SKYLIGHTS excerpt!

Final Cover Mock Med…the prologue, specifically.  On sale Tuesday, September 30 everywhere ebooks are sold, for the entirely reasonable price of four dolla ninety-nine cent:

——————

Flashbulb memory, they call it. It’s when you remember exactly where you were when you first discovered something or saw something happen.

If you’re younger than me, which a lot of you probably are, then your first flashbulb memory is probably related to terrorism somehow. Anybody in, say, their early thirties or older probably remembers exactly where they were on September 11, 2001. A little younger than that and your first flashbulb memory is probably one of the bombings in Chicago in 2018.

I was six years old when the space shuttle Challenger exploded. It was January 29, 1986, at exactly eleven thirty-nine in the morning. I was in first grade. For some reason– I could look this up if I wanted, I suppose, but my first-grade self didn’t know, so I’m not going to bother– NASA had decided that it would be great if they put a schoolteacher on the Space Shuttle. Her name was Christa McAuliffe, and she’d been a middle school teacher, her students not a lot older than I was at the time.

There was a ton of publicity about her presence on the shuttle. Come to think of it, might have been the reason that NASA put her there in the first place. Every single kid in my school was watching the flight launch on television. The Challenger took off, and we all clapped. Seventy-three seconds later, an O-ring failed on the shuttle’s right Solid Rocket Booster. There was a little puff of smoke from the side of the ship.

Some of us were still clapping.

I remember noticing it and wondering, for the split second that I had, what had happened. And then the Challenger, with me and millions of other people around the country watching, silently blew apart. There were a few seconds of shocked silence in the room, and then every kid in the class– every one in the building, probably– started crying at once.

You know what? Writing that just now, I wondered what my teacher must have done afterwards. I can’t even remember her name. I can remember the wood surface on my desk, because I dug my fingers into it so hard that day that they scratched it and I got splinters. I can remember the wood-grain on the television set they had us watching. I can remember being surprised that Rachel Douglas, the biggest butthead in the entire first grade, was crying as hard as I was. But I can’t remember a single thing that our teacher did to try and bring everybody back to sanity after watching that happen. That’s how flashbulb memories work; you’ll remember the event itself forever, but that doesn’t mean you’ll remember anything else that happened around it.

Seventeen years and two days later, it happened again. This time, it was the shuttle Columbia, and I was twenty-four and no longer sitting in a classroom. In fact, when the Columbia was falling apart in the morning sky over Texas, I was stuck in traffic and late to work. I found out about it about ten minutes after I got in, when the smarmy dope from the office next door made some sort of comment about it to me. We had the Internet by then– yes, there was Internet back then, although I think we might have still been calling it the World Wide Web– and I saw the entire thing on CNN’s Web site. This time there weren’t any tears, just a dull sort of ache in the pit of my stomach. I spent the rest of the day on the computer, chasing down eyewitness reports and trying to devour whatever little bits of actual news managed to leak out. It was funny; I hadn’t spent much time thinking about space flight since the first grade, but suddenly the families of the men and women on that shuttle were all I could think about.

I was working for the Indianapolis Star at the time, splitting my time between a biweekly column in the science section and general reporting on local news for the rest of the paper. It was a good job; I was happy enough, and making enough money, but I wanted something different from my life.

I decided to write a book.

A year later, I’d completed Nothing to Bury: the Martyrs of the Space Race, a look at the lives of the astronauts who had died on the Challenger and the Columbia, as well as a host of other lives lost in the pursuit of space, and a look at the culture of NASA in between the two disasters. I was pretty proud of it as a piece of work; I wasn’t expecting it to necessarily sell well to the general public, but it was a good piece of writing. It did better than I’d expected, enough that I’ve been able to be comfortable with freelance writing since then. I’m still working for news sites and some of the few print papers that are left, mind you, but I can pick my own assignments and do my own reporting now as opposed to having people assign my projects.

You know where this is going, don’t you? I imagine you do.

On August 15, 2022, after years of technical and political delays, the space shuttle Tycho, carrying four astronauts, launched on a six-month journey to Mars. They were to remain in orbit around Mars for thirty days, during which they would land on the planet’s surface for the first time in human history, then to return to Earth. The run-up to the launch was the biggest public relations bonanza NASA had ever seen. Everything just stopped the day the Tycho launched. It was just like it had been for the Challenger, only times a hundred. They just weren’t as good at hype in the eighties, I guess.

I was watching at home, with a couple of friends– I actually had a little party for the launch. I didn’t realize how tense I was until I looked at my hands afterwards. There were furrows in my palms from my fingernails. Then the shuttle took off, soaring into a perfectly blue sky, and I held my breath for a few moments.

The launch went off without a hitch, though, and pictures of the Tycho blanketed every website and print doc on the planet over the next few days. For the next six months, everyone was obsessed with Mars. The astronauts provided regular updates on what they were doing. You could get daily blink messages from them if you wanted to, and progress along their flight path was updated live on a map running at the top of CNN.com for the entire duration of the trip. Those six months, I’m convinced, inspired a whole generation of new astronauts, astrophysicists, and pilots. I’ve never in my life seen America more excited about science. It was amazing.

And then, on February 19th, 2023, when the long voyage was finally over, we… well, we don’t actually know what happened. The Tycho was supposed to aerobrake into orbit around Mars, stay in orbit for a day or two, and then the astronauts were going to leave the ship to descend to the planet’s surface in a lander. They were going to stay on the surface for two weeks or so, doing experiments, exploring the Martian surface, and making history.

There wasn’t anything resembling photo evidence, not good evidence at least– NASA had been sending a steady diet of pictures and video from cameras affixed to the outside of the Tycho for months, but they failed at the same time as the audio feed. But we were getting audio beamed back from inside the cabin. Right up until the point where the flight commander, a decorated Marine pilot by the name of Alondra Gallegos, spoke the last words that the Tycho sent back to Earth.

“Is that…” was all she said.

After that, nothing. No sound, no signals, no big explosion to be played on the news over and over again. Just nothing at all, and what started off as mild concern slowly morphed, over the next few days, weeks, months, into the certainty that, somehow, the ship had been lost. There was hope for a while that there had just been some sort of global communications failure, that the Tycho was still out there but had lost the ability to talk to us. Sadly, those hopes didn’t make much sense in reality– the Tycho’s communication capabilities were among the simplest systems on the ship, something a talented twelve-year-old would have been able to repair, and there was a redundant backup system. Anything catastrophic enough to have completely crippled the ship’s ability to talk would have caused fatal damage to the rest of the ship as well. We just couldn’t figure out what. Conventional wisdom eventually decided there had been some sort of asteroid or meteorite impact, something like that.

There was no flashbulb moment for the Tycho. The families of the four people lost on that mission– Alondra Gallegos, Daion Brown, Kassius Newsome, and Ai-Li Wu– will never be able to move on. Many of them are convinced that their family members are still out there somewhere. There was no national mourning like there was for the Challenger and the Columbia. It was as if, after three high-profile ship losses, this time the country just wanted to forget about it.

I got a few calls for interviews after the Tycho lost contact, and a few more a few months later, once NASA officially stopped trying to reestablish contact with the ship. I turned them all down, though; I didn’t want to base any more of my career on profiting from the deaths of people more heroic and important than I was. I didn’t want to write about space any more.

Little did I know.

SKYLIGHTS cover reveal!

Cover Final Colors FLAT REF

All right, kids.  Here we go.

SKYLIGHTS, my second novel, will become available at all ebook retailers on Tuesday, September 30th.  Above is the final version of the cover, with art by Casey Heying.  In addition, a POD print edition is planned, probably only available through Amazon– details to come on that.

You can, uh, expect some promotion around here over the next couple of weeks.  Want an excerpt?  Have an excerpt!

There was a buzz in my ear.  It was him again.  I set the iLid to record and answered the call. 

“Gabe Southern.”

“I know your name, dummy,” the voice on the other end said.  He was youngish, maybe, his voice more high-pitched than it probably ought to be.  Speaking fast, as if he felt like he had more important things to do than talk to me, or maybe he’d just been drinking too much coffee.  “I didn’t pick your number at random.  Are you going to come see me today or not?”

The funny thing was, I’d actually checked my calendar and there wasn’t a single thing I needed to be doing for the next few days.  The next work appointment I had that required me to actually physically be somewhere was a good week and a half away.  I had some things to do Thursday evening, but nothing that couldn’t be put off if necessary. 

“Do you have any plan to, I don’t know, explain anything, or are you expecting me to just get on a plane and go?  I don’t even know who you are.”  He had me intrigued, I admit it, but… c’mon.

“I told you, my name’s Zub.  We met once, actually, but it was a long time ago and you probably don’t remember.  I’ll give you a hint, but just one.  Ready for it?”

I sighed.  “Fine.  Hint me.”

“Mars.”

He was right.  That got my attention.

I’m kind of an idiot that way.

You can tell Goodreads that you’re planning on reading Skylights by clicking here.

Booyah.

I’ll just leave this here

Not because I’m trying to be cute, but because I want to remember to read this later. Feel free to beat me to it:

http://io9.com/the-islamic-roots-of-science-fiction-1632693067

Review, sorta: LOCK IN, by John Scalzi

lock-in-by-john-scalzi-496x750How’s this for a first sentence that should cause deep, creeping dread in any author: my favorite thing about Lock In, by John Scalzi, is the cover.

That’s the greatest damning-with-faint-praise sort of sentence of all time, right?  But seriously: I love love love the cover to this book.  I’m not sure what it is about it that I like so much other than the fact that it stands out from everything else on the shelves so well, but… damn.

(EDIT:  Scalzi himself has popped up on Twitter to let me know that Peter Lutjen is the artist who did the cover; he was also responsible for the cover for Scalzi’s Redshirts.  He doesn’t appear to maintain his own site or I’d link to it, but he does a lot of work for Tor.  There’s a neat article about the production of the cover here.)

Weird detail: my copy (which I got in a signed edition through Subterranean press; the rest of you can’t even buy this until later this week MWA HA HA) says “A NOVEL OF THE NEAR FUTURE” across the bottom of the book.  There are images on Google that say “A NOVEL” in the same place, but I can’t find an image of the actual cover my book has anywhere– including on Scalzi’s own website.  Which is weird.

But anyway.  Scalzi is one of my favorite working authors, and his work is especially near and dear to my heart because I think when I’m writing at my best he and I sound a lot alike.  I’m a huge China Miéville fan, right?  I couldn’t write like Miéville if my life depended on it.  I love Alastair Reynolds’ work, but I couldn’t write Reynolds-style books either.  Scalzi, on the other hand, and for whatever reason, is a writer whose works I tend to thoroughly mentally dissect as I’m reading them, because I think he and I have similar senses of humor and we want to write the same style of books.  I finished Lock In overnight.  My last book before that, Scott Lynch’s Republic of Thieves, took a week.

I’d rather write books you can read overnight.  700-pagers aren’t my style.  I am a fan of the semicolon; John just wrote an entire book in which he ruthlessly removed all of them on purpose, partially because he thought he liked them too much.  (Yes, I did that on purpose.) We both tend to be dialogue-heavy as opposed to description-heavy.  Things like that.

(I should be clear: he’s way better at all of this stuff than me.  I’m not saying I’m as good as Scalzi, although I certainly aspire to be.  Just that if I had to pick a pro author and say “I”m gonna be that guy when I’m rich and famous!” it’d be him.)

Anyway.  Right: the book.  Lock In is a bit of a departure for Scalzi because it’s not a space opera, the genre that the majority of his books have fallen into.  It’s a near-future detective novel, taking place in a world where a disease called Haden’s Syndrome has imprisoned a certain percentage of the world’s citizens in their own bodies.  He’s taken that simple premise, extrapolated forward an extra twenty or thirty years to give society a chance to mature a bit, and then written a murder mystery.

Which is an awesome way to do a science fiction novel, because it lets him stretch into another genre (crime fiction) while still staying in his wheelhouse of sci-fi as he’s doing it.  This is not my favorite Scalzi book (that would be a tie between Old Man’s War and Redshirts, which is one of a very small number of books that actually made me cry while I was reading it) but it’s still a book that I think most of you should be reading.  The setting is deeply interesting, the characters are fun, and the mystery/procedural itself has enough twists and turns in it that it felt like a seasoned pro was writing it and not someone who was trying his first novel in the genre.  I gave it five stars on Goodreads.  You should give it a look.

(Yeah, I just talked about myself for 500 words and the book for 150.  That’s why it says “sorta” in the title up there.  Shuddup.)

Another early look at the SKYLIGHTS cover

As always, the caveat that this is preliminary as hell and is basically just a color test– my artist and I exchanged half-a-dozen emails last night about various aspects of this, including one thing I griped about (the sky’s too pink.)  But I’m still too excited not to share it.

Basically at this point there are helmets and logo work to do (I approved a helmet design yesterday) and then refining the colors until gorgeousness happens.  This is what Casey and Jamie’s final work looks like so I have no doubt that the final colors on this will be spectacular.

I’m going to restrain myself from posting any further updates until you get the final image.  Hopefully in a couple of weeks; finalizing the colors will take a bit.

Cover_Final_FLAT_01

 

OH MAN GUYS: preliminary SKYLIGHTS cover art!

I’ve been sitting on this for a while, but we’ve had a few back-and-forth meetings and a few sample drafts and I finally talked Casey into giving me permission to give you an advanced look at the Skylights cover!

(This is, obviously, a work in progress.  But it is still awesome.)

Cover-Concept-B-3

Part of his process is to get the pose right first and then to go back and do clothing and all that, which is why the characters are not dressed despite being on the surface of Mars.  The first round was three entirely different concept sketches, and then this round was the sketch I picked with three different positions for the two characters.  This is the one we’re going with.  I knew it was the one I wanted immediately; it was his favorite too, which entertains me.

His next step is going to be to flesh out the background (which is still in “first draft” mode) and then to fill out the characters.  I covered this in notes and gave it back to him today, and we spent about half an hour going over details.

I am so excited about this cover.

The book should be out in September, I’m thinking.  Later than I initially wanted, but it’s gonna look great.

SNOWPIERCER: I hated, hated, hated, hated, HATED this movie.

large_snowpiercerI’m not sure how to write this post.

I’m prone to hyperbole, right?  I know this about myself.  I also tend to get infectious about my own strong opinions; if I love something, I love the hell out of it, and my dislike can tend to go to extremes quickly too.  So I have to be on guard against my own tendencies in these manners, particularly when I want to write about things I either liked or didn’t like. I have to be careful to avoid overstating reality, or people will stop taking me seriously.

I watched Snowpiercer with my wife last night.  I should be clear about something: this was my idea.  I felt like a Sunday night movie, and I’d heard nothing but good things about this movie– which, as I’ll probably point out repeatedly in this review, currently has a ninety-five percent fresh rating on Rotten Tomatoes.  That doesn’t happen very often.

The problem, here, is that this is the dumbest goddamn movie I’ve ever seen.  The. Dumbest. Movie. I’ve. Ever. Seen.

Adam Sandler in the main role could not have made this movie dumber.  In fact, he might have improved it, because putting Adam Sandler in your title role indicates that you do not want your film taken seriously, and Snowpiercer so badly wants to be taken seriously.

I do not know what to do with people who liked this movie.  It’s as if, to steal a line from John Cole, I suggest having Italian for dinner and you suggest we go eat tire rims and anthrax instead.  I don’t know where to go from there.  We’re not even speaking the same language.

Wait, I know.  I can pick a review and mock the hell out of it. That’ll work.

Here is what you need to know about the premise of Snowpiercer.  I am not trying to make this sound dumber than it is.  The premise is exactly this dumb:

  • Global Warming!
  • Global warming is fought with… contrails.  (Sin #1, less than a minute into the movie.)
  • The contrails plunge the entire planet into a deep freeze that, and I’m quoting the movie as directly as my memory allows, kills all life on Earth.  I don’t think that’s an exaggeration.  I’m pretty sure that’s close to exactly what they said.
  • It does this without blocking the sun, which… uh… is manifestly impossible.  But every outside scene in the movie is in bright daylight.
  • ANYWAY!  Thank God for rich guys!  A rich guy figures out how to save some number X of human beings!
  • By… putting them on a train, which runs endlessly around the world, for seventeen years by the time the movie starts.

That’s it.

That’s really the premise.

That’s a fucking stupid premise.

It’s an insanely stupid premise.   It’s a massively incredibly unbelievably horrifyingly stupid premise and a seventh grader should be ashamed of it.  But somehow this got green lit, and it’s 95% fresh on Rotten Tomatoes, because the world no longer makes sense.  The movie is literally beyond stupid before it even starts.  And it never, ever, ever gets better.

I seriously can’t decide if I want to go moment-by-moment through my recollection of the movie and mock it scene by scene or tear a review to shreds.

Let’s start with this one.  It’s representative enough.

It’s so hard to describe how amazing “Snowpiercer” is without giving away everything that makes it amazing.

Well, yes.  Part of describing amazingness is… uh, describing amazingness.

At the tail end are the have-nots: the dirty, hungry and oppressed who are crammed together, doing whatever they must to live another day. For the most part, these are decent folks who’ve learned to co-exist peacefully, if miserably — but desperation does scary things to people, and the recounted examples of sacrifice are chilling.

Let’s talk about this.  The train is divided into the Front and the Back, and if you watch the trailer you can hear Tilda Swinton’s character tediously lecturing them about how this is supposed to work.  Now, this is important: in the trailer, this is delivered over booming dramatic music.  In the movie, it’s delivered against silence, and includes a horrifyingly stupid metaphor about how shoes are not hats and it goes on forever and it is terrible.

Don’t let me forget about that “precisely 74% of you shall die” line, btw.

Anyway.  Right.  Here’s the thing: those people in the back, who are oppressed and eating protein bars and wearing dirty clothes and who revolt against the rich 1%ers (Ooh!  Impressively subtle social commentary!) in the front?  They’re on the train for no fucking reason at all.  They do not do anything.  There is no goddamn reason for them to fucking be there at all other than they need them for a dystopia.  This isn’t the proletariat revolting against the bourgeoisie; the bourgeoisie depend on the proletariat.  The back-of-the-trainers produce nothing for anyone.  They have no jobs, no responsibilities, no nothing.  They just sit back there and eat.

They are not decent folks.  They are boring nothing-people, because the movie makes them that way.

But let’s move on.

Swinton is a hoot playing a truly awful human being, but being the thoughtful and versatile actress that she is, she finds a way into this cruel and condescending figure without devolving into caricature.

I need you to understand that if this character is not a “caricature” than “caricature” no longer has any meaning as a word.  She’s every mean schoolmarm you’ve ever heard in your life.  That’s all she is.  I have no idea why she ever interacts with the back-people, because, again, there’s no reason for them to be there.

So, yeah, there’s a rebellion:

They’re ultimately aiming for the front and for the man who not only invented the train but placed everyone inside of it: the wealthy and powerful Willard, who’s regarded with equal amounts of admiration and contempt, depending on whom you’re asking.

Now, this needs to be made clear:  they have to go through every single car of the train to get to the front.  By the time they get there, the “revolution” is down to Chris Evans and two other characters, one of whom is weirdly and inexplicably a little psychic and the other only speaks… Korean, maybe? except when it is convenient for him to speak and/or understand English.  Sometimes he has a little device that translates for him.  Sometimes he doesn’t.  The language barrier is another of the ways in which the film is stupid.

Now, not all of the Back People are gonna be warriors.  Okay. But… maybe more than five of them try to go to the front of the train?  What the fuck is Chris Evans gonna do by hisgoddamnself up there?  Maybe everybody goes to the front of the train!

Nope.

Seeing who plays him is one of the film’s many exciting discoveries.

Ed Harris.  It’s Ed Harris.

The “exciting discovery” is Ed fucking Harris.

Never before in the history of the English language has Ed Harris been referred to as an “exciting discovery.”

Opening the doors to each new car provides a rush of possibility, with Marcos Beltrami’s propulsive score underneath. Each represents a beautifully realized, self-contained world. Each is impeccable in its production and costume design.

And none of which makes any fucking sense at all.  

You’re trying to save the human race.  The only living humans are going to be the ones on your train.

Do you include a sushi bar?

How about a sauna?

There is, by the way, one sleeping car for the entire front of the train.  I don’t know where these people poop either.

Oh, and one entire car features a rave.

Other than the machine that makes the protein bars– and I’ll get to that later– there is no manufacturing on the train at all, because why would there be manufacturing on a train, which makes the Front People’s perfectly new and perfectly clean clothing, after seventeen years, a little… odd?

The one common theme among people who enjoy this movie is that they get hypnotized by the visuals.  I couldn’t like this movie for the same reason I never thought Jessica Simpson was hot.  I cannot get past that much stupid no matter how pretty it is.

Sushi bar, people.

But the bit where the movie became truly unsupportable was the school car.  This is the part of the movie where it became perfectly clear that Chris Evans was made to star in this film at gunpoint.  Look at the man’s face in this scene:

tumblr_n3sihv3lzd1t08kbco4_250

That is not the face of a man who is acting.  That is the face of a man who has no idea how the fuck he got where he is and is considering simply saying fuck the paycheck and going home.

Now, note something:  There has just been a massive, violent and bloody revolution in the back of this train.  Dozens of people have been killed.  Absolutely nothing has changed in the front of the train.  No one appears to know what has happened– I guess those forty or fifty guards just lived in that one car, with no food or beds or furniture or, like, a place to sit; that’s just the Standing Menacingly In Case We Need to Do That car– and no one at the front cares when these people come forward despite all of Tilda Swinton’s hectoring nonsense about Knowing Your Place.

And none of the children react to the bloody, beaten-up people who come into their school.  The bloody, beaten-up people just wander around.

Oh, shit, I forgot.  My favorite bit?  Did you see the part in the trailer where Tilda Swinton tells them that 74% of them are about to die?  Sounds kinda badass, right?

No fucking reason at all to be in the movie.  She says that for no reason at all.  And, again, since there is no reason for the tail people to be there, it doesn’t matter how many of them die no matter what Ed Harris says later.  They aren’t doing anything. They don’t need to be there.

So, yeah.  That scene: They’ve made a big deal about how there are no bullets left on the train, a plot point that is summarily thrown out later, (because Reasons, and because it gives them a reason to forget that it’s supposed to be cold outside) and the rebellion runs into a bunch of security guards with axes.  Because, sure, why not, right?  They are also wearing masks that inexplicably cover their eyes:

snowpiercer

You, uh, can’t see to fight.  Now, it’s okay, because in a scene that all the idiots keep praising, soon this train will go into a tunnel, and all of these guys will put on night-vision goggles so that they can keep fighting.  (The amazing cinematography during this scene that people keep talking about?  They shift into first-person mode for a bit during the fight.  This was stupid when the DOOM movie did it, and the DOOM movie was based on a first-person action video game.  It’s even more inexcusable here.)

Right, the goggles.  They put them on over their black fucking knit caps that are blocking their vision.

You might wonder how they get the time to stop the fight and put on the night-vision goggles when clearly in this shot the fight has not begun yet and they are also clearly not in the dark.

They stop the fight to sing Happy New Year.

I am not joking.

The entire fight, including the revolutionaries, stops so that the combatants can sing Happy New Year, and then the revolutionaries, who are fighting for their lives by the way, wait patiently while these men put on night-vision goggles– after one character explains to everyone that they’re about to enter a tunnel– because, hell, I don’t know, it would be… what, unfair to the… bad guys?  Or something?

The intentionally cryptic conclusion suggests that something better may be out there — for everyone — after all.

Here is how the movie ends: They blow up the train, and everyone dies.  Well, everyone except for Inexplicably Psychic Girl and Stolen Kid– God, don’t get me started on Stolen Kid— who wander off the train, into weather so cold that someone’s arm was frozen solid in seven minutes two hours beforehand– and they are fine, and then there is a polar bear, and OH HEY I GUESS ALL LIFE ON EARTH DIDN’T DIE, except that polar bear is going to eat your dumb asses and oh also you have no food and water.  Or shelter.

You’re gonna die, is what I’m saying.

This is only “cryptic” if you’re a fucking moron.

Christ I’m at almost 2000 words already.  I wanted to write fiction tonight, people.

You need to understand that I have barely scratched the surface here.  I have not yet begun to elucidate the many, many ways in which this was an insanely stupid movie.  It took me two thousand words to mention the part where Korean Door Hacker Guy pulls out a couple of cigarettes and we hear a voice over from a random character say “Cigarettes have been extinct for ten years!” rather than, oh, I don’t know, just having the characters react to seeing a cigarette.

Because that’s how stupid this movie is; it doesn’t trust itself– or you— to even comprehend simple shit.

Their protein bars (God, I haven’t even talked about the protein bars!  Half the fucking movie is about protein bars!) are made of bugs. Millions and millions of bugs to make protein bars.

Where do the bugs come from, on this we’re-repeatedly-told-this-is-a-closed-ecosystem of a train?  The millions and millions of bugs that we see in the one shot that get turned into protein bars each and every day to feed the people who have no earthly fucking reason to be on the train needing food?

Don’t ask!

I hated this fucking movie.


So, uh, this post is starting to go viral?  I just want to point out that a lot of you are new to my blog, and there are lots of other posts to read  if you found this review interesting or funny.  I also write books.  It is my hope that they are more entertaining, or at least make a lot more sense, than SNOWPIERCER.  Finally, if you like, feel free to follow me on Twitter.  Thanks for reading, even if you think I’m an idiot after doing it.  🙂

Second update:  Comments are closed, because babysitting the internet on a post from four months ago has officially gotten old.  If you liked the post and want me to know, just hit “Like.”  If you didn’t like the post and want me to know, well, you’ll just have to find a way to live with someone not liking something you like.  I’m very sorry that happened to you.  I’m sure whatever you were going to say would have changed my mind, too.

In which I don’t quite get Goodreads

images-1Quick, but simple: I have a few questions about Goodreads, and I know a number of you are way more into it than I am, so maybe one or more of you could help out.  One of these is sort of a LMGTFY sort of question, but the other isn’t, so I may as well just ask both of them.

  1. I am pretty sure the answer to this is “yes,” and this is the LMGTFY question:  if I’ve assigned an unreleased novel an ISBN, let’s say the novel is called Skylights, and I wrote it, I can put it up on Goodreads even though it’s unreleased, right?  And this is a good thing, because it lets people set it as to-read and they will let me do giveaways and such.  Right?  I’m about to literally start rereading my own book so I’d like to be able to mention that there.
  2. The slightly more complicated one: what’s the culture like over there?  If you’re an author on Goodreads (particularly if you’re an author) do you find yourself getting lots of friend requests?  You can find my Goodreads page through two places on this site, but I monitor my clicks and don’t see them that often– which means that the fact that I tend to add two or three followers/friends on GR every day seems a trifle weird to me.  Are these people coming over from the blog?  (Have you followed me through the blog?) Or are they more likely to be Goodreadsians who are friend requesting authors in genres they find interesting?

Note that I am not complaining, and that I’m approving all of these friend requests– I’m just curious if my account is more popular than it ought to be given how infrequently I use it, or if being an author on GR is always a ticket to a fairly high number of friend requests.

(I’m here, by the way, and I really do say yes to everybody, so feel free to hit me up.)