The Quiet War, Chapter 2

Cash Baker was just twenty-six, with eight years’ service in the Greater Brazilian Air Defence Force, when he was selected for the J-2 singleship test programme. From inauspiciously ordinary origins in a hardscrabble city in the badlands of East Texas he’d risen through the ranks with astonishing speed. Luckily, he’d received as good an education as anyone in his neck of the woods could reasonably expect, and one of his teachers had spotted his preternatural mathematical ability and given him extra tutoring and steered him towards the Air Defence Force. He scraped into the top percentile in the induction tests, was streamed straight into basic pilot-training at the academy in Monterrey, and a year later, on a hot, thundery day in August, marched at the head of the graduation parade for the class of 2210. He started out flying fat-bellied Tapir-L4s on supply missions to remote camps of the Wreckers Corps east of the Great Lakes, was quickly promoted to the combat wing of the 114th Squadron, flying fast, deadly little Raptors, and distinguished himself in a string of air-support missions during the campaign fought by General Arvam Peixoto’s Third Division, clearing bandit settlements in and around the ruins of Chicago.
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The Quiet War, Chapter 1

Every Monday and Friday until its publication on October 16, I'll post chapters from my new novel, The Quiet War, at the website. Here's the first:

Every day the boys woke when the lights came on at 0600. They showered and dressed, made their beds and policed the dormitory, endured inspection by one of their lectors. Breakfast was a dollop of maize gruel and a thimble of green tea. They ate quickly, each boy facing one of his brothers across the long table, no sound but the scrape of plastic spoons on plastic bowls. There were fourteen of them, tall and pale and slender as skinned saplings. Blue-eyed. Their naked scalps shone in the cold light as they bent over their scant repast. At two thousand six hundred days old they were fully grown but with traces of adolescent awkwardness yet remaining. They wore grey paper shirts and trousers, plastic sandals. Red numbers were printed on their shirts, front and back. The numbers were not sequential because more than half their original complement had been culled during the early stages of the programme. READ MORE...

Dead Wood Promo

I recently put up my short story 'A Brief Guide To Many Histories' on the website; now ManyBooks offer it in all kinds of formats under a Creative Commons license.

It's one of three new stories by me in Postscripts #15, the bumper all-SF issue of the magazine. The vanilla hardcover is already on the market, and Pete Crowther, maven of PS Publishing, tells me that the signed editions will be back from the printer in a week or so. Get 'em while they're hot!

Maybe Not So Smallish

Are the bookshelves of my local charity shop operating some kind of version of Douglas Adams's infinite improbability drive?

Today, I dropped into the shop and picked up a ex-library edition of Tom Disch's poetry collection Burn This. And a couple of hours later I learn, via Ed Champion, about this tribute.

There Are Doors (13)

On the far side of Smithfield Market Edna Sharrow can run no more and in the cool shade of a tree at the boundary of the churchyard turns to confront the girl who has followed her.

The girl is an ordinary girl. Slender. Grainy skin. Pale blue eyes and dirty blond hair scraped back. Dressed in a grey pyjama-like suit zipped up the front. Shoes like small white pillows. An unremarkable child of the stones, except that the black light burns within her.

Edna draws herself up and says that she will deal only with the master, not his familiar.
The girl shakes her head and says, He’s busy elsewhere, but I can help you. What is terrible is that she is not afraid. No, her look is one of pity. She says, I shouldn’t have sent you away. I should have helped you right away. But I was scared. I admit it. It’s my first time.

I don’t need your help, Edna says.

You poor old thing. You don’t know, do you. You don’t know that you’re dead.

And the black light beats around Edna like wings and she is falling away from the world. For a moment she catches hold of the tree and she remembers her mother holding her up in the sharp cold of a long ago Boxing Day, to see the hunt ride by.

Look at the pretty horses, she cries, and her heart leaps with the joy of the long-ago moment of lost innocence, and she falls through the door of the sky.

Part 1 2 3 4 5

Not By Fire

Hey, we’re still here. And my broadband connection has come back. So much for the naysayers who predicted the end of the world when the Large Hadron Collider was switched on. I guess they can come down from the mountaintops now, and dispense with the sackcloth and ashes.

Or maybe not, because so far the scientists at CERN are just testing their new toy. They don’t start smashing fundamental particles into each other at tremendous and possibly world-destroying energies (or not) until next month.

(If you want to know what might happen if the naysayers had been right, you might care to check out my short story ‘How We Lost the Moon, A True Story by Frank W. Allen’. Currently available here or in an audio version, until I get around to coding it I’m afraid. (Don’t worry, it has a happy ending.))

I was pleased by the blanket coverage of actual science in the media, but do find it rather worrying that the only way scientists can get any real attention these days is to be wrongly accused of plotting to blow up the world. If we keep up this inattention it really will be over for us, as a species because we need a whole bunch of cleverness to get us out the mess stupid applications of good ideas have gotten us into.

There Are Doors (12)

The shadowy army Mr Carlyle took from Edna Sharrow were ghostly shells cast off by people during moments of extreme emotion. Knots of terror and fear she’d used to intimidate and frighten and control. So it’s only fair, she thinks, to strip her enemy of his familiars and take from him everything he sheds in his last moments. To make what’s his hers.

She drifts south and east through Clerkenwell towards Smithfield Market. If he’s tracking her, she’ll lose him there, in the echoes of the charnel house it once was. Blindside him.

She’s so occupied with her plans that she doesn’t see the girl until she steps out of the shadow under St John’s Gate, as if from one world to another. Calling to Edna, apologising for sending her away, saying that she should have dealt with her at once.

Edna Sharrow draws on her last reserves, but the girl stands her ground. Black light beats around her, a hearth-heat that withers the laces that bind Edna’s soul, and Edna runs from it in a blind panic towards the sanctuary of the shambles.

Part Part 1 2 3 4

Island In Space

Out beyond the orbit of Mars, on its way to rendezvous with comet 67/P Churyumov-Gerasimenko, ESA's Rosseta spacecraft has just flown past asteroid Steins. Here's a brief movie of the encounter. We've grown so used to seeing scenes like this in SF movies that it takes a small effort of imagination to kindle our sense of wonder and remember that this is the real deal: real rock, real spacecraft.

Is it just me, or does it look like there's a face carved on the back side of the asteroid as it dwindles into the outer dark?

There Are Doors (11)

Edna Sharrow slurs and sidles along the streets like a leaf blown by the fumy slipstream of the endless traffic, through crowds of foreigners. Many of them humpbacked with rucksacks. Many coloured. As if her dear England has fallen to a foreign power while she slept in her lair. She’s hungry again, eyes children as she drifts past. Babies. Flinches from a dog that explodes into rage.

She drifts east, towards her enemy’s compass point of splintered black light. Remembering a girl. An ordinary girl telling her that Mr Carlyle wasn’t in. Telling her to go away. Sending her away. But that must be a story Edna is telling herself to cover up the hole in her memory. For a mere slip of girl could not have any power over one such as she. No, she has been tricked by her enemy, and he will pay for that, and for everything else.

When she can no further she passes through a gate into a small park and curls up under a laurel bush. She dreams of ranging through the dark clothed in the sinew and hot stink of a fox, and wakes choking on a mouthful of bloody pigeon feathers. And rises, renewed. Today she will have her revenge.

Part 1 2 3

How Not To Write A Short Story

1) Get drunk first.*

2) Spend three hours every day in front of the mirror intoning your mantra: ‘I am bottling the lightning. James Joyce and Katherine Mansfield are ants in my afterbirth.’

3) You can never do too much research.

4) Try to work out what magazine editors want before you start to write. Study the stories they publish very carefully. Work out their average word count. Work out average sentence and paragraph lengths. Which words appear most? Which appear least? Or not at all?

5) Choose a room in your house for a study. Better still, build a custom-designed shed in your garden. Insulate it, install mains electricity, decorate it in a soothing but stimulating shade of green. Choose the perfect desk and chair. Spend several weeks in stationers and art supply shops choosing the best brands of paper, pens, pencils, notebooks etc. Buy a top-of-the-line laptop and an industrial laser printer. Build bookshelves and fill them with dictionaries, encyclopaedias, how-to-write manuals, Strunk & White, Partridge’s Usage and Abusage, The Writers’ & Artist’s Yearbook, Brewer’s Phrase & Fable, The Oxford Companion to English Literature etc etc. Read everything from cover to cover. Maybe you should paint the walls a perky but soothing shade of blue instead. Or go on a writing course...

6) It’s important to get the first page absolutely right. Don’t be afraid to rewrite it 1000 times. Did I say page? I meant sentence.

7) spelyn n punctooashun r killin creativitey man dnt b a sheap

8) You can never spend too much time on the internet mongboards, dissing published writers. The fuckers.

9) Get a bad crack addiction. When you clean up you’ll have a ton of killer material.

10) Get a life instead, and enjoy it to the full.**

*Warning: may actually work. But not for everyone.
**Recommended.

It's A Smallish World

Last week I picked up an out-of-print novel by Paul Watkins (Archangel) in the local charity shop. It reminded me of what a good and interesting writer he is, so I did the Google thing and the Amazon thing to check out what he’d been doing lately. And for a moment it seemed that his latest novel is called The Quiet War. Except that it isn’t a novel, and it’s by a different Paul Watkins.

Sometimes it seems that the universe is trying to send you a message, but you can never be quite sure what it is or whether it really is for you.

Unfinished

Sometimes, just before I fall asleep, my mind unstringing itself, I’ll get ideas about the next day’s work. Solutions to seemingly intractable problems about character or plot. Last night, though, I had a dream about a short story. It was printed on a wraparound for the review section of the Saturday edition of the Guardian newspaper. Black letters on white paper. Twenty-four point type. About two hundred words a page, four pages. No title, just a name - not mine, someone I know - at the head of each page.

It was an SF story about two omniscient post-Singularity AIs passing through a black hole into the universe next door. Where the black hole was a white fountain, kick-starting creation. The pair of AIs as gods, shaping their new universe. And the smallest of the pair, quicker-witted but less powerful than his companion, saying at every significant tick in the universe’s evolution: ‘Dude, this is so like last time.’

I woke up before I finished reading it, so I don’t know how it ends. I wonder if the author does. Maybe he’ll read this and get in touch, Experiment In Time style.

There Are Doors (10)

It’s Richard’s house in the little square mews in Notting Hill. Was once Richard’s house. For of course Richard is long dead. Edna Sharrow is not so mad that she does not know that.

Poor charming courtly Richard and his coterie. She remembers the delightful evening when the Leader held court here. A splendid man, holding all of them in thrall. As powerful in his way as Edna, then just a smidgeon over sixty and sitting neat and tidy as a closed clasp knife in a corner of the room. The Leader so tall and handsome, and his beautiful wife, and his wife’s mad daughter, who whispered to Edna, I know you.

But why is she here now? She had been at the door of her enemy. His house in Princelet Street, shuttered and quiet. And here she is without any memory of transition, like finding herself on the wrong page of her own story.

Something bad happened, she thinks, and in her panic she fled and came here, looking for help. But Richard hung himself in his prison cell on the day when he and all the rest of the world learned that the Fuhrer had committed suicide, and time has taken care of all his friends.

For the first time since breaking her long seclusion and stepping out into the world Edna feels afraid.

Part 1 2

A Good Deed In A Naughty World

I've just discovered that the online magazine Fanzine has published a short story by Scott Bradfield. I've been a big fan every since I read some of his early short stories in Interzone, back in the Paleolithic: smartly-written absurdist parables, goofy and sweet, but always with a sting in the tale. Kind of like the films of Preston Sturges. He hasn't published much recently, but there's a collection of good stuff still in print - Hot Animal Love. And it's well worth trying to track down a copy of his novel Animal Planet, too.

Seen From A 274 Bus

Like an intruder from a world designed by Tim Burton, a black carriage with glass sides and giant plumes of black feathers rising from the corners, coal-black horses, coachmen all in black, and inside, a Goth bride. A sight to gladden any heart, seen at the edge of Camden, naturally.

There Are Doors (9)

Here’s the place where she met her nemesis on a snowy night in February 1939, after the debacle at the Bank of England.

The two men bursting in while she and Kurt were loading the barge. Brave, beautiful, blond Kurt running at them with a boathook and Detective Sergeant Flowers shooting Kurt with his service revolver and Kurt’s brains and blood jumping from his shattered head. And Mr Carlyle, that sly old fraud, whipping Edna’s servants from her and scattering them into nothing at all in the cold black air.

Edna had the presence of mind to jump into the water and release her hold on the fire imp, and the barge had gone up in clap of white flame. She remembers seeing it burning through blowing snow when she’d surfaced a hundred yards away. Remembers that she flagged down a taxi outside the London Hospital later that night. Remembers the look of surprise and regret on the face of the cabbie in the moment of his death.

An hour later she was at the safe house in Tooting. The next day she was in France.

Standing on the canal towpath in plain daylight, Edna Sharrow can feel her old enemy to the east. Like a splinter of black light in the corner of her eye. Still in that house in Spitalfields no doubt. He was a creature of habit then, and she’s certain that he won’t have changed very much. Goody.

Part 1

The Power Of Names

Blood Kisses

To town yesterday, to a screening at Frightfest of Let The Right One In, the film version of the bestselling Swedish vampire novel, adapted for the screen by its author, John Ajivide Lindqvist. Set in a bleak, wintery working class suburb of Stockholm in the early 1980s, it features a very creep pedophile turned ineffectual serial killer in the Renfield role, and some excellent twists to cannonical vampire lore (including the best cats v. vampire bit I've ever seen, vampiric addiction to puzzles, and as far as I know the first demonstration of what happens when a vampire steps over a threshold uninvited), but at its heart is the affecting portrait of the developing relationship between a bullied twelve-year-old boy, and a vampire girl who has been twelve for a very long time. Kare Hedebrant and Lina Leandersson turn in astonishing performances as the friends sharing a very dark secret, and director Tomas Alfredsson provides some lovely atmospheric moments, and by framing the more gruesome moments through windows, half-open doors, or in the distance, never tips the delicate romance into outright horror. Watch out for it in spring next year.

Recently read: Andre Dubus III's The Garden of Last Days, in which a perfect novella of lost innocence strains to escape an overblown blockbuster; Kate Atkinson's When Will There Be Good News, third in her series of 'literary' crime novels, with a slightly fumbled crux but a very finely sustained tone of dark humour, a plot that effortlessly glides on a slick of coincidences, and in the character of sixteen-year-old Reggie a wonderful example of the gritty girl detective; and Rick Perlstein's Nixonland, a terrific portrait of 1960s America, and a rigorous explication of how Nixon poisoned American politics for two generations (not for nothing is our strand of history, in Cowboy Angels, called the Nixon sheaf).

Write Stuff

Anyone who's new to the game of submitting fiction to the markets would be well advised to check Ellen Datlow's little rant about her pet peeves concerning submissions. Ellen is one of the best editors in the business and reads a lot of manuscripts for her anthology projects. Heed her wise words (there's lots of good stuff in the comments, too).

Goofs like these aren't just found in submissions by new writers by the way. My partner is an editor at a large publishing house in the UK. You'd be surprised - or maybe you wouldn't - at the number of Big Name authors who submit manuscripts printed in single-spaced ten point type, or with virtually no margins, or (and this is amazingly common) with dropped lines separating paragraphs, and no indentations. Maybe the latter is something they learned as journalists, but when it comes to making a book out of the manuscript, it means that someone has to insert hundreds of proof marks in correction.

In the UK, the Writers' and Artists Yearbook, updated annually, has all kinds of useful information for published and would-be writers, but oddly enough has nothing at all about the important matter of formatting your precious submission. So take Ellen's comments to heart, and if you're sending out short stories do check out magazines' submission requirements. And don't turn page 3 upside down, clip pages 4 & 5 together, or leave a hair between pages 6 & 7 to test whether or not your submission gets read that far. Editors know all those tricks, too.

Here endeth the lesson. Go forth and do good.

I've just passed the Xeno's paradox stage of the second draft of the ongoing, if you're interested. All the stuff I neglected to include first time around is in, more or less. Now all I have to do is go over the last three chapters, and then write the real ending (the last few books, out of what I hope is practicality rather than superstition or laziness, I haven't tried to get it absolutely or even approximately right until this stage, when I know exactly what the secret of the book really is).

New Free Stuff

I've added a new short story, A Brief Guide To Other Histories, to the fiction archive. First published in Postscripts #15, it shares the same multiverse as Cowboy Angels.

Coming soon: the first chapter of The Quiet War.