Things I Got Done

A four month gap between posts must be some kind of record (I’m not going to check, on the even more embarrassing off-chance that it isn’t). I’ve never been able to muster the dedication required for regular blogging, and I find that as I’ve evolved into a more accomplished writer I’ve actually become even less inclined. That might sound paradoxical, but dashing off something quick, rough and trivial simply for the sake of having a post feels antithetical to the standards I set myself. Any serious effort is more likely to go into a novel or short story – work that can be submitted for publication elsewhere.

So on reflection it’s not really surprising that since I started this website new posts have become fewer and farther between, and mostly about professional matters like publishing schedules and appearances. I think the menu tab above is about to be renamed ‘News’, since it’s clear I’m only likely to post anything when I actually have some.

What news am I here to share then, at the end of this extraordinary year? That I’m feeling less than sanguine about politics and public discourse will surprise no one who follows me on Twitter or Facebook. I’ve been posting less there too, on the principle that if you can’t find anything nice to say it might be best not to say anything. I don’t claim to be rigorous about sticking to that principle, but I also don’t see much point in simply adding to the rising tide of impotent outrage. It’s unproductive and it makes me cross. So I’ve kept myself mostly offline this year, I’ve gotten a great deal done, and – the dire state of humanity notwithstanding – I’m in a pretty good mood about all of it.

First a piece of news that was new to me too: Jo Fletcher Books tells me an omnibus ebook edition of the three ®Evolution novels will be out in March, and is available for pre-order here. I hadn’t known they were going to do that, but I’m pleased – it feels like a nice coda to a really important part of my writing and thinking life.

Though perhaps I speak too soon. I’m not planning any new books in the series, but one of the things I got done involved revisiting Gemsigns in May/June, while on hiatus from another project (more on that in a moment). I needed a mental palate-cleanser, and I’ve been asked so many times about the possibility of it coming to screen that I decided to try my hand at writing an adaptation. It turned out to be a very specific skill, distinct from novel or short story writing; you have to think visually, and be sensitive to the technical constraints as well as opportunities afforded by a different medium, while retaining overall plot structure and the emotional essence of the original text. I probably erred on the side of too much narrative detail, and I still have no idea whether Gemsigns, Binary or Regeneration will ever be brought to either large or small screen. But: I sent it to people I know who actually make film and television, and the noises that have come back are largely positive, so in my book it was time well spent. Who knows? The fabled phone may ring for that one yet (more likely a ping via IM or SMS or WhatsApp, which, given the context in which the books take place, would be appropriate).

As for what I was on hiatus from – well. That has been this year’s big accomplishment, which I’m finally ready to talk a little bit about *drum roll, please*. I’d just finished the first draft of a new book. It has the working title Sacred, and is by far the most challenging and ambitious piece of narrative fiction I’ve ever attempted. Just finding my way in was hard – I spent a year thinking through the concept; another year working out the structure, making notes and false starts, and reading reading reading to prepare myself for the eventual plunge; followed by seven months of solid writing, seven or eight hours a day, five or six days a week. I was completely wrung out when I finished; I knew there were things wrong with it, but I was much too close to be able to tell what they were. So I sent it off to my agent plus a handful of industry friends – writers and editors – for feedback, and spent the next three months very determinedly Doing Other Things. (The Gemsigns adaptation, but also travelling, visiting art galleries, spring cleaning, staring into space, reading very different types of books. One of the things I’ve learned is that taking yourself outside the world you made is essential to being able to see that world clearly.)

The first responses came from the friends, every last one of whom apologised for their slowness and confessed that they were having a hard time getting into the manuscript. Now on the face of it this might seem unhelpful, but I cannot stress enough (especially to new writers, or anyone who’s inclined to be a bit precious about their work, or indeed those supporters who think their job is not to say anything negative) just how valuable it is to be told something like this. It meant I had a pretty good idea of some of what I would need to work on even before Ian, my agent, sat me down for a lengthy and candid session on all the ways in which the book was not yet firing. I won’t go into detail, save to say I realised with some amusement that the things I was most worried about being able to pull off, and hence had concentrated hardest on, were absolutely fine, whereas things I’m usually good at had suffered from a lack of attention.

When I reread it myself, with the added benefit of my own time away, the Not Good Enough list grew even longer. That’s no reflection on Ian or the others – whole aspects of the book that were alive in my head had barely been hinted at on the page. There were things I’d meant to say that had as yet only been said to myself. I had a completed manuscript, but the reader in me could see only the shell of the story the writer wanted to tell.

All of which makes me kind of astonished that the second draft took barely three months to complete (including a week off for Helsinki and Worldcon). Another benefit of time and distance from the work is that it makes it much easier to be both methodical and ruthless when you finally do return. I dismantled and rewrote the first three chapters, and indeed much of the first third of the book. The changes I made there to character development, motivation, and narrative tone had to be carried throughout, which meant more big chunks of rewriting as well as subtler tweaks to practically every paragraph. The revised manuscript ended up noticeably longer, despite huge swathes of the original text being cut. I’m not sure I’ve ever worked with greater intensity – or with a greater sense of immediate satisfaction, of utter rightness. How do you know when it’s working? You just know.

As for what the book is about: it’s about stories, the ones we privilege and the ones we disdain, the tales we mythologise and those we discard. On one level it’s about the search for a sacred text, but it’s also about what we choose to make sacred. The most succinct description I’ve managed was when I told someone to think Paulo Coelho meets Neil Gaiman via a Malian griot and a Jamaican granny. An intriguing elevator pitch, came the reply, but it doesn’t actually reveal very much.

That’s a fair point, but I think it’s about as far as I can go right now. The book is out on submission, and I don’t want to say too much too soon. I’ll only add that the narrative unfolds via a series of stories the protagonist both tells to and elicits from the characters she meets; some are contemporary to the action and some are constructed as ancient folktales which, as they’re repeated, provide a context for the protagonist’s journey as well as forming their own parallel storyline. So there’s the meta-narrative inhabited by the protagonist; the contrasting/ contextualising strand of folklore within which an equally complex narrative is embedded; and several micro-narrative threads which inform and reflect them both.

Like I said, it was a challenge.

I received Ian’s response to the new draft at the end of November. It made my year. He got busy doing his agent thing, and now I’m the one who gets to wait, and hope that there’ll be publishing news sometime soon.

So, after over twelve months of dedication to Sacred plus the other in-between projects, how did I celebrate getting it done and getting it good? I … went out and found myself a job. I had to. I may have produced four solid novels in seven years, but being a writer has not come close to paying the bills (as is the case for most of us). That may change one day – I live in hope – but until then my resolution is to find a way to keep writing (albeit at a much slower pace) while staying in regularly and decently paid work. I’ve been extraordinarily privileged to have gotten this far in my authorial career without having yet had to truly balance the two. Now I need to learn how.

That, then, is the next big project. While I get stuck into it, and Sacred searches for a home, I do have a few smaller irons in the literary fire. There are two short pieces I’m about to submit to two new journals – and yes, one is an excerpt from Sacred. With any luck either or both of those will be out in the spring. I’m planning on attending the Calabash Literary Festival in Jamaica in early June. And I’ve been asked back as one of three teachers for the Science Fiction Foundation’s 2018 Masterclass, following the late cancellation in 2017. That’ll be at the end of June, and I’ll share sign-up information as soon as it’s available. I’ve submitted the same cracking reading list I was going to use last year, and I’m really looking forward to spending a few days talking with bright people about brilliant books.

Hopefully I’ll have enough of a handle on the time-and-motion logistics by then to be able to start working on a new book of my own. I’ve already got a couple of ideas …

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Days of Christmas Future

I completed and submitted Regeneration, the 3rd book of the ®Evolution trilogy, a week ago. You would think that means I now have lots of time to attend to neglected things like social media updates and blogging, but oh no – because so much has been neglected over the past few weeks and months (company accounts! bills! VAT returns!) that I am racing to catch up before the end of December arrives and turns me into a pumpkin. Not to mention more pleasurable offline pursuits like friends in town for Christmas and other delights of the season. So for now I’m cheating by reposting a piece I wrote for the Jo Fletcher Books Christmas 2014 Advent Calendar about the significance of Christmas in Gemsigns. (Which means, incidentally, that if anyone out there’s looking for a very last-minute bookish gift idea that has some relevance to the the week we’re in … without necessarily being, y’know, a ‘Christmas Story’ in the traditional sense … Blackwell’s. Forbidden Planet. Foyles. Waterstones. And quite possibly an independent bookshop near you.)

Here you go. I will be back with something new and original soon … possibly on how it feels to have finished! writing! a trilogy! Until then, compliments of the season.

When is a Christmas story not a Christmas story?

I’ve been thinking about this on and off for a few years now, ever since I finished writing Gemsigns. Although the events of the novel lead up to and conclude on Christmas Day – a fact which is hugely significant within the narrative logic of the book – you would never know from the jacket blurb or the majority of the reviews that it has anything to do with Christmas.

That’s fair enough, as the narrative is not constructed to reinforce the traditional religiosity of the season, nor the contemporary commerciality with which we are all familiar. The novel is, however, very interested in the construction, interpretation and evolution of myth. Part of what I was interested in when I wrote it is how the founding mythologies and legends of a future civilisation might develop, and how the cultural standards with which we here in the twenty-first century are familiar might morph and shift and adapt themselves to new ways of thinking and being. I don’t buy the idea that ancient cultural touchstones and archetypes simply disappear under an avalanche of techno-advancement, or that they survive only as a sort of throwback primitivism. I think that in the same way the pagan festivals of the winter solstice and the spring equinox were co-opted and adapted into Christmas and Easter, these cyclical commemorations, these holy-days will adapt and evolve again. One of the many things I was trying to achieve with Gemsigns was an imagining of that sort of deep cultural evolution.

Gemsigns opens with a short introductory passage related by an omniscient narrator who speaks in the riddling, mythopoeic voice of legends, epics, and sacred texts:

When describing a circle one begins anywhere. Each step precedes and succeeds with no greater or less meaning: the tale they tell remains unvaried.

The narrator then tells of a hunted child fleeing unnamed but terrifying pursuers; an escape whose end is indeterminate. Told in the present tense, the subsequent context makes it clear that this incident has occurred in the story’s past, forming an in-the-beginning backdrop to a tale that unfolds in our future: in a London that has survived the apocalypse of a generational pandemic and the dystopia of the resulting slave state. The omniscient voice is gone now, for in the confusion that follows few people are sure of anything, and absolutely no one knows everything.

Day by day over a winter week, the reader witnesses events from the perspective of a range of characters who identify with different political, social, economic and, yes, religious camps. But it is only on the sixth of these days that the reader learns precisely which week they are witness to: for the sixth day, the day of reckoning, is Christmas Eve and the seventh day, the day of resolution, is Christmas.

Within the world of the story these commemorations are no longer the common knowledge of our own era. They are significant to some of the characters, and that significance drives their actions within the narrative, but they no longer matter to society as a whole. Christmas Eve and Christmas Day are historical artefacts, observed only by a minority and neither commercially nor socially important.

This is not, then, a Christmas story. Except it kind of is. Among its many characters and influencers are a small child of great significance to the world he inhabits, a powerful bureaucracy (and outlaw theocracy) who are threatened by what he represents, and a band of second-class non-citizens struggling to assert their own humanity and their right to the same freedoms, privileges and responsibilities as everyone else. Their ability to do so is both compromised and symbolised by their commitment to protect and cherish the child, whose existence has the potential to undermine the system under which they are oppressed.

The fact that these conflicts play out to their conclusion over Christmas was not merely for the convenience of the plot. I very consciously wanted to construct a new cultural paradigm within a science-fictional setting. Science fiction rarely, it seems to me, takes the past as seriously as it does the future (one could make the parallel argument that fantasy rarely takes the future as seriously as it does the past, but that is a subject for another essay); it rarely acknowledges how much of its future-world-building must perforce be influenced by the full depth and richness of what has gone before. I thought it would be interesting to use a holy-day of great historical and cultural significance for the unveiling of a new revelation; to take the date that gave us anno domini and from it launch a new era. What happens in Gemsigns at Christmas is what that day, in that possible future, will be remembered for.

This is not, of course, something that religious traditionalists – either within the world of the book or out here in the ‘real’ world – are likely to be pleased about. They generally cannot countenance the notion that the way people live and the things they believe can, must, should be constantly subject to question; subject to change. But I like to think that the legendary rebel whose life informed and whose death founded our own era, if he ever existed and was as good and brave a man as we imagine, would approve.

Sci Fi November: Two Dudes Interview

I’ve been interviewed for Sci Fi November by the Two Dudes in an Attic speculative fiction blog, following their earlier review of Gemsigns. The questions were interesting and thought-provoking; in fact they provoked so many thoughts that the interview was split in two! Both sections are now up (and they’re not that long, promise). I like it when the questions I’m asked let me talk about things that I think are important, and these did. Here’s part 1, and here’s part 2.

Many thanks to Andrea Johnson for inviting me to participate, and introducing me to the Two Dudes.

US Edition

US Edition

American ®Evolution: news from the front

Gemsigns drops in America today! That is to say, today’s the day it can be found on the shelves of bookshops or dispatched to you from your preferred online retailer (and if you pre-ordered the ebook it’s probably already sitting on your reader as I write this). I am very excited, and slightly nervous; I went to university in the States and spent well over a decade there afterwards, moving between Massachusetts, California and Florida. There’s no doubt that those years have hugely informed who I am, how I think and what I write; and although the ®Evolution novels are set in my current home city of London, it was in America that I first began to grapple with the issues they address. So in a strange way it feels as though I am sending some of those lessons and questions back home; and hoping they will find as welcome a reception as I did, when it was my home.

If the last few weeks are anything to go by I shouldn’t worry; the reviews so far have been excellent. I’ve also been invited to contribute articles on various topics to a number of blogs and webzines. Here are the most recent.

More Kids, Please | Bookworm Blues | 5 May 2014

Think about your own narrative. Whether or not you have kids, you’ll certainly remember being one. Didn’t you have constant interactions with the adults around you? Didn’t you think thoughts and have complex feelings and cause things to happen? Weren’t you a person then too?

Changing Stories: Social Media in Speculative Fiction | io9 | 5 May 2014

How can an immersive media environment inform literature – both in terms of the stories we tell, and the ways in which those stories are told? … I’d read little if anything that I thought really tried to engage the potential of social and mass media, as both plot and narrative devices, within a traditional literary form.

We Need Fiction To Tell The Truth | Special Needs in Strange Worlds | SF Signal | 6 May 2014

… a lot of the standard tropes around disability that we see in fiction – that it befalls someone who has done wrong, and can therefore be understood as a punishment; or that with the loss of a sense such as sight a new ability such as clairvoyance is gained, suggesting some kind of fair exchange; or that the witch/wizard/wise scientist has a miracle cure up their sleeve; or that the disabled person is so patient and saintly they don’t actually mind either the disability or the slings and arrows they suffer because of it; or, worst of all, that said disability is the only thing of significance about them – are the coping mechanisms employed by those of able body and sound mind. They are a way of reducing people to symbols in order to codify our own fear; a way of reframing a complex reality into a simple narrative.

(I’ll be updating this post as more pieces go live later today and over the next few days; there’s a comprehensive list under Press + Posts above.)

8 May 2014 – UPDATE:

Trusting the Future? Ethics of Human Genetic Modification | LiveScience Op-Ed | 6 May 2014

Evolution relies on the emergence of exceptions — no less when it comes to social change than to genetic mutation. The exceptions that become the rule over time are those that best respond to the environment in which they have arisen. And yet we are rarely more anxious than when we feel those boundaries start to shift, or more strident in demanding an uncomplicated moral framework within which to determine the way forward.

10 May 2014 – FURTHER UPDATE (or, it’s been a hell of a week and a new blog post is beyond me right now):

The Big Idea: Stephanie Saulter | Whatever | 9 May 2014

[The] metrics of humanity can prove tricky. What if that unconscious mental ideal happens to be constructed as a white person? Or a male person? Or a fit and healthy person whose physical capabilities fall within a statistically standard range? What does that imply for the perceived humanity of brown people, or female people, or people with different physiques and capabilities?

Interviews: 

My Bookish Ways | Interview | 8 May 2014
Podcast: Interview | The Skiffy and Fanty Show | 7 May 2014
The Qwillery | Interview & Gemsigns giveaway | 7 May 2014

 

GEMSIGNS: US Edition Cover Reveal!

I was going to do another Gemsigns extract today, but that has been superseded by the news that – ta da! – the US cover is finally available for public viewing! (In fairness it’s been up on the Quercus US site for a while, but hadn’t been cleared for wider distribution.) Many thanks to the lovely folks over at SF Signal who splashed it up yesterday. So now I can do the same here, along with the full jacket copy:

US Edition

US Edition

For years a deadly syndrome that targeted adolescents threatened to decimate the human race, but a cure was ultimately developed by altering the human genome. The corporations that invented the cure then began to use the process to genetically engineer an entirely new class of workers. Known as Gems, these modified humans were physically and mentally adapted for jobs that could not be undertaken by normal human beings, and branded with a gemsign: glowing, neon-coloured hair or some other visible difference, engineered into their anatomy, forever setting them apart from the Norms they were bred to serve.

Now, decades later, the Gems are fighting for their rights, and for freedom from the companies that created them. As violence begins to threaten the severely stratified society, an international conference is scheduled to decide this critical civil rights issue once and for all. In advance of the conference, Dr. Eli Walker has been commissioned to gather detailed findings on the Gems. As an apolitical, nonpartisan figure in the debate, Walker’s analysis promises to be pivotal in deciding the fate of the Gems.

But with vast corporate profits at stake, and with the bloodthirsty religious zealots of the Godgangs determined to rid the earth of these “unholy” creations, the Gems are in a fight for their very lives against violent and powerful adversaries who will stop at nothing to keep them enslaved forever.

In terms of imagery and emphasis it’s a different approach to the one taken for the UK edition. I was part of the conversation in both cases, and I’ll be interested to see how it plays out in different markets and with different audiences. For the record, I don’t have a favourite – I really do love both sets of cover + copy. But I’d like to know if you prefer one over the other, and why!

By the way, clicking on the US edition in the sidebar will take you to the Amazon US purchase page – which, confusingly, is currently showing the  UK cover instead of the US one. I have no idea why, but I do know that the Quercus US team are in the process of sorting it out. (And of course, the UK editions link to the Amazon UK pages.)

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P.S. More guest postage! While I’ve been writing this the ‘Story Behind the Story’ piece that I wrote for Upcoming4.Me has gone up. If you want to know what started the ®Evolution, check it out here. (Moral of the story behind the story: Keep your staff interested in the job at hand. Unless you want them to run off and become writers.)

GEMSIGNS extract: The Declaration

 

Declaration of the Principles of Human Fraternity

Agreed to be the shared and universal basis for national laws pertaining to all individuals, groups, civilisations and cultures

Issued by the United Nations, Tokyo, 21 December 130AS

The Peoples of the World, having passed through great calamity, and having secured the survival of our Species only by dint of certain manipulations and interventions, executed under direst emergency and with the willing participation and to the mutual benefit of all nations and races, now hereby declare and affirm these several Principles which all human beings, regardless of origin, nation, heritage, circumstance, condition, capability, conviction or disposition shall rightly and reasonably expect to form the foundation of the laws that shall govern our Societies and the rules, regulations and restrictions to which we shall in fellowship submit.

That it shall be the right of every human being:

First: To be at liberty from incarceration, except as properly and lawfully required for the detention of suspects, the punishment of the guilty and protection of the public.

Second: To be free and protected from unwarranted oppression, indignity, negligence or harm.

Third: Not to be required to provide labour or perform services without compensation.

Fourth: That movement, expression, association and employment shall not be unreasonably restricted.

Fifth: That property and possessions rightfully and lawfully acquired shall not be arbitrarily removed or reduced; but shall be subject to the reasonable and ordinary contributions required by the state, or as agreed under contract or for the settlement of accounts.

Sixth: That alterations, manipulations, procreation or reproduction of any individual, or utilisation of the cellular or genetic material of any individual, be subject always to the consent of said individual.

Gemsigns (UK paperback) , ch8, pp86-87

GEMSIGNS extract: Gabriel

The big news this week is Binary; but the Gemsigns paperback is also out in the UK on Thursday, and it’ll be published in hardback in the US in a month. Ahead of that the reviews from our American cousins are starting to come in, and I have been overwhelmed by the reactions so far. So in honour of readers like Bookworm Blues and the Little Red Reviewer, here’s a passage from the mind of the youngest protagonist:

He felt Papa look in on him from the kitchen, nod approvingly and step back to check on something in the oven. He didn’t look up. Papa was really good about letting him be, making sure Gabriel knew he was there but not interfering. They were relaxed with each other. Mama would always ask if he wanted something, get down on the floor to play with him or ruffle his hair as she passed. She worried he might not feel right if she didn’t, but really it was more for her than him. He could feel how happy she got when she held him in her arms, gave him a bath or read him a story. They both took care of him, but her need for it was more urgent and anxious than Papa’s.

Gabriel didn’t mind. Mama’s fierce love could be overwhelming, but it made him tingle with happiness. She was home a lot less so most of the time it was just him and Papa, in whose calm, steady affection it was easy to feel safe.

He knew they both worried about him, but they didn’t get scared the way his old parents had. He had a vague memory of the way the people he used to call Mummy and Daddy had flinched and tightened up their minds when he came into the room.

Everything else about them had almost completely faded away. He thought there might have been another place between that long-ago past and the bright present with Mama and Papa, but he wasn’t sure. There was a black space in his head, a yawning gulf of nothingness that lapped right up to the edge of his awareness, and everything on the far side of it was faint and fading. He couldn’t remember much from before Mama had pulled him out of the rubbish and brought him home.

– Gemsigns (UK paperback), ch4, pp48-49

 

Gearing up, counting down, and supporting your local bookshop

There’s only a week to go before Binary is published, and the Gemsigns paperback edition comes out, and as threatened promised I am popping up all over the internet. In addition to the Civilian Reader and Jo Fletcher Books guest posts, and great reviews of both books from Lisa McCurrach and Sarah Chorn (all linked from here), there’s been an interview with Andrea Johnson and another guest post, about dystopia versus democracy, both on SF Signal. Plus I’ve had more superb reactions to Binary via Twitter from other respected reviewers, and there are more posts and interviews lined up.

If previous experience is anything to go by, the next stage will be people asking, Where can I buy your books? (In fact you needn’t wait; pre-orders are an author’s friend.)

So let me make it easy for you …

If you’re inclined to online purchasing, you’ve got a lot of options. The cover images to the right will take you directly to the Amazon UK pages for Gemsigns and Binary, and if you’re a Kindle user you’ll know they are the only source for your ereader as well as being a place to buy print. You can also purchase directly from the publisher, Jo Fletcher Books, who will have the epub as well as print copies available; and of course if you’re an Apple user you’ll know your way around iBooks. The Book Depository doesn’t do ebooks (as far as I can tell), but they offer good prices on print and – best of all – free worldwide delivery. And there are many other sites through which both print and ebooks can be ordered; if you’ve got a favourite that I haven’t mentioned, feel free to link it in the comments.

Unsurprisingly, there are fewer choices and less certainty when it comes to old-fashioned, pavement pounding, bricks & mortar book shopping. In the UK we’ve got a number of tiny-to-small independents; if you’re lucky enough to have one of them in your neighbourhood I urge you to support it (and again, give it a shout-out in the comments). At the medium-to-large end I can only think of Blackwell’s, Foyles, Forbidden Planet, Waterstones, and WH Smith* … and only two of those are in every town, on every high street … and most of them won’t get in more than a few copies, if any. (You can of course shop from them online as well, and many also carry ebook formats via their websites.)

But here’s the thing about bookshops large and small that I think customers often don’t realise: you can always order what you want from them right there at the till. The store will have it delivered, and you can collect it at your leisure. I’ve had too many people say to me, frustratingly, that they looked around their local bookshop, couldn’t find my book, and left without further inquiry. If you’ve been following the very fraught issue of the (under)representation of female science fiction and fantasy authors (as well as authors of colour, books in translation, non-heteronormative perspectives and anything else that’s not white, Anglo-American, male and straight), you’ll know we already have a mountain to climb when it comes to getting shelf space in bookshops; not to mention front-of-house table space.

Progress is being made on this last point, as reported by Emma Newman and indicated by Foyles’ assurances to Sophia McDougall, and I am delighted by that. But when a book isn’t in the store to begin with, interacting with the staff and placing an order through them is another small, simple, non-confrontational action that anyone can take and that quietly helps to redress the imbalance; purely as a side effect of getting you the book that you want while giving them the sales that they need. That’s because it does two things.

First, it makes the booksellers – the people who actually interact with and make recommendations to the public – aware of a book they might not otherwise have even known existed. Verbalising information makes it sticky; they’ll remember that they took a customer’s order for such-and-such a book. Second, it creates data that pings back to head office (assuming you’re dealing with a shop large enough to have one), and tells them what said public is walking into their stores and asking for. It creates a contradiction to the narrative that keeps the book from being on the shelf in the first place: the trope that it’s not worth carrying in-store because it won’t sell. This is usually difficult to refute in sales terms, because standard practice makes it circular and self-fulfilling; and bookshops are under such tremendous pressure in today’s market that simply haranguing them to take what they perceive as a commercial risk is likewise a difficult ask. It’ll only become less difficult as it’s perceived as less risky.

So if you’re inclined to shop in-store instead of (or in addition to) online, and you don’t see what you’re looking for, do me and your other missing author(s) a favour. Don’t assume that the shop has just sold out (that would be lovely), or that they’ll have more copies in next week (not likely). Make the inquiry. Order the book. That will let them know there is a demand, and nudge at that damaging narrative.

My book birthday is in a week. It’s the best present I could get.

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*Who I don’t think will have Binary in print for a while, as they only carry mass-market paperbacks and the Binary MMP won’t be out for a year.

 

Monday madness! Or is that magic?

What a grand day I’ve had. A few weeks ago I received a request from Civilian Reader to write a piece for the Influences & Inspirations series; and as often happens, having to write about it made me think about it, and see connections that were always there but that I hadn’t been consciously aware of. The post turned out to be all about stories, and went up early this morning:

Influences & Inspirations | Civilian Reader

Then the first review of Binary was posted – and it’s a corker:

Rewriting the Script: A Review of BINARY by Stephanie Saulter | Over the Effing Rainbow

And … corker redux! A new review of Gemsigns:

GEMSIGNS by Stephanie Saulter | Bookworm Blues

Will I ever turn into one of those writers who ‘never reads the reviews’? Not as long as they’re like this.

(I’m even feeling chuffed enough to put up another link to this post. Because Friday was pretty marvellous too.)

 

Books and parties and conventions and prizes and … Calabash!

If you’ve been keeping up with me on Twitter you’ll know that I’ve mostly been having a good week. The only real fly in my ointment at the moment has been the discovery that the Scriptopus website is down, and that the company that’s been hosting it is one of the most unprofessional organisations I’ve had the displeasure of encountering in quite some time. It’s frustrating of course, and I’m a bit surprised to find myself not more angry and upset. But while some of the content may be lost, the source code is safely backed up; and if the host can’t restore it I will relaunch it somewhere safer and saner; and I have got so many happier things to think about  

On Tuesday I received my author copies of the Binary trade (TPB) and the Gemsigns mass-market paperback (MMP) editions, both out in the UK on 3rd April. Does ripping open a cardboard box to find bound books with beautiful covers full of the words that you wrote ever get old?

2 weeks to publication!

2 weeks to publication!

 

I doubt it. There are no posted reviews of Binary yet – at least none that I know of – but it’s in the hands of reviewers,  a couple of whom have tweeted their early reactions. I am cautiously optimistic.

Tuesday evening was the Clarke Award shortlist announcement party, which was great fun; many congratulations to the shortlisted authors (and many thanks to the kind folks who tipped me to be one of them – even though I wasn’t, the fact that you thought I might have been meant a great deal).

Still on the subject of prizes: on Thursday Jo Fletcher Books posted a list of their Hugo-award-eligible publications and Campbell-award-eligible authors. To be honest I’d given very little thought to either of these; I tend to think that if your book isn’t out in America (and mine isn’t until May), you don’t have much of a shout. But Gemsigns and I are there for your consideration, along with many other wonderful books and first-time authors, and a reminder that the nomination deadline is 31st March.

I’ve also been communicating with the Satellite4 organisers about panels and readings; there’s going to be some very good stuff at this year’s Eastercon in Glasgow, and I hope to see many of you there. 

But with the Binary TPB and Gemsigns MMP publication date only a couple of weeks away, I’ve been mostly preoccupied with getting ready. That’s meant a long overdue update to this website (cover shots and purchase links in the sidebar! actual descriptions of the novels under the Novels tab!), and to bios and avatars around the web more generally. I’ve been busiest of all with guest posts and interviews: over the next few weeks I’ll be popping up in a variety of places, including Civilian Reader, Upcoming4.Me, SF Signal, Little Red Reviewer, and Tor.com.

And I’ve been waiting on an announcement. Not an award or shortlist this time, but the official launch of the Calabash International Literary Festival in Jamaica in May. It’s been in my Upcoming Events for ages, but I couldn’t pre-empt the organisers by saying more – despite knowing enough to be very excited. So the first of my series of guest posts to go live is the last one I wrote –  SF in’a Calabash, composed this morning on the back of last night’s launch. If you never follow another link from this blog please, follow that one. It’s something I am very very proud to be part of.  

  • I love stories.
    My new novel, Sacred, is all about them. Publication info will be posted as soon as I have it.

    In the meantime check out Gemsigns, Binary and Regeneration, available wherever good books are sold.

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  • UK edition

    REGENERATION

    The 3rd Book of the ®Evolution

  • UK edition

    BINARY

    The 2nd Book of the ®Evolution

  • UK Edition

    GEMSIGNS

    The 1st Book of the ®Evolution

  • US Edition

    REGENERATION

    The 3rd Book of the ®Evolution

  • US Edition

    BINARY

    The 2nd Book of the ®Evolution

  • US Edition

    GEMSIGNS

    The 1st Book of the ®Evolution

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