Being insane and being visited by an amoral jerk from the future are not all that different. Whether he believes his troubles are down to one or the other, for Vince Demarco the outcome is just the same.
My new novel, Time and Tyde, is coming out in a couple of weeks’ time and, as usual, the mad rush to meet my planned release date has me running around like a headless chicken trying to meet the milestones. Well, here’s one I can tick off. The cover for the book has been finalised and is ready to be put up here for your delight and edification. Again, my thanks go out to Kate Strawbridge at Dwell Design for struggling womanfully with my indecision.
I’ve been releasing lots of series set in the future lately, mostly thrillers and space operas in my Placid Point universe. Time and Tyde is a completely different kettle of fish. It’s a stand-alone novel with very little in the way of action or excitement (although, you will find just a smidgin in there) and, if you want to call it a thriller, you might want to tag “psychological” on the front of that. “Black comedy” might be another way to describe it.
It’s set in the present day. The “hero”, Vince Demarco, is a very ordinary sort of bloke and the plot is what you might call “ambiguous” about the sci-fi elements. This might be a wild tale about time travel and the moral turpitude that will one day grip human society. On the other hand, it might just be a sad story about a guy who is slowly going off his rocker. I flatter myself to think that if Nick Hornby or Nick Earls wrote science fiction, this might be the kind of thing they’d produce.
So, with no further ado, I give you the cover to Time and Tyde. Let me know what you think of it.
I recently had an email exchange with a company called Oz Robots – the people I bought my robot vacuum cleaner from last year. I’d made another order from them and something had gone wrong. Not only did they fix the problem immediately but they did it with courtesy and generosity and left me thinking, “Wow, what a great company!” I’ve had similar experiences with other companies over the years. The company I bought my TV from, WebPrice, is another standout. Their customer service guys moved heaven and earth to sort out a problem I was having, completely owning it, dealing with third parties and, in the end, just like Oz Robots, leaving me happier than if there’d never been a problem in the first place.
It got me thinking about customer service. Most companies can get it more-or-less right at the sales end. They’re polite, eager to please, will go that extra mile, and so on. But it’s after they’ve made the sale, after they’ve got your money, that their true colours are revealed. When you call them with a problem and they know they’re not going to make any money from this new contact, that’s when you see who you’re really dealing with. So often, the polite, eager sales guys are nowhere to be seen – they’re off somewhere spending their bonuses – and you’re left to face surly, incompetent, barely-trained customer service reps. I probably don’t need to name names but I will just mention Telstra and Vodaphone. If you’re Australian, you will almost certainly know what I mean.
I can’t imagine working as a customer service rep. If you’re doing it for a company that doesn’t really care, it must be one of the worst jobs in the universe. Every day, angry and frustrated people will be calling you, demanding you do something about the inferior product or service they’ve just bought. Every day it will be the same problems, systemic problems that no-one is bothering to fix – probably because an understaffed call-centre in the Philippines is cheaper than a product redesign or a service upgrade.
But maybe that’s not even the worst of it. The chances are that, whatever the quality of your product, there will be customers who just don’t like it because… well, because they don’t. It’s not to their taste, it doesn’t suit the way they do things, it wasn’t what they expected, and so on. And that made me realise that, as a writer, I really am in the customer service business after all.
It’s not just that I’m flogging books to people all the time (with a smile and a can-do attitude, I hope) but I’m also receiving calls from disgruntled customers – only they’re not calls, they’re written complaints, and they don’t come quietly to my desk to be dealt with, they’re posted in the most public places the complainant can find. We writers call them “negative reviews”. They’re often vitriolic and almost always anonymous. If you want to see a few, go to the page of any popular book on Amazon and scroll down.
It’s a strange form of customer complaint, unlike any you’d see in most other business areas (unless you read Yelp), and the methods for responding to them are also odd. If you write to a company to complain about its products, it’s usually because you want them to do something about it; refund your money, replace the product, improve the service. When people write negative reviews they seem to be just… well… venting. They don’t seem to want anything except to get their disappointment of their chest and, altruistically, to warn the world about your terrible product.
A good and sensible writer responds to these complaints by ignoring them. Yes, that’s right, we ignore negative reviews. It’s not because we don’t want to engage with customers and understand their grievances, it’s because bitter experience has shown that anything you say to an unhappy reader, no matter how humble and apologetic, will be misconstrued and, ultimately, used against you.
It’s easy to see why. To most readers, the writer is the guy with all the power. The reviewer is just the little guy, speaking truth to power. This is an attitude I feel was fostered in the days when publishers ruled the Earth. Nowadays, the chances are good that the writer self-published his or her book, is starving in a garret, and is happy that anyone noticed him or her at all, even if they said he or she was a misogynist creep whose characters were stereotypes and whose plot was as predictable as a conservative MP justifying their expenses fiddle.
So the advice is, don’t engage with negative reviewers. Either they will feel “got at” and respond with stunning vituperation, or they’ll be seen by everyone else as victims of your bullying attempts to shut down all criticism. In truth, you cannot win. The best you can achieve is to look like the US invading Iraq – and the outcome will be just as good.
So where does that leave the writer keen to service his readers and to learn from his mistakes? Frankly, you just have to lump it. Bad reviews are informative, they can teach you things about your writing and how it is perceived, but they are not going to open a fruitful and rewarding dialogue that will enable you to grow as an artist. So the only thing you can do is read them, suck it up, and move on. Customer service is for people in other professions. Your best bet is to write a blog, engage people on Twitter and Facebook, and make damned sure your next novel doesn’t suck.
I’m trying not to put “political” rants up on this blog as much as I used to but sometimes things happen that leave me gasping with incredulity, or saddened so deeply it hurts. In fact, I’m showing incredible restraint since so much of what Australia’s present government is doing makes me feel that way. I could have chosen any number of topics for this rant – the government’s relentless attack on the renewable energy sector, their endless whittling away of civil liberties, their ideologically-driven attempts to privatise our health system and our education system – but it was their recent attack on freedom of speech that was the straw that broke my back this time.
There’s a TV show here called Q&A and it is produced and broadcast by the ABC – Australia’s equivalent of the BBC. It’s a silly, trivial show in which (typically) people of different political backgrounds as well as celebrities and media types discuss current affairs. I don’t watch it. Every moment of it I’ve ever seen leaves me despairing and sickened – although it is generally considered one of the more “intelligent” talking heads shows on the telly. I don’t watch any of them.
This week, they had a member of the Liberal government on the panel. For overseas readers, the Liberals in this country are like the American Tea Party. They’re dominated by Christian zealots, they believe in small government, they hate welfare, they believe in laissez-faire economics and have a “Devil take the hindmost” attitude to the poor, the sick and the underprivileged. In the audience was a young Muslim, a man who had been tried and acquitted of terrorist crimes and who had served time for threatening the life of an ASIO officer (Australia’s secret police). Part of the format of the show is to take questions for the panel from the audience. Eventually the terrorist guy got his turn and he and the government guy had a bit of a slanging match.
This is all in the context of new laws that were recently introduced here to remove citizenship from people who have acted on behalf of certain proscribed terrorist groups if that person has dual citizenship (and would not, therefore be rendered stateless). It’s the kind of law this government loves. It plays to the ignorant and stupid in their fan base. They get to puff out their chests and say, “If you want to fight for terrorist organisations overseas, if you want to attack Australians at home, we don’t want you here!” Never mind engaging in debate, never mind understanding the reasons, never mind that this kind of thing is disguised racial hatred and religious intolerance, never mind that only a handful of people are ever going to fall into this category so it’s a massive beat-up over next-to-nothing. None of that matters. What matters is winning votes from the far right of the population – a very large minority in Australia.
The government guy told the terrorist guy he’d like to see him personally thrown out of the country. The terrorist guy said that, as an Australian, he’d like to see the government guy thrown out. The government guy said the only reason the terrorist guy was still here was because the laws he’d been charged with weren’t retroactive. The terrorist guy said it’s attitudes like that that are driving Muslim youth to support ISIL. Both of them were puerile and childish and very, very stupid – although, I have to say, the government guy came across as far more stupid and aggressive than the terrorist guy who was at least trying to make some kind of a point.
After the show, all Hell broke loose. It went out late in the evening. By 9am the next morning, the head of the ABC had apologised to the nation for allowing this terrorist guy onto the show. The Prime Minister, Tony Abbott, gave a press conference asking why the nation’s public broadcaster was giving a platform to terrorists and wanting to know whose side the ABC was on. The Murdoch press – which, in Australia, is comprised entirely of the most awful right-wing tabloid rags you’ve ever seen (and, yes, I include The Australian) – went wild with full-page idiot-friendly headlines such as “Terrorvision” to the effect that the ABC was providing succour to terrorists and attacking Australia. In Australia, the Murdoch press is rather like state-run propaganda. The government actually consults with Murdoch on major policies and feeds his media empire information exclusively and often before government backbenchers hear it. (Actually, it’s more like the other way around. This government is the executive arm of a number of large corporations, including News Corp.)
What I heard on Q&A was a couple of bigots being rude to one another (I’ve watched the excerpt after the event). What I heard from Tony Abbott was a clear and dangerous attempt to shut down the ABC – one of the few media outlets that does not simper and pander to his government the way he’d like them all to – disguised as nationalist bullshit. What I heard from Rupert Murdoch and his gutter press was a clear attempt to undermine a competitor – and support their friends in government – disguised as moral outrage. The whole thing was disgusting from beginning to end. Just utterly disgusting.
I despair of this country. Political debate here is pathetic – as you’d expect, when there is almost no independent media and virtually no opposition in parliament. There is no working democracy here any more and morality has been completely replaced by economic theory.
A promised, the release of Supplicants – book two in the Canta Libre trilogy – will happen in July. I now have the cover design for the book (by Kate Strawbridge at Dwell Design) and thought I’d give you a sneak peek.
Click to see higher res image
Isn’t it just peachy? Let me know what you think.
If you haven’t read book one – Emissaries – yet, then now would be a good time to get started on that so you can go straight on to Supplicants. I’m still busy writing book 3 (Warriors) but I hope to have it finished before the end of the year.
There are still a few faithful visitors who follow the Timesplash blog or visit on spec from time to time but, considering that I haven’t updated it since July 2014, you can imagine just how few there are. So I plan to make it official and stop updating that blog now with a view to taking it and, indeed, the Timesplash website, out of commission in the coming months. I will move all the posts and comments there to here, my generic blog, before that happens. Once The Timesplash blog has gone, you will find everything here
The entire Timesplash series remains on sale, of course, and you can find descriptions and where-to-buy information by clicking the images below – or just type the book titles into your favourite online bookstore.
Can I thank everyone who has paid me the inestimable compliment of visiting and reading the Timesplash blog. It has been a journey of over five years and it was great to have you along. The most amazing thing about looking back at those five years was that, when I started it, I just had a single book available – Timesplash. Now there’s a whole Timesplash series along with five other novels and two short story collections. It’s been a very busy time!
This blog, my general writing blog, goes on, of course and I hope to see you here to catch a rant or a book announcement or whatever the future throws up.
Yes, it’s that time of year again. You know, that time when I take a look back at the past year and try to see whether I’m making any progress.
It’s not easy. Each year seems pretty much like the one before. But it has been seven full years since I started taking publishing seriously and I think it is pretty obvious that progress has been patchy.
In the past year I’ve published four novels, one commercially and three self-published. I was also shortlisted for an Aurealis Award for Best Science Fiction Novel. (That’s two years running and I’m beginning to wonder if there is a chance I could actually win one of these puppies.) I also updated and reissued my Placid Point collection (and made it free on most retail sites) and put together another collection of short stories called The Future Below (more about this in a moment).
So, it was a pretty good year. I achieved all my targets as far as publication is concerned and I had two nice surprises (the Aurealis Award shortlisting, and the fact that one of my short stories was used in a charity anthology – something that thrills me).
It was also a year in which I started using a design company to produce book covers for me. All the books I published this year have professionally-designed covers. The Rik Sylver Series (The Credulity Nexus and The Sentience Machine) and the first book of my new Canta Libre trilogy (Emissaries) were designed by Kate Strawson at Dwell Design, and the third book in my Timesplash series (Foresight) was done by the publisher, Pan Macmillan/Momentum. I see absolutely no clear financial advantage to having book covers designed commercially, but I do feel better about the look of my books and, probably for that reason alone, I will keep on paying for a professional designer to do them in future.
Last year was also the time I decided to start up a newsletter. I’ve been resisting this for so long now, thinking it smacked of crass commercialism, but a writer friend finally persuaded me that people really don’t mind being kept up to date and receiving the odd special offer. So I’m giving it a go.
And, today, I release my new short story collection, The Future Below. Some of these stories have been published before but often in obscure magazines or anthologies you probably haven’t read. I’d really like some of these stories to have a wider circulation (like Skyball, and The Shouter and the Chanter) so I’m republishing them. Others just haven’t been seen anywhere before (like Signs of Life and Special) and it was time they got an airing. Two stories (Snowy and Finding the Future) are on sale separately as 99c shorts and I put them in here because I love them and it makes the collection more obviously a bargain since you get both those stories plus 13 others for not much more than the price of both separately.
Anyway, there won’t be a big fanfare over the release of this collection but I’d like to give away a few copies just to mark the end of my seventh year as a serious writer. I’d also like to promote my newsletter. So, if you sign up to my newsletter during May (it’s up there on the top right of this page), you will get a free copy of Placid Point PLUS a free copy of The Future Below.
I thought you might like to know – since I’ve been going on about it for a couple of weeks now – that my new sci-fi trilogy kicks off today with the release of Book 1 – Emissaries. You can read all about the book elsewhere on this site but this is a series about first contact with alien civilisations and the people sent out into the void to be our representatives. It’s got elements of space opera, alien contact, military SF and transhumanism (the trilogy is part of my Placid Point mega-series). It contains some of the most strange and the most lovable characters I’ve ever written.
Book 2 will be out in July and Book 3 sometime around Christmas. So this is a big year for me. Hopefully, you’ll join me.
And, if you’re interested, here’s where to buy Emissaries:
For Kindle eReaders
For Other eReaders
Or you can just search for “Emissaries” at your favourite online book store.
It’s great that there are so many planets in the galaxy. We’ve spotted thousands already and current estimates are that there are about two planets per star (+/- 1) and possibly 1 Earth-like planet for every 5 stars. There could be as many as 200 billion stars in our galaxy, meaning we might be sharing the Milky Way with 10 billion Earth-like planets. As I said, great, but the downside is that they’re all so very far away.
And even that’s not such a big problem, unless you happen to be writing a space opera. Then all the light years between Earth-like planets start to add up. In our local stellar neighbourhood, the stars are about 3 light years apart. Our nearest neighbour is actually farther away than that at 4.2 light years. Rockets, even fusion rockets, are barely adequate for chugging around our own solar system. A fusion rocket trip from here to Jupiter would still take us a year, and to Saturn, maybe 2 years. With other kinds of technologies we can envisage now – and might be able to build in the next fifty years, say – we could get to the next star in a few decades at best (using maser-propelled sails, for example). It’s all so slow!
So, if you’re writing a space opera, you need something with a bit more oomph. Rockets are great, they give you plenty of acceleration, but they work by throwing stuff (reaction mass) out the back at high speeds. Pretty soon, you run out of stuff to throw. To accelerate to significant fractions of the speed of light – say 50%, where relativistic effects can be felt, and the eight-year trip to Alpha Centauri A only feels like a bit under seven years – requires you to keep burning fuel for a long time, especially when you’re pushing a spaceship that can keep people alive for seven years. In fact, you need so much reaction mass that the whole thing becomes impractical. Ion drives or electric drives are more efficient for long journeys but they accelerate so very slowly that you could die of old age waiting for them to get up to a reasonable fraction of light speed.
So sci-fi writers have long dreamt of rockets that gather reaction mass from space itself as they go along, using gigantic magnetic “scoops” to funnel hydrogen into their fuel tanks. A little-known piece of Star Trek trivia is that the glowing tips on the warp nacelles on a starship are supposed to represent the scoops in action. Sadly, the reality of the situation is that the density of material in open space is so low, it would take an electromagnetic scoop the size of the Earth to gather a single kilogram of hydrogen! Also, gigantic scoops feel drag due to the interstellar medium and this tends to exceed the thrust you can generate under reasonable assumptions.
In fact, it all looks pretty hopeless – until you start thinking about warping space. There’s an idea out there, attributed to Miguel Alcubierre, that if you can configure an energy density field around your spaceship in a very specific way, you can contract space ahead of the ship and expand it behind. It’s as if you are static within a bubble of space which, because of its distorted edges, moves through normal space (or moves normal space past the ship!) No-one is going faster than light in their local space-time frame of reference, but the bubble itself can move faster than light. (It’s a relativity thing. If you want to know more, you’re going to have to look it up.) It’s a dodgy idea since it might need vast amounts of negative energy to make it work (and we have no idea how to create or use negative energy). Also, if quantum gravity turns out to be the grand unifying theory some hope it is, Alcubierre’s idea wouldn’t work anyway.
Yet, while there’s uncertainty and doubt, there’s still enough wriggle-room for a sci-fi writer like me to slap Alcubierre drives into space ships and send them off into the void. Trouble is, even these faster-than-light marvels of a future age may be too slow for what I need. It’s hard to say what kind of speeds might reasonably be expected from a warp drive. 3c (3 times the speed of light) seems to be a general consensus, with it possibly going all the way up to 10c. Now ten times the speed of light is really motoring. You get to Alpha Centauri in about five months, Gliese 581 (where we know there is an Earth-sized planet) in about two-and-a-half years. If you want to colonise all the nearby stellar systems, the Alcubierre drive is the man for the job. But what if you want to go a little farther, to Gamma Sagittae, for example, just 273 light years away? You’re back to taking decades again. And Gamma Sagittae is practically on our doorstep compared to size of the galaxy.
Yet, if you want to go faster than that, modern scientists shrug their shoulders and turn away. “Space is big,” they tell you. “Really big. You just won’t believe how vastly, hugely, mindbogglingly big it is.” Being scientists, they like quoting Douglas Adams. They also like to accept the prevailing paradigm, until someone brighter than they are runs a truck through it.
But sci-fi writers are made of sterner stuff and, besides, we have stories to tell that won’t wait decades or centuries while all those geniuses clamber slowly up onto the shoulders of giants. If you want to go faster than 10c, you’ve just got to make stuff up – but plausible-sounding stuff, not just any old stuff, or you might as well be writing fantasy.
Those of you who know anything about quantum theory know that quite a lot of it sounds like the ravings of a madman. Particles have some probability of being everywhere in the universe at once, they can teleport through matter, the absence of a particle can behave just like a particle, they pop out of nothing in pairs and immediately annihilate one another, they can be in many states at the same time, they’re not just particles, they’re also waves, but not waves in anything, and so on. It’s crazy and, moreover, no-one can give a clear and complete description of the world based on quantum theory – which is why a number of different interpretations of it have arisen.
The Copenhagen interpretation, for example, says that reality is fundamentally non-deterministic and the probabilities and uncertainties of quantum theory are a true reflection of the world but that, moment-to-moment, those vast inherent uncertainties are being “collapsed” into the single universe we are aware of as quantum particles interact to “decohere” their “superposed” states. The many worlds interpretation says that the universe we know is one of a possibly infinite number and is everywhere forking off into new universes, one for every possibility implied by the uncertainties of every quantum particle. No one universe is therefore non-deterministic, but the universe you end up in could not have been determined.
The interpretation Einstein preferred for all this quantum weirdness is known as a hidden variable interpretation. It’s simple. It says we can’t predict what the quantum world is going to do because we don’t have all the information. There are variables at play that are hidden from us. There has been heated debate about hidden variable theories and one type (local hidden variable theories) may well have been rule out experimentally (though maybe not), leaving only non-local hidden variables as possible contenders. Indeed, David Bohm’s “causal” interpretation is one such model that still stands unchallenged.
So let’s fast-forward 200 years to a new and amazing breakthrough in physics – a detailed non-local hidden variable theory of physics has been demonstrated to be the best possible fit to all physical phenomena – subsuming quantum theory and relativity. Indeed, the world of these hidden variables has been dubbed “infra-reality”. A hundred years after that, physicists have finally learned how to manipulate infra-reality and the results are fabulous new technologies which would have seemed almost magical to primitives like ourselves. At last, I have the opportunity to create the star drive I’ve always wanted. To explain it, let’s go inside the mind of physicist Susan Iverson, a character in my new novel, Emissaries, as she waits to take off in the spaceship Canta Libre and ponders the physics of the ship’s prototype infra-reality (IR) drive.
Susan Iverson was not feeling so confident. She found herself gripping the arms of her couch as the timer counted down to the transition. She had been reviewing the physics of space-time tunnelling (‘stunnelling’ in the jargon of the field) and she was well aware of how many theoretical questions remained to be answered. She wished again that they weren’t using such a pioneering technology. The traditional space-warping techniques had been in use for over a hundred years and it was safer to travel that way even than by fusion rocket.
One minute to go.
Stunnelling relied on Osamoto’s IR equations. They too had been known for a hundred years and IR was as well-established as any theory had ever been. The host of IR effect products on the market, the very gravity she was experiencing, were proof that it worked. Yet…
She considered the effect as it was applied by the ship and shuddered. By the usual magic of IR, a gravitational force was created, effectively warping space around and ahead of the ship, not into a gentle ripple they could surf in the usual way but radically and violently, into a short tunnel – what would have been called a wormhole in past times. The tunnel connected the space around the Canta Libre with the space a minute distance ahead of it – just ten zeptometres ahead in fact – about a thousandth of the width of an atomic nucleus. The ‘depth’ of the stunnel, in the reality perceived by everyone outside it, appeared to be just one Plank length, the smallest length it could be. The ship sailed through the stunnel at sublight speeds (thirty thousand metres per second being the maximum permitted by theory for reasons even Osamoto could not understand) but a new stunnel kept opening just ahead of the ship. So the ship kept stealing those ten zeptometres for every Plank length that it seemed to be moving. The stability of the stunnel was the problem. Keeping one open was a delicate business and nothing she had read could convince her that the technology existed to do this reliably. Of course, her calculations showed that, even if the stunnel collapsed, they would only lose the first ten zeptometres of their ship’s nose – an amount so small they wouldn’t be able to detect it. Either that or they would be spread like a fine gas across millions of kilometres. It all depended on the size of a particular constant that nobody had yet worked out. All in all, she would rather that someone else was aboard the first stunnelling interstellar flight instead of her.
It’s so nice to be able to just make up physics when the physics we have just isn’t up to the job. The multiplication factor achieved by this strange application of an invented physics, allows a ship to travel at 1,000 times the speed of light. now you can get to Gamma Sagittae in three months and out to the planetary nebula, M27, in fifteen months. You could cross the whole galaxy from end to end in a hundred years or so! Perfect for a space opera. Suddenly I’m free to go where no one has gone before – in any ship half as plausible as this one, that is.
With a new novel just about to hit the streets, I thought I might do a post summarising the works I have that are already out there. If you know all this, just jump to your favourite online bookstore and buy my books. (Hey, it was worth a try.)
As I write, I have seven novels available, two short story collections, and a few odd short stories. These are they:
The Timesplash Series – Timesplash, True Path, and Foresight
These are sci-fi time travel thrillers, all published by Pan Macmillan under their Momentum imprint. They each stand alone (I think) but it is definitely a better experience if you read them in order. They’re about a near future when time travel has become a terrorist weapon and two people – just teenagers when it all starts – whose lives become hideously screwed up by the whole thing. Two of the novels in this series have been shortlisted for Aurealis Awards in the Best Science Fiction Novel category.
The Rik Sylver Series – The Credulity Nexus, and The Sentience Machine
These are also sci-fi thrillers, only they deal with the emergence of transhumanity and the many problems that causes – particularly for our hero, Rik, his friends, and, of course, the uploads themselves. Like the Timesplash books, they’re written so that they stand alone but, again, reading them in order is recommended. I’ve written and published two of these novels so far but a third is in the planning stage.
Heaven is a Place on Earth
Imagine a world where we work and socialise in virtual reality and, when we’re not there, our real world is so heavily augmented we almost never see it for what it is. This is the future our very reluctant hero, Ginny, inhabits. Her life isn’t exactly easy but at least it isn’t dangerous and frightening – not until she meets Cal and agrees to do him a little favour… Heaven is a novel about deception and struggling against all odds to find the truth.
And now for something completely different. Sam is a young journalist with a burning ambition. When her idiot brother turns up with a clearly wasted superstar Loosi Beecham in a stolen truck, she kidnaps her in an attempt to get the scoop. What Sam doesn’t realise is that Loosi is an alien in disguise and that twelve more aliens in the same disguise are currently escaping from the police with a busload of pensioners as hostages. It’s all part of a plot for galactic domination, and humanity is about to discover that the universe is far, far stranger than they’d ever imagined. This is my attempt at sci-fi comedy. It took me twelve years to write and it still makes me laugh.
The Canta Libre Trilogy – Emissaries, Supplicants, and Warriors
I haven’t yet released these novels but two are already written and a third is in progress. The first book, Emissaries, will be out on 27th April and you can pre-order it now. This is my first trilogy (as opposed to series which happen to have three books in them). They are set three hundred years in the future when Earth has just received its first contact from an extraterrestrial species. Under the auspices of the UN, a team of scientists and soldiers is assembled to be humanity’s emissaries and sent off in a prototype deep space vessel, the Canta Libre. As you might suppose, first contact doesn’t go all that well and pretty soon everything we know is under threat and the crew of the Canta Libre is all that stands between Earth and destruction.
It’s pure space opera (with some military SF and a bit of transhumanity thrown in) and it is set in the same “world” as the Rik Sylver series only farther into the future – so don’t be surprised if the same transhumans turn up.
Collections and Short Stories
If you want to quickly get into the world in which the Rik Sylver series and the Canta Libre trilogy are set, you should pick up a free copy of my short story collection Placid Point. Just click the image on the left. It’s a collection of short stories set in the Placid Point universe and provides the origin story for Omega Point (which later is re-named Placid Point) as well as various tales from the “future history” of this universe.
I have a number of other short stories and collections, all available for 99c each. Also, coming out later this year, there will be a new short story collection called Signs of Life which has a selection of my published and unpublished short stories, including a couple from the Timesplash universe.
And that’s all folks. A total of seven novels (with an eighth out next week), a couple of short story collections, and a handful of individual short stories. It’s not a huge body of work, but I hope to add to it substantially by the end of next year, with two more Canta Libre novels, a third Rik Sylver novel, a couple more stand-alone novels, and the first book in my Deep Fracture series. It’s going to be a busy time and I hope you’ll stay with me as these amazing stories unfold.
The long-promised Canta Libre trilogy is about to begin. There are three books in the set (well, duh!); Emissaries, Supplicants, and Warriors and I have just received the cover design for the first book, Emissaries.
Now, I want you to look at this lovely image and just imagine all the sci-fi goodness it promises. Isn’t that just spine-tinglingly tempting?
Well, you tell me? Is it?
As you know, I’ve been grappling lately with the value and efficacy of covers and whether they sell books. So this is another commissioned cover by a professional design company (Dwell Design – the same designer who did my Rik Sylver series). I’ve been very impressed with their work. I think this cover – which is for a first contact, space opera novel, set in my Placid Point universe – has just the right genre feel. What do you think?
Emissaries will hit the online bookstores in a couple of weeks. Watch this space for the announcement.