Category Archives: Rob’s Ramblings

Rob’s Monday column that will cover whatever the heck he feels like. It will include AARs, sports discussions, and reviews.

Rob’s Ramblings: 20Books AAR

I’m back from 20Books and I’ll start with saying it was an amazing trip.

I went with two overall goals: Gain the tools to level up personally and to level up New Mythology Press. Mission achieved.

Sunday night is when things sort of start. I say “sort of” because panels start on Tuesday, but networking and reconnecting is a huge part of the event.

I got a chance to hang out with some of the North Texas Troublemakers on Sunday. This is a collection of some skilled writers and artists from around Wichita Falls. They’re good folk and I don’t get a chance to really hang out with them much, but several of them were at the con.

One was Dorothy Grant, who I’ve crossed paths with before, but mostly knew online. This was a chance to get to know each other in real life. This last bit, by the way, is a huge theme of 20Books for me.

Another was C.V. Walter, an successful romance writer, especially her Alien Brides series. I’m trying to add a bit more of those tropes to my writing to broaden my skill set, and we had a good conversation about that. I put some romance in The Door Into Winter, and she agreed to take a look at what I did and see how I can punch that up a notch.

Also, expect to see her in an upcoming anthology as she’s got some great ideas and plans for valorous deeds. That’ll be 2024.

Monday started with the big vendor show. A bunch of people who offer a variety of services to help authors write. I found some intriguing stuff I’ll be digging through in the upcoming weeks.

I did have a chance to meet Jake of J Caleb Designs. He’s the artist for so many of New Mythology’s Books. He’s talented, creative, and a true professional. I can’t recommend him enough.

The rest of Monday was more networking and hanging out with a bunch of people. I had a great conversation with a friend who I’ve not really hung out with much in real life.

A crew of CKP folk ended up at Giordano’s, a true deep dish pizza, and we had a bunch of chats about this and that pertaining to a various CKP plans.

Tuesday started with a D&D game hosted by Luke Gygax. If you’re familiar with D&D, you might recognize the name. Yes, he’s related. In fact, he’s one of Gary’s kids.

I actually gamed with him twice, having a session both Tuesday and Thursday mornings. We had a blast, but from a professional standpoint, it was a great chance to connect with a few individuals more than we might have otherwise.

I’m certainly going to keep track of Gaxxworx, Luke’s company, and the setting they’re creating for D&D.

After that I hit Dave Butler’s editing for muscular prose. This was a very useful session as I not only learned new things, it also codified a number of things I’d sort of known but hadn’t ever lined out explicitly.

I’ve already started to put some of those things into use. Definitely a chance for me to level up.

Side note on Dave. We’ve been friends for a bit, but at most cons we don’t have time to actually sit and chat. We had a couple of chances, especially dinner on Thursday. He’s a great dude, and I look forward to hanging out again.

Dave was also hanging out with David West and Brad Torgerson. These are two writers I’ve interacted with on the internet, but hadn’t met in real life. Unfortunately, Brad came down with an illness, so we didn’t see much of him later in the week.

I especially wanted to meet with West, as he’s been pushing Weird West stories. As I desire my Libri Valoris anthologies to be broadly ecumenical in fantasy subgenres, I wanted to make sure he knew that Weird West fantasies are absolutely acceptable for these.

Wednesday was more panels, in particular Larry Correia’s one on action scenes. If you’ve read Larry’s stuff you know he makes these pop, and I got a few tips and tricks I’m looking forward to adding to my stuff.

Speaking of Larry, I also got to hang out with him more than I’ve done before. We had a fun lunch at the French restaurant close to the convention including Kacey Ezell, Nathan Balyeat, Mike Massa, and Larry’s wife, Brigit. Cheese was the biggest topic of conversation.

Also, it was great to actually get a chance to chat with Massa, another talented writer I’ve admired for a while but barely known in real life.

The other really useful session on Wednesday was Bryan Cohen’s Less Time, More Readers panel. This had a number of specific ideas on being productive.

The basic theme here was consistent mediocrity. Doing a little thing day after day after day will add up more than big days. We already kind of know this because we try to write some every day, but he pushed for us to do this on everything we do.

He also said it’s best to cut down on the things we try to do, but again, stick with them day after day, week after week. This might seem counter-intuitive but it struck a chord with me because it’s exactly what I talk about to people thinking about joining the SCA.

Many new to the SCA are intimidated by all the stuff. The great outfits, the bling, good shoes, chairs, wooden chests, and at camping events, tents and such-like things. They feel like they can’t do this because they can’t get all this stuff.

The thing is, no one should have all this stuff at the start. I started with tennis shoes, sweats, and plain T-tunic. This is still sufficient to start with. I had bag chairs, not wooden ones. Everything we used was modern.

But over the 25 years I’ve accrued this and that periodically. I made a chest, bought a chair, traded for garb, etc. I have a pretty good kit, but only after doing a bit here, a bit there, over all this time.

I need to do that with my work. Many, including me, often look at established writers and struggle to do all the things they do without remembering they didn’t do all those things at the start, but did some then added on as they got better.

I need to focus on certain things and get consistent with them. Then, when they’re programmed in, add something else. You can expect to see a few changes along those lines in the upcoming months. Some will be behind the scenes, but it will all be more calculated, more planned to do less, but more consistently.

Those were the three panels I got the most out of, though there may be more. I’ll be watching a few of the others that conflicted with other plans. This con, more than most, had productive things opposite other productive things.

Thursday, after the gaming with Luke Gygax, was mostly networking. In particular, I had a chance to really hang out with James Artimus Owens, a writer and artist who’s also one of the main people at Superstars. His class on cover art at Superstars was one of the best things I did there and it was good to actually get to know him a bit.

This conversation actually gave me a chance to consider the relative merits of both Superstars and 20Books. They’re both great for up-and-coming writers, but they have slightly different aims. 20Books seemed to have a much more granular, detailed approach to the business side of things, especially for indie writers who already have a few things out there. Superstars is better for newer writers, and also for those who lean toward tradpub.

Short version: both are great, but one can be better than the other depending upon your goals and circumstances. As both are expensive to attend, I suggest studying each to find the best fit for you. Most of us can’t afford to attend both in a given year.

It seemed like 20Books had more aimed at my specific needs, but again, this is something you need to determine yourself.

Anyway, the event ended on Friday with the RAVE event.  This was an open-to-the-public sales event. There weren’t a ton of shoppers not part of the con and we didn’t have many sales. However, this was a chance for people to show off what they had.

I had a great chat with a number of writers, including some I expect you’ll see coming out in New Mythology down the road.

Overall, it was a fantastic convention and I achieved my goals. I’ve got more tools in my toolbox, more connections in the industry, and more ideas to push my stuff to the next level.

I’ll definitely go back.

 

Rob’s Ramblings: September AAR

Yes, there are still ten days left in September, but so much has gone on that I really need to do an AAR. Plus, October looks like it’ll be just as busy so I don’t know when I’ll get this done, and as I look back a monthly AAR sounds like a pretty good regular post.

No Game for Knights
No Game for Knights

This month started off with a huge bang when No Game For Knights came out on the 6th. This is the noir-themed science fiction and fantasy anthology edited by Larry Correia and Kacey Ezell and follows up Noir Fatale, which was also really fun.

My story in here was entitled The Incomparable Treasure, and it continues the adventures of Edward Aethelredson. If you’ve read The Eyes of a Doll, you want to read this as it follows up some of that story there.

The Pain Bearer
The Pain Bearer

Then, on the 13th, New Mythology released The Pain Bearer, by Kendra Merritt. This is my favorite of the Eldros Legacy novels so far, including my own The Door Into Winter.

On the 16th, The Valkyries Initiative came out. This is an anthology in the Hit World universe edited by Marisa Wolf.

The Hit World is what I call genre gumbo. It has everything: aliens, magic, gods, myths, James Bond-style espionage and assassinations, intrigue, and if it doesn’t have it now, it will someday.

Really fun.

The Valkyries Initiative
The Valkyries Initiative

My story in here is actually in many ways like my story in No Game for Knights. It’s hardboiled and has more than a bit of noir influence. It’s about a valkyrie who’s been doing the bidding of Freya and Odin for some 1500 years now. She’s currently working a job in St. Louis and, spoiler alert, everything goes sideways.

I like putting characters into difficult positions where no choice is good, and this was one of my favorite bad situations so far.

The Chimera Coup
The Chimera Coup

Today, we released The Chimera Coup, which starts a new series called The Heirs of Cataclysm. This is post-apocalyptic, swords and sorcery and tech and is full of action as one would expect from Christopher G. Nuttall.

If you haven’t read Chris’s stuff before, you should. He’s got a bunch out there, including some other fantasy series, plus  a bunch of great mil SF and space opera. We’re honored to have the opportunity to publish this.

Books 2 and 3 in this trilogy will come out soon, and you’re going to love how he wraps this all up.

I’ve also been a part of a number of podcasts. The Eldros Legacy crew did an interview on the 7th on Inside CKP. We did another interview with Cursed Dragon Ships on the 13th. Between those, the Dudes in Hyperspace had their NFL preview show on the 8th.

Click on the show links to check out all three of those.

Whew, that’s 4 books released and 3 podcasts recorded in 2 weeks!

But wait, there’s more! I also just got back from FenCon in the DFW Metroplex.

Larry Correia was the guest of honor, Robert E. Hampson was the science GOH, and Chuck Gannon was the toastmaster. Man, that’s a heck of a list and it drew out a ton of people. I heard, though I haven’t confirmed it, that FenCon drew almost as many people this year as it had done in the previous two pre-pandemic years combined.

Again, I’ve got no confirmation on that, but it sure seemed hopping to me. I was only on two panels, one on Indie Publishing and the CKP Look Ahead, but both were very well attended. Thanks to all who come out.

I also had constant traffic in front of my dealer’s table. I sold more than I expected, which is always nice, but I also got to really talk to a bunch of great people.

The author next to me, Tim Gilliland, was brand new. This was his first con ever, whether to sell or not. He’s in his 60s and finally getting to do what he’s always wanted to do. I predict he’ll do well, given how enthusiastic he was.

This was actually a theme, as I was aware of more people who said this was their first ever convention than I can recall at any other con. Great to see all the new blood.

But truly, it was the old blood that made this con for me. Because of the guests, there was a huge percentage of attendees who I usually see at LibertyCon. Since I missed it this year, I was ecstatic to have sort of a LibertyCon Lite.  Yeah, yeah, I do realize it was probably the wise choice to be at my own wedding instead of the con, but I still missed my friends.

I had a great conversations with old and new friends, which is really the best part of cons. Selling books is great, and I love panels, but it’s the people that matter.

Among friends I had good conversations with were Larry, Rob, Chuck, Sarah Hoyt, Cedar Sanderson, Jonna Hayden, C.V. Walter, Dan Hoyt, Karl Gallagher, Sean CW Korsgaard, Mark Wandrey, Lloyd Behm, Joy Wandrey, William Alan Webb, Sandra Medlock, and Toni Weisskopf. I also met Fred Hughes and Kayla Krantz, two newish authors in the stable, plus a bunch of people like Tim Gilliland, David Birdsall, and Greg Gagnon who I expect to get to talk about when they get their own writing careers going.

What a fun crew.

I came back with a number of new ideas and looking forward to going to the next FenCon.

What’s left in September? Well, to be honest, prepping for October, plus we’ve got our Dudes in Hyperspace podmail episode coming out this week.

On October 4th, we have the release of Trisha J. Wooldridge’s Heart, Wings, and Fire. This is another new series set in her 27 Kingdoms world.

This story is really something new for New Mythology Press, something I’ve been wanting to see. It’s full of action, but less in the way of swords and more in the way of standing up to challenges. It’s also set in an Asian-inspired setting. I love all sorts of myths and legends from across the world and I want to see more of it.

Then on October 11th, we have the 9th Eldros Legacy novel, A Murder of Wolves, from Jamie Ibson. This is set on Daemanon and is a neat take on druids.

There’ll be more from the Dudes in Hyperspace, of course, and maybe more still yet to talk about.

September 2022 rocked, and I can’t wait for October.

 

2021 AAR

Greetings all

2021 was the biggest year of my publishing career, but I suspect I’ll write the same exact words next year with all that’s happening. Nevertheless, here’s what I was involved in that came out in 2021:

2021 Mosaic
2021 Mosaic

This mosaic, by the way, doesn’t include stuff that’ll come out in 2022 which I worked on, such as Quincy J. Allen’s Seeds of Dominion, coming out on Tuesday.

By my reckoning, I put out 384,836 total words in 2021. Now, there are some statistical points to be made, out of honesty.

  • I only wrote 139,340 words of new stuff. That’s 1 novel, and only 6 short stories.
  • I keep track of my blog posts too, as it’s one way to ensure I’m putting out consistent content. That was 49,811.
  • The remaining 195,685 is 1/4 of the words in books I edited for New Mythology Press in 2021, 4 anthologies and 5 novels. I agree I should keep some track of that, as if I hadn’t done all that I would have definitely written more. I’m not convinced 1/4 is the right number. I’m thinking I may go to 1/5 in 2022. We’ll see.

Still, any way you want to stack it, that’s not a bad year. Add on to that I spent many hours helping develop the Eldros Legacy and learning how to do a bunch of new things for New Mythology Press, and I would say it wasn’t a wasted year.

That’s especially true since I only count things I’ve finished in a calendar year. This total doesn’t include, for example, the 70k or so I’ve got written in The Door Into Winter nor the editing I’ve done for The Keen Edge of Valor, as they aren’t yet finished.

I’m proud of all the stories I wrote and helped put out in 2021. This is highlighted, of course, by The Ravening of Wolves. This novel really came together, I think, thanks to a bunch of tales given to me by friends who’ve seen the challenges behind the scenes in the military. Much of what went into that book are inspired by actual SNAFUs, because the main universal truth in military history that I can find is: “Shit happens.”

Of my short stories, I tried a number of whimsical things. For example, Careful With That Axe, E.U. Gene included over 200 song and band references hidden within about 9000 words. The biggest result, of course, is The Incomparable Treasure, which comes out at some point in 2022 as part of Larry Correia and Kacey Ezell’s next SF/F noir anthology, No Game for Knights. This is a huge honor for me, and I’m really excited about it.

I certainly learned a ton with New Mythology Press this year. I can’t thank Chris Kennedy enough for the opportunity and I hope I live up to his expectations.

I would say I earned a B- grade for my work as publisher in 2021. I tend to be a harsh grader, but as I look back I see areas I can improve upon. Now, to be fair, the biggest area I need to improve upon is simply experience, and that’s happening, but I could have accelerated my learning curve in places.

Nevertheless, I did learn and improve as the year’s gone on. I’d better, as I have a bunch of things to publish in 2022, which I’ll talk about in another blog post.

I am most proud of Responsibility of the Crown, I think. It was the first novel I’d ever edited, and I think it came out fantastic. It helps that G. Scott Huggins is a great writer, but I do think I contributed.

It was nerve-wracking for me, in some ways, but the results really fired me up. Like many writers (and now as publisher), I suffer from constant self-doubt and seeing the difference between the original draft Scott sent me of Responsibility and the final draft helps me believe I have some skill in this process. Again, though, it’s not a great story without Scott doing the heavy lifting.

I’m also proud of the Talons & Talismans anthologies. They were a challenge, one that made Chris shake his head and chuckle at my expense a time or eight.

However, those anthologies did much of what I wanted. I got involved with experienced writers I hadn’t worked with before, like Aaron Rosenberg, who I hope to publish a bunch more times down the road. I got a bunch of new writers opportunities, like Michael Gants, who I think you’ll be seeing fairly often in the future.

I also got to rummage around in the process of making anthologies at a much more detailed level. I’d done two prior to Talons & Talismans, but this was more, and I needed it.

On the behind the scenes side of things, I had a couple of hiccups with my mailing list, but I’m pleased with where I’m at now. I started working with the Writers House of Corrections to build that mailing list even more. Long term, I think that list and this blog, not Facebook or other social media platforms, will be my primary forms of interaction.

I learned a ton about how book art gets made. I knew some of it from self-publishing my first six novels, but there’s always more to learn. I’m amazed at what artists like Melissa Gay and Jake Caleb constantly produce.

Most fun of all is getting to know the editing staff of Chris Kennedy Publishing better. Mia Kleve is an amazing bedrock of competence. It was she, in fact, who created the above mosaic of covers, within like 2 minutes. Tiffany Reynolds is incredibly fast and skilled. I didn’t get to work with Beth Agajew as much in 2021, but I’ve had the pleasure before. We brought in Jonathan Miller too. He edited Seeds of Dominion and we have more plans for him.

I also got to interact with the advance readers more. Shawn Carey is a machine. He is an unseen, but much appreciated member of the team. Another is Zach Ritz, who routinely catches a bunch of errors that have slipped past all of our editors, including me. That’s a much less common skill than I think people realize.

A long time ago, I realized writing was about creating a team around the writer. That’s even more true about publishing. If I want to point at any one single thing I’m pleased with in 2021 it’s the creation of a new team around me, one which I’m already blessed to be a part of.

I’m just going to conclude that I’m looking at my shelf of books, the shelf holding books I’ll be selling at conventions. There’s Jon Osborne’s Milesian Accords series, including The House Between Worlds which I helped publish. There’s Khyven the Unkillable, by Todd Fahnestock, first of the Eldros Legacy novels. There are Four Horsemen Universe titles, especially The Ravening of WolvesAnd there’s all sorts of titles produced prior to 2021. There’s a lot of titles there, but a bunch more are coming.

2021 was the start of something awesome.

Rob’s Ramblings: Only *This* Story

This week I’ve been pleased to receive a whole slew of short stories for the FantaSci anthology. All told, we received 37 entrants, which seems like a good number to me. Chris and I are still discussing the ones we’re going to choose, so I’m not going to talk about results just yet.

However, since it’s fresh on my mind, I thought I’d go over some of the things I saw in this process. At this point, I’ve read a bunch of short stories over the years, written a dozen or so, and am in the process of editing my second anthology. There are many out there with more experience than I,  but this contest really helped coalesce my thoughts on short stories to something more concrete, so I’m going to post on this as much for me to remember as to help you all.

Let me lay down one overarching principle: “Only *this* story matters.” There’s your TL:DR of this post. Only this story matters and anything that’s extraneous drags it down.

First, let’s talk about exposition. The vast majority of stories that got put straight to the bottom of our list explained too much. There’s little that’ll bring a story to a screeching halt like a sizable infodump near the start.

Yes, readers need to know stuff. They’ll get frustrated when something isn’t explained. However, you want to only explain what you have to explain for *this* story, even if you have plans for that story being a part of a larger setting.

If you plan to compile a collection of connected short stories into a novel, you can come back and add exposition later if needed. But that’s part of that process, not this story.

Readers don’t always need to know technical details or the physics/metaphysics underlying a universe. They need to know only if the plot twist turns on it. Most of Asimov’s robot stories turn on the Three Laws, so the reader has to know them. But details how robots work? Not as much.

It’s really easy to throw in details the author thinks the reader needs to know. It’s rare, especially without more experience, for an author to limit that exposition to actually what is needed for *this* story. Believe me, I’m as guilty of this as anyone, and it’s a major part of my editing process to cut that sort of thing out of my own stuff.

For Songs of Valor, authors had 7-10,000 words to strike with. And I mean strike! Short stories work best with action, in my mind, not explanations of this and that. That especially includes a bunch of stuff about what the character is thinking. Show, don’t tell, the character as much as possible.

Now I don’t mind a character parsing through tactical choices a bit. “I did this to learn this and then did that to get this reaction.” This is, I think, especially useful in first person noir style stuff.

But even that’s a balance. For None Call Me Mother, a novel which needed more tactical discussion than a short story, my editor told me I’d gone overboard and I cut back on them dramatically to get a faster, sharper story. Editors are nice like that and the 148k original draft that seemed bloated ended up as a 124k sleek creature I’m pretty pleased with.

Tell us what we need to know and nothing else. And whenever possible, weave it into conversations and side notes in the story and avoid a major infodump.

But that brings up an obvious question, how do you know what the reader needs to know?

For me, short stories have a soul. This is true of all stories, long or short, but I think it’s more important with shorter stories because you have to focus on that soul and nothing else. With novels, you want to have some misdirection, extra plants, and some additional frippery. There’s simply not enough time for much of that in shorts.

The problem is that “soul” is such an amorphous term. I’m a pantser, especially with short stories. It is extremely rare that I know the soul of the story when I start it. It’s happened once, with my story “Far Better to Dare” from Those in Peril, but that’s it.

Most of the time I write at least 4-6,000 words before I realize what the soul of the story really is. Then I realize that much, if not most, of what I’ve written so far is not actually relevant to the soul of *this* story. Maybe I had to write it out to know the character well enough, or the events underlying the story, or whatever, but all that stuff is just background and I have to cut some, if not nearly all, of what I’ve written.

This is hard. You have to be ruthless with your own writing and take extra stuff out. Don’t delete it, of course, you may use it later elsewhere, but not here.

Of the stories we received that I thought had potential but weren’t in our top 4 and thus a part of the anthology, I would say nearly all of them suffered from too much exposition that didn’t matter to that story’s soul. In some cases, this exposition was the kernel of the story, and hence the author thought it had to be in the story. However, that’s not always the case, and took away space for action without adding as much as the author realized. That chunk mattered, because it drove the character, but the reader didn’t need to see all of it, just hints of it.

Let me give you an example from my story from this anthology. Its POV character is Katarina, the chaotic evil crime boss from Achrida who Edward has to deal with far too often. I initially started with a thread of her comparing people around her to those she’s murdered in the past. Number twelve, number two, number 47, etc. It’s a fun thread for this character and I had to have it in mind as I was writing from Katarina’s point of view as the most unlikely/reluctant hero I could think of, but those words were wasted in this story.

Don’t worry, I have all those murders saved and listed.

But what’s the soul of the story? That’s hard to determine and it could be really far afield from where you started.

When I started writing “Here Must We Hold,” my story about the Battle of Maldon in Trouble in the Wind, I wanted to write a version where Byrhtnoth’s decisions weren’t because of “ofermod,” or hubris, but rather from smart strategic thinking that gave up a tactical advantage. That’s there, of course, but in the end, it became about something else, a pure redemption arc I won’t spoil by describing here. That forced me to change the entire structure of the story, remove some particulars, and add others.

My story in We Dare, “The Chaos of Well-Seeming Forms,” is a version of the Finnsburh Episode & Fragment, or Romeo & Juliet if you prefer, set on Mars. That was all, but in the end, it became more of a story about the hero in the Wanderer or the Seafarer, two of my favorite Old English poems. That, too, forced a series of changes, cuts, and tweaks. I didn’t realize that until I reached the absolute end of the story and needed the extra gut punch.

I could describe the journey of each story I’ve written, but I think you get the point. Be open to finding a soul of the story after you’ve written it, then shaping the story around it.

Whatever I’m writing, I constantly think about Raghunath Rao. He’s a character from the Belisarius series by Eric Flint and David Drake. He is fond of saying, “Only the soul matters in the end.” Not a bad thing to remember when writing short stories.

Returning to “The Chaos of Well-Seeming Forms,” I mentioned I thought it needed an extra gut punch and that’s because I think short stories need a twist. Something at the end that forces the reader to think and want more. I get this philosophy from one writer in particular, my favorite writer of short stories ever, Randall Garrett.

He was about as flawed a man as he could be, which is why many of you have never heard of him. He wrote only when he needed drinking money. However, he was so good he could go to John Campbell and ask for an advance on a story and get it! What a crazy thing, especially in the era of the pulp magazines of the 50s and 60s.

If you ever see a copy of The Best of Randall Garrett paperback in a used book store, get it. Even if you already have a copy so you can gift it to someone. There’s an e-book on Amazon with the same title, but it’s not the same as the paperback, though the two are linked. Here’s the link for the paperback on Amazon: https://www.amazon.com/Best-Randall-Garrett-1982-01-01/dp/B01K3JZWX2. Again, the e-book version is not the same.

That paperback has the single best collection of SF/F short stories I’ve ever found. Every story in here is absolutely amazing and powerful. And they all have a twist at the end, some which have never stopped resonating with me since the first time I read this collection in the early 80s. I would never suggest anyone emulate Garrett’s life, but his skills as a writer of short stories are hard to match.

So I try to have all my stories have some sort of twist at the end. It could be just a subtle thing like the last word in “Far Better to Dare.” It could be big like the gut punch at the end of “The Chaos of Well-Seeming Forms.” The twist in “What’s in a Name” is the word “Deor,” which is an odd word in Old English, but which added a neat addition to the redemption of Edward, provided the title, and shaped the soul slightly.

Doesn’t really matter what the twist is, nor is it necessarily a requirement. However, I think we can all understand that a story that hits you at the end with something extra is likely to be more memorable than without. In an anthology where you’re surrounded by great stories, it’s easy to get lost in the shuffle. And if you’re in a muddle of 37 stories for a competition, it’s even more important.

Finally, I’m going to touch on something that’s important, but which *can* be overcome, and that’s the use of language.

This is a fantasy anthology. We got a variety of definitions of fantasy, which was great, but of course some of it was medieval fantasy. There were a few of these submissions that suffered because the language was too modern for the setting. Imagine, if you will, Gandalf saying, “Well, hindsight is 20/20.” Wait. What? That totally throws me out of the story.  So does “OK.”

Likewise, if you’re writing an urban fantasy or SF and the characters speak in a Shakespearean style, the readers are going to wonder what the heck is going on. It might work, like David Weber’s Jiltanith character from his Mutineer’s Moon series, but it has to be explained.

It may seem cool, but that exposition might take the place of action later on or confusing the soul of the story. In other words, getting in the way of the story’s power.

Now, sure, an editor can go through and edit all of the modernisms out of a medieval fantasy story, or whatever other oddnesses might be there, but in a contest, it’s a factor from the editor’s point of view. It means your story has to be clearly one of the winners. In a tie or close race between two stories, it will matter more. It’s quite literally part of the discussion Chris and I are having right now.

So to sum up, here you go.

  1. Only *this* story matters right now.
  2. Exposition only as needed for *this* story.
  3. Only the soul of *this* story really matters, in the end.
  4. Find a twist to give *this* story extra punch if you can.
  5. Use only the language that makes *this* story work.

Yeah, sure, these targets are amorphous and difficult to hit. I’m also not perfect at hitting them. However, I know that when I have these principles in mind, I write better stories. I also know that those stories submitted for this anthology that matched these principles got noticed more.

Again, you’ll find others out there with more experience than me, and also more success. You should absolutely pay attention to them. Also, there’s one true way of writing, and it’s whatever works for *you.* Still, I would say you wouldn’t go wrong at least considering these five things as you write short stories.

 

Rob’s Ramblings: Casting a Spell

I’m going to continue with this thread of posts going under the hood of my writing process with None Call Me Mother and the now-completed trilogy, The Kreisens, with a discussion of my magic system and what thoughts went into its creation.

By the way, if you want to see the first two of what is becoming a series, here they are. On Monday I talked about improving my production process at: https://robhowell.org/blog/?p=2163. On Tuesday, I went through my thoughts creating three of the characters in this series at: https://robhowell.org/blog/?p=2166.

Also, I want to take this moment to thank Cedar Sanderson and the crew at Mad Genius Club for cross-posting this as a guest post over there. You can find them at: https://madgeniusclub.com/. Also, check out Cedar’s page at: https://www.cedarwrites.com/. I’m not saying that just because she advertised None Call Me Mother there.

Anyway, back to this topic. I’m quite pleased with my magic system. I wanted to have a system that was easy to write, made every mage a little different, and forced wizards to make choices. It also had to have limitations and it couldn’t be pure handwavium. At the same time, I wanted to have something that connected with traditional magical depictions and expectations.

The roots of this system go all the way back to 1980 when I first played D&D. I was always a guy who enjoyed breaking things down and I had always wanted to design a magic system that was plausible and powerful.

The first challenge to me came from looking at the huge spell lists of various RPGs. From the standpoint of a game, discrete spells are a great thing. They allow for the kind of immediate choice needed for any turn-based system.

But I don’t like them from a writing point of view. I’ve enjoyed  various game-related books over the years like DragonLance and the Forgotten Realms books, but I’ve always struggled a bit with the prose describing these discrete spells in action.

So my system had to be a little more free-form from a writing point of view. On the other hand, that vast list of spells does includes just about every magical effect one could want, so I had to consider it.

I also didn’t want to break things down the same way as D&D. The divine/arcane magic system works great from a game point of view, but I just sort of think magic should be defined by its processes, not its source.

So what are the processes of spells? Not the idea of components, but how does a spell do the thing it does?

The first, and possibly most important, set of spells I broke down were the cure spells. I started with them because there has to be healing, if only because I tend to hammer my characters.

Now, hit points are a simple concept that handwaves over a bunch of stuff. Is a person harder to kill as they gain skill? Undoubtedly. Does the amount of physical trauma required to kill that person increase dramatically as their skill rises? Well, that’s a different question. I don’t want to dive into that philosophical discussion, but it’s useful to remember this question here.

The easy thing, and first to come to mind, is the concept of Life Magic. From a healing standpoint, it’s obvious. But it’s just as easy to harm. Excellent. I’ve now got a starting point for magic to be just a tool to be used as a character wants, good or bad.

But “life” is such a huge word, and I started spinning off idea after idea. I still do, by the way. Magic traditionally assigned to druids like controlling animals and plants, for example, is easy.

Yet there’s even more. I said I wanted something that made each wizard a little different, and Life Magic ended up being about variable as them all. Some cure well, but can’t hurt and vice versa. I’ve got Life Mages who really can’t do either, but can do other things really well. One essentially talks to bees. Connection to a single animal like a familiar. Some plantlords.

And I’ve got fun ways I can describe all of this. One of my standard things is for healers to step in and stop the bleeding and minimize the chance of infection. Obviously, they don’t have the same basis of medicine that we do, but people have known about infected wounds long before germ theory.

I also use Life Magic in a forensic way, having some Life Mages specialize in tracking traces of evidence off bodies. This is great for my Edward books, which are fantasy/mystery/PI hybrids. Again, they won’t know DNA per se, but they can track bits and pieces that give some clues. Great from my perspective.

Every aspect of life has its own calling, so I’ve hit on one magical process that works great. Life Magic works with life in every form but is individual to the mage. It can’t, however, deal with inanimate objects unless it can get a life form to do something to it, like say having a tree push its roots to destroy a rock.

That’s a great start, but clearly, I needed more types of magic.

Again, the question of cure spells guided me. How does one increase morale with magic? I’ve seen it happen with a group singing a song or following a banner. With speeches and theater. With rewards and gifts.

All of these things had effects as symbols greater than their intrinsic value as things. Magic, then, could push these symbolic effects to even greater heights and we’ve got so many traditional things to draw from here.

Bardic spells, so music and song. Religious ceremonies. Any kind of ceremony, actually. Runes and arcane scripts. Banners. Flags.

These things can influence just about any endeavor. I have never come up against a limitation of what symbolic magic could do. Heal, harm, teach, warn, refrigerate, heat, attack, whatever I wanted.

That’s a great thing, but from a story standpoint is a problem. All of the wizards had to have limitations, and so did Line Magic, which is what I ended up naming symbolic magic.

Fortunately, the limitation for Line Magic is fairly obvious. Symbols and morale *are* limited. You can be Rudy all you want, but you still have to have a certain level of size, speed, and skill to make the NFL. So Line Magic became the most versatile, but least powerful of all my spell types.

The next spells I looked at were Fireballs and the like. They don’t really fit with Life or Line Magic, but we need something like this.

I don’t talk about it much anymore, because I’ve integrated it so fully I don’t really think about it at this point, but I have a physics layer underneath my magic system involving Shijuren’s geodynamo.

Now, I handwave a jump or two, like the old cartoon with a math equation that has in the middle, “and then a miracle occurs.” However, it’s important that I keep it in mind and make sure those miracles aren’t too miraculous.

This concept of a layer of physics underneath the magic provided the answer to the fireball. I created a magic process that is basically e to m and vice versa. A fireball is just liberating a tiny fraction of energy from matter.

But again, this gave me a whole slew of possibilities. Heat, sound, light, and so much more. Stones that warm things or refrigerate them. Stones that create light or lock doors. Listening to mountains.

So now I have Land Magic. Here’s where I made the most handwavium decision in the whole process, though. One could make the argument that since living creatures have mass than Land Magic could affect them just as easily. I decided Land Magic could only work against inanimate objects. That life, for whatever reason, resists this sort of manipulation. Yeah, it misses a bit on the logic, but it creates a distinct limitation that works well to differentiate mages.

By the way, yes I went through and came up with “L” words for each type of magic. Stupid maybe, but it seemed like fun at the time.

OK, so what am I missing? Let’s look at charm spells. To a great extent, these rely upon manipulating emotions. Love Magic! Perfect. Magic that manipulates emotion can be extremely powerful, but only with humans and some more intelligent animals.

I’ve extended this a bit as I’ve gone along, by the way, to the study of the amygdala and how humans create emotions. It’s a strange process that we don’t really understand as far as I can tell, but that’s perfect for my purposes. I can adapt as needed.

I’ve also used this as forensic magic in the Edward books, as emotions presumably spike during murders and such, leaving a residue that can be tracked.

For ease of description, I say emotions flow from a person in tendrils. Then I use Pluvchik’s Wheel of Emotion to give me guidelines. To step from one emotion to another is one degree of difficulty, as does going up and down in intensity.

From a magic standpoint it’s fairly versatile. From a writing standpoint it’s fun to describe. However, this magic system tends to lead to fewer differences between wizards since there’s only so many different emotions. There are some differences, though, as each Love Mage has their own preference. Some work best with love and some with hate. So far, this has seemed to be enough for my purposes and I’m coming up with more, like those specializing in forensic magic.

That’s a pretty good collection of magics, but I got to this point still thinking I was missing a process. Living things, non-living things, symbols, and emotions don’t allow for what D&D calls the divination school. Also, we really don’t have a that traditional long-bearded knows-everything iconic wizard. I mean, you could have that from each of the four we’ve described, but knowledge itself should have power.

This was especially important to me as a historian, by the way.

Lore was an easy L-word to use here, but it took me a while to figure out how to make Lore Magic work.

Somewhere along the way, I stumbled across the Greek concept of kairos. This gave me a kernel of an idea, especially when I considered the concept of how so many wizards in other stories often don’t do D&D style magic but instead just happen to be at the right place at the right time and do the right thing.

So maybe I have something here. The more you know and research, the more you can pick out those kairoi, which means you can influence them to come out the way you want. A Lore Mage, then sees a series of kairoi as butterfly points of potentialities. They then shape the potentialities to fit the desired result.

Wow! What a fun concept, though I will say it’s been proven hard to write with. How do you shape potentialities on the fly? This magic has to work over time, not really in the heart of a conflict. To shape a battle, a Lore Mage has to anticipate the fight then put themselves into a stronger position to win.

OK, this actually isn’t so bad from a writing perspective. I now have a way for bad guys to shape a plot and I have ways for good guys to respond. Best of all, each Lore Mage is limited by what they’ve studied, so there’s a differentiation built into it from the beginning. Plus, not every Lore Mage views how to manipulate kairoi in the same way. Veikko, for example, manipulates kairoi not be using his magic to change them but to put people in the place where they can change it for him. Nebheshu has a much more direct and arrogant approach.

In the end, Lore Magic became the single most powerful magic one can do in Shijuren. It can do just about anything. However, it requires time, often lots of time. I’ve had mages create spells that are centuries long. Of course, the shifting of kairoi can be undone by the shifting of other kairoi by an opposing mage.

Lore Magic is the hardest to write, but the most fun, when I get it to work.

We now have my Five Streams of Magic, each with limitations and options.

I then decided that those humans capable of magic could only do one of these types. I did allow for a very few exceptions, though, in part because it fits some of the hidden backstory of the world, but these are incredibly rare, in part because they are extremely powerful. Their ability to mesh magical concepts means they can do more with each because of synergistic effects.

In any case, this means that mages in Shijuren have a very limited toolbox. They essentially have a hammer and they have to figure out how to make that hammer work in the situation they face.

This has been awesome for me as a writer. I’m constantly trying to figure out ways to do this or that, based on the tactical situation and the wizard’s set of skills.

More importantly, my spells haven’t really broken down into routine from wizard to wizard. They’re not all blasting away with a fireball or healing with cure light. Sure, an individual wizard might do the same thing multiple times, like Egill and his runes, but each has a flavor and an individuality, just as I had hoped for.

There’s my system. It might not be perfect, but it’s been magical for me and my stories.

Speaking of my stories, I will take this moment to talk about None Call Me Mother. Did I mention it came out on Tuesday? No? Well, hey, just to let you know, it came out on Tuesday!

In a way, it’s almost like I released *three* books on Tuesday, because None Call Me Mother finishes up a trilogy. I also took the time a week ago to clean up the other novels in the Kreisens trilogy, which you can find here: https://www.amazon.com/gp/product/B07G8MTPP4.

And if you want to go straight to the first book, I Am a Wondrous Thing, it’s here: https://www.amazon.com/gp/product/B01HHKZJVA.

Finally, if you’ve gotten this far, I might as well just link to my Amazon author page: https://www.amazon.com/Rob-Howell/e/B00X95LBB0/.

Thanks for reading this post, and I hope you enjoy my stories. Best wishes for a great holiday season to you all.

 

 

Rob’s Ramblings: Character Origins

Todd Searls mentioned that he liked seeing under the hood yesterday, and when I thought about his comment, I realized I love that from my favorite creators too.

One of my basic principles is to be the author I want be a fan of. Write the stuff I want to read and interact the way I want to be interacted with. So I’ll do some more of these posts, especially now while None Call Me Mother is new and fresh in my mind. In this one I’ll discuss some of the things I thought of while designing a few characters.

Irina Ivanovna

Irina Ivanovna is probably the most important character I’ve ever designed, not simply because she is the key to this story, but also because she shaped the entirety of Periaslavl and hence, much of the entire world.

I love Star Wars, but as I’ve gotten older, the Luke Skywalker character gets really boring. It’s a common fantasy trope, of course, but that doesn’t mean I have to like it. How could I create a character than had all that “destiny” but knew a ton, yet didn’t know anything? That’s a thought exercise, let me tell you.

What if the character’s been sheltered? What if their limitation is that they’ve been focused on something else, not living in the world. And that led to the idea of the velikomat, or Great Mother, of Periaslavl. I won’t get into some of the reasons behind why Periaslavl made sense for this because it’d be a spoiler, but I had here a vehicle to make sure that the Great Mothers lived for a looooong time.

During the events in None Call Me Mother, Irina is 140 years old but her body is still that of a teenager. M-a-a-a-gic. If it’s a fantasy world, I should darn well use it.

Making her a ruler with all this experience and power meant she knew all sorts of top-end things. How much food an oblast would need to make it through the winter. How many troops Periaslavl could support. What was the Empire going to do? Or Svellheim. And so on.

Yet, of course, she’s never really been a person. She was chosen at 16 to be the Great Daughter, and for 124 years her life has been nothing but ruling Periaslavl. It’s a great set of experiences for a character, but it’s also a great set of non-experiences. I had a ton of fun playing with those things she never experienced or, more importantly for one kinetic reason, didn’t remember.

So there’s my callow character of “destiny.” I really have a problem doing the easy thing, don’t I?

One last note about Irina. My mom’s mom’s name was Irene. Yeah, I’m shallow, but I loved making that connection as the “Great Mother.” You should all expect this, by the way, because my mom’s dad’s name is Edward.

Eleonore Drechsler

The second character I’m going to look at is Eleonore Drechsler. I’ll start with her name. I use a random generator on Behind the Names. It’s a fantastic site, one of the most useful on the internet. I had to laugh at this name when it came up, because one of my favorite basketball players ever is Clyde Drexler. Ha! I slay myself.

Anyway, in many ways she draws from the same sort of fallen paladin ideas I often love. In some ways, she’s a hard-edged version of Edward. Sometimes it’s fun to write a good guy doing bad things. Really bad things.

Eleonore had to be a great warrior. More important, a skilled leader. I needed to inject a bit of skill into the cesspool that is the Kreisens anyway, and Demmenkreisen, as one of the largest and most powerful Kreisens was a good place for it. That it was in the exact right place (thank you, Adam, which I might touch on in a different post), was a bonus.

Part of the reason that it was important to me that she was a leader is that I needed that to be able to break her down. She has to take a path, not an easy path, but the one that seems easiest for someone who’s enraged. I think most people get enraged not on their own behalf, but on behalf of those close to them.

Her character arc, then, is to screw up but then spend the rest of the series overcoming her mistake. In many ways, this is my favorite arc because it’s something we all do. Her part of the epic battle is perhaps the most subtle, as she cannot win her fight. She can, however, slow the magic that’s attacking her and thereby give the others a chance to win. I probably make this too subtle in the book, because as a set of actions it’s not terribly active, but I, at least, know what battle she faced, and it’s one that I rather enjoyed.

Etain Muirghein

Many of you know the story behind a bunch of characters that appeared in Brief Is My Flame. These were a bunch of redshirts as part of a fundraiser for a great guy who had some health issues.

Obviously, I won’t go into these characters’ origins, because if you know the person redshirted, you’ll catch the references and if you don’t, you won’t care. However, I did want to touch on a few ways these redshirts helped shape Shijuren and the story.

Etain Muirghein was a character I mentioned briefly in I Am a Wondrous Thing. As the Thalassocrat of the Western Isles, she had a part to play in the political maneuvering between realms. However, I didn’t say anything else about her at the time.

Then I was asked to redshirt someone I really respect who helped shape Calontir. Etain suddenly became a great vehicle for that, and so I put in all of her I could. Feisty, tough, awesome. I even added her dog, sort of. It’s named Madra Te in the books, which is a great pun for those who know her.

Anyway, that meant I had to put Etain into some of the action. I hadn’t anticipated that I’d do anything really involving the Western Isles or anything on that end of the Kreisens, but in the end it became a fantastic vector to get to the end.

Plus, I got to write fantasy ship battles using another redshirt, and have both die gloriously. Man, that worked out well, and it’s all because I had to fit this redshirt somewhere and Etain was the absolute right place.

So there you go. A bit of a sketch behind three of the most important characters in the series. There was some serendipity involved in these characters, but at least I was smart enough to recognize it when it hit me upside the head. Serendipity’s got a punch, let me tell you.

Rob’s Ramblings: Climbing the Mountain

Greetings all

None Call Me Mother comes out tomorrow!

I keep talking about how much I’m excited about this release, and it’s all true. I have scaled this mountain.

There were times I doubted I’d make it. However, it’s here, and it’s good. One of the reasons I think many people become authors is that they want to write the stories they want to read. I have re-read all of this series in the past week and it’s my kind of story.

Anyway, I thought I’d take a moment and talk about some of the things I discovered while writing this series. This series, more than anything else I’ve written, changed my processes.

First and foremost, I screwed up at the start of all this. I’m a pantser, meaning I write by the seat of my pants.

For the Edward stories, this works great. However, part of that’s because everything in those stories comes from the single window of the first person POV. The author can have a more limited view because both the character and the reader have that same limited view. We all expect certain things to happen off screen.

The Kreisens has a completely different structure. Yes, I want the character and the reader to have limited views, but for those limited views to mesh at the end required me to know everything behind those views.

I didn’t do this well.

I came close. I didn’t have to retcon anything important. I don’t see any huge plot holes, and neither did my editor. However, I missed opportunities for fun plants and hints in I Am a Wondrous Thing that I really regret. I also have great plot ideas that in the end I couldn’t use because to do so would have required major retconning I wasn’t willing to do.

So the first thing I will change the next time I write a multi-book story arc will be to either plot significantly (unlikely), or write all of it at once and release the trilogy (or whatever) in sequence with little need for change. A series is one kind of animal. A trilogy is another.

Second, my production process was flawed. Some of this was experience. I’ve gotten better at writing blurbs, for example. It’s its own craft and one I continue to practice.

However, I’ve never been pleased with myself in my original release of I Am a Wondrous Thing. A Lake Most Deep suffers from a number of issues, but that doesn’t bother me as much because it was my first book, and first books *always* have issues. Live, learn, get better.

But I Am a Wondrous Thing was book three and I just simply didn’t do a great job producing it. Of all my books, it had the most typos/mistakes. I would have made a much more active cover. It had the most extraneous words. The blurb wasn’t great.

It’s especially frustrating now because I see these things so clearly and at the same time I see a great story.

The good news about being an independent writer is I can fix some of these things relatively easily. Live, learn, get better, after all. I Am a Wondrous Thing made me do all three.

The biggest change was to add a verbal read-through editing pass. I now print off the entire book or short story and read it out loud (when the cats let me). While my editor does a great job, this pass lets me catch some things simply because I’m reading the page differently. Also, it helps me see words that aren’t necessary. Most importantly, I think, is it shows me when I’ve arranged a sentence badly, something I am wont to do. If I can’t read it out loud smoothly, then it needs to be rephrased or cut.

This one thing has dramatically improved the quality of my stuff, and I’ve done it with everything I’ve written ever since.

As part of the None Call Me Mother release, I wanted to make sure both I Am a Wondrous Thing and Brief Is My Flame matched.

So I did a verbal read-through editing pass on I Am a Wondrous Thing. It’s much stronger now, much sleeker. As I said, I didn’t retcon anything major, but I did add a few hints and plants that mesh better with the events in None Call Me Mother. In many cases, this was literally changing one word to another, even to the point of changing an “and” to a “but.”

Along the way, I also realized my method for novel organization had flaws. I like having a section where I can discuss the people who helped, things about the current book, and that sort of stuff. That’s why I wrote a Foreword in the first place. However, that gets in the way of the reader reaching the story. so I changed it to an Afterword.

All three novels now have the same internal structure on the electronic versions. There are some challenges to making that true for the print versions, but those will be completed by the end of the week, I think. All three will look and feel the same inside, except of course for the story itself.

Side note: This may or may not show up yet with existing readers by the way. There’s supposed to be an update feature with Amazon so you get the latest version. However, it’s not working on my copies, so I’ve sent them a message to ask what’s going on. Also, this obviously doesn’t change the physical copies. Keep those. They’ll be collector’s items someday.

In the past, I have put dates and locations on each chapter. I have also gotten feedback that this distracted the reader without really adding anything. Some of you will prefer having those details, and I will continue to make sure the time continuity works on my initial drafts, but they make the story ponderous at times.

A third thing getting in the way of readers were the wiki links.

Don’t get me wrong, I think the wiki is a great thing. For me, it’s a place to do my world-building, serves as my bible, and gives me a bunch of story ideas. For readers, it allows them a chance to really grok Shijuren. Again, my basic philosophy as a writer is to provide the content I want from those authors I love.

However, the links *in the prose* got in the way of some readers. Hence, I’ve done a compromise. The story itself has no links, but the appendices do.  It’s all in the wiki, and you can go directly to it from the appendices, but there’s no link distracting the reader in the middle of a sentence.

Readers are, after all, what’s important in all of this. All of these changes are based on comments made to me by you guys and I haven’t even touched on my changes to my prose. I continue to work toward streamlined, faster prose because again that’s easier to read, but I also strive to produce the books well. I’m getting there.

But I have scaled this particular peak. As of tomorrow, The Kreisens is a complete unit, freshly touched up, and fully annotated in a revamped and improved wiki. Best of all, I love it.

What a great thing to be able to say.

 

 

Rob’s Ramblings: Portmanteau

(Note: Published first on Mad Genius Club at: https://madgeniusclub.com/2020/06/29/portmanteau-a-guest-post/. Thanks to them for letting me join them with a guest post.)

You might know that portmanteau is a great word, but do you know just how wondersational it really is?

In medieval French, portemanteau meant “the “court official who carried a prince’s mantle” as of about the 1540s. This is fairly easy to see. “Porte” is the imperative of porter, which means “to carry.” Hence we get porter. “Manteau” is simply mantle.

In other words, “Hey, you, go carry that cloak.”

In the 1580s, it shifted to the more modern meaning: “traveling case or bag for clothes and other necessaries.”

While that’s still a current meaning of the word, it’s the not the one I find most fun. My favorite meaning is, of course, the combining of parts of two or more words to form another. Motel is a mashing of motor and hotel, for example.

The technical definition of a portmanteau in linguistics is: a single morph that is analyzed as representing two (or more) underlying morphemes. This means words like starfish or foreshadowing are compounds using two full words are not actually portmanteaus.

Now that we’ve got the boring linguistics stuff out of the way, lets get to the true magic of the word.

Did you know you can say tigons, ligers, and bears and be right? A tigon is a male tiger crossed with a female lion. A male lion and a female tiger is, obviously, a liger.

How fun is that?

OK, maybe I’m easily amused.

I bet eating a turducken with a spork is really difficult, but maybe delicious with a Cambozola cheese on the side. That actually sounds really gouda… (Sorry, I can’t help making cheese puns, even if they are a non sequitur).

Did I mention easily amused?

Anyway…

Here’s a portmanteau you probably use quite often. “Velours” is French for velvet. “Crochet” is French for hook (which is useful to know if your sweetie crochets everything). However, if you attach one to the other, you get Velcro. (Attach. See what I did there?)

Very easily amused, am I. Very.

Unlike most words, we have a specific time when it was first applied to this usage. The first person to say portmanteau in this way was….

Wait for it…

Humpty Dumpty.

No, really. Totally was.

OK, fine, it was Lewis Carroll having good ole’ Hump (as he’s called by his friends) speak to Alice in Through the Looking Glass. He said, “You see it’s like a portmanteau—there are two meanings packed up into one word.”

“Slithy,” by the way, is a portmanteau: slimy and lithe. “Mimsy” is one too: miserable and flimsy.

Speaking of amusement, now I’m wondering how many of you will spend hours scouring Jabberwocky for all the portmanteaus you can find. Bwa ha, bwa ha ha. For mine is an evil laugh.

But here’s the best part of it all.

Now when you use your Garmin (Gary and Min founded the company) to find a motel in Texarkana (or somewhere in Eurasia) and then undo the velcro holding something in your luggage, you can now let your mind drift to Alice in Wonderland and Lewis Carroll’s imagination.

And ain’t that spifftastic?

 

Rob’s Ramblings: Discombobulation

Greetings all

Like many of us, this is a discombobulating time. Events canceled like Gulf Wars, FantaSci, and March Madness. Concerns over family friends. And people will be talking of the Toilet Paper Rush of Ought-20 like they did the 1849 Gold Rush.

There are silver linings, though. One, I get to use discombobulation again and again. It’s one of my favorite words.

Two, I’ve seen people in various communities band together to help their friends and neighbors. It’s not unusual for these people to do that sort of thing, but it’s more obvious right now and that’s comforting.

But it’s still a discombobulating time.

As a writer and someone who works from home, I have some nice advantages. Obviously, if I have food, water, and electricity, I can do my job normally. Without electricity, I have to hand write things, which I can do, though my hand problems make that challenging. Still, I can get through a reasonable time and still do my job. That’s comforting too.

But it’s not without dangers. I am an only child and a tendency to get too withdrawn.

Worse, the cancellations and the discombobulation exacerbate my tendencies to hermit and dwell on things far too much. I ponder where things go and game scenarios out in my head. It’s a great trait as a writer, of course, but can often send me down the road to thinking too many bad thoughts. That’s what cost me September, along with fatigue.

Today I’m writing from Brewbakers. I suspect, I’ll be here most days during this discombobulation as long they can stay open. I need to get out and see the world and not simply through the lens of social media.

My suggestion to you all is to do the things you’ve been putting off because you didn’t have time. I’m going to throw myself at None Call Me Mother and work on some projects around the house.

I also suggest everyone look for cool things to do for other people. Discombobulations bring stress. The word is fun to say, but the experiences are often not. The more nice things we do, even small ones, the better we’ll all be when we get back to our normal rat race.

The best thing about doing nice things for people in a discombulated time? It has a tendencies to combobulate all involved.

Rob’s Ramblings: Cleared to Engage

Greetings all

This past weekend was the first weekend of the XFL. For many years I have been hoping for a spring pro football league and the XFL has been my best hope for while.

I would like a spring league not only because it’s more football, although I always want more football. It could also serve as a developmental area, because NFL teams just don’t have time under the current CBA to really do a bunch of developmental work on down-roster players. This is especially true for quarterbacks and offensive linemen who need full-speed repetitions to improve.

It is also an area to develop other aspects. Referees and coaches can also get more experience. If done right, it could be an place for innovation and experimentation.

The XFL held this promise, despite the fact that the AAF, which was announced at about the same, failed like every other competitor to the NFL.

Why do I think this will succeed when none have before? Vince McMahon is no idiot, and he wouldn’t try this again if he didn’t think he could make it work. He also made it clear he wanted innovations, not gimmicks. Where the AAF rushed to get their product to market, the XFL took an extra year to devise new ideas, test them for effectiveness and player safety, and make sure all the financial foundations were in place.

Now, we finally got to see the product. One of the major innovations was a radically re-designed kickoff system. Those who have been watching the XFL come together have been very curious about this one change in particular.

It was a huge success. So much so that I’d be surprised if it doesn’t become the norm for kickoffs within the decade.

And it’s emblematic of the innovations in the league. They promised a faster pace and they got it. Two specific rule changes were made to achieve this. One, 25 seconds between plays instead of 40 in the NFL. Two, there’s an official whose sole job is to spot the ball between play. A little thing, one might think, but I watched the officials make ready for play with an efficiency the NFL currently can’t even dream of.

The extra point has been revised, with 1, 2, and 3 point options. This has a ton of potential, though it’s clear coaches don’t yet understand all the possibilities. Punts have to be inbounds, but coverage guys can’t leave as quickly. We also didn’t see the double forward pass play used yet, but I see a bright future for it.

The closest thing to gimmicky was the immersive coverage. Cameras can basically go anywhere. There was one play yesterday when Jordan Ta’amu had to avoid a cameraman on the field. Players who made a big play, either good or bad, were interviewed almost immediately. It’s rough on the player to have to look into a microphone after a big mistake, but it’s fantastic TV.

And the broadcasts can let us all listen to everything that’s being said by the coaches and the officials via their radios. We can hear play calls as they’re being called. Amazing. When there’s a replay, we can hear the officials talking through the play and see them looking at their screen.

This last thing is huge, by the way. Everything is reviewable in the XFL, but reviews are quick, quick, quick. And we can hear them doing it. Sure, they pause the game, but not for a commercial. Instead, we’re seeing them adjudicate the play in real time and that’s a game-changer. Replays stop being boring and become entertainment in themselves.

Plus, let’s mention that having replay officials inherent to each game means they’re on the ball. Again, quick, quick, quick.

If the NFL doesn’t adopt the XFL’s replay system, and soon, they’re missing the boat.

And that’s exactly what I always wanted from a spring league. Opportunities for players like Ta’amu to practice his craft for a while and add innovation to the stodgy hide-bound NFL that sometimes gets too high and mighty.

Of course, none of this matters if it’s not good football. Fortunately, it was. All of the players were 90-man roster types, practice squadders, or even tail end 53-man roster capable. The NFL, by the way, has 90-man rosters at the beginning of training camp. By the end of camp, they have a 53-man active roster and a 10-man practice squad, which leaves 27 players to fend for their careers. That’s more than enough to fill XFL rosters.

Also, the difference between the 90th player and the 30th player is a lot smaller than many might think. Oftentimes it’s a question of opportunity, especially if a player gets hurt.

I suspect that many players might choose the XFL over an NFL practice squad in years to come. A practice squad player gets few reps, few opportunities to improve. An XFL starter gets a bunch.

In any case, the football this weekend was NFL-fast, fast-paced in terms of plays per minute, and filled with quality play. Sure, there were mistakes, but week one of the NFL season is filled with similar mistakes. QBs threw dimes. RBs made moves. WRs made great catches. Defenders made great plays. The offensive lines struggled a bit, but that’s to be expected and is exactly what we see in the NFL in week one and their struggles were often miscommunications, not a lack of ability.

And I’m not the only one to be impressed by the XFL. All across Twitter, people were talking about in. The vast majority I saw were impressed, including every NFL player, current or former, who I saw comment.

I’m excited because this will make football at all levels better and safer.

It didn’t hurt that the St. Louis Battlehawks, predicted as a major underdog, went on the road and won.

In any case, I’m hooked. I’m so glad we got season tickets this year. Go Battlehawks! #ClearedToEngage.