Category: writing

My year in writing has been a year of transition. During the spring, I negotiated with my employer to begin a phased retirement. I was distracted during much that time trying to figure out all of the ins-and-outs of this huge life change. There’s a lot to learn and a huge number of details. Luckily, my life partner is good at this sort of thing — much better than me — and she did the lion’s share of the work. I’m so lucky to have her. But starting this fall, I began teaching half-time, which has freed up a lot of time for writing.

I attended several events related to my writing. I was both a participant at Arisia in January moderating a panel on gender and sexual identity in media and serving on several other panels. I was a participant at Boskone during February where I served on panels about evolution and romance. I ran the Small Publishing in a Big Universe (SPBU) Marketplace table at the Watch City Steampunk Festival. I also ran Water Dragon and SPBU tables at Readercon in July.

I offered several readings as well, at Arisia, Boskone, and for Straw Dog. I mostly did readings from Better Angels: Tour de Force with selections from Military Morale Mishegoss and all of The Super Sticky Situation.

To support sales of the signed edition, I made a Better Angels ‘zine similar to the Revin’s Heart ‘zine with snapshots and descriptions of each of the Angels with their vital statistics and “three measurements.” I was really pleased with how it turned out — especially the pictures of the individual Angels. They’re really kyuto!

I continued to offer Straw Dog Writes for the Straw Dog Writers’ Guild. Roughly forty people have signed up or attended at some point, The average attendance was four with a range of 1 to 9. Attendance was lower during the summer but a few loyal attendees came nearly every week.

I set up and ran Wandering Shop Stories beginning in 2024. I have written a story fragment almost every day as a warm up exercise. We have four or five other participants nearly every day. In December the server we had used to operate the bot was scheduled to shut down, so I migrated to wandering.shop. Nearly 100 people have signed up for the feed. And in late November, I created a bot to offer the prompt on Bluesky as well.

I had two works published in 2024. The collected edition of Revin’s Heart came out from Water Dragon Publishing with the original seven novelettes plus three “side quests” — short stories from the perspective of other characters. I also had a short story, Always a Destroyer, selected for the anthology Romancing the Rainbow by Knight Writing Press.

I have signed the contract with Water Dragon Publishing for A Familiar Problem. A young man desperately wants a strong magical familiar but, instead, is captured and made the familiar of a powerful demon that intends to train him up for something. But what? The book is tentatively scheduled to be released in January 2025.

I did a lot of writing. I finished writing a new series of six novelettes: Lady Cecelia’s Journey with a seventh omake novelette for the extended edition (totaling 74,000 words). I’m calling it a sapphic romantasy road story:

Love blossoms between two young women, aristocrat and commoner, who risk everything to pursue a life together in face of parental and societal disapproval. Their hope takes them from their small town, across the island, to the Capital following the passionate dream that they can be together openly.

I also have written tens of thousands of words of The Ground Never Lies another sapphic romantasy about a geomancer with an anger problem who thinks herself unlovable, but discovers a capacity for love she believes she had lost. I had developed an original outline and when I finished writing it, I realized I only had about half a novel. But then I realized that I could write another timeline of the events that led to her disillusionment and intersperse the two timelines. At least that’s the plan.

I have several other works in progress. I have two novellas written as sequels to Revin’s Heart with a third in in progress. I’ve written several other short stories set in the same universe as Always a Destroyer.

In the fall, when the candidate for Secretary of the Science Fiction and Fantasy Writers Association (SFWA) dropped out, I proposed myself as a write-in candidate. In October, I was elected and took office on November 1. It’s been an interesting experience and a good fit for what I can offer to an organization. It’s been a steep learning curve to get up to speed with the current challenges and culture of the organization. But I’m very happy with the rest of the leadership team and feel appreciated for making a useful contribution.

Not everything went well in 2024, however. I was very disappointed when I was not offered a participant role at Worldcon in Glasgow. I had already purchased plane tickets and lodging. I ended up deciding not to go. I was able to recover some of what I had spent, and it turned out that many many people got COVID, so it was perhaps for the best.

I have some exciting plans for 2025 that I look forward to sharing soon.

Almost all rejections you get as an author provide no feedback. Clarkesworld, which has rejected everything I’ve sent (often within hours) says, “Unfortunately, your story isn’t quite what we’re looking for right now.”

I used to think that more feedback would be useful. But I’ve come around. One place that still gives feedback rejected my story today with a message from the slush reader that was, in essence, that he didn’t think magic would work like that.

I mean, what? What does that even mean? You can tell me that science doesn’t work like that. Or any fact-based domain. But magic? Give me a break!

In the end, all you can know from a rejection is that this editor didn’t like your story. It tells you little about whether or not a different editor might like it. So just tell me you didn’t like the story and keep your weird opinions to yourself.

Still, that’s plenty for a publication. The editors know (or should know) what their readers are looking for.

Things might be different for beginners. Especially, if their problems are related to the practices of authorship and craft of writing. It might be helpful to have someone remind them to follow the submission guidelines, spellcheck their manuscript, write in paragraphs, use punctuation correctly, etc.

It’s very useful to spend a few hours on the other side of the table. I did some slush reading a couple of years ago and it was astonishing to see what people submit. I remember one story that had, in essence, 5 or 6 pages of exposition — basically a really long preface setting up the action. And then there was about two paragraphs of “story” right at the very end.

It was not what we were looking for.

Yesterday was the last day of Writing Month. During November, 2024, I wrote 23,100 words. I did not reach the goal I had set of 50,000 words. I knew the goal was probably unrealistic even in the beginning. But then my mother was in the hospital for the first week in November, which explains part of my lack of progress. I was also simply too busy with work. In the end, I was still satisfied with the progress I made.

Writing Month was a hack put together by a guy to replace NaNoWriMo. He had grander ambitions, but managed to only create a very bare-bones site by the beginning of the month. But he did! And the site worked flawlessly for me — at least in terms of tracking my progress. It didn’t really have any mechanisms for discovery or social networking, so I only found one other person as a “buddy” and never figured out how to see how they were doing.

The final statistic showed that 44 authors wrote a total of 40,174 words towards a total goal of 1,427,380 words. That suggests that maybe only one or two other people entered word counts. (Or maybe several did for a few days and then dropped off.)

I spent Writing Month working on my manuscript for The Ground Never Lies. This is a sapphic romantasy about a geomancer with an anger problem who has given up on love, but who then discovers a capacity for love she didn’t realize she had. I wrote a pilot for the story a couple of years ago, but shelved it because I couldn’t decide if a shorter version worked or if I should commit to writing it as a novel. I had this idea that the geomancer has a day job doing land assessments for properties in a karst region, where people want to be sure that a sinkhole won’t open up wrecking the property. But that the geomancer also moonlights as the crime-scene assessor for the local constabulary. But, as I wrote the story, I didn’t see any way to work in scenes of her doing other crime-scene assessments. Then I realized that there are two stories here: one is the original arc. But the other is how she became the person she is at the beginning of the story: embittered and disgusted with herself and life. So once I finished writing the original arc, I spent a week writing this second arc. Then I’ll have to figure out how to stitch them together.

I might using the Writing Month structure again in January, when it will be Intersession and I’ll have more free time to write.

In 2001, Philip kept a diary while attending the Clarion East speculative fiction writing retreat. He had a transformative experience that I got to watch from the outside.

Years later, he wrote a round up post, where he collected some of his most meaningful reflections and provided a link to his Clarion at home page where he describes how to accomplish similar goals to attending the workshop, for people who can’t attend. Because attending Clarion is a huge commitment.

Clarion, as currently constituted, is difficult for most people to attend. It requires leaving home for 6 weeks, probably getting a leave from work, and being able to pay for room-and-board someplace while maintaining one’s current housing. Many people just can’t do that. Moreover, it requires living in close proximity to other people which I can’t do because of my chronic lung condition.

So I was excited to see that, next year (in 2025), Clarion is moving to an online format. Next year, at that time, I’ve already applied to participate in the Lambda Literary Emerging Writers Retreat. It’s a shorter online workshop that I think could be a good fit for my needs. But maybe next year, I’ll apply for Clarion.

The other workshop I’ve always wanted to attend is Viable Paradise. In the past, I couldn’t attend because it takes place during the fall, when I’m busy with work. But now that I’m in my phased retirement, I’m only working half time and might be able to attend. Applications open in January and I may well apply.

One year ago this week, I ran the first session of Straw Dog Writes for the Straw Dog Writers’ Guild. And we’ve met basically every week since. I’m satisfied that it’s been time well spent. (It was also the week when my son’s boxer puppy, Tanuki, pictured above, came home for the first time.)

Two years ago, I helped the Program Committee conduct a survey of the membership to assess whether there were unmet needs among the community. One of the needs we identified was that members were looking for more opportunities to socialize and write together. There were also a substantial number of members who lived too far away, had health issues, or didn’t want to drive in the dark during the winter, that were interested in more opportunities for remote interaction.

I proposed Straw Dog Writes modeled on the SFWA “Writing Date”, which meets weekly via Zoom to socialize for 15 minutes, write for 45, then repeat. With the support of the Program Committee, I worked with the organization to set up the resources and agreed to coordinate and run the program.

In the past year, more than 50 people have attended at least once. During the winter, usually there were usually four or five participants ― occasionally as many as ten. Attendance was understandably lower during the summer. About half were pre-existing members and another half were new members who joined to participate. Participants tended to be evenly divided among writing fiction, poetry, and memoirs. One current participant is working on a graphic novel.

I tried to persuade the administrative assistant to create a webpage to advertise the program, but she refused, saying that she thought the website had “too many pages” already. That was a significant disappointment to me, as it made doing publicity significantly more difficult, since there’s no landing page — just individual calendar entries. That’s why there’s no link to the program on this page: there’s no place to link to.

I had originally hoped to recruit guest hosts to actually run the sessions, in part because it might be a useful hook to draw more participants. I did get a few members of the Program Committee to guest host and it was fun. I reached out to a woman who coordinates one of the other regional writing groups that offers paid consulting to see if maybe their instructors/consultants would like the opportunity to promote their programming to my participants. But she didn’t seem interested. Maybe I can do a better job of finding more guest hosts this year.

Most people who attend indicate they get a fair amount of writing done. I know I do. When I’m writing, I usually get more than a thousand words written. Once I got nearly 2000 words and one of these days I hope to reach it. But I sometimes use the time for outlining or revising, rather than just writing. (And occasionally even grading.) In any case, I’m happy to keep doing it just for myself, if no-one else. But everyone’s welcome. Join me!

I used to love to write in cafes or libraries or other public places. But after I was hospitalized during the pandemic, I could no longer go into public places where people are unmasked. So, for a long time, that meant staying in my office.

Don’t get me wrong. I love my office! I have a big laptop with a portrait monitor and a fridge that’s usually well stocked with cold water bottles and beer. It’s located in the basement of my house and is quiet when I want it to be quiet — but I also have big speakers I can turn on when I want to listen to kpop or jpop. And I have poster boards with the covers of my books which make a nice background when I’m in Zoom for class or Faculty Senate or Straw Dog Writes or whatever else I do.

In the past, when I was working full time, I was in my office for many of my waking hours. But this semester, I have started my new phased retirement. This means, that I don’t need to spent nearly as much time running class or having consultations with students.

During the winter, my office used to get pretty cold. I used to have to wear a sweater or fleece and use fingerless gloves to type. But, about a year ago, we got insulation installed in the basement that keeps the temperature nearly always in the 60s — very comfortable during summer or winter.

For a long time, we’ve had a little tent gazebo set up in the front yard. We used to have an old, weird picnic table under it, which was OK. But not really very comfortable. So I proposed getting more comfortable furniture. My wife, always practical, pointed out that, to do that, we’d need to have a patio for the furniture to sit on. So, this spring, we arranged to have a patio installed. And then I ordered the furniture and set it up.

It is glorious. Now, whenever the weather is nice, this is where you’ll find me writing. It’s not exactly quiet, as there is a busy road behind the arbor vitae. And sometimes the sun shines on my laptop screen. But I love it. It provides a nice environment for being able to write that is comfortable. I appreciate the fresh air and quiet stimulation of having people walk by on the sidewalk. And seeing the neighborhood children waiting for the school bus.

It’s also a nice place for me to meet with people. Due to my health issues, I can’t meet people in cafes or bars or restaurants anymore (although beergardens are OK) so it’s wonderful to have a comfortable place where people can come to hang out with me. It’s also a great place to have a beer or cocktail with friends.

It’s a bit of work to watch the weather and cover everything up whenever rain threatens. And, eventually, I’ll have to figure out what to do for the winter. I plan to move the cushions indoors and then cover up the furniture. Winters are long in New England and so I’m sure I’ll be looking out longingly all winter waiting for spring.

But, at least now — for the fall, while the weather is nice — this is where you can find me. Writing.

I’ve realized over the past couple of years that my writing has been significantly influenced by reading manga. I’ve been tracking upwards of a thousand manga and, therefore, have read tens of thousands of chapters of manga over the past 10 years.

Manga are a somewhat guilty pleasure for me. Undoubtedly part of the reason I like them is that in Japan there is much less pressure against cultural appropriation and male-gaze fan service. I particularly enjoy seeing Western culture appropriated and viewed through a Japanese cultural lens. It’s fascinating to see how holidays (like Christmas and Valentines day) or even the use of English language gets re-presented. And manga are well known for drawing females with exaggerated “charms.” But I also appreciate a number of uniquely Japanese perspectives that are fascinating from a Western perspective.

Japanese characters are allowed to have flaws that would never be permitted in the West. In Naruto, for example, the three legendary sannin are Jiraya (the “pervy sage” who lusts after young girls), Tsunade (a drunkard and inveterate gambler), and Orochimaru (who becomes a literal villain pursuing life extension through medical experimentation on prisoners). The characters are actually drawn from Japanese folklore and embellished in the manga.

There are a bunch of story structures that are so common as to be tropes in manga that are totally unfamiliar in the west. One of the currently most-well-known is the isekai, where the protagonist dies in the first chapter (often stereotypically struck and killed by “truck-kun”) and is reincarnated in some fantastic other universe with their memories and knowledge intact. Another is the “otome game” where the protagonist becomes a player in a visual dating simulation that typically involves a “heroine” that needs to match with a handsome prince while being tormented by a “villianess”. And there are vast number of romance (“shojo“) stories and “slice-of-life” stories, often revolving around food, cafes, and onsens (hot spring resorts).

I can see a vast number of influences on my fiction are derived from manga. I really like episodic and serialized fiction. Both Revin’s Heart and Lady Cecelia’s Journey are written in novelette length episodes that each have a unique story arc, but play a role in a larger, overarching story. The short stories of Better Angels: Tour de Force are similarly episodic in nature.

Some of the character types I enjoy in manga demonstrate “gap moe” which is when a character has two personality traits that are in opposition to each other. The classic example is the tsundere: a character who seems aloof or distant but who is actually very sweet or vulnerable and is covering it up with a harsh exterior. Another tropish example is character who looks like a delinquent, but is actually a good guy (or girl) with a rough exterior. This was my inspiration for the Better Angels who look and act like pre-teen girls, but with different programming modules, can act like singing-and-dancing idols or ruthless killers.

Reading manga as I do has probably detracted significantly from the time I used to spend reading fiction. I should try to spend more time staying current with Western fiction. But though it makes me feel guilty, I like really manga: they’re a window into a different cultural experience that I don’t get from reading most fiction published in the West.

After 28 years of full-time employment, I am starting a new phase of life. This summer, for the first time since I started my career, I didn’t work over the summer. And this fall, I begin my “phased retirement” where I start working just half time. I’m excited to see what the new normal will be like.

Thirty five years ago, I began graduate school and have been working full time pretty much constantly since then. The last two years of graduate school, while I was working on my dissertation, I was also the full-time caregiver of my infant son, which was a fascinating experience but meant that I was busy nearly every waking minute.

I started my professional career in 1996 when I joined the faculty at UMass Amherst as Director of the Biology Computer Resource Center (BCRC). This meant that I was either running the BCRC and teaching a scientific writing class (during the academic year) or doing development and support during the summer (replacing hardware, updating software, building curriculum). I loved my work, but was constantly busy — I aimed for about 55 hours per week year round.

The year before the pandemic I was awarded a Professional Improvement Fellowship to develop a new honors course: Open Science Instrumentation and Data Collection, which let me bring together all of my skills. I proposed to mentor students coming up with a life science research question and developing an instrument that used a computing platform and sensors to collect and log data about their question. The fellowship offered me a semester off from my professional duties to create all of the instructional materials. It was glorious. But then the pandemic happened.

During the pandemic my department closed the BCRC and rewrote my job description as a teaching faculty member. I continued to teach the writing class and began my new honors class. Since I was no longer obligated to spend my time doing computer support and development, I decided to repurpose that time for writing fiction and have written two books, Revin’s Heart and Better Angels: Tour de Force (plus several short stories published in anthologies).

Last year, I proposed the idea of a phased retirement to the department. I offered to continue to teach my honors class. However, because the “credit” for teaching the honors class would go to the Honors College, my college (the College of Natural Science) was only willing to have me teach the writing class, for which they get “credit”. So that’s what we settled on. This week, I’m getting ready to teach the writing class beginning next week.

Last year, when it wasn’t clear which class I would be teaching, I began putting off doing a bunch of the work needed to teach the honors class. That class required me to maintain and update a lot of instructional materials that had complex dependencies because the technology moves so quickly. Each year, I had to stay current with changes to the operating systems, development environments, campus networking, and the software carpentry instructional materials (which I was using for teaching). I had created a long list of tasks that I would need to do before teaching this year. And when I ended up not teaching that class, I was able to just throw out that whole list. As I’m getting ready for the fall, I’m still taking pleasure in discarding the last vestiges knowing that I won’t ever have to do that work.

In the past, I basically didn’t have time to write fiction during the academic year. I could only write during intersession and summer. But I’m hopeful that, this year, I will find that I have enough time to continue to write fiction year round. It will be nice to have that become the new normal.

I remember after I’d been writing fiction for a while, my son asked, “Why don’t you have any female characters?” I was flummoxed.

“But what about Mary?”

“She’s a yōkai — that doesn’t count.”

“But what about… Aless?”

“Who?”

“Aless — in It’s Not Just Black or White?”

“She dies on page 9.”

“Oh. Um…”

I had to admit that he was right. I really didn’t have any female characters.

As I wrote my debut work, Revin’s Heart, I added several female characters, but I realized that it still didn’t really pass the Bechdel test. Given that the story is a young man’s adventure story (though with a transgender protagonist) that’s not too surprising. But I wanted to do better. So for one of the side-stories, I decided to tell the story of the protagonist’s transition. And this included a number of strong female characters and a trans woman.

I’ve now written a number of pieces of short fiction (not all of them published) that have female protagonists. One unpublished manuscript is about an elderly witch that helps a female friend move. I’m not sure whether Better Angels or my weird little story, Always a Destroyer (in Romancing the Rainbow) really count, because although they have female protagonists, they are not really human.

Most recently, however, I’ve finished Lady Cecelia’s Journey, a sapphic romantasy road story. It’s told from the point of view of a somewhat naive aristocratic girl who, on the one hand, grew up very sheltered. But she also had many privileges and experiences that her girlfriend, a commoner, never got to have. Playing these contrasts off one another is part of the charm of the story for me. It’s a story I feel I can tell as I grew up in a well-educated, upper-middle-class family that moved to the countryside when I was in third grade, where many of my friends were members of the rural poor.

I’ve tried to craft three-dimensional characters for both of my protagonists. They each have a meaningful backstory that is not merely some dark tragedy. They each have goals and objectives in life that are not centered only around men. Or romance. They each have unique strengths and weaknesses. They each have a distinctive appearance, but they are not just their bodies. Or their clothes. And both grow and develop over the course of the story.

To be honest, I see many aspects of myself in both of them.

Men are frequently accused of writing female characters very poorly. The line that sticks in my head was the one attributed to Mary Robinette Kowal: “She breasted boobily down the stairs.” I think men who do this don’t see women as fully complete human beings: they can only see them through their own mental filter as an object. I hope ― and believe ― that I have done better.

But I guess I’ll just have to wait to see what people say.

If you want to be a writer, that’s cool. All you have to do is write.

It doesn’t really matter if you get published. Or show anyone what you write. If you write, you’re still a writer.

The more you write, the better you’ll get. If you want to be a good writer, you have to write a lot.

There’s no certain path to being a great writer. Nobody knows what makes a great writer. But all great writers were good writers first.

If you want to be a famous writer, it’s the same. There’s no sure path to fame. But you can’t become a famous writer unless you write and keep writing. Each time you write something and put it out there, there’s the chance it will catch fire and go viral. And that can’t happen if you don’t keep putting things out there.

There’s no right way to write. Just as there’s no wrong way to write. Just write.

For some people, writing is easy. For some people it’s hard. But there are all kinds of writers and you can be one of them.

If you show your writing to other people, some of them will like it and some of them will hate it. But if you like your writing, that’s enough.

And if you don’t like your own writing, you can write more. And the more you write, the better your writing will become.

Don’t let anyone discourage you from writing if that’s what you want to do. If you want to write, write.

(with apologies to Charles Bukowski)