Where general story construction impels us to select the POV that best illuminates the story, SF/F story construction also impels us to select the POV that best illustrates THE IDEA.

  6. Every SF/F story will have some pattern of discovery to the world, THE IDEA, and the consequences of THE IDEA. Often this is structured much as a mystery, revealing small bits here and there until the end when the reader has a complete picture. This is especially true when complex WORLDBUILDING is involved. Sometimes the amount of information about the world is so vast that there’s little choice— if one actually wishes to convey an actual story— but to show the world in multiple cumulative glimpses over the course of the work.

  7. Every SF/F story will echo the author’s reality in some fashion. It is unavoidable. Read any SF/F written in the mid-1950s and you will almost always be able to distinguish it from something written in the mid-1970s, even when the works are by the same author. Even when the style feels ahead of its time (say with Alfred Bester) there will still be multiple cues and assumptions about life, the world, and technology that will leak in from the outside. (see #3)


July 22, 2015

This weekend, Friday July 24 to Sunday July 26, I— along with my new shirts— will be attending Confluence, “Pittsburgh’s premier SF/F/H literary conference.” The location is: Doubletree by Hilton Cranberry Pittsburgh (that’s a mouthful) 910 Sheraton Drive, Mars, PA 16046.

My con schedule:

Big Ideas: “Philosophical” Science Fiction …. Lawrence Fri 8:00 PM
How do evil societies function? …. Armstrong Fri 9:00 PM
Seven things an SF/fantasy novel always includes …. Mars Sat 10:00 AM
Gender in Fantasy …. Armstrong Sat 12:00 PM
Not Just Anglos …. Lawrence Sat 3:00 PM
Does fantasy need to acknowledge physics? …. Armstrong Sat 7:00 PM

Hope to see you there!

The Chosen One

July 21, 2015

While this blog post I read conflates a number of issues that I think are unrelated, it raises an issue that I think is valid for most authors to think about. It is the nature of most fiction, especially genre fiction, to focus on a central character, the protagonist. This is generally whom the story is about, and it is who the author tends to invest the most agency. The more dire and far reaching the story the author wants to tell, the greater the temptation it is to raise this single character above the general population, make them special. The epitome of such the impulse is in the trope of the “chosen one,” the person with the skills, the destiny, the bloodline, the prophecy. . . yada, yada, yada. Sometimes this makes sense, when you’re talking about a trained soldier going into a critical battle. Sometimes though, when the farmboy is told about his special inheritance and destiny to fight the powers of evil, it comes across as wish-fulfillment at best, and problematically elitist at worst.

I want to see an Epic Fantasy where the rebellion says to Hell with it, we’re not waiting for the prophesied savior to actually take down the Evil Empire.

21st Century Slans

July 16, 2015

Netflix_Sense8_promo_artThere is a very old trope in SF, epitomized in the novel Slan by A. E. van Vogt, where a subset of humanity “evolves” some form of mental/psychic gift and is subsequently persecuted by the majority “normal” population. It’s a theme particularly suited to expressing alienation, and the term “Fans are Slans” gained currency back when SF fandom felt truly alienated from the wider culture. When I finally saw Sense8 on Netflix, it struck me as a modern take on a similar idea, albeit expressing a different, and more adult, form of alienation.

So, when I read this article about transhumanism and pop culture sci-fi, I’m struck by how much history is absent from its appreciation.

Sense8 is, in terms of premise and plot, a classic golden age story that could have slipped into psionic-era Astounding circa 1950. In terms of character and theme, though, it made a detour through Dangerous Visions. . . Specifically through its use of near explicit sexuality in various forms. The sex, I think, is a major part of the theme, as almost all the main characters begin at a point of alienation with the wider world, in two cases primarily because of their sexual orientation, in another case because of an upcoming marriage, and in yet another because of a past relationship and birth that ended tragically. Sex (straight, gay and poly) and birth (both graphic) are a big part of the package. But if that doesn’t deter you, its worth a watch.

Fantasy, science fiction, and the future of derp.

June 13, 2015

I have read some stupid assertions about Science Fiction and Fantasy over the years.  As I have internet access, this is inevitable.  People say idiotic things occasionally.  Then I read this from the Daily Kos, and watched as the bullshit  reached such a density that the article collapsed through it’s own event horizon until the pull of the derp became so strong that not even a coherent thought could escape.

We start with a intro about the distinction between Science Fiction and Fantasy, which is admittedly difficult on the margins. We already know we’re in troubled waters because the referents used seem to consist entirely of Star Wars, Star Trek, and The Lord of the Rings.

This is going to be fun.

There’s an easier way to define the two biggest categories of speculative fiction, and it has nothing to do with which one has pointy-eared people called elves and which one features equally mucronate Vulcans. Instead, it’s all about time. More specifically, it’s about Time’s Arrow.

We then get a slug from this Wikipedia article after an explanation of all the Google hits we’re not referring to.

Ok, Second Law of Thermodynamics, gotca.

It’s like this: fantasy works backward. That’s not to say that fantasy fiction is filled with self-assembling tea cups. In fantasy, what’s reversed is progress.

Progress is simply the idea that the world becomes better at making buildings, better at making gadgets, better at medicine, better at communicating, better at explaining the world, better at providing a decent life for everyone. Better … over time. And surely the future shall be better for thee than the past, etc., etc.

In fantasy worlds, that’s often not the case. In many fantasies, there was once a time of Great Ones, a category including Noble men, Stately Elves, Impressive Giants, Personally Involved Gods, Bearded Wizards, and Interstellar Mollusks of Ill-Defined Colors. In this past time Great Deeds were done. Great Deeds that include raising of Impregnable Castles that stand still on lonely peaks, the digging of Great Mines that delved deep into Unknown Depths, the weaving of Great Spells that worked Mighty Wonders, the construction of Darkly Towering Towers that shielded deeds of unforgivable self-aggrandizement, and the forging of Great Items that no artisan today can match (this paragraph brought to you by Fantasy Capitals. Fantasy Capitals, lending Terrible Significance to ordinary words for a Very Long Time).

And thus begins the spiraling collapse of any intellectual heft this argument might have had. The above assertion is so mindlessly reductive that I doubt the author even read Tolkien, and simply formed an opinion on the genre based on the trailers for the Hobbit movies. But that’s not even the worst of it. We are using the concept of “Time’s Arrow” as a metaphor for the idea of “Progress.” Really? I know quite a few libertarians that would probably equate ideas about historical materialism with societal entropy, but I doubt that was the author’s intent.

Needless to say, the view of science fiction is also insanely reductive.

Science fiction, that is proper science fiction according to this 100 percent not original definition, has its arrow firmly pointed toward progress. Yes, things may be worse than they once were due to war, famine, or alien invasion, but it’s perfectly possible for our spunky audience surrogates to match and exceed previous achievements. You can build that spaceship, plant that flag, go where no one has gone before without regard to pedantic protectors of infinitives. Star Trek is science fiction not only because it imagines a future world where things are better than today, but because that world is firmly anchored in the idea that things can be better still. Transporters will transport over greater distances. Warp drives will be warpier. And both captains and crew expect to end their lives in a world that is measurably better than the one they were born into.

So Science Fiction is defined, pretty explicitly, as “that fiction that buttresses the stupid argument I’m making here.” Forget H.G.Wells’ The Time Machine. Orwell’s 1984. Most of Phillip K. Dick’s oeuvre.

Lord of the Rings is fantasy because everything of import originated Long, Long Ago. Our characters move against a backdrop of awe-inspiring ruins toting swords, armor, and rings embued with power by people that Knew Stuff. Stuff the likes of us are unlikely to ever cipher.

Thus, so is every single space opera that uses the trope of the ancient progenitors.

From that solemnly pronounced idiocy, the author devolves into the real argument he is attempting to make.

But there’s a problem with our politics. Somehow, for reasons that are not at all clear, we doubt the existence of progress.

Too often we treat an 18th century quote as if it’s the final card in an argument. Too often we look at yellowing documents as if they came not from politicians as venal and self-important as anyone on the stage today, but from marble demigods. Too often we weigh the best possible data available today, discover the best possible course of action available today, then say to ourselves, “Now how would a guy in a powdered wig have handled this?”

Oh, progress happens. There’s a sweet relationship between Time’s Arrow and the Arc of the Moral Universe. Greater knowledge has brought not only increased acceptance, but increased freedom. Only the arc isn’t just long, it’s much, much longer than it need be. A big part of that all too often we live in fantasy democracy … Fantocracy.

How do you know you’re in Fantocracy? If you’ve ever cited Adam Smith or Benjamin Franklin as an authority in an economic debate, you’ve put a foot in Fantocracy. If you believe no politician today can match the erudition and political brilliance of Thomas Jefferson, you’re in at least knee-deep. If your philosophy of good governance is based on George Washington, Abraham Lincoln, or even a Roosevelt to be named later, you’re fully in Fantocracy. If your argument for the Second Amendment is based on anything said by Noah Webster, James Madison, or anyone else who died before the invention of the rifled slug … well, Mr. Bilbo, let me see if I can rustle up some taters.

And there you go. The inane literary argument exists solely to reach a preordained conclusion.  To wit, if you reference prior philosophy in arguments about social policy then you politics wrong.

Not only do you have the arc of the moral universe’s descent into sweet sweet entropy, you have the ahistorical assumption that somehow continuing forward in time inevitably leads to more enlightened political thought. I mean, what the hell happened to the arc of the moral universe in Iran and Afghanistan between 1950 and now? The fact something is old or new has very little bearing on its worth. Especially since the “progressive” thought espoused herein is over a century old itself.

Really, this is just a case of whether you prefer 19th Century German political philosophers to 18th Century English ones.

Our knowledge is steadily increasing. That includes the knowledge in how to form and manage a stable government. That includes the knowledge in how to run an economy. That includes the knowledge of how to regulate business, how to manage the environment, how to provide the greatest freedom to the greatest number.

I got a book for you.

You. You. Yes, you. You can understand economics better than Adam Smith. You can grasp the relationship between church and state better than Washington, fathom the balance between legislative and executive branches better than Jefferson, and wrestle with a thousand, a million, ideas they never knew existed.

So, being able to Google stuff makes everyone smarter than those poor old white dudes that lived before iPhones. And someone who wrote an article as intellectually sloppy as this one understands the balance of powers better than the folks who designed the system.


I think this guy was the one in class who asked why Newton’s theory of motion still worked if Einstein disproved it all.