Mining my boarding school experience for Cesium Deep

This one is going to be a little more personal. Also a little more disjointed.

I went to a mixed boarding / day school for high school. I was there as a boarder.

My time in my dorm was both great and awful. It’s part of where I’m drawing inspiration for the story I’m writing about Cesium Deep.

When I say that my time in my dorm was great, I mean that I met and made friends with some awesome people. I came to love living in a community, and felt close to some of my dorm mates in a way that is hard to explain. Some of those friendships existed because we were teens who were able to live in the same space and share our passions and interests in ways that I hadn’t really thought possible before boarding school. Sometimes, living in a dorm was a hell of a lot of fun.

But some of those friendships existed because we survived the awfulness together.

I don’t think it’s surprising that no one else from my dorm came to our 10th reunion.

When I say that my time in my dorm was awful, I mean that Continue reading

Trouble Writing Cesi

When I was first writing Bury’em Deep, the editor I was working with through my mentorship program asked me to write scenes from inside Cesi’s head. She wanted, ideally, for the book to include sections or chapters from Cesi’s perspective.

It was a good idea, and Continue reading

The Music Behind Bury’em Deep

This is an incomplete list of the songs and artists that built the soundscape I tried to stay in while writing Bury’em Deep (and editing and rewriting it, and, well, you know).

The initial bulk of the music was industrial, with a few other genres tossed in. I think there was something about the frequently wordless, highly rhythmic, often distorted quality of that music that drove my sense of living inside a spaceship. My vision of those spaces was not the JJ Abrams Star Trek Apple Store feel of white, glass, and lens flares. It had more in common with World War 2 era submarines. Any gleam or shimmer came from the false realities of glasses’ environmental skins.

The next place I took musical inspiration from was synthwave. Something about the way those sounds combined with the more grating and grinding industrial music fused the feeling of large heavy machinery with complicated computers. Better yet, the synthwave often had a driving beat as well, something that mimicked and pantomimed the rhythms of the industrial tracks that had first sparked my imagination.

This means that alongside Front 242 (Tragedy For You), lots of VNV Nation (specifically tracks with fewer words), Foetus (Love, and (Not Adam)), and Ministry, I had heaps and piles of tracks from Makeup and Vanity Set (everything they made for Brigador, plus at least five other albums), Perturbator, Lazerhawk, Kavinsky, and Waveshaper.

Then, the more idiosyncratic additions and odder pairings, the ones that I couldn’t ignore:

VNV Nation’s song 4 A.M. flows seamlessly into the choral version of Barber’s Adagio for Strings that you find at the opening of the Homeworld soundtrack. I later discovered Edward Higginbottom’s choral version of that Adagio for Strings. I used the rest of the Homeworld soundtrack too.

I listened to two remixes of tracks from Star Control 2. They were Starbase – Under a Red Sky, and Property of the Crimson Corporation.

I listened to Holst’s Planets, and Clutch’s eponymous album. I cycled through several tracks off Tomoyasu Hotei’s album Electric Samurai (especially Dark Wind and Howling). I listened to SomaFM’s space mission station, and Science from the album Sounds of GE. Sometimes I listened to Orbital, primarily their Blue Album and In Sides. I used tracks from Receiver, by H Anton Riehl, and NASA’s Symphonies of the Planets: Voyager Recordings.

Sometimes I listened to one album or track on repeat for hours on end. My musical desires grow strange(r) while I’m writing.

If you have any of that music, I suggest playing it while you read the book. If you don’t have the book, I suggest listening to that music and imagining what it feels like to live trapped in a tin can in the far reaches of our solar system.

Arisia 2020 is next week!

I’ll be at Arisia next weekend, from Jan 17th-20th (Friday through Monday). I’m going to be on seven panels, and will be moderating three of them! Here’s my schedule, and a quick overview of *some* of the material for each panel.

The GM-less Game; Lewis, Friday 7pm: discussing the growing genre of GM-less games, what makes them work, and how to dig into them.

Cooperative Games (mod); Marina 4, Saturday 4pm: discussing cooperative and semi-cooperative board and video games, barriers to entry, how to pick the right ones for your group, and how to navigate their traps and pitfalls.

Feet of Clay, Mind of Light; Marina 2, Saturday 5:30pm: discussing sentient life in non-organic bodies, with plenty of robots, AIs, and conversation about gender, immortality, bodies, dysphoria, and the soul.

Harassment, Missing Stairs, and Safety in LARP; Faneuil, Saturday 7pm: discussing do’s and don’ts of writing and enforcing codes of conduct, dealing with malicious actors in your social groups, and maintaining a healthy and welcoming community that is less vulnerable to abusive behavior.

Death and Funerary Practices in Science Fiction (mod); Marina 4, Sunday 1pm: discussing how genre fiction has dealt with (and failed to deal with) death, how this informs our understanding of the cultures inside those stories, and how our own culture has shaped death and funerary practices in our fiction.

Bringing Horror Into Other Genres (mod); Otis, Sunday 7pm: discussing what horror actually is, the effect of horror’s dread and frisson, what purposes horror may serve (both in horror and elsewhere), and how horror and its elements can expand and improve other genres.

The Hacker’s Guide to D&D; Marina 2, Sunday 8:30pm: discussing D&D 5th edition, how (un)important it is to use the rules as they’re written, and how we as storytellers can use rules and systems from elsewhere to create the experiences we want for our players inside the constraints of D&D’s 5th edition.

What year is Bury’em Deep set in?

What year is it? Why don’t I say?

Well, for one thing I don’t want Continue reading

Nutrient Paste in Bury’em Deep

I don’t ever state this explicitly in Bury’em Deep, but food for spacers is more complicated than simple nutrients. In fact, Continue reading

Setting Material for Bury’em Deep (and sequel), pt. 2

This one’s a close follow up to last week’s post. Again: rough draft material, only partial, subject to change. This time, I’m diving deeper into the Rhean intelligence apparatus, and what influence it’s had on Rhea and beyond! Continue reading

Setting Material for Bury’em Deep (and sequel)

While I’ve been working on writing a sequel to Bury’em Deep (yes, I changed the name), I started working my way through some background material that seemed important. This is all rough draft material, only partial, and subject to change… but I thought you might enjoy some of the details! Read on for tidbits of Rhea’s history and its place in the politics of Saturn-space. Continue reading

Ninefox Gambit, by Yoon Ha Lee

NinefoxGambit

Layers. Layers on layers on layers, ploys on top of ploys, backstabbing all the way down. And somewhere, sandwiched between all those knives, a few people trying to make a tyrannical empire a better place despite itself.

Yoon Ha Lee’s Machineries of Empire series (of which I’ve read the first two books) feels like a reimagining of the fundamental critiques of Warhammer 40k—but instead of trapping his work beneath cynical satire and Poe’s Law, Yoon Ha Lee renders his critiques of empire transparently and with heart.

Ninefox Gambit is a new presentation of classic sci-fi military fiction, discarding the traditional fetish for the tools of war and replacing it with an exploration of the human cost of imposing and maintaining empire… and of resisting and rectifying it. It does this all with a setting in which the violent and malignant imposition of hegemony is part and parcel of the exotic technological base necessary for interstellar civilization, and in which heretical practice literally erodes the power and capabilities of the empire’s technologies; mathematical and spatial relations, punctuated by suffering and pain, form the bedrock of calendrical technology, and the embrace of this calendrical tech-base has trapped the Hexarchate in a never-ending cycle of violence and subjugation.

With the Hexarchate’s rulers a group of professionally inhumane paranoiacs, determined to retain their power and uphold the stability of their realm with no care for the cost in lives, it takes a very special kind of heretic to oppose them.

If you like science fiction, or military fiction, or anti-imperial explorations in uncomfortably familiar alien settings, this book is for you. If you want your books to explain everything to you and never leave you piecing together elements of a setting or story… I might suggest something else.

Also, if you’ve traditionally avoided sci-fi mil-fic because it’s one long paean to unquestioning support of cis-het male hegemony, don’t worry. This series radically normalizes queered gender and sexuality. I really appreciated that.

In case you couldn’t guess, I think this book (and series) is great. I don’t want to say more, because I want you to experience it for yourself. I strongly recommend Ninefox Gambit.

If you like this book, I’d also recommend Seth Dickinson’s The Traitor Baru Cormorant.

Light Years, by Kass Morgan

LightYears.jpg

Light Years is a fine book, nestled deep in the readily-identifiable heart of its genre. It never Continue reading