Editorial
Editorial, December 2015
Be sure to read the Editorial for all our news and updates, as well as a run-down of this month’s content.
Be sure to read the Editorial for all our news and updates, as well as a run-down of this month’s content.
We talk about happy endings and tragic endings and such, but the fact is that stories don’t really end, short of the heat death of the universe. There’s always something that comes next, if there’s anyone left standing. I’ll write more about those characters or that world if the stories show themselves, but as often as not it’s best left to the reader’s imagination.
I’m not sure when I consciously realized the theme that seemed to run through shows or movies about destroying the robots/androids, or how they were an antagonistic force that had to be defeated. It always made me sad or frustrated. The way robots and androids and cyborgs can appear so very human, yet be different, or at least seen as different by the human characters, well . . . that clicked for me on a fundamental level.
Ernest Cline is the author of the best-selling science fiction novel Ready Player One, which is currently being adapted for film by Steven Spielberg. Cline also wrote the screenplay for Fanboys, about a group of hardcore Star Wars fans, and he recently appeared in the documentary film Atari: Game Over, about the collapse of the once mighty video game company Atari, which was forced to bury hundreds of thousands of unsold game cartridges in the New Mexico desert. Cline’s new novel, Armada, about video game champs battling aliens, is out now.
In recent years there’s been a lot of good conversation about representation in adventure fantasy. One of my favorite critiques has been a response to people who claim erroneously that the presence of nonwhites and combatant women in medieval Europe isn’t “plausible.”
I wanted this story to have a very accessible point of view character—someone we could recognize and empathize with whether they were male, female, or other. Choosing the right narrator—and right distance from that narrator, whether it’s first person, third person, close third person, or omniscient—changes the overall emotional effect of the story, so I think that’s key.
This month we review Sorcerer to the Crown by Zen Cho, Updraft by Fran Wilde, The House of Shattered Wings by Aliette de Bodard, and Serpentine by Cindy Pon.
A news story I saw about being able to print a gun with a 3D printer [was the seed for the story]. I just didn’t realize it would happen for some reason, even though it was obvious that we’d end up being able to print guns down the line.
Most of my story ideas come from mashing together whatever I’ve got in my head, and sometimes the things in my head are close to home. Around the time I was drafting this story, there was a rockslide at Snoqualmie Pass. That particular slide involved relatively small rocks, but in the past there have been rockslides involving boulders the size of cars.
It was David Mamet (I think) who said something about the audience member being the smartest person in the room, and when someone likes a piece or connects with it, I feel that they may be saying that I got that one “right.” I trust that feedback.