New Writer Spotlight: Eljay Daly

Eljay Daly

Underwords’ first New Writer Spotlight features Eljay Daly. With several professional level short story sales to her credit, Daly is a writer you will want to know and read. We are proud to introduce you to Daly, her work, and her thoughts on writing.

Her first professional sale was in 2009, which places her in her second year of eligibility for the Campbell Award.

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What was your first piece of published fiction and where was it published?

My first published story was “The Second Conquest of Earth,” a tarot card/alien invasion mashup that appeared in Strange Horizons.

When did you find out that you sold “The Second Conquest of Earth?” What was happening at the time? How did you react?

Oh, that’s a funny story! One of the final requirements for our MFA program was a reading. This particular story was one that I’d actually written with that final reading in mind. I wrote it to be read aloud, so I was pretty sure it wouldn’t sell. Still, I’d submitted it out a few months before graduation, and for the entire graduation week I kept checking my email for the rejection.

I’d asked my mentor at the time, James Patrick Kelly, to introduce me for the reading, and he graciously obliged. He pounded the podium with Jim-like gusto and said, “I swear on my reputation as a teacher and a writer and a futurist!” that my first sale was close at hand. Sure enough, two days later, when I was home unpacking my newly minted MFA, I got word from Strange Horizons that they were taking the story. When I wrote Jim to tell him the good news, he said the timing was so overly perfect that if I’d written it into one of my stories, he’d have made me take it out!

The moral: Seriously, if you need a sale or rain or something, you need to hire Jim Kelly to do some podium pounding for you.

What other stories have you sold since?

Since then I’ve sold stories to Fantasy Magazine, Beneath Ceaseless Skies, GigaNotoSaurus, and an audio reprint of that first story at the Drabblecast. There are links available at www.eljaydaly.com.

How would you describe the type of fiction that you write?

Atmospheric fantasy, I think. Often dark–or at least dirty. I’m most interested in the underside of fantasy: not the glitter and shine, but rather the cost of all that glitter and shine. And the secrets. Somebody’s paying a price for all that magic. The stories that stick with me have roots in desperation. Of course, the fiction I write isn’t necessarily the fiction that people read. I know what I’m trying to do–to build worlds sideways, to imply the dark realities in as few words as possible. I don’t know how well I accomplish it, though.

Did you have a mentor or another writer who helped to guide you through a difficult point within your writing career?

Whenever I get stuck I hunt around for somebody who’s doing what I want to learn to do, and I try to eat their brains. I read their fiction, I poke it apart; I read their blogs and advice articles, I workshop with them if I can, or I try to get to one of their lectures or panels. I’ve been blessed with a lot of fantastic teachers. I think the clearest example was James D. Macdonald. I’d been beating my head against a wall over plotting for a couple of years when I stumbled onto his fantastic writing thread on the Absolute Write forums. That thread taught me a whole new way of thinking about what I was doing. And of course, I followed Jim to Viable Paradise where I met Jim Kelly, and I followed Jim Kelly to the Stonecoast MFA program because I wanted to learn how he managed to write so tightly. And at Stonecoast I got a chance to study with Nancy Holder and Kelly Link, who helped me get my writing to a whole new level, and to workshop with outstanding writers who were climbing the same mountain I’m climbing (although some were exceedingly far ahead of me!).

There have also been mentors who don’t know they’re mentors, bless them. I read Jay Lake’s blog every day, and reading about his process has helped me figure out the way I work. He’s a masterful teacher. Elizabeth Bear’s blog was enormously helpful to me. And of course, the best teachers are the ones whose books and stories I’ve poked and prodded and analyzed in fairly obsessive detail. Lois McMaster Bujold and Michael Swanwick and Neil Gaiman come to mind. I’m grateful to them for writing such brilliant fiction–particularly since I’ve retyped about seven-hundred pounds of it.

It is said that learning to write well is like experiencing a series of never ending writing related epiphanies. If you had to pick one, what is the most important lesson you have learned, so far?

That’s so true! My days brim with writing-related epiphanies. If I have to narrow it down to one, I guess it would be “Writing teaches writing.” Keep trying. If my system isn’t working, try another system. If the story I’m working on is lousy, finish it anyway, then write another one. Don’t worry about it. Keep going. Get a teacher, get some words on the page, figure out why a plot point feels so illogical. Keep living in the story, for at least a little while every single day. As long as I keep trying, as long as I continue to focusing on improving and on getting completed projects out into the world, every problem manages to solve itself. Then one day I look back and say, “Wow. It’s hard to believe that used to seem so impossible!” Of course, then I’m in the thick of a new cluster of problems, but what can you do? Keep rowing!

OK, I can’t help it. I have another one: “Don’t follow a rule off a cliff.” In the beginning, I followed a lot of rules off a lot of cliffs. I ended up with a lot of very boring stories! And even with all that rule following, nobody was giving me any A+’s for being impeccable. I didn’t start to sell until I began consciously playing with bending rules and then breaking them, and then crushing them, just to see what the stories would look like when I was finished. That’s when they started to get interesting.

Which authors, stories, or novels most affected your development as a writer?

Dune. American Gods. Connie Willis. Lois McMaster Bujold. For short stories, Michael Swanwick. Jim Kelly. Joe Hill. Liz Williams. Jeffrey Ford. Damon Knight. Stephen King, especially his On Writing. Marion Zimmer Bradley! Melanie Rawn, Jennifer Roberson, Kate Elliott. Argh, stop me! Everything I read ends up affecting my development as a writer. I’m just… spongy.

What do you do for a living beyond writing fiction? How do you fit “writing time” into your schedule?

I’m a freelance medical copyeditor. It means I’m self-employed, so there’s no job security to speak of. I work seven days a week, three hundred and sixty-five days a year. I’m perpetually worried about buying food and paying the electric bill, and I have to scrounge to keep myself in medical insurance. (Just like a writer!) On the other hand, it’s ideal because I can set my own schedule. I can prioritize my days as I need to. And the bottom line is that it frees my imagination. My job doesn’t rent a lot of my mental real estate, creatively speaking. And it’s given me the added bonus of letting my left brain do pushups. That part of my writing process has become automatic. I don’t have to expend energy worrying about whether I’ve got the commas in the right places.

I get up at 4 AM so that I can get the writing done while I’m freshest, before I start tackling the left-brain editorial stuff. When I was in grad school I pushed it back to 3 AM, because I was doing my own writing on top of my course work. I tackle my days in the order of my priorities. If I want writing to be my highest priority, then that’s got to be the first thing I do in the morning. It might not work for everybody, but so far it’s been working for me.

When did you first know that you wanted to write? What inspired you to tell stories?

I have an essay I wrote when I was nine that declares I wanted to be a writer. I’m not sure I really knew what I was saying, though. Did I? I don’t know. Maybe I did. I was a voracious reader.

I don’t think I was ever inspired to tell stories–at least, not in the sense of having a desire to create a fully formed thing that went from “Once upon a time” to “And they lived happily ever after.” My reading was all aboutimmersion, without beginnings or endings–just hanging out in the middles. Trudging to Mount Doom. Sitting there with my hand burning and the gom jabbar at my throat. Living in those places. The story is the shape of the thing in hindsight, you know? When you look back at all those people who did all those things, when you look at the steps they took… then you’ve got some perspective on the arc of the thing, and it becomes a story.

What I was inspired about was the big “what if”–and that started young. “What if that girl had an eye in the middle of her stomach?” “What if I was a secret spy?” “What if this cellar had a portal to hell?” “What if I open my eyes in the dark and look up at that shelf over my bed, and all the little dolls’ faces are peering down at me over the edge? What if they’re angry?” I was into the melodrama! But the “what if” came from inside. I don’t remember a time when I wasn’t looking at reality and imagining it as something… other.

Did you receive any writing related training or attend any workshops? If yes, how do you think they helped you? If no, are there any that you are considering?

I went to Viable Paradise, which is an outstanding workshop. Not only did I meet my tribe, but at the end of that workshop I felt forged. I knew precisely how serious I was about writing. Then I went to the University of Southern Maine’s Stonecoast MFA program, which has a popular fiction track. I learned a ton at Stonecoast; I ended up with a toolbox of strategies for finding solutions to writing problems, and I continue to use those tools daily.

Both of those experiences were invaluable. I think the key was to identify my particular weaknesses, scout around to find writers for whom they were strengths, then find out where those writers were teaching.

Which of your published stories would you most recommend to someone who hasn’t yet read your work?

Any of them, really. But a personal favorite? Let’s see… “Bitterdark,” which appeared in Fantasy Magazine a few months back.

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Review: Full Dark, No Stars by Stephen King

Author: Stephen King
Publisher: Scribner;
Print Date: November 9, 2010 – First Ed.
ISBN-10: 1439192561
ISBN-13: 978-1439192566
Details: 384 pages | Hardcover | $27.99

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Dark. Grim. Dangerous. Full Dark, No Stars by Stephen King features four gritty stories that are not for the faint of heart.

In his new collection, King returns to the long fiction form that once again establishes his mastery of bone-chilling literary fiction. Each story represents the essence of King’s craft, bringing out the darkest parts of human nature that usually remain safely hidden behind a facade of amiable smiles and pleasantries. However, as dark as this collection is, and it is among the darkest of King’s fiction, each piece reflects a glimmer of unexpected goodness.

1922 – family values take on a new meaning as the James family struggles with whether or not to stay in their small town or move to the “big” city. This piece is the most powerful of the stories within the collection. What starts as a simple decision for Wilf James becomes increasingly complicated as he finds his life collapsing around him, forcing him to make new decisions that dig him deeper and deeper into a wicked combination of madness and despair. That said, it’s also a striking portrait of middle American farmers in the early 1920s. The combination of King’s research and his imagination allow for a completely convincing setting and a plot that is as unsettling as it is engaging. The glimmer of goodness in this story is Wilf’s love for his son. No matter what comes, he struggles to protect and take responsibility for his son’s actions.

Big Driver – short cuts and back roads aren’t always the most direct route for this midlist writer returning home from a library event. This one of the darker more disturbing pieces within the collection. However, even in face of the horrible violence committed by a deeply disturbed man, King succeeds in creating a strong female character who is surprisingly smart, determined, and just as ruthless as her captor. What’s beautiful about the way King develops Tessa’s character is that she evolves into a strikingly different person by the end of the story, yet there isn’t a single point between the first and last pages that her character doesn’t ring true. Her transformation is utterly believable, forcing the reader to cheer for her as often as they cringe. While the violence inflicted upon Tess is severe, she doesn’t break and play the part of a victim. Instead she empowers herself to think smart and to think savvy about what she will do next.

Fair Extension – everyone is looking for a good bargain and some are willing to pay more than most. Dave Streeter makes the ultimate trade in order to extend his life, but the cost will have a long lasting and far-reaching effect on the people in his life. While all of these stories will surprise you in some way, “Fair Extension” feels  like Classic King, yet the end isn’t quite what you’ll be expecting. Stories of people making trades with the Devil are fairly common. However, King finds a new way to twist this tale into something that feels unique. Let’s just say, this story brings new meaning to the old saying, “Who needs enemies with friends like [Dave]?” The goodness in this story comes in the most unlikely of places – the Devil. He offers a fair deal, is honest about the trade, and sticks to the agreement.

A Good Marriage – how well can you really know another person? Do wedding vows mean your spouse becomes an open book or are there secrets that can remain hidden for years or decades after the rings are exchanged? This story explores that question in a believable way, eroding the foundation of everything you once thought you knew about the person you love. While this piece may not be as engaging as the other three stories within the collection, it resonates on a much more realistic level. King does an exquisite job of exploring how a loving, trusting marriage can keep a person from suspecting the darker truths that her spouse may choose to hide. The glimmer of good in this piece is a bit more obscure, but comes out in the innocence and self-realization that Darcy experiences when faced with unwanted truths about her husband. [Read an excerpt from “A Good Marriage.”]

Afterword – The final section of Full Dark, No Stars is a short personal essay from Stephen King about this collection and his thoughts on fiction. In it he says, “…the art of story-fiction…is not worn out, it’s not a literary game. It’s one of the vital ways in which we try to make sense of our lives, and often the terrible world we see around us. It’s the way we answer the question, How can such things be?” Truly, King is a master writer whose sense of story strikes deeply into the emotional experience of being a living, breathing human. His “Afterword” is as gripping and poignant as any of the tales within this collection and it should be read since it serves as the perfect ending to a collection that will erode your sense of safety and sanity within the world.

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Fans Keeping the Buffyverse Alive: An Interview with Shiai Mata, founder of SlayerLit

Fandom comes in all different shapes and sizes. For some it’s simply picking up the latest novel from your favorite author or tuning in for the next episode of your favorite television show. For others like me, it’s inviting your friends over to eat a monster tray of nachos and drinking Diet Cokes while screaming at the TV in the vain hope that Buffy may actually hear us and NOT kill Angel at the very moment that Willow restores his soul. Then there are those like Shiai Mata who take fandom a step further and actually stats a fansite like SlayerLit.us, which focuses on the literature of Joss Whedon’s hit television show Buffy the Vampire Slayer.

Since most fan sites for Buffy tend to focus primarily on the television show and the actors, the fact that a literary fan site like SlayerLit developed and thrived was a pleasant surprise. I recently had the opportunity to interview Shiai Mata, the founder of SlayerLit, in order to find out a little more about this unique fansite and the fan who started it. What I found was that Shiai is as entertaining as he is knowledgable about both the television show and the books that the show inspired.

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Why did you start SlayerLit.us? What inspired it?

I first launched SlayerLit as a Yahoo Group…remember those?…on February 27, 2003.  I did it for the simplest of reasons:  I liked the Buffy and Angel novels, and when I saw that there was no real online forum to discuss and promote them, I sought to try and fill the gap as best I could.

If you do the math, you’ll realize that was in the final months of Season 7 of Buffy the Vampire Slayer, and there was a genuine wealth of substantive discussion among fans about virtually every other aspect of the series.  There were some Buffy-centric groups that had several thousand members, and many of them were all a part of the ongoing dialogues about the episodes, the characters, and every other imaginable topic.  It was a very exciting period to be a fan.  Sadly, most of those groups are largely silent now, or gone altogether.

How have you kept SlayerLit alive after BTVS ended?

Well, it was easy at first, because while the television series had come to an end, both the novels and the first comic book series from Dark Horse were still going strong.   Simon & Schuster, the publisher of the novels, even launched a marketing campaign with the slogan, “Buffy Lives…in the Books!”  I thought that was pretty darned clever of them.

More importantly, we have a core group of members…some of them actual authors of the novels…who have kept the art of lively discussion alive.

Unfortunately, the original novel series wrapped up a few years ago. However, the publisher has recently been dipping their toe back into the water by gathering up some of the previously published works into new omnibus collections.  I’ve been told that if they sell sufficiently well, others may be forthcoming, and there could potentially also be new stories to come as well.  That’s a big *IF*, but it’s still a distinct possibility, so there’s hope.

What do you enjoy most about doing SlayerLit?

I like the feeling of community that’s shared among the fans.  I also like promoting reading, in my own small way.  Too many people just don’t take the time to sit back and open up a book these days, and that’s a tragedy to me.

And because of the site, I’ve had a perfect pretense to meet and know some amazing authors, as well as Lisa Clancy, the remarkable editor who launched the line at S&S.  For me, the equivalent would be if this were the 1930s and I was able to know Walter Gibson, Edgar Rice Burroughs and Hugo Gernsback…go ahead and hit the Wiki, I can wait.

I’ve also had the pleasure of meeting a number of cast members from various Whedon series, and I’ve been delighted to discover that many of them are human beings, just like you and me.

If you could star in any of the BTVS episodes, which one would it be and why?

That’s easy… “The Puppet Show.”  I do a Chico Marx that just kills.  Seriously, why a no chicken?

Which BTVS character would you play? No, you can’t be Buffy.

Probably the same part everyone else would kill to play:  one of the kids who jumps out of Xander’s way as he skateboards down the sidewalk in “Welcome to the Hellmouth.”

What was the first Buffy episode that you watched? When did you know you were hooked?

It’s funny, I can’t recall what the very first episode I saw was.  At the time, I knew all about the character from the original movie, and I definitely started watching in the first season.  Probably not the first episode, though.

I do know I was hooked immediately.  I had been intrigued by the concept going in, but it was the cast who grabbed me right from the start.  At their peak, they were undeniably one of the best ensemble casts on television.

If you discovered that you were standing behind Joss Whedon in the Starbucks coffee line, what one question would you ask him?

“Hey, you used to write for ROSEANNE…what have you been up to since?”

How many times have you been to the Hellmouth? What was your favorite part of the visit?

I have actually been to Monterey, which was one of the inspirations for Sunnydale, and there’s some good seafood to be had there, so that gets my thumbs up.

I’ve also been to Cleveland, site of the other Hellmouth, and I know just where it’s located.  Ever been to the Rock & Roll Hall of Fame?  They won’t let the Monkees or Kiss in the HoF, but they do have Brenda Lee…tell me that’s not the work of the First Evil!

If you were to join Buffy’s Scooby Gang, what skills would you bring to the table?

I can wiggle my ears independently of one other.  Until I can master the Vulcan Nerve Pinch, that’s the best I’ve got.

What are your first impressions about the upcoming Buffy movie?

I realize this isn’t the politically correct answer, but I’m not against it…in theory.

Now, for it to work as a story, I think they’ll have to do a radical departure from what we know to be Buffy the Vampire Slayer…so much so, I wonder why they would even want to call her Buffy.  Just take the basic idea… “one girl in all the world, she alone…” and create an entirely new Slayer, a new Watcher, new big bads.  Once you’ve freed yourself from the shackles that doing Buffy Summers inevitably imposes, your creative freedom is limitless.

I’d be interested if they did a straight-up horror film.  I used to hope that at some point, Simon & Schuster would have someone write a pure Lovecraftian horror story for Buffy, just because she should have to face such things from time to time; Chris Golden and Tom Sniegoski did that with a Giles one-shot comic for Dark Horse, by the way… “Beyond the Pale,” with great art by Eric Powell.  Unfortunately, I anticipate what we’ll be getting is just a Twilight knock-off.  They’ll probably make Buffy a moony, lovesick schoolgirl who, in the climatic battle, has to be saved by her brooding vampire lover; in other words, a complete violation of the character’s core mission statement.

Mind you, if I were making this film, it wouldn’t be Buffy at all.  I’d go back to Joss’s original draft of “Rhonda, the Immortal Waitress,” and run with that.

What do you think of the continuing story of Buffy in the comic series that the Amazing Mr. Whedon had developed?

Oboy, here’s where my Buffy fan club card gets revoked and I have to turn in my decoder ring….

There have been some good stories told, and some truly great moments peppered throughout.  I’ve liked Georges Jeanty’s art very much, and Jo Chen’s covers ought to be hanging in a museum.  That said, I’ve been disappointed overall.

Now that Season 8 is concluded, I’m left wondering why the story was told at all.  I understand Joss wanted to take the concept back to the start, with Buffy being the one and only, but the way he accomplished that was, for me, convoluted, conflicted and, I’m afraid, dull.  Over all, I think most of the best stories which came from S8 were actually done by guest writers.

Long story short, S8 is, for me, a fidgety effort at Buffy fan fiction.  That it happened to be the work of Joss Whedon pains me to say that.  But now that he’s past what I think he felt was the story that was required of him, I’m very hopeful he just plunges into the ninth season, damning the torpedoes and having pure, unalloyed FUN.  If he does, I think it could be brilliant.

Why was Firefly canceled? Oh, wait. Sorry wrong interview. Seriously, though, why was it canceled?

Long story short, hierarchy changes at the Fox network meant that the show no longer had many champions in the front office by the time it aired, meaning it had to be a ratings hit right out of the box, or else it was doomed.  And what with Fox airing episodes out of sequence so that the story threads became incoherent, that pretty much killed the show’s best chance of building a steady audience quickly.

I am of the theory that if Buffy the Vampire Slayer were to debut today, it would never see a second season.  In 1997, the TV industry was different enough from today that networks were still willing to try and grow a series over time, particularly one that was a critical hit.  Now, a new show often only gets a few episodes before its final fate is decided

I can’t help but think that if Joss had launched Firefly on, say, HBO or Showtime, it would have been a happily ever after for all concerned.

Who do you think would win in a fair fight: Buffy Summers (BTVS) or River Tam (Firefly)?

Oh…River, hands down.  You know the phrase, “Never bring a knife to a gun fight?”  Guess who is what in this face-off.

Ok, which of them would win in an unfair fight?

Buffy, who for a heroine has never been afraid to bend the rules to win.  She’d have Willow at the ready to put a witchy wham on Tam.  End of fight.

We know how Buffy changed Sunnydale, but how do you think she changed the real world?

Buffy’s impact has been so profound, we as a pop culture society really don’t even recall any longer how it was before her.  We didn’t have heroines who were the valiant equals of Superman or James Bond.  Wonder Woman came closest, but she was undermined by the fact that the average person really only knew her from television, where she was played for the T&A factor.  We had some heroic women…I’m looking at you, Doctor Who companions…but they were the sidekicks.  Mostly, females were the damsels in distress.

I think a prototype for Buffy was Sigourney Weaver’s character in the Alien films.  But let’s face it, no matter how extraordinary she was, nobody actually wanted to be Ripley, or to even live in that universe.  But people do want to live in the Whedonverse, and girls do want to grow up to be Buffy.  That’s pretty amazing.

And now, it’s just so natural to have strong, successful, charismatic heroines on television, in films and in literature.  Media celebrates them, and the powers-that-be are willing to invest vast sums of money to bring their stories to life.  Buffy is, I think, the key reason for that.  Joss, quite literally, changed the world.

For those who are interested in trying the Buffy novels, which would you recommend?

The three new omnibus collections are readily available in fine brick and mortar booksellers everywhere, so that’s the easiest place to start.  If you’re willing to do a bit of searching, my short list would include…but by no means be limited to… “The Evil That Men Do” by Nancy Holder, “Tempted Champions” by Yvonne Navarro, “The Lost Slayer” by Christopher Golden, “Monster Island” by Golden and Sniegoski, “Ghoul Trouble” by Jack Passarella, the four “Tales of the Slayer” short story collections, and for Angel, “The Longest Night” short stories and “Sanctuary” by Jeff Mariotte.

Thanks for the interview Shiai! As always, it is a pleasure.

The pleasure has been entirely mine.  This is the first time I’ve been on this side of a Q&A!

Umm…you can validate my parking, can’t you?

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CONTEST!

Win Buffy the Vampire Slayer 2 on Goodreads.com

Nancy Holder, one of the contributing authors of BTVS2, has posted a contest on Goodreads in which she is giving away 5 copies of the book. The contest is open to fans worldwide. All you have to do is visit the Buffy the Vampire Slayer 2 contest page on Goodreads and enter for your change to win!

Good luck to all.

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Shiai Mata doesn’t exist.  It’s a pseudonym the fellow we know as Shiai Mata adopted some fifteen or so years ago when he was doing so much freelance writing for a magazine, the editor suggested he use a pen name at times so that it didn’t look as if we was their only writer.  Somehow or another, the Shiai name stuck to him online, and it’s what he’s best known by now.  And in retrospect, given how girly it sounds, he feels some small regret over the choices made, but what can you do about it, right?

You can taunt him about this by visiting www.SlayerLit.us.

Posted in Fiction, Interviews, Television | Tagged , , , , , , , , , | 4 Comments

One Word Interview: LOVE

The meaning of the word love has become diluted within our supersized world. We are constantly looking for the biggest and the best, the greatest value for the least cost. So when choosing words to express our interest, praise or desire, it has become a cultural norm to reach beyond the term that would be adequate or accurate. Instead we supersize it. We add value to what we’re trying to express by using words like love to describe how we feel.

I love french fries. I love that color blue. I love having a day off work. I love you.

While we may successfully express a greater or more exciting emotion, we risk devaluing our supersized words. Love should be protected. Love is something that everyone needs and something that we can’t do without. Therefore, in honor of  Valentine’s Day, the One Word Interview features authors expressing what the word LOVE means to them in 50 or fewer words.

We also invite you to share what LOVE means to you.

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The power of love – when we love, we want always to be better than we are.

Paulo Coelho,
from Love by Paulo Coelho with illustrations by Catalina Estrada

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LOVE was my first kiss at age 15, on Janice Vant’s moonlit doorstep—braces and all. I went to my job at a restaurant the next day, where the waitresses saw me grinning from ear-to-ear and collectively decided I had just lost my virginity. But it was just a kiss.

Jamie Ford

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.LOVE

Shares popcorn.

Shares opinions.

Holds hands at weddings.

Holds hands at funerals.

Is Messy. Steadfast. Forgiving.

Love listens.

Love takes a trip, takes out the trash, takes a risk.

Love shares the burden

And the discovery.

– Laura Griffin

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Love is the plus in one plus one. It’s the active ingredient in happiness; it’s why we do the best things we do and why we try to do them well, and it’s what’s left when everything that doesn’t matter is stripped away. And happy Valentine’s Day.

Timothy Hallinan,

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Love:
my husband my children my family my god my church my work my reading my dogs my laughter.

Charlaine Harris

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Love:
Dizzy, dazzled, desperate, dazed, beguiled, bewitched, bewildered, burning, tornado in the heart, soul ripped open, fire in the blood, tremor in the bones, tempted, tortured, teased, tamed, heartstrings taut and quivering, tummy turning cartwheels, sin dark, ocean deep, carnal craving, weak at the knees.

Laura Navarre

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LOVE:
Is the moment you realize that instead of being in the spotlight, you’d rather be beaming from the sidelines, watching that special someone shine.

Jodi Picoult

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LOVE:

a tight, familiar embrace.
my bub’s head pressed into the
crook of my shoulder.
the sound of their irrepressible laughter
in the early morning.
reading by the ocean, with the sun upon
my face, hearing the roar and hiss
of the waves, a glimpse of
my love and bubs exploring the tide pools.

Cindy Pon

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…and suddenly I love you beyond all measure is not just words but a heart, a soul bursting open, a stripping raw of all pretense. It is his tears on my face, his body in mine, our minds seamless. It is hopes and dreams and failures. It is apologies and a prayer for redemption. It is heaven and damnation.

All that I am is yours pales beside it.

It is everything.

It is love.

– Linnea Sinclair,
from Shades of Dark

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Top Fantasy Destinations for the Adventurous Traveler

By Hannah Strom-Martin and Erin Underwood

Are you an adventurous traveler, willing to go the extra mile for excitement?  Would you rather go to End World than Disneyworld?  Does the thought of the Eiffel Tower bore, but the image of Orthanc make you “ooh la-la!” all over your New Zealand sheep’s wool traveling cloak?  Then let Fantasy Vacation Travel take you away!  With over 200 years of experience in speculative tourism, FanVacTra can give you a once in a lifetime experience other competitors simply can’t conceive of. And whether it’s this world or the next, we’ll get you there in style.  Call now and our courteous representatives will treat you like a king as they design a personalized package guaranteed to take your breath away (literally or figuratively depending on your budget.)  Select from a wide range of locales—with FanVacTra even the most ordinary of places will reveal their hidden charm.

Don’t delay. Book a trip to one of our top fantasy vacation destinations today and let us put the spectacle back in spectacular!

Mount Doom, Middle-Earth – (The Lord of the Rings)
The White Tree of Gondor may be a once in a lifetime opportunity, but for the die-hard adventurer in your life, Middle-Earth’s real hot spot is Mount Doom: a wicked little hideaway deep within the kingdom of Mordor.  Not even the fires of Pompeii elicit the bone-shaking adrenaline of these volcanic fires—and the subsequent running is sure to warm you up after your life-altering encounter.  Whether you’re catching the sunrise from the mountain slope or retiring for some much needed R&R on the nearby Fields of Cormallen, you’re sure to feel refreshed and ready to take on the most daring of adventures.  (Discounts apply when booked in tandem with any of our other Middle Earth destinations.)

Winterfell, Westeros(A Song of Ice and Fire)
The Isle of Westeros has never been known for relaxation but despite recent political upheaval, great opportunities still exist for adventurers willing to diverge from the beaten path. If you can’t pay the taxes in King’s Landing why not head North to majestic Winterfell where new management has rendered the famous hot springs open to all? If you don’t mind picking your way through some uncertain terrain a clandestine dip at the foot of an ancient weirwood is yours for the taking. Stroll the godswood, investigate the family crypt, or try some light rappelling from the face of the broken tower.  As night falls pass around some Dornish Red and let your worries expire to the sound of gurgling water and song from the Wolfswood. Alternate destination: Grab a destrier and seek out Greywater Watch: a stronghold so secretive it ran away when we tried to say hi.

London, England – (Clockwork Angel)
London’s most infamous landmarks await you. While Big Ben and Buckingham Palace are staples of the London tourist trade, it’s the lesser-known sights that will give you a true taste of the city. Stop by the Institute for Shadowhunters for a private tour of the grounds and be sure to request a look at the armory—home to one-of-a-kind weaponry you won’t find anywhere else. Next, take a trip Downworld to The Pandemonium Club or the Devil Tavern for a late night drink. Walk along the Thames, stroll through Hyde park (be sure to stay on the paths), or book a room at the famed dark house, rumored to be owned by the Dark Sisters themselves.  For some real excitement you’ll receive an exclusive invitation to one of de Quincey’s  famous late night parties that are to die for. Whether it’s an evening rendezvous on Black Friars Bridge or a stroll through Carlton Square you are sure to be delighted by the sights of this retro fantasy destination.

Forks, WA(The Twilight Series)
Shiny not-so-happy people populate the little town of Forks, WA but there’s no reason to be afraid. If you can survive the maniacal driving habits of some eerily good looking townies the misty woods and rugged beaches will soon have you in the mood for love. Enjoy a burger at the local diner or motor (slowly!) over to Port Angeles for some candle-lit Italian. Grab a couple of cold ones and take in a supercharged baseball game or, if soulful tranquility is more your style, visit the Quileute reservation in nearby La Push. Smell the rain! Hear the ocean! Enjoy the sad-eyed company of an oversized guard-dog!  Whatever your tastes, Forks is sure to imprint itself upon you forever.

Over the Rainbow, The Land of Oz(Wizard of Oz)
Make friends that last a lifetime! This pet friendly destination includes a small group journey down the Yellow Brick Road as it winds through Oz’s most famous terrain. View the lush countryside from your own hot air balloon, day hike through the forest, or score a siesta in the gorgeous poppy fields. Your trip ends in the fabled Emerald City where you will find your heart’s desire. Getting around: There’s no public transit so travelers should pack light—and be sure to bring a nice pair of shoes. Note: imitations of this vacation package are numerous. Fantasy Vacation Travel is the only agency with exclusive service rights for tours departing to the original destination.

Chicago, IL(The Dresden Files)
Mystery dinner theater has nothing on a trip to The Windy City, particularly when you book our specially designed package for intrepid sleuths. Got a question that needs answering? Let your fingers do the walking towards the local Wizard For Hire. Contacting this quirky detective could well land you nose-to-nose with the local werewolf clan or braying with a pack of hounds through the back trails of faery. Trips include special guest lectures by the Knights of the Cross, the Warden of the White Council, and Chicago PD’s Assistant Medical Examiner. For those looking to experience the seedier side of The Windy City, special arrangements can be made with the local PD’s Special Investigations division for a scheduled ride-along during routine patrols, crime scene investigations, and undercover stakeouts. Whatever your pleasure, Chicago’s underworld will not disappoint.

Gatlin, SC – (Beautiful Creatures, Beautiful Darkness)
Get some down home comfort Southern style. This sleepy little South Carolina town is a must-visit for those with a hearty appetite and a love of southern history. Fill your day with local sights like the Gatlin historical society, the statue of the fallen southern  general Jubal A. Early, or the Gatlin Library (home to one of the oldest known collections of folklore and mythology in the world). After a day of sightseeing, stop in at the local Dar-ee Keen for a milkshake and a plate of chili fries or savor a piece of Amma Treadeau’s tasty Coca Cola cake, creamy sweet potato pie, or signature southern fried chicken. Food aside, the real treat is a midnight stroll beneath the cool glow of the Caster moon as you wind your way up the road toward the town’s oldest and most historic structure: Ravenwood Manner. If the gates are open, come visit the old cemetery, but be warned: you never know what blast from the past you may find laying in the shadows of the headstones…

Lothlórien, Middle Earth(The Lord of the Rings)
Everyone knows the elves were green before it was cool—now experience their famed hospitality for yourself.  A night in Lothlórien promises the ultimate in eco chic as you ascend a 100% authentic elven rope ladder to your very own mallorn flet.  Lay back and let the sweet, sustainably maintained waters of the Anduin river soothe your dreams as you slumber beneath an endless summer sky.  Visit the historic groves of Caras Galadhon or dally with other travelers in a cozily appointed hollow.  Zero light pollution. Concerts on the lawn. Lembas on the pillow.  Book early as spaces are rapidly diminishing.

The Island, Pacific Ocean(Lost)
Planning a heartfelt reunion with the most important people in your life? A trip to the Island might be in order. Yes, former inhabitants have complained of aerial disturbances and the occasional feeling of dislocation, but it’s all part of the fun as you and your loved ones embark upon the journey of discovery. Whether you start at the rustic base camp or simply drop in out of the sky there’s no knowing where the day will take you. Wander from beach to mountain (and back again!), explore the many contributions of the local science community (don’t worry, they’ve got everything under control), or seek out some answers at one of the many spiritual centers (we recommend the eerily glowing water as opposed to the eerily isolated shack). Whatever you choose there’ll always be more to experience. Complementary bottles of Dharma Initiative Merlot to the first 47 arrivals. Doctor on site. Stays may last longer than anticipated.

Urmsheim and Stormspike, Osten Ard(Memory, Sorrow and Thorn)
All who have traveled these frozen heights have been forever changed.  For Urmsheim: From the Aldheorte Forest hike north (and north!  And north! Look at all the pretty snow!) up the arduous slope of the mountain past glittering ice formations and forgotten Sithi cities.  Rest at the foot of the Uduntree—a frozen waterfall far older than a mere mortal like you can comprehend.  Enjoy a long song, treasure hunt or mild tussle with the resident wildlife.  Lodging options include caves, luxurious Sithi lodges, and a charming out-of-the-way abbey.  For Stormspike: Regard in safety from the cozy town of Elvritshalla or ascend the heights and enjoy hot and cold running Norns in the otherworldly Chamber of the Breathing Harp. Accommodations are vast and chilly but will haunt your very dreams.

Salamanca, Spain (Crusade Series)
From delicious wines to mouthwatering local fare Spain has always had a lot to offer, but it’s the Sacred Heart Academy Against the Cursed Ones in the centuries-old University of Salamanca that will really get your blood pumping. Sign up for a special training course and test your skills against the newest recruits in this highly competitive school for vampire hunters. Sleep in the dorms, eat with the students, fight side by side (and for your life!) as you travel to nearby provinces and slay bloodthirsty villains bent on making you their next meal. If gut wrenching action is the remedy for your vacation blues this X-treme vacation will satisfy even the most savage adrenaline junkie. While there, make time to visit the university chapel where the peaceful silence of the statue of Saint John will renew your strength.

The Dark Tower, Along the Path of the Beam(The Dark Tower Series)
Sound your horn for relaxation! The toils of the quest fade away as you journey through the fragrant rose fields of Can’-Ka No Rey towards your final destination.  Located on a prime patch of End World real estate the Dark Tower welcomes you with gorgeous sunsets and ample apartments perfect for reflecting.  Fare is DIY (so stock your gunna well, do ya kennit?) but the view is inevitably accompanied by exclamations of: “Oh Discordia!”  Ample hiking, shooting, art, and musical activities are available.  Management assures us you’ll be back.  Say thankya!

Acacia, The Known World(The Acacia Trilogy)
There’s magic in the air above this exclusive island fastness. Home of the Acacian nobility since time immemorial Acacia boasts a vibrant melting pot of cultures and a rich tradition of distracting gastronomic delights.  While the Mist fad of previous seasons has been on the wane, new experiments in viticulture keep the party going 24/7, aided and abetting by a thriving musical presence.  Explore bustling markets where anything can be had for the right price, take in a melee at the famed Carmelia amphitheatre or, if you really want to feel like the center of everything, hike to the apex of the island for the dazzling view.  That tingling you feel is euphoria.  Really.

Wonderland, Rabbit Hole(Alice’s Adventures in Wonderland)
Fall into adventure in Wonderland where everything right-side-up has been turned up-side-down to give your stay an added touch of mad delight. This all-inclusive resort features an endless variety of eatable, drinkable delicacies specially created to suit your needs and some truly alternative forms of relaxation. Whether it’s high tea with the local eccentrics, a stroll through the Queen’s prizewinning rose garden, or a pleasant game of croquet, you will find yourself caught up in the lap of Wonderlandian luxury. Tips: Keep a watch handy as events start precisely on time—and don’t be late for your meeting with the Queen!

Tanchico, The World of the Wheel(The Wheel of Time Series)
The lovely tea rooms of Tanchico have been largely neglected in recent years as travelers flock to more dominant cities like Caemlyn and Tar Valon but, under the wise leadership of Panarach Amathera, the city remains safer than Domai’s Wells and a lot less wool-headed than Cairhien.  At the Three Plum Court, Mistress Rendra will instruct you in the correct usage of sursa. Delicious Domini dishes are all the rage at The Garden of the Silver Breezes.  Just save some room so you can squeeze into the scintillating local fashion (don’t forget to don you veil and hair beads!) or, if you’re of a more historical mind, traipse through the Panarch’s Palace where an impressive array of ancient artifacts is on display.  Getting around:  Tanchican crowds can be overwhelming so hire a chair and remember to pack a walking stick.  When vetting a bodyguard be sure to select one that doesn’t think with the hair on his chest.

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Additional trip details are available in the printed materials referenced next to each destination. If you have questions about any of our trips listed above or if you would like to arrange a special tour, please post a note below and we will get back to you. Place your reservation now while bookings for your preferred fantasy adventure vacation are still available. Trips and dates are subject to change without notice. Fantasy Vacation Travel is not liable for injury, death, or any unfortunate event that may befall you or your traveling companions. Travel insurance is available for an additional fee prior to date of departure. Vacation packages are nonrefundable.

Posted in Books and Literature, Fantasy, Fiction, Graphic Novels, Science Fiction, Television, Uncategorized, Young Adult Literature | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , | 18 Comments

One Word Interview: Freedom

Martin Luther King Day celebrates the legacy of Dr. Martin Luther King Jr — one of the greatest civil rights leaders in U.S. history. No matter your race, color, creed, or gender, much of the freedom you have today was made possible by the work of Dr. King and activists like him who fought for the rights of every man, woman, and child. Therefore, January’s One Word Interview is dedicated to this special man. Writers from different walks of life, backgrounds, and generations have come together here to share what FREEDOM means to them, to us.

So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!  (*)

Martin Luther King, Jr., from MLKonline.com

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Some questions about FREEDOM:
Can you have “freedom” in a society run by plutocrats and multi-national corporations? “Freedom” for whom? First-worlders who live in suburban developments and drive fancy cars and practice fancy yoga? What about free ownership of land, agricultural and mineral resources for the people who live around the world? Malcolm X always criticized the U.S. Civil Rights movement for not being tied to international solidarity struggles against colonialism and Western financial and political incursions into the developing world. Martin Luther King, Jr. came to agree with him. Both men were silenced but the dream lives on.
~ Kazim Ali – author, poet, teacher

Freedom is a circle without circumference. What individuals don’t understand is that we have freedom only in proportion to our level of responsibility. What repressive societies don’t understand is that life is chaotic, and will not be contained. Grayhairs quake in fear, but their children are born dreaming of wings.
~ Steven Barnes, novelist, screenwriter, life coach

When I think of freedom I don’t think of the Earth, I think of the sky and the stars and the worlds beyond and of coasting, flying untethered in distant atmospheres. And I think of all those who sacrificed so that I could give voice to those imagined places.
~ Jenn Brissett – writer, artist, bookseller, web developer

In the Due household—headed by civil rights activists John Due and Patricia Stephens Due—my sisters Johnita, Lydia and I learned Freedom every day. Freedom meant knowing where we had come from and where we were going. Freedom meant honoring the foot soldiers. Freedom in the air we breathed.
~ Tananarive Due – novelist, writer [Co-author of Freedom in the Family: A Mother-Daughter Memoir of the Fight for Civil Rights (with Patricia Stephens Due)]

Freedom is the ultimate prize of an internal battle we wage daily to find the best in ourselves, to act out of our deepest convictions, with no expectation of any reward beyond the satisfaction of staying true to our core values.
~ Aaron Hamburger – essayist, novelist, teacher

Want freedom? Hunker down. Say nothing. And for God’s sake, no eye contact.
~ Carlos Hernandez – writer

Freedom. Making my own decisions, creative or otherwise. Knowing my fellow human beings can do the same. Working together as individuals when we share goals and working alone when I need to go my own way. I’m big on doing unto others as I want them to do unto me.
~ Tony Isabella – comic book writer, editor, artist, critic

FREEDOM–I can write what I want, read what I want, watch what I want, say what I want, do what I want and go where I want and there ain’t a DAMN thing you can do about it.
~ Georgia McBride, novelist, yalitchat.org founder [author of the forthcoming series PRAEFATIO]

FREED OM

two wings flying sans their seagull
the last push of a first time mother

calloused heels crossing mason-dixon
follow the goatskin thunder of the mountain heart

the little hands tracing big-dipper dreams
with a lotus balanced on the palms
also count the infinite space that frames the stars

Nelly Rosario – novelist, poet, teacher

When I think of Freedom, I think of being left the hell alone by the busy, buzzing, bullshitting lunacy of the world– and being able to spend time with friends, beloveds, good music, and restless poems that renew and electrify the soul. That’s what this life is for!
~ Tim Seibles – poet, writer, teacher

~

Let freedom ring from the snowcapped Rockies of Colorado!

Let freedom ring from the curvaceous peaks of California!

Martin Luther King Jr - photo from MLK Online

But not only that; let freedom ring from Stone Mountain of Georgia!

Let freedom ring from Lookout Mountain of Tennessee!

Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring.

When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, “Free at last! free at last! thank God Almighty, we are free at last!”

Martin Luther King, Jr (*) – activist, leader, humanitarian

~

(*) MLK Online, “I Have a Dream” (excerpt)
Posted in Holidays, One Word Interviews, Uncategorized | Tagged , , , , , , , , , , , , , , , | 1 Comment

2011 Publishers Round Table

Welcome to 2011, a new year in publishing for fantasy and science fiction!

The big questions for 2011 are: How did 2010 go? and What should we look for in 2011? The 2011 Publishers Round Table explores these questions are more as the editors/publishers of Del Rey Spectra, Small Beer Press, and The Magazine of Fantasy & Science Fiction come together to share their thoughts on fiction, authors, and the publishing industry.

DRS: Del Rey SpectraBetsy Mitchell, vice president/editor-in-chief
F&SF: Magazine of Fantasy & Science Fiction Gordon Van Gelder, editor/publisher
SBP: Small Beer PressGavin Grant, publisher

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UNDERWORDS: Looking back at 2010, what were some of your biggest publishing challenges and accomplishments for the year?

F&SF: Given the current state of the market and the economy, the biggest challenge facing F&SF is staying afloat, so I consider staying in business to be our biggest accomplishment.

On a smaller scale than that, there were the usual challenges: maintaining the magazine’s quality level, keeping on schedule, building the readership, and developing additional revenue streams. (Isn’t that last one great corporatespeak for “making more money”?)

I think we did well on the first one, okay on the second one, okay on the third one, and not as well as I’d hoped on that last one. We tried launching an audio edition of F&SF but sales were disappointing.

SBP: They’re really two sides of the same coin: getting some of our biggest books ever out there, spreading the word, dealing with the chains and their inevitable returns, trying to keep many plates spinning!

DRS: One major challenge was overcoming the awful economy of 2009. Two cases in point showed us that 2010 was a very different (and much healthier) animal. We published two first novels in hardcover in spring 2009: Peter V. Brett’s THE WARDED MAN and Robert V. S. Redick’s THE RED WOLF CONSPIRACY. Both were exceptionally well written fantasy adventures, and we selected hardcover as the format for their first publication to show the world how strongly we felt about both of these titles and the futures of both Brett and Redick. That decision was made in mid-2008, before the extent of the downturn became clear. By the time the spring of 2009 rolled around, both books debuted in what was probably the worst publishing season ever. Who could afford hardcovers by relatively unknown names? Sales were modest. And when booksellers looked the following year at those sales, we faced the challenge of convincing them that the sales figures were due to the recession, not to any lack in Peter or Robert’s talent or commercial prospects. Luckily, our largest customers agreed with us and placed decent orders for the mass market editions—and both of those books are selling briskly, as well as the sequel hardcovers which came out in Spring 2010 (Brett’s THE DESERT SPEAR and Redick’s THE RULING SEA).

Our most-lauded title for 2010 was China Miéville’s THE CITY & THE CITY, which won the Hugo, the World Fantasy Award, and the Arthur C. Clarke Award for Best Novel. China is one of the shining lights of the Del Rey list and he has been getting better and better (not to mention faster!) in the last few years.

UNDERWORDS: In 2010, which trends or events have been the most surprising?

F&SF: Hmm, I’m not sure I’d say that much surprises me anymore. I guess I’m surprised that the boom in Young Adult publishing shows few signs of abating.

DRS: It’s fascinating to compare author to author what percentage of readers buy the eBook vs. print versions of new titles. In the earlier days of eReaders, you could tell by the number of SF/fantasy, business nonfiction, and men’s titles that eBooks were selling to early tech adopters. Now female readers have swarmed into the digital world and all kinds of books are selling in e-format, including huge quantities of romance and reading-group titles. Not exactly a surprise that this would happen, but very interesting to watch.

On a related topic, I’ve been watching the rise of self-publishing. I’m guessing many who have decided to go that route were frustrated by getting nowhere with the major houses, while we and others were forced to cut down on our buying during the recession; others are using the ease of publishing via CreateSpace, Author Solutions and other self-publishing vendors. In fact I advised a couple of people to take that exact route when I reluctantly turned down their manuscripts in 2009 and 2010. They’d submitted, via agent, very well written stories that didn’t fall easily into a publishing category. I’d enjoyed reading them very much and thought others would as well, but I wasn’t able to offer on them. I haven’t seen any of these hit the marketplace yet as self-published titles, but they may yet. I have seen self-published a couple of titles which I turned down because they were not at the standard Del Rey Spectra wants to see before we’ll acquire. These books, also submitted by agents, obviously were turned down by the New York publishers and their authors decided to go it alone.

A story made the rounds recently online about a self-published author who earned $17,000 in one quarter from his eBook sales. Thinking we might have missed a gem, I went to his site and read some of the work. It was not publishable by New York standards: very little story momentum, interchangeable secondary characters, wandering POV as well as tenses that changed four times per page…. We would never have bought it, as too much time would have been required for the edit. Yet the guy had made all that money. Doing the math—the books cost $5.99 per copy and the author received 70% of the total—showed that he must have sold 4,079 copies total among the dozen or so that he had available on his site. No publisher would take on an author who sold in those numbers, but obviously it was cost-effective for him as an individual. Now multiply this guy by 10,000 other frustrated, would-be authors. Where does this leave readers? In a place where they’ll need to come up with new ways of assessing available titles, I guess.

SBP: I suppose, even though I expected it to be fast, just how fast the uptake of ereaders was. When friends began to tell me about their non-techie relations happily using their iPads, Nooks, and Kindles, I could see that what people cared about was reading, not the format and that for some people the advantages of ereaders meant that most of their books would be bought online. The news that ebooks made up 1 in 3 or 4 copies of bestsellers in the first few weeks was an eye-opener.

On the bookselling side the way Borders continued to shrink was kind of horrifying. They sold a fair number of our books and I really don’t want them to disappear. Ebooks are rising fast but they’re not going to replace 500 superstores this month. The news in the last few days is that they’ve delayed payments to publishers—including our distributor. They’d better pay up!

UNDERWORDS: Which new authors should we be watching in 2011?

SBP: We have a fantastic hard science fiction debut novel coming late in 2011: THE LIMINAL PEOPLE by Ayize Jama-Everett. Ayize published it himself and then sent us a copy and we’re really looking forward to bringing it to a wider audience.

F&SF: In F&SF, I think readers should definitely keep an eye on Alexandra Duncan and Michael Alexander, both of whom made their debuts in the last 18 months. Elizabeth Bourne is also a writer to keep an eye on.

DRS: Del Rey Spectra will be proud to publish several first-timers this year. First is Ben Aaronovitch, who will launch with back-to-back titles in February and March: MIDNIGHT RIOT and MOON OVER SOHO, both urban paranormal police procedurals set in London and being simultaneously published in the U.K. by Gollancz. (MIDNIGHT RIOT will be known as RIVERS OF LONDON over there.) Ben, who wrote TV scripts for “Dr. Who” and “Blake’s 7” has finally gotten around to original work and the results were worth the wait! His main character, London probationary cop Peter Grant, learns to cope with the realization that he can work magic as he becomes the apprentice to the last wizard in England, the suave Detective Inspector Nightingale. Ben’s writing is snappy, full of action, and running over with humorous one-liners even as Peter faces truly serious danger.

Then in April-May-June we’ll publish Kevin Hearne’s first novel HOUNDED, plus the sequels HEXED, and HAMMERED, starring druid  Atticus O’Sullivan, who’s picked up a lot of enemies over the last 2,000 years. The cast of characters is amazing, including an Icelandic vampire holding a grudge against Thor to a coven of Polish witches who ran from the German Blitzkrieg. And in September we’ll debut, in hardcover, DEARLY, DEPARTED by Lia Habel, a book we’re very excited about. It’s a cyber-Victorian/steampunk romance that takes place in the shadow of a new ice age. Nora Dearly, a mouthy teenage girl and apparent orphan, leaves school for Christmas – only to be dragged into the night by the living dead.

UNDERWORDS: What are some of your most anticipated publications or events for 2011?

DRS: See the last question. We’re also looking forward on January 25 to the publication of Cherie Priest’s BLOODSHOT, an urban paranormal starring vampire Raylene Pendle, a/k/a Cheshire Red.

Also, in July we’ll be publishing BLOOD WORK, a graphic novel set in Kim Harrison’s Hollows series and written by Kim herself. And we’re hoping that 2011 will be the year of GRRM….

F&SF: For me personally, it’s the publication of WELCOME TO THE GREENHOUSE, my first all-original anthology.

SBP: This is always a tough question. I’m looking forward to all of our books for different reason. THE LIMINAL PEOPLE because it’s a great debut novel, THE MONKEY’S WEDDING AND OTHER STORIES by Joan Aiken because it has some uncollected and unpublished stories. Vincent McCaffrey’s second Boston bookhound mystery, A SLEPYNG HOUND TO WAKE, which is even stronger than the first HOUND.

Then there are two titles in our Big Mouth House line, Lydia Millet’s first book for kids, THE FIRES BENEATH THE SEA, and Delia Sherman’s FREEDOM MAZE—a book she has been working on for ten years.

UNDERWORDS: How do you think the growth of ebook sales and other media will affect publishing decisions for the coming year, if at all?

SBP: The other media sales aren’t affecting our decisions yet but the ebook market may affect them. We’ve made sure to buy ebook rights for the last few years (and the few times we didn’t get them we went back and asked again until we did). If ebook rights weren’t part of the deal now I don’t know if I’d buy the book.

F&SF: In general, I think the proliferation of electronic publishing continues to make it easier for people to make themselves heard.

The populist in me thinks that’s a good thing, but from a publishing perspective, I see this proliferation as something that creates more noise. Some of the noise is good, some of it isn’t, but the important fact is that there’s *more* of it.

What this increase in noise does—or so it appears to me—is that it makes it easier than ever to publish a book and reach 500 people with it. However, it looks to me like it’s harder than it used to be to reach 5,000 people with that same book. And the result (or one of the results, anyway) is that we get a situation where the gap between the top sellers and the average writer is larger than ever. Or so it appears to me.

But I don’t see anticipate this state of affairs will affect publishing decisions much in the year 2011. Publishers are going to continue trying to find the Next Big Thing. They’re less likely to try to grow a writer into a Big Thing.

UNDERWORDS: How do you think emerging social media networks may alter reader/writer/publisher engagement in the future?

F&SF: A friend of mine who has been working in publishing since 1966 told me that “It’s no longer a matter of publishing a book nowadays—it’s all about ‘the reader experience.'” Which means more effort will go into things that happen off the pages of the book (like message boards, online events, and Website tchotchkes). I worry about this trend because I like to read stories but I don’t typically want to interact with the author. I worry also because I see some authors spending more time on these interactions than on the writing itself. But mostly I think it’s good when artists and their audiences can connect.

SBP: It will be interesting to see if the public/private interactions change anything about publishing. I don’t want to just be pushing our books online all the  time and I enjoy talking to readers but there is only a finite amount of time in the day so any time spent on something is time not spent on another thing. If you apply that to Twitter and so on, you can see why there are Twitter specialists at huge firms and then more random representatives at smaller firms.

DRS: It’s already affecting us. Via our Facebook and Twitter accounts, and our corporate blog Suvudu.com, we can reach far more people on any given day than we can by doing live events—which are also a priority for Del Rey Spectra and which we engage in several times a year (via the San Diego, New York and Chicago Comic-Cons, DragonCon, World Fantasy, etc.). And our engagement via the social networks sets up a continuing conversation with fans. For example, we’ll give away 10 copies of a book on one day, but the discussion of the book will carry on for the next week or so. We can talk about every title we publish. And readers get to know us editors much more personally this way; we’re not just a company name on a website but the voices who talk to them every day. It makes feedback much more immediate for both parties.

UNDERWORDS: Where can readers go to learn more about your authors and your upcoming publications?

SBP: The best places would be our website, www.smallbeerpress.com and maybe Facebook. We also have a ton of excerpts, reading guides,  and so on on http://www.scribd.com/Small Beer Press.

F&SF: The Greenhouse anthology is online here: http://www.orbooks.com/our-books/greenhouse/

And for F&SF, there’s always information to be had at www.fandsf.com We’ve also got a Facebook page at that’s updated regularly.

DRS: Suvudu.com is the Random House SF/fantasy/gaming/graphic novel/pop culture blog. Links to our Twitter and Facebook accounts appear there, as well as blog feeds from a number of our authors, free 50-page samples from many of our novels and much more.

Please also direct readers to our selection of 50-page excerpts from numerous titles.

~

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On Writing Adaptations: An Interview with Graphic Novel Writer/Publisher Chris Ryall

In 2008, I was halfway through the Stonecoast MFA program, which meant it was time to tackle the research project. My research paper was focused on the art of adapting story between different story forms and identifying the general principles of adaptation. As part of my research, I interviewed several writers to discuss their experiences as well as the practical and artistic aspects of adapting story between forms. One of those writers was the talented and personable Chris Ryall, publisher and editor-in-chief of IDW Publishing.

Ryall has tackled some amazing adaptations, turning prose stories and film scripts into wonderfully written graphic novels, including  Shaun of the Dead, George A. Romero’s Land of the Dead, Beowulf, a 12-part series for The Great and Secret Show, and several short stories for Doomed Magazine.

I recently contacted Ryall and received his permission to publish our 2008 phone interview in written form on UNDERWORDS. The original interview with Ryall was conducted by phone on April 4, 2008. I transcribed the conversation, making some edits for clarity, grammar and other slight changes – all of which were reviewed by Ryall and approved on December 27, 2010. The interview is printed below in it’s entirely minus the salutations and good-byes. I hope you find it as enlightening and useful as I did.

~

Erin: What is it that attracts to adapting stories into graphic novels? What is it about telling stories in this medium that draws you to it?

Chris: Part of it is that I’ve grown up with them. I’m so used to seeing the blending of words and pictures to tell a story that I’ve grown used to reading that way. I like reading things that can tell a story visually. You don’t want to just have the pictures showing what’s going on and the words. You’re not telling two stories. You’re using two different sides of the medium to tell one more complete story. I think sometimes you can even do more with comics than with novels or prose.

Erin: When you’re going through a story that has already been written in another medium, what is the biggest obstacle in creating an adaptation that works as a graphic novel?

Chris: I can certainly speak to that because it is the biggest challenge – being true to the material and knowing that you’re going to have to adapt it not only from a prose story to a comic book story, but you also have to make decisions on certain parts of the story that you deem irrelevant to telling it in this medium. You really have to be able to figure out what parts of the story work well and then translate it from a prose story to a comic book. And the biggest challenge with that is the sheer presumptuousness of it.

I was adapting Clive Barker’s The Great and Secret Show from novel to comics, and it’s an 800 page novel. He is very descriptive with some of the situations within the fantastic worlds he creates. He’s descriptive, but he also leaves it a bit vague. He leaves it to the reader to sort of puzzle out what he’s talking about. So we’re taking these fantastic ideas that were not always that clearly defined, and we’re defining them to present to the readers, saying, “Look this is what you’re seeing. This is the way it goes. This is what Clive meant by that.”

Not every reader, especially readers who have read the book multiple times, are not going to see things the same way. The biggest challenge, since you are now creating the definitive version of this material in people’s heads, is to try not to disappoint them. Plus, you try not to take out, condense, or change bits of the novel to a point where it’s going to offend or otherwise bother the creator of the material. I didn’t want to let down the readers or Clive.

Erin: What do you think a reader could realistically expect when picking up an adaptation? Imagine someone just read Clive’s novel, what kind of expectations should he bring with him, if any, when reading the graphic novel?

Chris: I like when people have a familiarity with the source material because then they are curious as to how it’s going to translate from the book to the way they saw it in their head to the actual comic book. There can be people who have such strong ideas of what the material should look like that, if it doesn’t match what’s in their heads, and there is no way it could, you run the risk of losing them or offending them somehow.

It’s especially challenging on a novel like Great and Secret Show because it came out almost 20 years ago. Like Clive was saying, for a lot of his audience that was really the first book that they read. There they are beginning to question the world, to question the stuff that their parents taught them, and to see that there is a bigger world. Then they read this huge book that delves into the imagination and into the subconscious. And, you know anything you read when you’re a teenager or at an early age really stays with you. Bands that you liked when you were 15 or 16, even if they weren’t all that good, you just have a fond feeling for them. Well, this book means that to a lot of people. It’s this book that people reread multiple times over the last 20 years. So, they have strong ideas about the way it’s supposed to look that you run the risk of letting them down, if your vision doesn’t match up with their vision.

Erin: How did you deal with that when working on with something like Beowulf, which has been around for over a thousand years? I know that Neil Gaiman and Roger Avery dealt with the bulk of the adaptation because they were the original team who adapted the story/poem for the film. So, when you did the graphic novel adaptation, did you look at the poem or did you just get the script or both?

Chris: It was just the film script. So, I could sort of dismiss what had come before, you know, any of the past movies, the ancient poem, the version that I studied in school, and even past comic books that were adapted from the old poem. I didn’t really have to worry about any of that and wasn’t beholden to it. I really just had to make sure that the comic was essentially taking the movie and putting it on paper. So, that one was a bit easier.

Adapting movies, as long as you have visual references is a bit easier than adapting novels because you’re just, you’re just sort of moving the existing pieces around and then the real challenge is making sure that the story flows from page to page and finding good breaking points to leave cliff hangers for each issue, but not forcing that or contriving stuff with the material.

Erin: Graphic novels use a combination of images, text, colors, panels, and other visual storytelling elements. How did these features inform the way you adapt a film script like Beowulf into a graphic novel?

Chris: That’s actually one of the things that I like about this medium. You can use all of these different conventions that comics offer that other forms don’t. The movie was really tough to adapt to four issues because there is so much story and some of it is so visual that you could have two minutes of film that really needs to be four or five pages on paper. It’s even hard to fit a 90-minute movie into what we had; we did that in four issues.

We had 88 pages of story. Sometimes even a minute or two of film needs to be four, five, or six pages to really properly communicate what they’re telling. So, then you use things like a caption to transition from one scene to the next, or if you can’t necessarily show a scene with the characters are talking, you can have their dialog captions appear over the next panel that’s transitioning into another scene. It functions in the same was as a voice over in a film, and you can condense and move things around and still tell all of the story you need to tell without necessarily having to show every bit of everything. That way, you save some of the bigger panels and some of the bigger splash pages for the more impressive action sequences.

Erin: When you are looking at a couple minutes of film and you need to condense that to a couple of panels, how do you go about deciding which story elements need to be kept, left behind or filled in more?

Chris: That is the challenge, especially on something like Beowulf where we didn’t actually see the film until after the comic was long since out. So, then it’s like, “Oh, ok we got that part right. Ah hah, it wouldn’t have hurt to know that kind of thing.” Basically, the process is to read through the entire script just to get what the story is. Then you read through it again.

It’s really a scientific thing at the start. You see the screenplay is 110 pages, and you have 88 pages of comics. So, you divide 110 by 4 (issues) and you figure that’s roughly 26-27 pages of script needed to equate to a full issue. As you’re going through the script, you start looking closer to see if there is a good breaking point on page 23, 24, 25, 26, 27, or somewhere around that area, something that you think could be a good cliffhanger or a good way to end the first issue and not have the feeling of an abrupt ending. Then you go through and tighten it up a bit more – like, “This scene deserves a bit more paper and more pages than the scenes in the screenplay. Now, I have to condense this scene or cut that scene out and combine or condense some of the dialog.”

Again, it’s certainly not as challenging as a novel, but you do have to deal with that whole thing of “well, it seems a bit presumptuous of me to think the scenes that Neil Gaiman and Roger Avery wrote are not important any longer or that they’re only important in the movie, but not necessarily in the comic.”

Erin: Did you get much direction or interaction with either Clive or Neil Gaiman or Roger Avery when working on either of those projects?

Chris: In the case of Beowulf, I didn’t actually get to Roger or Neil until after the whole process was done. Luckily, when I met them and was talking about it, they both said they loved what we were doing. So, that was nice because it could have been awkward if they didn’t.

With Clive I didn’t get much guidance, but I did get a ton of interaction with him. The only reason that I didn’t get guidance is because he said he was much more interested in seeing my version of his novel, seeing they way I adapted it, and the way I thought it should be read rather than him spelling it out for me. Again, he doesn’t like to do that for his readers. He wants you to either puzzle things out for yourself or to visualize it for yourself without him spelling it out for you. He thought it was more interesting from his perspective to see what I did with it. At the end of it all, he said, “This isn’t necessarily the way that I told the story, but it’s become its own thing and it’s lovely.”

He was so amazingly complementary the entire time. He was involved with every script, every page that was being drawn, and just really, really supportive and just loved what we were doing. So, at that point, it was like, “So, if I’m not disappointing Clive, then hopefully the fans are going to feel the same way.” Luckily, I never really heard from anyone who said that hated it or that it wasn’t what he thought it should be.

Erin: When going through a novel like Clive Barker’s and you have so many pages to manage, how do you break that down? Is it the same type of process?

Chris: Yeah. I read his 800-page book 6 different times over the course of doing this project. It was a 12 issue book so I figured out the rough page count that each chapter would be and sort of capped off what I thought were good breaking points. When I began scripting it, it didn’t make any sense to still break things at the same point. So, it moved, but at least it was a good starting point to shoot for. Once you condense some of the scenes or cut out some of the scenes, it shifts where it makes sense to break. As you get into the actual script of the comic book, it helps you a bit more knowing what would be the next good breaking point or scene or how you want the next issue to end.

The problem is you spend a lot of time up front, building the world and establishing things. So, by the time you get to issue 11, you only have 2 more issues to go, and that’s it. You’re like, “Oh, shit. I’ve only got so much space left and I’ve got 200 more pages to cover.” Then you really start to have to scramble to figure out what’s really important, what’s not, and what can be condensed. Again, the biggest thing is that I didn’t want to let Clive down and have him think, “My beautiful novel has just been butchered by this guy!”

Erin: When you’re creating the adaptation, you’re maintaining the essence of the original and you’re including the story elements that are critical to your vision of the story. At some point, does it take on a life of its own? If it does, how much do you let it go and when do you reel it in?

Chris: It changed as I went through it. That first issue or two was so faithful to what he’d done and it just didn’t want to vary from the script at all. Then as I started to get into it, it made more sense to me that this is a completely different medium, a completely different way of telling this story. So, like when Clive takes his books and turns them into a movie, things obviously have to be condensed to fit into a 2-hour movie. This was that same sort of thing. We’re telling the same story, but we’re telling it differently and we’re telling it visually. Let’s play with it a bit more and make it more of something that’s intended for comics, not just a regurgitation of his words onto comic book paper. Luckily, he was very accepting and supportive of that, which was also what freed us to make it a bit of its own thing.

Erin: A large number of films are adapted from books and then many of those movies are adapted into graphic novels or video games. Why do you think there are so many adaptations? Why are people so hungry for multiple story forms of the same story?

Chris: Well, I think the reason that books are done as movies is the same reason that books are done as comics. In both instances, it’s hard to attract an audience with something that’s unfamiliar. Or at least, it’s easier to attract an audiences to material that they are familiar with. So, if you do The Davinci Code as a movie, (it sold to umpteen millions of people who bought the book), they figure that a lot of the audience is going to follow and is going to want to see what it looks like as a movie.

In the studio’s mind, they got the presold audience rather than having to develop a brand new movie based on characters and situations that people aren’t familiar with. It’s less risky because you’ve got people that want to see how they treated the book as a movie. By that same regard, there are millions of Clive Barker fans. You then want to see how the book translated into comics. So, where it starts is the sheer economics behind whether it makes sense.

When there is a story that people love, they like to see that world continue. With Lord of the Rings, those fans love seeing the movies because they’ve been reading the books for many years. With video games, you know these characters. You’ve read about them in the situations and worlds that you really like, and now you’re able to play the part of those characters. You can enter that world to some degree. I think that people like to stay with these characters and the worlds that they really love.

I think that also translates worldwide when there is somebody like Clive Barker or something like The Da Vinci Code or the Harry Potter books. Video games can translate into any language very easily. The same thing is true with comics because it’s a more visual medium you don’t have to do as much work to sell a foreign audience. So, you can tap into a bigger audience than you might get with an original project.

Erin: You’ve worked on a lot of adaptations that came from short stories, novels, and scripts. Do you see any kind of consistency in how you go about that adaptation process among the different media? For example, are there a few basic rules or best practices that you can share to help guide them along their way?

Chris: Well, screenplays I know are a bit different. That’s relatively easy as far as breaking that down because all of your scenes and dialogue are really concise and easy to translate from one medium to another, but books – I think that the easiest thing to do is to not assume that you are going to read the book once and be able to work with it from there. It’s the kind of thing you really need to live with and read multiple times. The first time you read it, you’re getting a sense of the story. The second time, you start to think more visually and more sequentially and even serially, like where’s a good breaking point for this if it’s going to be multiple issues? And then you get a sense of what the writer intended, or at least what you think they intended, and then try to see what makes the most sense for a comic.

I think it’s a bad idea to just take the material exactly as it’s written and try to make it exactly as the same in a comic book. I think the biggest thing is just to loosen up a bit and realize that the writer probably understands that the material needs to be adapted a bit to fit into this format. Most guys that I’ve dealt with haven’t felt the need to have their stuff faithfully adapted if you’re doing a comic. They understand that there are different needs that comics have that books don’t offer.

And then, like Richard Matheson, when I adapted some of his stuff, he writes so much that is off panel. He doesn’t really describe a lot of the horror. It’s more horrific because you can’t see it. So, when you’re adapting his stuff to comics, where the whole point is to show what’s going on, that’s a different challenge in itself. Then you really need to be comfortable with what the material is, how it’s being presented, and what they want to show.

If you take a Richard Matheson story and take the stuff that he left off panel and try to make shocking, bloody, horrific things just because that’s going to catch people’s attention, then you have completely lost the point of what he wanted to do with his story. So, you need to have an understanding of what the writer’s intent was and the type of story he wanted to tell as well as how to take the material and turn it from prose into comics.

Erin: Do you have a favorite story that you did for Matheson?

Chris: Yeah, we did one called “Blood Son,” which actually got nominated for an Eisner Award for best short story. It’s about this kid, an elementary school kid, who reads the book Dracula and starts to think that he’s actually Dracula’s son. He goes a little bit insane. In the book, there wasn’t a lot of dialog. A lot of it was just descriptions and stuff. Richard was really great about letting us create the dialog and create the characters a bit more.

We took this thing that was a creepy, non-dialog driven story and turned it into a piece that had a bit more black humor to it and delved into the world a bit more. That one, I thought, worked really well. He was really receptive too because that was probably the most different thing that we’d done of his as far as taking the material and changing it quite a bit.

Erin: Did he give you much feedback on that? Or did he give you license to do what you needed to do in order to tell the story?

Chis: He was involved with proofing the art and reading the scripts. When we said, “Hey, we want to tell the story a bit differently than you did and here’s why…,” he was really accepting of that and complementary about the whole process. So, he was involved to more of a degree than I think I would have initially expected, which is what made it more daunting.

Erin: Well, it is Richard Matheson.

Chris: Yeah, I know! It’s the same with Barker. It’s like, “Holy crap! These guys are actually going to read what I’m doing?” You just have to try and put that out of your head so you don’t get swamped with it.

Erin: Do you think there’s anything that I missed, anything that you think would good to know about adapting another medium into comics?

Chris: I think the only other thing is just the way the artists approach the material. That’s probably something that they would have to speak to more than me. With Clive Barker he didn’t really describe what the characters look like. You know what their age is, but that’s really all you know.

So, then it’s up to me and the artist to figure out what the world looks like, what the creatures look like, what the people look like, but I guess a lot of that is driven by me. For example, I gave my artist really detailed character descriptions and some actors who I think look like this character. I guess from that point of view, it’s not anything that would be too germane to your paper. It’s just that I know that the artists have to do the same thing to create the world on their end, but they are following the directions that they are given at the start. All of which means, I think you covered it pretty well.

Erin: When you are going through a story, you’re making notes on what scenes you need to address and what events need to happen and you’re also making a second set of notes for your artist that provide details about who this character is, what he looks like, and things like facial expressions that he shows throughout the story. Is that right?

Chris: Oh, yeah. The scripts on these things are probably as many words or more as Clive’s novels because of how some of the stuff id described in the novel, like a guy walking into the room. You have to describe what the guy looks like, what he’s wearing, which direction he’s facing, and his facial expression. You describe everything that is left to the viewer to fill in for himself while he is reading a book. Here you can’t really leave any of that out. You have to answer every bit of it.

In a lot of ways, writing these things is like a screenplay where you’re directing the action, you’re calling out who is doing what and where, what the angle should be from on high or low, or how do you want the scenes to flow. It’s another reason that I like the comics. In general, with graphic novels you get to handle things from so many different sides. You’re the writer, you’re doing the dialog, and you’re also directing the action. So, it does really let you hit all these different sides at once.

~

Chris Ryall is the Publisher and Editor-in-Chief of IDW Publishing. He is responsible for developing content, assigning creative teams, overseeing all editorial, and assisting in production of the entire publishing line, as well as developing press releases, solicitation copy, letters pages and editorial pages for all comic books and graphic novels.
Ryall joined IDW as Editor-in-Chief in July 2004. In his time with the company, he has been involved in the acquisition of major comic book licenses for THE TRANSFORMERS with Hasbro, Shaun of the Dead and Clive Barker’s The Great and Secret Show for Universal, and other properties currently in development. He took over as the company’s Publisher in October 2005.
In addition to his duties guiding the publishing line, Ryall has also written the comic book adaptations of Shaun of the Dead and George A. Romero’s Land of the Dead, “Incident On and Off a Mountain Road” for Masters of Horror and has adapted short stories from famous horror writers like Richard Matheson and Robert Bloch for Doomed magazine. He has also finished a 12-part adaptation of Clive Barker’s The Great and Secret Show. His two-part creator-owned title, Zombies vs. Robots (co-created with artist Ashley Wood) debuted in November 2006. Also in ’06, Ryall was nominated for two awards for his writing: he received a 2006 Eisner Award nomination for Best Short Story for his adaptation of Richard Matheson’s “Blood Son” (also with artist Ashley Wood), and was nominated by Spike-TV for their inaugural 2006 Scream Awards, Best Film-to-Comics (he received two nominations, one for Shaun of the Dead and one for Land of the Dead.

Posted in Books and Literature, Graphic Novels, Interviews, Uncategorized | Tagged , , , , , , , , , , , , | 1 Comment

Poem: Christmas Morning, 2025 by James Patrick Kelly

And now for something you’re really going to like – a Christmas poem by James Patrick Kelly.

Christmas Morning, 2025
by James Patrick Kelly

Folly
Outside a lead sky spits ice and cold rain
Last night I drank too much Burmese champagne
or maybe Beth’s fruitcake gave me ptomaine.
The nog Spock knocked over dried an egg stain.

Holly
Thank Christ the time has come for reindeer to unrein;
one more pa-rum pum pum pum and I’ll go insane.
The old ROM of Grandma has begun to complain
that my two other wives are off sunning in Spain.

Jolly
Beth gives me a freezepack, said to contain
a new pterosaur, still in its membrane.
Dad found the wok for my catfish lo mein.
Jack sends e-Shakespeare, to teach my homebrain.

Finale
Now that it’s over, it’s suddenly plain:
Too much, much too fast makes Christmas a pain.
Next year I’ll relax and try to refrain —
catch a slow dream, be a virgin again.

~

“Christmas Morning, 2025” was first published in Asimov’s Science Fiction, December 1995 and has been published by Underwords with permission from James Patrick Kelly.
James Patrick Kelly has had an eclectic writing career.nbsp; He has written novels, short stories, essays, reviews, poetry, plays and planetarium shows. His fiction has been translated into sixteen languages. In 2007 he won the Nebula Award, given by the Science Fiction Writers of America, for his novella “Burn” and the World Science Fiction Society’s Hugo Award twice: in 1996, for his novelette “Think Like A Dinosaur” and in 2000, for his novelette, “Ten to the Sixteenth to One.” He writes a column on the internet for Asimov’s Science Fiction Magazine and has two podcasts: Free Reads and James Patrick Kelly’s StoryPod.
He is a member of the faculty of the Stonecoast Creative Writing MFA Program at the University of Southern Maine. He is the Vice Chair of the Clarion Foundation, which oversees the Clarion Science Fiction Writers Workshop at the The University of California at San Diego. He served two terms as a councillor on the New Hampshire State Council on the Arts and was Chair of the Council from 2003-2006. He has also served on the New England Foundation for the Arts. www.jimkelly.net
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Short Story: “Fruitcake Theory” by James Patrick Kelly

James Patrick Kelly has generously agreed to share “Fruitcake Theory,” a special holiday story with a science fiction twist that was originally published in Asimov’s (December 1998). Happy holidays from Jim Kelly and Underwords.

~

“We need you, Jim,” said the desperate voice on the phone.  “You’re the only one who can save Christmas now!”

Actually, that’s not quite how it was.  Sheila Williams, executive editor of Asimov’s called to inform me she had no Christmas stories in inventory for the December, 1998 issue and that I should write one for her.  There were only two problems.  One was that I had to turn in a finished manuscript in two weeks.  The other was that it was July – print magazines have long lead times.  Believe me, it’s hard to get the Yule spirit when the thermometer is kissing 90o and the Red Sox have runners on first and third with nobody out.

But I like Christmas, I really do.  I’d written Christmas stories before – hell, I’d written Christmas poems that somehow found their way into the pages of Asimov’s.  I said I’d try, although I didn’t have the slightest idea what I’d try.  I sat down at the computer and stared at the screen … uh-oh.  Then Maggie starting talking.  She had a tongue like a razor and a sense of the absurd.  What was up with her?  She was in charge of an alien who wanted to go Christmas shopping.   The story practically wrote itself.

Except that, in the rush to make the deadline, I forget something.  An important plot point was implied in the text, but it needed to be made very, very explicit.  I didn’t realize this until I was reading the story at a convention just before it came in the magazine.  So I’ve made a few changes; here’s the definitive version of “Fruitcake Theory.”  You want to know what’s  different?  Okay: the Kuvat honor longevity.  Because Elder Kasan is the oldest of the scarecrows, she is the leader of the Kuvat expedition.

By the way, I have nothing against fruitcake.

Jim
jim@jimkelly.net
http://www.jimkelly.net/

~

Fruitcake Theory
By James Patrick Kelly

Bjorn is trying to tell me that the rooster isn’t dumb as a spoon. Obtuse, maybe. Naive, yes. Tedious, without a doubt.

The rooster is sitting across the aisle and up two seats, paying no attention to us. We’re just followers. He’s staring out the window of the van at the snow.

“He’s Kuvat, Maggie,” says Bjorn. “Aliens think differently than we do.”

“Cranial capacity.” I tap the side of my head. “Check that skull. He’s got room up there for half a cup of brains, tops.”

“Maybe he’s got some kind of distributed nervous system.” Bjorn says. “How else could they have built the starship?”

“The scarecrows built the starship,” I say. “The roosters came along for the ride. You follow long enough and it’s obvious.”

“Intellectual bifurcation is just a theory.” Nevertheless, Bjorn slides down in his seat, defeated once again. “All we know is that they’re Kuvat, both roosters and scarecrows.” He takes out his appetite pacifier and starts sucking at it. I don’t mean to upset him.

The rooster starts eeking to himself.

Eek eek eeeek, eek eek eeeek!

He looks like a cauliflower the size of a washing machine—with legs. They are bird legs, to be sure, with scaly shanks and clawed, three-toed feet. But his body is an enormous scoop of convoluted flesh. All he usually wears is the translator, a golden disk that hangs on a cord around his neck like the Noble Prize for Stupidity. His skin is as translucent as spilled milk.  Beneath it are coils of muscle marbled with gray fat. He has spindly arms and his little head is mostly mouth. We can’t see the upright ruddy flap, like a rooster’s comb, just behind his button eyes, because tonight he’s wearing a Santa’s cap of red felt.

Bjorn pops the appetite pacifier out of his mouth. “I think that’s Jingle Bells,” he says excitedly. “The eeking.” He makes a note of this. Bjorn is new to the following team. He’s twenty-four and takes everything too seriously, except himself. He’s fat and blond and sweet as a jelly donut. I really do like him; he just hasn’t realized that yet.  He brings out the mother in me.

I yawn. I’m not a night person and I’m riding in a van at two in the morning. It’s the rooster’s fault, of course. It’s December 22 and the rooster has got a bad case of holiday spirit, even though he doesn’t know an elf from an elephant. He wants to do a little shopping. It’s a security nightmare, but we accommodate him. We always do because we’re asking for the Kuvat encyclopedia for Christmas. Not that we know what’s in it exactly, but these creatures come from a planet a hundred and thirty light years away. They’re bound to have a grand unified theory, the secret of cool fusion, and a cure for cellulite.

=Persons?= The rooster turns toward us. =This one has hunger.=

“Me too. I haven’t eaten since dinner.” Bjorn is always happy to interact with our charge. “Wait until you see the food court at this mall. It’s totally grade. Must be thirty different kinds of ethnic.” He’s starting to bubble with enthusiasm; I give him a needle stare. “Well, maybe only twenty,” he mutters.

=This one has also thirst, persons.=

“This one is called Maggie.” I touch my chest. “Mag-gie.” The rooster can’t tell humans apart. This continues to annoy me; I’ve been following him for four months and he still doesn’t know who I am.

=Laughing all the way, person, ha, ha, ha.=

There is some debate as to the accuracy of Kuvat translations.

I’m sick of this rooster. I’ve asked to follow any other Kuvat, preferably a scarecrow, but I’d even settle for another rooster. As far as we know, there are four beside this one. Roosters don’t have names, don’t ask me why. At first we gave them nicknames—Dodo, Dopey, Dumbo, Ding-dong, and Dufus—only when Balfour found out, she pitched a fit. Our job was to follow, observe, and protect the Kuvat, she said, not to make snide remarks. She doesn’t even like us calling them roosters. When she overheard Jasper laughing about “Dopey” back in August, she pulled him from the following team and banished him to Waste Assessment, where he sifts through Kuvat garbage and samples their sewage.

This rooster has been the most rambunctious tourist of the five. Since the Kuvat landed in May, he’s been to the pyramids and the Taj Mahal and the Eiffel Tower. He’s crazy about zoos and disneys. He saw the third game of the ‘08 World Series and was a Special Guest at the Sixty-Sixth World Science Fiction Convention. He seems to be partnered with Elder Kasaan, who, as the oldest of the scarecrows, is the leader of the Kuvat expedition.

Bjorn has signed on to the theory that the roosters are scouting us and make detailed reports back to the scarecrows, who rarely leave the compound we’ve built around their starship. This theory is conveniently unverifiable, since we’re not allowed to follow roosters onto the starship.

#

When we pull up to the entrance of the Live Night Mall, Balfour herself gets onto the van. She nods at the two of us and then approaches the rooster.

“You will have an hour. I’m afraid that’s as much as we can do, one hour. These two will accompany you for one hour. Anything you want, these two will obtain for you. Do you understand everything? These two? One hour?” Even though she won’t admit it, it’s obvious that Balfour, too, thinks that the rooster hasn’t got the brains that God gave to spinach.

=Kuvat pay?  That is the habit.=

“No,” said Balfour.  “These two will pay for everything.”

=Person, is there fruitcake? This one hears much of the information of fruitcake.=

“Fruitcake?” Balfour glances back at us, as if we have some idea what the rooster is talking about. Bjorn shrugs. “I’m sure there’s fruitcake somewhere at the mall,” Balfour says.

=The fruitcake solves much hunger.=

As we get off the van, Balfour touches my arm. I let Bjorn go on ahead with the rooster.

“Any trouble?” she says.

“Not so far.”

“Well, there is now. Elder Kasaan is on her way here from the U.N.”

“Here as in here? Why?”

She gives me an exasperated glare. “Maybe she realized there are only two more shopping days until Christmas.” Balfour is as mystified by Kuvat behavior as the rest of us, but she’s Undersecretary for Alien Affairs. When people have questions, she’s expected to give answers. Sometimes that vein in her left temple pulses like a blue worm.

“You want to pull our guest out?” This would be the first time a rooster and a scarecrow have met outside the starship compound. It’s a chance to observe new behaviors—but the mall is so public.

“I don’t think so. No.”

“Tell him about Kasaan?”

She rubs her eyes and I realize that she probably dragged herself out of bed for this. “Maybe he already knows. Look, I’ve seeded the mall with our people. We’re going to let this happen, okay? It’s the good old observe and protect. I just wanted to give you a heads up.” She turns away but catches herself. “How’s Bjorn working out?”

“He should do more sit ups.”

She sighs, but the vein subsides. “It’s two-thirty in the morning, Maggie. Not even Hack Bumbledom is funny at two-thirty in the morning.”

“Want me to pick you up some fruitcake?  It’s full of information.”

“This could be big.” She brushes snow off my shoulder. “I’ll be the security office.”

Followers and their families are scattered strategically around the mall.  When we take roosters on field trips, we try to minimize their access to the mundane world. If we can, we clear a site completely; otherwise we drop by unannounced and late at night. We’re in and out before the media and the Kuvat chasers and the oddjobs arrive. There are a few civilians shopping at this ungodly hour, and of course the staff of all the stores are mundanes, but we’ve got good coverage.

The Live Night Mall is “Y” shaped. Ribbons of light hang from its vaulted glass ceiling; they shiver in the warm breeze that blows from the ventilators. Each of the arms is lined with the usual assortment of shops selling games, infodumps, shoes, T-shirts, ties, hats, kitchenware, software, artware, candy, toys, candles, perfumes and pheromones. You can get a skin tint, a hair style, or walk-in liposuction. At the end of each of its arms is an anchor store, a Sears & Penny, a Food Chief, and a Home Depot. The three arms come together in a vast, garish, and noisy cluster of fast food storefronts. Bjorn might be right about the number of ethnics; I don’t think I’ve ever seen Icelandic in a mall before. At the hub of the mall there must be a couple of hundred round tables. The surfaces of each are screens tuned to themed cable stations. Even though the place is pretty much deserted, it’s still filled with the ghostly mutter of news and sitcoms and cartoons. I’m expecting to spot the rooster here somewhere but all I can see is a handful of followers and a Santa nodding over a latte. Kevin Darcy pushes his sleeping four-year-old by me in a stroller and murmurs, “Sears and Penny.”

So I pick my way through the maze of tables. As I pass Santa, he shoots out of his chair.

“Where did you come from?”

“Home,” I say and try to get by.

“No, you didn’t.” He pushes in front of me. “You’re a stranger. Who are all these people?”

“This is the mall, friend.  We’re all strangers here.”

“Not at my mall, you’re not.”

“Listen, friend, why don’t you take the rest of the night off?” I flip open my wallet and give him a good look at the ID. “I’ll bet you’re tired. I’ll clear it with your boss.”

He glances at it, but I don’t think he sees anything. “It’s not him,” he says uncertainly. “It’s all the presents.  I have to finish my list.” Now I’m just guessing at his story, but I’m pretty sure I’ve got it right. He’s old and broke and stuck in Social Security shock—just trying to earn a few extra bucks over the holidays. Only he hasn’t actually moved to a night schedule, so he’s trying to tough this shift out with chemicals. That’s why he’s just south of coherent and has cephadrine eyes. “If I go, they’ll replace me with a Santabot.” He lowers his voice. “They don’t take bathroom breaks.”

“Excuse me.” I sidestep him. “I have to see a rooster about a fruitcake.”

“Wait!  I’l put you on my list.” He clutches at me. “What do you want for Christmas?”

“How about someone else’s life?”  He considers this and I slip by.

“You can have mine!” he calls after me. “Hey!”

As I enter the Sears & Penny, I notice an odd, stinging, flowery smell, something like the scent of a rose, only with thorns. I follow it to the men’s underwear section, where it is so strong my eyes water.   A mundane sales clerk is tapping “Silent Night” on the keypad of his cashcard reader.

Bjorn and the rooster are sitting on the floor on a red and white checked plastic table cloth, having a picnic. The rooster’s Santa cap is cocked at a rakish angle. He has opened a plastic bag containing three white Fruit of the Loom undershirts.

He is eating them.

Somehow he has also obtained a four pack of Murray’s Chocolate Mint Wine, two of which are now empties. =Hungry?= He holds a wine-stained rag out to me.

“No,” I say, “thank you.” I try to catch Bjorn’s eye but he is staring between his legs as if counting the red checks on the table cloth.

=One hundred percent cotton.= The rooster pulls a new undershirt from the bag and turns it this way and that, as if admiring it. =Tasty cellulose.=  He opens another can of Murray’s and pours some on it. =Not starchy like french fries.= He takes a bite.

The smell is clearly coming from the rooster. This is new behavior; I have to know what caused it. “Uh, Bjorn, could I speak to you?”

He finally looks up, his eyes red and watery from rooster smell. “You think I’m fat.” He shivers like a barrel of Jell-O, then laughs out loud.

“What?”

“Everybody thinks I’m fat. I am fat!” He spreads his fingers across his waist. Sure, Bjorn could do a creditable Santa without padding but what’s that got to do with following the Kuvat? And what’s so funny?

I try to say, That’s not true, except the words swell in my throat like balloons. I cough and manage to choke out, “What’s going on here?”

=He knows you bad or good,= The rooster says around a mouthful of undershirt. =so good good goodness sake.=

“He’s not stupid, Maggie.” Bjorn giggles and reaches for the last can of wine. “He just doesn’t know what he knows.” He pops it open and drinks.

“Bjorn!” I want to stop him but the rooster smell is blooming in my head. “What have you told him?” I’m not sure whether my feet are touching the floor.

=Kuvat not stupid.= The rooster chews with a sideways motion, like a horse. =This one sees. This one remembers. But only Elder Kasaan knows.=

“Kasaan? What about Kasaan?”

“It’s the truth,” Bjorn says. “Want some?” He offers me the Murray’s chocolate wine and I snatch it away from him.

=Cotton?= The rooster offers the bag of undershirts.

“No.” I wave him off absently. “Maybe later.”

“He’s emitting some kind of euphoriant,” says Bjorn. “Can you smell it, Maggie?”

=Tidal of comfort and joy, comfort and joy.=

“Yes.” I sit down next to him. If I don’t, somebody will have to pull me off the ceiling. “How did it start?”

“He was talking about Kasaan. He says she’s going to empty him, or something. I’m pretty sure he’s getting ready to turn in his report.” He beams, pleased that he’s finally won our argument. “I have a theory. He has to tell the truth, right? The smell makes him do it, feel great about it. And it’s working on us too. Tell me a lie, Maggie.”

=Lies stink.= The rooster spits out the undershirt’s polyester size tag.

“Oh god,” I say. “Oh my god.” I take a swig of Murray’s and pass it back to Bjorn. “Elder Kasaan is on his way over here.” The chocolate weight in my gut helps me forget that I’m breaking every rule of following there is.  By this time tomorrow, I’ll be helping Jasper centrifuge Kuvat sewage.

=Person,= says the rooster. =You smell unhappy always.=

“I am unhappy,” I say. “I’ve got a right to be unhappy.”

“Why is that?” Bjorn asks.

“Because we have to follow this stupid rooster around, Bjorn! I don’t know about you, but that makes me feel stupid. It should make everybody in the whole damn world feel stupid.”

“Well, at least you’re not fat.” Bjorn laughs and hands me the Murray’s. Just to be sociable, I take a drink.

=Person is fat,= says the rooster. =Person feels stupid.=

I hear running footsteps. Our backup is coming fast. When I think of how this is going to look to the rest of the following team, I start to giggle. “We’re screwed,” I say.

“Very.” Bjorn thinks it’s funny too.

Balfour herself is leading the charge. “Maggie!” When she spots us she pulls up. She stares as if she has just caught Santa shoplifting.

I struggle to my knees and hold both hands out to warn them. “Get out of here, now! It’s an airborne intoxicant.” I realize I’m waving a can of Murray’s Chocolate Mint Wine at the Undersecretary for Alien Affairs. I set it discreetly on the plastic tablecloth.

“Gas masks in the van,” Balfour says to the team as she covers her mouth and nose with her hand. “Clear the store. No, clear the mall. Seal everything.” A handful of them peel off, running. The other followers goggle at us, then back away uncertainly. “Elder Kasaan is looking for him,” she says “Are you okay?”

“Sure,” says Bjorn. “Tidal of comfort and joy.”

“I think we’re all right,” I say. “But we’re not observing anymore. We’re part of it, Balfour. Now move, before it’s too late.”

They leave, dragging the giggling menswear clerk after them.  The rooster stands and brushes a few white threads off . =Person, is there fruitcake?=

#

We find fruitcake at the North Pole, a seasonal kiosk halfway down the Home Depot arm of the mall. The North Pole also sells ten different flavors of candy canes, boxes of assorted chocolates and Christmas cookies in green foil wrap, marshmallow elves, and fudge tannenbaums. Gene Autrey sings “Rudolph the Red-Nosed Reindeer” from hidden speakers as an animated Santa and his full complement of reindeer cavort around the circular base of the kiosk. I know it’s the rooster smell which continues to float up my nose, but I find myself humming along with Gene.

The fruitcake is stacked five high in round red tins decorated with scenes of cherry-faced kids building snowmen. The tins are wrapped in cellophane. Bjorn takes one off the top and gives it to the rooster.

“This is fruitcake,” he says.

The rooster takes it, turns it over several times, holds it up to the light and then taps a finger against the lid of the tin. =Is hard.=

“It’s inside.” I shake my head, laughing. “You have to open it first.”

The rooster glances up and down the deserted mall. =There is no pay person.=

Bjorn is unwrapping a white chocolate snowman. “Don’t worry. We’ll take care of it.”

=This one pays.  That is the habit.= He sets the fruitcake, unopened, back on the counter.  =Christmas is. The Kuvat pay.=

“No, really. . . ,” says Bjorn, but I nudge him in the back just as the rooster begins to eek.

Eeeeeek, eek, eek, eek. Eeeek!” Beneath his translucent skin, the flesh appears to seethe. We can hear a sloshing, like a mop in a bucket of water. The rooster claps a hand to his chest and I see a viscous ooze between stubby fingers. He brings the hand to his mouth and blows on it, once, twice, then opens it and shows us.

=Pay.= he says. Bjorn drops his chocolate snowman.

Clicking softly on his smooth palm are four green pearls.

“What are they?” says Bjorn.

=The end of fat,= says the rooster. He offers them to Bjorn.

=Person eats?=

Of course, I am immediately I am suspicious of the green pearls. What is the end of fat anyway?  What these things will do to the human digestive system?

“How many?” Bjorn’s face is as soft as cookie dough.

“Wait a minute!” I’m stunned, but I can’t bring myself to stop it.

=The one.=

“What was it you said, Maggie?” He smiles at me. “We’re not observing anymore. We’re part of things now.” He accepts a pearl from the rooster. “Thank you. Do I chew?”

=Swallow hurry.=

“Bjorn!”

He pops it into his mouth and it’s over. I wait for him to keel over and writhe or throw up or maybe even explode, but he just watches at me with that goofy smile, which I absolutely understand. Whatever happens is all right, is true, is good. We’ll both accept it because the world smells so sweet tonight.

Bjorn raises his hands over his head like a Sugar Plum Fairy and does a pirouette.

When the rooster offers me the green pearls, I’m not at all tempted. “Thanks.” I sweep them onto my hand and pocket them. “But I think I’ll save these for breakfast.”

The rooster’s eyes glitter for a moment and go dim. =One,= he says. =Share.= He turns to the North Pole and retrieves his fruitcake.

The rooster wants to eat the cellophane wrapping but we talk him out of it. When we pry the top off the tin, he eeks and drops it.  =Not Christmas!= The cake is still in the bottom half of the tin; it rolls toward the Playbot store.

=Fruitcake stinks!= He starts hopping up and down on one foot. =Stinks like a lie.=

“I’m sorry,” says Bjorn. “Maybe that one was bad. I can get you another.”

=Take it away!= the rooster says. =Bury it!=

“His hour is almost up,” I say, “Let’s get him out of here.”

But we don’t get the chance because striding toward us from the food court is Elder Kasaan. A dozen gas-masked followers trot behind.

The Kuvat scarecrows have no more in common with our scarecrows than the roosters have with gallus domesticus. We call them scarecrows because they’re so gangly and because they wear loud, loose clothes that cover most of their bodies. But nobody who meets a scarecrow ever remembers her wardrobe. What you remember is the impossible head. It looks something like a prize pumpkin, only pumpkins aren’t rust red or as wrinkled as walnuts. The eyes are like bloodshot eggs and the mouth is full of nightmare teeth, long and curved and pointed. If the scarecrows weren’t so shy, so polite, so intelligent—everything that the roosters are not—they would’ve frightened the bejesus out of us.

At the sight of Kasaan, the rooster forgets all about the fruitcake and begins to eek furiously. Instinctively Bjorn and I step back. The scarecrow is swooping down on the rooster; I’ve never seen one move so fast. The followers are left scrambling behind. The rooster tenses. He looks as if he wants to run in five directions at once, but can’t decide which one.

Eek, eeek, eeeek, eeeeek, eeeeeek!

Just before it happens, I realize what I’m seeing. This isn’t any meeting. It’s an attack: a lion charging a wildebeest, a wolf taking a hare.

“Uh-oh,” I say, but it’s good. It’s true.   The smell has changed everything.

Kasaan slams into the rooster, knocking him down. The rooster bounces, rolls and lies, shivering, on his back. His legs pump weakly as Kasaan looms over him. The scarecrow bends to nuzzle the rooster’s shoulder. He closes his eyes. His eeking is low and wet. The breathless followers catch up.

“What is this?” I recognize Balfour. “Oh my god, what’s she doing?”

Kasaan’s nubbly pink tongue licks between bared teeth at the rooster’s shoulder. It makes a sound like someone washing hands.

“Observe,” I say. “But don’t protect. Not this time.”

The licking goes on for several moments. Suddenly the teeth pierce the skin and sink deep. The rooster stiffens, but makes no sound. With a quick jerk to one side, Kasaan tears an apple-sized chunk of the rooster’s flesh away. Her jaws close on the meat—once, twice, three times—and then she tilts her head back and swallows. The wound brims with purple blood; Kasaan licks it clean. When the bleeding stops, the scarecrow steps away and stretches luxuriantly.

“What tasty information!” She offers a hand to the rooster, who struggles to his feet. “You have seen most deliciously.”

“I have a theory,” whispers Bjorn, “about how these reports are made . . .” But he doesn’t get elaborate because Kasaan comes up to him.

“What that one gave you,” the scarecrow says, “is the egg of a vuot, a worm that will grow over the years in your intestines.”

Bjorn turns the color of eggnog.

“How do you know about that?” I say.

“I ate it,” says Kasaan. “Now the vuot is a beneficial parasite that all Kuvat share. It will filter toxins and regulate your metabolism and prolong your life. You need not worry about side effects. Indeed, I believe you will be most happy with your relationship with the vuot over the coming centuries.”

I pat my pocket to make sure the pearls—vuot eggs—are still there. Kasaan notices this and bows apologetically. “What has happened, is and is for the good. But there is something that has not yet happened, which I must unfortunately prevent from happening.”

I can guess what’s coming. “We bought them from him,” I say. “We paid.”

“Maggie, a fruitcake is not the price of immortality,” says Kasaan gently.

=Fruitcake stinks.= says the rooster. =Person lies.=  His wound has already healed.

“I’m afraid I must insist.” The scarecrow lays a hand on my should.

=Better not cry. Tell me why.=

I know he means me no harm. So does the rooster, Bjorn, Balfour, and all the followers. I’m going to give to give him the eggs. Maybe later we’ll find out what the right price for them is. As far as I’m concerned, the situation is under control.  But it’s not my mall.

Get your hands off her!”

It happens so fast. Santa comes from somewhere behind the followers. No one sees him until he goes airborne. He’s spry for an old man, clipping Kasaan at the waist and spinning him around. The eggs go flying out of my hand and splatter on the floor. Santa and the scarecrow fall in a heap.

“Monster!” screams Santa. “Get out of my mall.” He’s got his hands around the scarecrow’s neck. We swarm over to pull them apart but we’re a millisecond too late.

Kasaan bites down hard on Santa’s bicep.  She tears off a mouthful of muscle and some red felt rags. Perhaps it’s instinct that makes her swallow.

“Ahhh!” Blood spurts and Santa faints.

The scarecrow picks herself up slowly, licking the blood off herlips.

“Elder Kasaan, I am so sorry,” says Balfour, her voice muffled by the gasmask. “I thought we had secured the area.”

Kasaan stares thoughtfully at her. “He is seventy-eight years old.”

“Really,” she says. “Poor thing probably doesn’t know what he’s doing.”

“This is how you treat your elders?”

“What do you mean?”

“We have made a terrible mistake,” says Kasaan. “I wish to return to the ship immediately.”

=And a happy New Year,= says the rooster, as he follows the scarecrow out.

#

Three days later, the Kuvat starship takes off. They have yet to return.

Margaret Balfour, Undersecretary of Alien Affairs, resigns in February, after taking a merciless pounding in the media and both houses of Congress. In March she signs a contract to write Who Lost the Kuvat? which presents her side of what happened. Although sales are disappointing, the vein in her temple stops throbbing.

Bjorn Lipponen loses one hundred and fifty pounds in six months. Two years after The Incident, as it comes to be called, he is named one of the Twenty-first Century’s Hundred Most Sexy Men. Later, he becomes a noted futurist. His book, The Road to Eternity, is in its eighteenth printing.

Nobody knows quite what to do with Lester Rand, the demented Santa. There is considerable sentiment for charging him in the World Court with crimes against humanity. But who can say what will happen if the Kuvat come back and find out that we punished the messenger instead of accepting the message? In his later years, he writes a children’s’ book, Reindeer In the Mall, which is optioned by Fox and made into a full length computer animated cartoon.

I am never going to write a book.  I’m not going to live forever.

There are a lot of theories about what caused The Incident. Some want to blame me for insulting the rooster, even though what I said was only the truth. Others say that it is humanity’s fault for mistreating the Lester Rands of the world. Many former Kuvat chasers maintain that when Kasaan digested the information he bit off Rand, he saw into the dark soul of Homo sapiens sapiens and was repelled. I guess everyone has a theory. Here’s mine.

It was the fruitcake.

-END-

James Patrick Kelly has had an eclectic writing career.nbsp; He has written novels, short stories, essays, reviews, poetry, plays and planetarium shows. His fiction has been translated into sixteen languages. In 2007 he won the Nebula Award, given by the Science Fiction Writers of America, for his novella “Burn” and the World Science Fiction Society’s Hugo Award twice: in 1996, for his novelette “Think Like A Dinosaur” and in 2000, for his novelette, “Ten to the Sixteenth to One.” He writes a column on the internet for Asimov’s Science Fiction Magazine and has two podcasts: Free Reads and James Patrick Kelly’s StoryPod.
He is a member of the faculty of the Stonecoast Creative Writing MFA Program at the University of Southern Maine. He is the Vice Chair of the Clarion Foundation, which oversees the Clarion Science Fiction Writers Workshop at the The University of California at San Diego. He served two terms as a councillor on the New Hampshire State Council on the Arts and was Chair of the Council from 2003-2006. He has also served on the New England Foundation for the Arts. www.jimkelly.net
Special thanks to James Patrick Kelly for sharing his fruitcake with UNDERWORDS. You can find “Fruitcake Theory” in addition to some other amazing short stories in Jim’s collection Strange But Not a Stranger.
For your listening pleasure, you can also find an MP3 of “Fruitcake Theory,” hosted by SFAudio’s “Seeing Ear Theater.”
Seeing Ear Theatre - ReadingsFruitcake Theory
By James Patrick Kelly; Read by James Patrick Kelly
1 |MP3| – Approx. 34 Minutes [UNABRIDGED]
Publisher: Seeing Ear Theatre
Published: 1998
Provider: Archive.org

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“Fruitcake Theory” was originally published in Asimov’s in December, 1998.
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