Tuesday, May 16, 2017

Megan O'Keefe and the Scorched Continent Trilogy

As I open this hangout report, I would like to express my deepest thanks to Megan O'Keefe, not only for appearing on the show again and for being an amazing author, but for battling on through the technical difficulties that must have made her feel like she was talking to herself for an hour. Essentially, Megan couldn't hear any of us, so we had to write our comments and questions to her in the chat bar, and also try to read them aloud so that they would be audible on the video. Thus, if you watch the video, you will surely see the side effects of this difficulty. Google software updates often have unexpected effects on the quality of our recording! The good news is, they typically don't last long. I've also purchased a special microphone (thanks so much, Patreon patrons!) to improve the quality of my own audio.

Megan O'Keefe has appeared once before on the show, when she spoke about her book, Steal the Sky, the first book of the Scorched Continent trilogy. It's always great to have an author return and talk about the process of expanding and deepening a world for further books.

Megan told us that she feels the amount of worldbuilding for long and short pieces is similar, but that with the short pieces, not as much of that worldbuilding work gets to show up in the text. Thus, she finds that being able to expand into a trilogy was fun because it allowed her to explore and reveal more.

One of the things featured in the story is a prison. She asked questions like, What do you do with people who don't contribute to society? Do you rehabilitate? Do you punish? Do you cast out? In many societies, being cast out meant you would die. The culture of the Scorched Continent trilogy wanted to rehabilitate some people, punish the worst, and keep some for cannon fodder.

Megan told us she did internet research on the history of prison ships. Apparently the largest prison barge in the world is in New York and is still functioning! She had planned to have her main character break out of a prison ship, but this character likes to blow things up, and that would have done more damage than she wanted to the ship and lots of other people. In the end she chose to use a prison island, with Alcatraz as a model. In fact, you can find blueprints for prisons on the internet, and look at Google Earth aerial views of prisons. You can find historical blueprints of places like high schools, and think about how they plan for things like crowd control. There will be a quadrangle in the center, and everything around it will be modular for ease of construction and ease of blocking things off. I asked her if she'd ever played Prison Architect, and she had heard of it, but had not played it while researching this book.

Megan describes the world in her trilogy as quasi-Victorian but combining a mishmash of settings. It bears some resemblance to the Renaissance because Leonardos are popping up. While exploring, the people find a continent with a magical resource that will allow them to build airships. The seas are rough, but the gaseous element, called selium, is controllable by telepathy and brings about a technological revolution.

Apparently, book 3 is the planned end of the series, but Megan is working on a novella. One of the novella's main characters is a gentleman con man, and another is his friend and emotional caretaker. Megan says she designed it as a love letter to P.G. Wodehouse and his stories. It's a fantasy romantic comedy, but no magic actually appears in the novella. Megan is planning to self-publish this, so keep an eye out for it.

In 19th century prisons, like Newgate, there was experimentation on prisoners - some medical, some psychological. In the world of the trilogy, the Whitecoats experiment on magic users to try to explain why magic works.

The magic system of the Scorched Continent world is a resource model, where powerful people try to control the resource - selium - and thereby control the magic it makes possible. This influences dictatorships, diplomacy, and trade. Selium is a gas pushed up from volcanic activity, and the people of this world are originally from another area of the planet where volcanoes are now dormant.

Whenever you have a situation where the people who can handle or manipulate a resource are specialists, where only some people can make it work, those special people will be in demand. The craftspeople themselves are a resource to be controlled. In Megan's world, telepaths become a resource, and this leads to human rights issues.

Next paragraph contains a spoiler for the selium-telepathy link:

One of the characters can see the selium molecule at a microscopic level and detect it in people's bodies. Some people have it pass through the blood-brain barrier. Even when people don't actually know how something works, there has to be a common cultural explanation for why that thing works. Do they think a substance is in the air or the water? The permeability is genetic, but the gas causes people to develop a disease called bonewither with long exposure.

If you are a rich merchant family in this world, you don't want your kids to have the selium ability. That restricts your job. It's especially a problem for the sole heir of such a family. People are pushing back to try to take control, hiding their abilities. Revolution is brewing.

Velathia is the source for the primary government because their volcanoes were dormant and they came up with workable sailing technology, that allowed them to spread through the islands.

The Katari lived on the Scorched Continent first, and they have a more relaxed relationship with selium. However, their society was smaller because of the extent of the badlands. They were taken over by the Velathi. Colonization is an issue in all three of these books. One character is an agent of the indigenous people. People born on the Scorched Continent are loyal to it, and don't identify as Velathi. They also have technology, and that gives them the ability to push back.

The magic of selium is finite, because selium is non-renewable. Megan shared with us some of her ideas for the far future of this planet. She thinks selium will cause global cooling, and that tectonics of the planet will slow. She told us she's having fun imagining the kinds of pressures this would put on the people of her world.

Megan, it was a pleasure to have you on the show! Thanks for letting us in on the intricacies of your world (and for being patient).

This week, Dive into Worldbuilding meets at a special time: Wednesday, May 17th at 5pm Pacific/8pm Eastern. We'll be speaking with author John Chu. I hope you can join us!


Friday, May 12, 2017

Working Animals

Humans have employed animals in jobs for millennia, and also do so in fiction, so we had a good time with this topic. Dogs are used for herding cattle, herding sheep, fighting off wolves, hunting on the ground, hunting under the ground, etc. etc., but they are not alone. There are also horses, cats, companion animals, and many others. And in fiction, cats don't just hunt rodents, they also help solve mysteries! (They do, I swear.) We figured that the dragons in Anne McCaffrey's Pern books also counted as working animals, since they are saddled and bred and used to combat Thread. We couldn't decide if the horses of Valdemar counted as working animals or as independent sentients.

We talked a bit about pets. The pet-owner relationship is culturally defined and differs across the world. Kat told us that the difference between food for humans and fodder or feed is very distinct in Japanese, and that it would be very strange to consider a pet a family member in Japan. Obviously, pets are often considered family members in America. This may have to do with people wanting to nurture and play the role of a parent. We played around a little with the idea of humans being pets for another species.

It may seem a small step from pet to emotional support animal, but from there you can step to service animal, and a service animal is a hardworking animal indeed. There's a likelihood that a service animal might be considered family even though it is working, while a herding animal probably would not be. It seems in some ways similar to the distinction between a human nanny, who is often considered part of the family, and a gardener, who is not by virtue of the difference between their work environments.

We spoke a bit about horses, and had an important reminder that as authors we really need to consider the food and water needs of working animals in our stories.

Kat speculated that if you had cows in space, you might capture methane emissions for fuel!

We talked a bit about using sentient animals in stories, and how those animals might manipulate things (with toes or lips). I mentioned the sentient elephants in Lawrence Schoen's Barsk.

Kat encouraged us to question the assumption of human sovereignty in interaction with animals. If you were to run into alien animals, would enslavement and colonialism be your approach, or would you choose companionship? What would it be like if you had not developed the kind of co-evolutionary relationship that humans have with Earth animals?

The basis of the working animal relationship appears to be the concept that "the thing that animal is doing could be useful to me."

Going on the basis of that, the concept of working animal could potentially be expanded. We wondered if the shai-hulud worms of Dune could be considered working animals. Honeybees might be considered working animals in some sense, even though we don't have a mammalian relationship with them. What about sugar ants?

We also had questions about animals like chickens. If a chicken lays eggs for you, is it a working animal? Or is it a food animal (would you eat it)? Would geese be working animals? Where is the border between the abilities of the animal and its substance?

We also looked at the question of why we work with some animals and not others, like goats vs. deer. Goats climb, while deer jump. Some animals are not easily tamed. A lot of it also has to do with their attack and defense characteristics. Hares and rabbits are very similar visually, but rabbits can be tamed and hares can't. Behavioral differences can also be critical.

Llamas and donkeys are definitely working animals. They are not only employed as burden-carriers, but often as guards for other animals. Llamas guard milk goats from pumas in Pescadero, California, and donkeys in France guard ducks from foxes.

What are the characteristics of humans that might make them useful to another species? Community building? Curiosity? Could we be perfume harvest animals?

Larry mentioned pigs and truffles. When you use pigs to find truffles, you have to distract the pigs so they won't eat the truffles. Some truffle hunters use dogs, which would not be interested in eating the truffles they found. Here is a link about truffle-smelling dogs. Apparently farmers who use pigs for truffle-hunting sometimes lose fingers! Retriever dogs are trained not to eat the birds they retrieve. Fishing cormorants have rings placed around their throats to keep them from eating the fish they catch.

Falcons also are working animals. They are parallel in some ways to the fire lizards in Anne McCaffrey's Pern books.

There are a lot of different animals with relationships to humans, and it's interesting to speculate about how those relationships could be expanded, shrunk, reversed, or mimicked with alien species.


Wednesday, May 3, 2017


This seemed like an appropriate topic for spring, because of the prevalence of spring allergies! People can be allergic to all sorts of things, like milk, hormones, metal, pollen, etc. There are contact allergies, inhalation allergies, and ingestion allergies. At first glance, it seems like allergies don't feature much in fiction, but examples will crop up as you think about them. One of the first we thought of was Daniel Jackson in Stargate, who has hay fever.

Sometimes allergies are portrayed as jokes. Daniel Jackson's is - jokes like when they send a box of tissues through the gate and receive a reply "send more." There has also been an instance on this show of the cure to a disease being an antihistamine.

In Shira Glassman's Mangoverse, the queen has food sensitivities.

Allergies can also be found in literature for children, which might be a place that hard-core genre readers aren't reading a lot. Sometimes it takes the form of "You can't have adventures because ____".

Allergies can be very serious, utterly life-changing, and life-threatening. Something like asthma could totally change your plot. Food allergies could feature in a story about first contact.

There are some allergies in Star Trek. Kirk was allergic to eye medication. Jedzia Dax had a kind of juice that would make her spots itch. Wesley was allergic to a pain medication.

Reggie speculated that you could write something really interesting about an amphibious world where humans needed life support because they were allergic to everything.

We remarked on how our memories elide things from our familiar narratives, as when allergy situations occur but we don't notice them. This link has a truly impressive list of contexts in which allergies appeared in Star Trek, most of which I had no memory of.

Do we need something to be a pivotal piece of the main plot in order for us to remember it?

Climate change is causing people's allergies to get worse.

People who are terraforming a planet should be expected to have allergic reactions.

One novel that takes on the question of allergies in an interesting way is Mira Grant's Parasite, discussed at this link. A company has engineered parasites that keep people from having allergies and provide other benefits, but which have certain terrifying side effects...

Symptoms of allergic reactions can range widely, including hives (urticaria), itchy eyes or hands, nerve pinches, systemic inflammation, neuralgia, chronic pain, eczema, in addition to runny nose, asthma, and sneezing. Reggie knew someone who had a dairy allergy misdiagnosed as fibromyalgia. Che mentioned that allergies can also have emotional side effects. They can even cause malabsorption of other nutrients.

People can also be allergic to metal. Some people have super-corrosive sweat, such that they can even leave fingerprints on stainless steel. A study on it can be found here. When the metal breaks down in contact with the skin it can cause painful rash.

We discussed the hygiene hypothesis, which suggests that an increase in allergies may be caused by a reduction in the number of pathogens that our immune systems have to deal with. The immune system doesn't "have enough to do," the hypothesis goes, so it attacks odd substances. Lower allergies in certain groups of humans have been linked to exposure to parasites. People who are exposed to pigs, or even to some pets, will have fewer allergies.

There was a period when my own kids were small when doctors would advise parents not to expose their children to certain types of foods until a certain age - strawberries until age one, for example. The purpose of this advice was to reduce allergies, but it was later found that this advice had the opposite effect.

Serious allergies have been treated with controlled exposure to the substance the person is allergic to.

Another possible effect of an overactive immune system is autoimmune disease.

There are a ton of story ideas that came out of the discussion:

What would first contact be like if humans were allergic to the species they're encountering? We hypothesized that intermarriage would be out. Kate said the aliens would think "humans make exploding sounds and emit liquid in mist form." Reggie remarked that it would be very easy for some people to spin an adverse reaction as intentional harm. We imagined what a fantasy epi-sword might be (as opposed to an epi-pen). Kat thought of a context where a person recognizes an allergic reaction but meets resistance when they try to stop it because of a clash of medical practices. A society more advanced than ours would consider our medical practices barbaric. What if a potter were allergic to clay? Che noted that she knows a dollmaker who is allergic to resin and does her work in a hazmat suit.

Thank you to everyone who contributed to this discussion! Today's hangout meets in one hour to discuss Children; I hope you can join us.


Tuesday, April 25, 2017

Mental Illness - social impacts

I really enjoyed this hangout. As with many of our discussions, we were taking on a HUGE topic, and were not able to cover everything about it. I began by recommending the book The Midnight Disease by Alice Weaver Flaherty, in which the author, a neurologist herself, describes having a postpartum psychotic break that caused her to become hypergraphic (not able to stop writing). The book examines mental illness and the building blocks of creativity and the genetic links between them.

We made a brief list of some mental illnesses. Clinical depression, anxiety, bipolar, schizophrenia, dissociative identity disorder (used to be multiple personality disorder) are just a few. The classifications change all the time. Gender dysphoria was recently removed from the list and is no longer classified as a mental illness.

What is and is not a mental illness is a tricky question. Historically, there have been a lot of cases of putting people in mental hospitals against their will for illegitimate reasons like cultural difference or just wanting to control them. The definitions of mental illness are culturally and politically determined. They do NOT include a range of neurological issues such as attention deficit/hyperactiity disorder or autism.

Mental illnesses can co-occur and even cause each other.

Marginalized groups in society who are oppressed also tend to have higher rates of mental illness like anxiety and depression, caused by the oppression. Unwillingness to trust authority makes a degree of sense when authorities can't be trusted - but standing up for yourself has sometimes been classified as "oppositional defiance" disorder.

In the United States, health insurance is a problem. Often the poor are not able to get treatment for mental illness for economic reasons.

There are also instances of people who don't get treatment because they don't want to admit they have a mental illness. Mental illness is stigmatized in many societies.

The question of mental illness is also complicated by phenomena like gaslighting, where someone tries to make someone believe they are "crazy." This abuse tactic can in fact co-occur with real mental illness that has nothing like the same effect.

We spoke for a few minutes about the tangential topic of perception of reality, and consensus reality. Ideology is folded into this in interesting ways.

We asked what one might do to portray mental illness in fiction, and of course the key was RESEARCH. Read a lot, and seek out first-hand journal accounts if you want to portray any particular condition from the inside. I spoke about how I had used the mental illnesses of obsessive-compulsive disorder and paranoia to change the portrayal of the villain in my novel. One of the keys, though, was making sure he was contrasted with his father, who is also evil and sane.

Don't fall into the trap of equating violence or evil with mental illness. The mentally ill are far more likely to be victims of violence than perpetrators of it. Try to steer away from the stereotypes of the magical or holy mad person or the evil mad person.

I mentioned This Alien Shore by C.S. Friedman, which features a planet where everyone has what we would call "mental illness," but their neurological uniqueness is seen as a potential advantage and they are given jobs that play to this uniqueness. They also make up their faces to indicate to others around them what kind of accommodations they might need.

We also spoke about the show Legion. Legion has different personalities related to different X-men style powers. One of the things that got mentioned was how secondary characters in the show have different perceptions of reality based on the kinds of powers they have, which influence their behavior. A character who can temporarily switch minds with someone else just by touching them will be touch-phobic, for example. Powers influence mental states.

Kate said that "society gaslights the mentall ill via a pop culture worldview." The way that pop culture narratives portray mental illness is often inaccurate, particularly since the internal experience of mental illness is so incredibly variable.

People living in society are dependent on each other for all kinds of life functions. Access to those is controlled by others. Cutting people off, exile, etc. harms people. Solitary confinement is a punishment but causes people to lose their mental health (and our societal choices of whom to imprison have a huge influence on who is vunlerable to this).

When you don't fit in, you can be labeled and excluded.

Thank you to everyone who came to participate. This was an interesting discussion. This week we meet on Wednesday, April 26 at 10am Pacific to speak with guest author Megan O'Keefe about books 2 and 3 in her Scorched Continent series. The link to our first discussion with her, about Steal the Sky, is here.


Saturday, April 15, 2017


We had a great discussion of Oceans. This is a huge topic, obviously, and one that can be approached from many directions. Oceans have scientific characteristics. They are often trade routes. Some are believed to have sea monsters. People often depend on the oceans for survival. How dependent are they?

The Vikings living in Greenland had no roads over land, and exclusively used the oceans to travel. They hunted walrus and used their tusks for ivory to trade.

It's important to have respect for the dangers of the ocean. We talked about whether people who fish would have more or less respect for those dangers. Intimate knowledge leads to less fear. Kat told us she lived on a boat for five years. In her experience, coastal people were more antagonistic toward the ocean, while people who live on the water fear it less. If you go out for long voyages, how normalized do you make the ocean versus the land? If you are on water for a long time, your brain adapts to the constant motion. Kat told us that after she had lived on the water for a long time, she thought of it as home, and being on land seemed weird.

There are also historical instances of sailors who don't swim. This came from the idea that you should fear getting off the boat to increase your loyalty to it.

I mentioned how we had visited friends on the island of Ama, 3.5 hours ferry ride north of the island of Honshu in Japan. Our friends' home is right beside the ocean, with no beach but a stone retaining wall separating them from the water. The kids would go out to play and jump into the water very casually.

Depending on the conditions surrounding where you live, you may be able to wade very far out into the water at low tide, or not. The continental shelf is very close to the shore in California, but farther away in Japan. There may be a lot of rip tides in your area, and that can create a greater fear of going into the water.

Land travel is gradual. Sea travel is interrupted. The cultures of the two are very different.

How you anchor a ship differs depending on where you are. Methods are different in the Mediterranean, the Caribbean, and the North Atlantic. The type of anchor differs, as does the number and strength of the boat crew and the amount of cooperation.

The boat Kat lived on in northeast Florida was a 34-foot Ketch sailboat, with 31 feet of room on deck from fore to aft and 14 feet in the beam (across). She once sailed through a tropical storm "with lots of anchors." She says the boat was "seakindly," which means it's really responsive to wind and waves. She nicknamed it "weeble." She saw dolphins swimming around the boat, and developed an awareness of weather that she hadn't had as a resident of southern California.

If you will be using boats in your writing, Do Your Research. This is a topic that has a very long history and varies widely across cultures. There is a lot of specialized language associated with it.

When you personify the sea, what happens? The Norse have male and female sea gods. Is the sea male? Is it female? Is it both? You can apply any set of gender stereotypes to it if you really want to. Kat said that in Japanese folk tales, the sea is typically not gendered. Ocean things are generally associated with the Shinto religion. Susanoo-no-mikoto is the god of storms and the sea.

I mentioned the book Ship of Dreams by Elaine LeClaire, written by our own discussant Lillian Csernica. Because she has a deep interest in ships through her family, she was very exact in her descriptions of the ships, and in fact, she completely and carefully redesigned the pirate ship in the book so that it would fit a captain who was 6'4" (as the romance genre required) and who had a private cabin.

We wondered what it would be like to have a waterborne TARDIS in Doctor Who. You would want to be careful to keep the entryway above the water!

Our discussants recommended Aria of the Sea by Dia Calhoun, and The Scar by China Mieville.

Kat told us that most watercourses are shallower than they claim to be because of silt. She also said you can rent a boat and navigate the canalways of Europe to the Mediterranean.

There is an enormous body of mythology related to the sea - sea creatures, sirens, kelpies, naiads, etc. We were scarcely able to touch on it in the hour we had for this discussion, and should probably return to the topic soon!

The Netherlands have a National Maritime Museum, the Scheepvaartmuseum.

Aphrodite was born out of the sea, and Heimdall had nine mothers who were all waves of the sea.

There are also sea burials, and Viking burials. Apparently, cruise ships have a small morgue on board in case people die during a cruise (the average is two because of the typical age of cruisegoers), because people expect to get the bodies back. Brian told us that Admiral Lord Horatio Nelson died at the battle of Trafalgar, and his body was brought back in a barrel of brandy with camphor and myrrh, then placed in a lead-lined coffin filled with spirits of wine to travel from Gibraltar to England. Other sea captains might have been preserved in rum, but dead bodies are hard to preserve and space on a ship is at a premium, so bodies of less important people could be tossed overboard.

When Australia was sending convicts to populate its territories, they would not put murderers on the ships because no one wanted murderers to be trapped on a boat for six months. They would usually send burglars and thieves. Brian explained how it was a sort of prison pipeline, deliberately offering disproportionate punishment in the interest of helping Britain keep territory against the Dutch and others. It's always important to ask "who is profiting from this?" Once slavery had been banned, it was an alternative way of forcing people to go and do necessary work in the territory. We compared the way that Sydney was populated with the Mission era in California.

Thanks to everyone who attended! I really hope we can get back to the topic of Oceans soon, because we barely scratched the surface.


Alyx Dellamonica: The Nature of a Pirate

Alyx Dellamonica joined us to talk about her book, The Nature of a Pirate, which came out last December. It's the third book of her Stormwrack portal fantasy trilogy. Part of it takes place in San Francisco, and part in the world of Stormwrack. The main characters are trying to find out whether Stormwrack is an alternate Earth, a future Earth, or another dimension. They believe there will be a scientific explanation, though the character Bran will have to study to find out more. Alyx told us she sometimes pitches the series as "Narnia for environmentalists." The moon of Stormwrack seems identical to ours, but so much land is missing from Earth (most of Asia, for example!). The main character, Sophie, can't figure out where the Himalayas have gone. Alyx told us there is a faint thread of plausibility in the Stormwrack scenario that you can learn by reading the trilogy...

In Stormwrack, curiosity is considered a cultural flaw or defect. Alyx says we forget that the scientific method isn't a "cultural gimme." Some cultures believe that if God gave you something, it's impudent to ask questions about it. Stormwrack has 250 island nations, each with proprietary spells suited to its particular climate, trade, and war. You don't pry, so you don't question others' practices. Interestingly, and problematically within the story world, "others' practices" includes chattel slavery.

A world with 250 nations seems very large and potentially very involving in terms of worldbuilding! Alyx explained that she figured out before writing the books which nations would be featured in each book. She also explored using shorter stories, such as "Losing Heart Among the Tall," which features Gale and Garland parrish, and appeared at Tor.com. She either uses research to construct the nations and their cultures or imaginative explanation from her own personal experience. She says she based the Verdanii on her own experience of the prairie, and grain farmers, growing up. The nation of Erinth is medieval Florentine, with a volcano much like Vesuvius that is contained by magic. Alyx estimates that about 30 nations are mentioned, and seven or eight get play in the books. She says she was disappointed not to be able to go to Verdanii in the books.

She says, "I love worldbuilding." [No wonder I loved having her on the show!]

Alyx told us that she has spent time in San Francisco with a little locus of family, and she has also taken tours to Vancouver, Seattle, and Portland, which helped with her research for those regions.

We spoke a bit about language use in Stormwrack. She says the main idea is that the people of Stormwrack speak many languages, but all share "Fleet Standard" which ends up being used in translation in the books. The main character, Sophie, gets magically taught how to speak Fleet, but she must then learn to read and write. She's often a better speaker of Fleet than the locals, for whom Fleet is a second language (since their first is the main language of their island nation). People in Stormwrack "weaponize" their speaking of their native tongues for the purposes of keeping secrets.

The language of Sylvanna had a big influence of Fleet. There's an Italian-like language, and a Russian-like language. The pirate nations draw a bit from French. Alyx says she was very glad to have a bilingual copy-editor for a previous book. We remarked that dictionaries are the last places where you would expect to find official notice of ongoing language change, and are naturally very conservative.

The ships of Stormwrack are biological - one very intriguing aspect of the world! I asked about the magic system, and Alyx told us that magic takes ingredients from local microclimates. People write spells on parchment, turtle shell, or other localized items. The spells are like works of art and must be perfectly worded and lettered, with ink, quills, or other tools. Each unique magical artifact is like a contract with reality. The letters will glow and magic will happen. For example, in Erinth, there is a statue made of volcanic rock with a spell written on it, and it is that artifact which holds back the volcano. The physical destruction of the magical artifact will break the spell.

People in Stormwrack preserve the environment around them to maximize spell opportunities. There are some jurisdiction questions between islands. Invasive species can also be a problem.

Sophie is a diver and videographer in our world, but she is the only scuba diver on Stormwrack, and she is very bothered by this because you are not supposed to dive alone.

We wound back again to the question of the ships. The idea of unique magical spell artifacts is relevant here because the vessels are magical, and have biological characteristics. The Verdanii use whale-based ships, which are mammal on the bottom and forest on top. There is also a type of immolator ship which is designed to burn other ships. Temperance is the name of a big battle ship, which has a spell that allows it to sink any ship if they know its true name. Generic things can't be enchanted; they must be unique.

We spoke briefly about magic systems. Although they generally need restrictions, Alyx told us that she can't stand restrictions on magic that seem artificial. That's why in Indigo Springs she wrote about magic that was almost limitless, but would destroy Earth if used to its full extent.

In Stormwrack, names are very important. It is possible for people to secretly change names.

Alyx told us that there is no political correctness in Stormwrack. There is lots of racism, and no respect for disability culture. Mermaids will woo people in wheelchairs to become mermaids because they believe the person would better off as a mermaid.

The magic of Stormwrack does alter people. If you have an ability created by magic, but you are not visibly altered by it, you are "enhanced." If you have become a mermaid or have any of a particular set of visual and functional alterations, you are a "transform." If you have undergone extreme changes in appearance, you are considered an "oddity."

At the beginning of The Nature of a Pirate, a creature is used to sink a ship. I asked about this. The creature is something of a doppelganger, called a "fright." The skill of fright-making was banned on Stormwrack. Usually the frights are human-like, but sometimes they are animal. The people of Stormwrack thought they had burned all the spells and materials that would allow fright-making, but someone has resumed doing it. Frights are less like transforms or even oddities, and are more like automatons or zombies.

We spoke a bit about racial distinctions on Stormwrack. Alyx told us that skin colors, epicanthic folds and other physical features we associate with racial distinctions are mixed up so that they don't fit our own models. Verdanii have copper skin, straight dark hair, and dark eyes. Her idea was that they had an aboriginal population which was colonized. Stormwrack has a history of constant raiding, so there has been a lot of genetic mixing.

Morgan asked Alyx to give us more details on spells. The spells need to be very controlled rather than natural. Alyx described them as "artisanal." People who do magic are those who are meticulous and have beautiful handwriting. Alyx told us about a quilt she inherited which had perfect stitching (and then got ripped by her kittens, aigh!). Spells in Stormwrack can also be recycled. Because Sophie was enchanted to speak Fleet, her tongue could later be used as a translator. If someone has teeth enchanted to create light, their skull could be used as a lantern. In some sense, this creates a black market for enchanted body parts.

Alyx told us that Fleet, the language, was created to combat pirates. Stormwrack has had 100 years of peace, but it is breaking down due to piracy, population growth and resource pressures.

This is a fascinating world worth exploring. The novels in the series are:

1. Child of a Hidden Sea
2. A Daughter of No Nation
3. The Nature of a Pirate

Thank you so much for joining us, Alyx! Next week, April 19th at 10am Pacific, we'll be discussing Working Animals, and the following week, April 26th at 10am Pacific, guest author Megan O'Keefe will join us to talk about her Scorched Continent trilogy. I hope you can all attend.


Tuesday, April 4, 2017

Maurice Broaddus and The Voices of Martyrs

It was a real pleasure to have Maurice back on the show! This time we were discussing his new short story collection, which was released a couple of months ago (now) through Rosarium, and features short stories he wrote between 2006 and 2014. He said he hadn't considered putting a collection together until someone suggested it a few years ago. Maurice told me he doesn't think about writing in genre, just writes the piece first and figures it out later. Because some of the early stories in the collection deal unflinchingly with slavery, they were sold as horror pieces. When he was asked to put together a collection, he tried to figure out if there was a theme he could draw on because he's written so much in so many different genres, but he arrived at "considering the African-American diaspora through the lens of history, past, present, and future."

Maurice tells us he loves worldbuilding. He likes to build a world and then go back and revisit it. The first story in the collection, Warrior of the Sunrise, takes place in ancient Africa. He also has stories set in a science fiction world of the future. He really likes returning to a character he loves.

The story "Rite of Passage" is told from the perspective of a white captain on a slave ship, and features some really fascinating self-justification by the captain about why, even though he's obviously in the business, he's not as bad as other members of his crew. The prose is really historical and wonderful, and the captain's language contrasts in really interesting ways with the speech patterns of his first mate, Hawkins, who is much more honest about the business that they are in. One of the other stories has a soldier as a lead character, and another has a lady working on a plantation.

I asked Maurice how he developed the historical voices he uses in these tales, and he said "I read a lot of collected stories of emancipated slaves in that era." He wanted to take in as much of the language as possible so he could learn how to use it in the way they would, to reflect their thoughts.

The story "Family Business" takes place in Jamaica, and language use is very interesting there. Maurice said he was paying attention to his family to learn the language style, where people code-switch (change language or language style) depending on who is in the room. Maurice explained that his mother came from Jamaica, Maurice himself grew up in London, and his siblings grew up in America. "I'd just put a recorder in the middle of the dinner table," he says. Apparently, everyone would be self-conscious for about five minutes but then start speaking normally. Listening to the recordings gave him the opportunity to consider slang, how each person speaks, and how their use of language changes. He said he also recorded his son's slumber party once, and it was great to hear their use of slang, what topics they discussed, and what boys think about. He later asked the boys what they had talked about, and found they didn't remember everything accurately. "They had no idea they'd spent a half an hour discussing farts."

The key is talking with people, capturing conversations, studying rhythm and word choice.

I had to ask Maurice about the story that very obviously references Parliament Funkadelic. He said that "The Electric Spanking of the War Babies" was originally published in the Glitter and Mayhem collection that featured disco and roller-skating. He explained that he co-wrote it with Kyle Johnson after an evening discussing ideas over gummi bear flavored vodka while playing Parliament Funkadelic.

I also asked him about the universe featured in Pimp My Airship. Maurice has written a number of stories in that setting, including Buffalo Soldier, which is at Tor.com and features the origin of the Starchild (a clone of Haile Selassie) and his guardian. We got to see some book covers (so check out the video if you're curious). Desmond takes the child so that he can live his own life and not be a pawn of politicians, but is being pursued. The child represents technology, but they head into the Nation-state of Texas and territories on the West coast. In this world, the United States uses steampunk technology, but Jamaica and the First Nations have explored technology that is not steampunk.

The origin of the Pimp My Airship universe was Twitter, where Maurice tweeted as a joke that he was going to write a Steampunk story with all black characters and call it "Pimp My Airship," and suddenly editors were very interested! The question he had reading Steampunk was "Where are all the Black people?" A lot of Steampunk erases them.

When he wrote the story "Steppin Razor" he was asking "Where does Jamaica fit in all this?" In this universe, America lost the Revolutionary War and is still a British colony. In this universe, Jamaica kept all its resources, as did the First Nations, so they have their own technology. Steampunk tech is not the "height" of technology.

When Maurice looks at where he stands in a particular genre, he wants to write stories that he could have grown up reading. Tonya suggested he write a story about Nanny and the Maroons, and Maurice said in fact that he was going to write a tale of young Nanny for the Hidden Youth anthology, but the idea hasn't become a completed story yet. When he studied Nanny's character for "Steppin' Razor" he discovered there was a lot there.

I asked Maurice if the process of putting together the collection influenced his overall thoughts about his writing and his career. He told me that he thinks deeply about what he is doing with his stories. When he has a new job in the community, he gets to hear new stories. He mentioned that the results of the election have been weighing heavily on him as he considers what they means for him as a black man in America, for his community, and ofr him as an artist. He strives to control the narrative of his own community, and thinks a lot about what that should look at. He says he's politicizing his art. His latest stories take place in the same community in Indianapolis with magical realism. He's developing interconnected short stories within the community, considering the diversity of what it means to be Black. He's also looking at how Africa is portrayed and trying to get away from the dominant image of starving kids, controlling the narrative to show a variety of voices. Eventually, he says, there will be another collection of stories all in this one community. He also has enough stories he could do a Steampunk collection.

Thank you so much for being there, Maurice! I hope to talk to you again about more of your work. Thanks also to everyone who attended, and let's all look out for the novella Buffalo Soldier, coming out from Tor.