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- Cryoburn by Lois McMaster Bujold, Reviewed: Cryoburn is the latest Miles Vorkosigan novel, the thirteenth in a series stretching back a quarter of a century. Miles is now an Imperial Auditor with responsibility for investigating a company specializing in cryogenic storage that are planning on opening branches on Komarr. Miles becomes suspicious and travels to Kibou-daini, a world dominated by a populace who
- Sales: Cover for Damage Time by Chris Moore You can tell the authors at conventions. You just have to listen in. While the fans are likely as not to be talking what brilliant book they’ve read, or what film they’ve seen; the writers will be talking about money.* Because their incomes can be so precarious, and like any
- Magma: I’ve said many times –in many places– that I don’t write because I want to, I write because I have to. It’s a compulsion, which if it’s blocked off, leads to something close to clinical depression (my name is Colin, and I am a creative junkie….) Ever since I ended a particularly brutal bout of writing
- Black Static 23 Reviewed: Black Static for June / July 2011 contains the usual reviews and commentary, while the stories are mostly by returning regulars. V. H. Leslie appears for the second time in three issues, and already looks to be the magazine’s most prominent newcomer of the year. In ‘Time Keeping’ Howard believes that he keeps time running smoothly.
- End Games: People are always talking about the openings of stories. It’s an often quoted truism -especially by me!- that the first dozen lines of a story are critical. They are the unsolicited writer’s escape from the slush pile, or the path to a sometimes bewildered rejection. For the story that has been sold, a poor opening
Colin Harvey at Suite101
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Having been at lots of commentary records, where professional actors or professional presenters are reading from a script that has been specifically written for the purpose of being spoken aloud, you’ll be relieved to hear that even for them it is a lot harder than you might expect.
We often completely redo the whole of the first page at the end of the session, because their voice won’t have warmed up properly right at the start, and it takes a while to get into the rhythm of the piece.
I wish I’d known about re-doing the first page before. Actually, I probably did re-do it, I re-recorded the whole damn thing so many times — just not in one bloc….