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Broken Heavens: Update (Amazon pre-orders, shifting release dates, etc EXPLAINED!)

Howdy folks!

As I’ve discussed on Twitter and on the podcast, The Broken Heavens mostly-sort-of-done-kinda-partial? draft I sent to my agent/editor was found wanting, and requires a lot of revisions. These things happen. In the mean time, the due date for my next book, the military SF novel THE LIGHT BRIGADE is due to Saga Press on February 1st.

Deadline #2 LOOMS.

Ever since we snuck GEEK FEMINIST REVOLUTION into our existing schedule a couple years back, I’ve been struggling to catch up on my deadlines. Add in the weird break between the first two Worldbreaker books contract and the third Worldbreaker book contract, with the Saga contract between them (since Angry Robot was sold, they couldn’t buy the third book for like six months or something), and my deadlines got ultra messy. Also, the US descended into fascism, of course, which is bad for everyone’s deadlines.

Anyway. Agent and I discussed these issues and decided it would be best to hit the Saga deadline on time, since I’m clearly not going to get any less late on delivering The Broken Heavens. My agent let my publisher know this just before I left for Scandinavia. The publisher did note that pushing out the date could cancel people’s pre-orders, but my agent forgot to forward me that part, so I was just as taken aback as all of your. These things happen.

Now that I have the heads’ up, well – yeah, cancelling pre-orders is pretty shitty on Amazon’s part. Though shifting the date out to 2019 or 2020 may not have cancelled them? Maybe? Who knows? It’s a thing that can happen, and I’m sorry it did for all of your who pre-ordered through Amazon and I wasn’t able to give you a heads’ up (I’m getting emails, DM’s AT WORK, and notifications of all kinds and I’d rather be writing). Writing is great, but the wheels of publishing can be really shitty sometimes, because there are a whole lot of moving parts and pieces.

Ultimately, the fault is with me for writing a book that’s very late. At this point, as said, I’m trying to save the publication schedule with THE LIGHT BRIGADE since the Worldbreaker timeline is already fucked. Sometimes you can’t force a book. I churned hard on The Broken Heavens, but my agent promised me she’d tell me when stuff wasn’t up to snuff, and she called it with this one. It will get there, but I needed to cut a lot of stuff, and as said – that Light Brigade deadline was getting closer and closer.

So despite what Amazon may tell you, no, the book is not out in 2035 (my on-signing payment for this book was $5k. I would just send it back if that were the case and move on!). It’s still on my schedule, I’m still working on it, but LIGHT BRIGADE has to take priority so I don’t miss that deadline, too. That said, it’s had to come off of Angry Robot’s publication schedule since we no longer have a firm turn-in date (“after Light Brigade” is best I can do), which means we’re not sure when we can get it back in. That will depend on when I can turn it in. And that’s all on me.

That’s the best I have for you! Sorry for the confusion. I like to have a heads’ up before this stuff happens, but there are a lot of players here and I was also traveling for a couple weeks, and sometimes these things get dropped.

You know I love you all, and thank you for supporting these books. Sorry it’s where it’s at and Amazon is weird. It’s not the publisher’s fault.

In the meantime, remember that you can get monthly stories from me via Patreon, and I will let you know when I actually TURN IN A REAL DRAFT of Broken Heavens and the book is back on the publishing schedule.

THAT information, at least, I will know for sure!

 

The Bleeding Heart of the Story: Reflections on a Career in Fiction

My first novel, God’s War, came out in 2011. It sold long before that, in 2008, but due to the vagaries of publishing, came out much later from a different publisher. I started writing it in 2003 and finished it in 2007, when I was 27 years old. This was not, of course, the first novel I’d ever written, but the ninth. And I can’t say there was anything about that novel that made it sell while the others didn’t. In truth, that book was a really hard sell, and almost never made it onto the shelves at all. But unlike my prior work, it had a pretty simple quest plot, which helped keep readers engaged, and I threw in pretty much every great idea I’d ever had – Bug magic! Centuries-long wars! Violent matriarchies! Harsh desert! Colonized worlds! – and just had fun with it.

In discussion with my agent on the latest episode of the podcast, though, I started thinking about what it was that made these books to compelling for people, and why The Stars are Legion (which was, emotionally, the toughest book I’ve ever written) seems to be doing so well. The truth is there are so many things in publishing that are beyond our control that we can’t say, “Well, this one is just a good story!” to explain why some did well and some didn’t. The Worldbreaker books have all earned out as well, and sold more than the God’s War books, but people don’t get as emotionally invested in those books as the God’s War books and The Stars are Legion. People don’t cry over them the way they do my other stuff.

It’s the emotional connection that we make with stories that makes them mean so much to us. On the podcast Hannah mentions how much she loved the Twilight books, not for their clunky prose, but for how well they captured, for her, the experience of falling in love for the first time. That was a bit revelatory to me, because these were books that I never connected with. But talk about The Girl on the Train, and I’ll tell you it’s not only the mystery aspect, but the fact that it’s a woman who drinks too much who’s being (spoilers) gas-lighted. And whoa boy did I ever connect with that whole, “Everyone thinks you’re crazy but you’re actually being set up by a nutty dude,” experience. It’s something a lot of women in particular deal with, and I was wholly invested in her discovering she was not actually crazy because it mirrored so much of my own journey toward discovering feminism. I often think that the reason a lot of YA novels don’t connect with me is that they don’t explore emotional themes that really interest me right now the way that many adult novels do. YA tends to be about finding oneself, about the first discovery that the world isn’t what you were told it was. And I’m past that and on to other things.

This discussion about the bleeding heart of the story led me to ask what the bleeding heart of the story was in my own work. It’s interesting because you don’t always know what the heart of the story is when you first begin to write. It wasn’t until Nyx fell to her knees in the ring at the end of her big fight at the end of God’s War that I knew what the heart of that story was about. Nyx struggled with all sorts of issues related to faith and submission, and independence and dependence. These were issues I, too have and do struggle with. Much of Nyx’s emotional struggle throughout all three books springs from having someone I was in a relationship with say that i was a monster. That stuck with me for a long time. Was I monster? In rejecting the weak person I had been, had I become everything I hated? Good stories tap into the very darkest parts of us, and Nyx was certainly the female Conan I wished I could be, wading out into pools of blood and coming out the other side being just as true to herself before as after. She and Rhys are tangled in the sort of snarky abusive relationship that for many years I’d assumed was love. The way they actually end up shows that I have learned something since then. In God’s War, the entire drive of the narrative is to get Nyx onto her knees in that ring, to allow her to admit to herself that what she would love, more than anything else, is just to submit to God, to fate, to the world, and stop fighting it. But she can’t. She knows she can’t, even as she admits it. The drive in Infidel was always to break them down into their component parts, to have them both lose everything and see what it made of them. And of course, in Rapture, the terrible events that they endure there are meant to break them both down emotionally so that they can have, finally, for the first time, an honest conversation about their feelings and why they can’t be together. The rest of the books: the bug magic, the blood-eating sand, the giant hornets, the bel dames, the assassinations and beheadings – existed to tell that emotional story between Nyx and Rhys.

The Stars are Legion was, famously, a difficult book for me to write because unlike with the Nyx books, I knew exactly what the bleeding heart of the story was going to be before I wrote it, and understood what I would have to write about, and that’s some scary stuff. At its heart, Legion is about women’s control (or not) over their own bodies and reproductive power. It also has not one, but two wildly abusive relationships at its core. I wrote deeply about things that mattered to me, issues related to fertility and bodily autonomy and of course, the monster inside so many of us. Once one has been monstrous, the book asked, is it possible to go back, to repent, to become someone different? Those were the bleeding emotions of the story, the burning questions, and I faced them down in all their cold, stark truth. Those are deep, powerful emotions, and beyond the gooey ships and birthing ship parts and struggling through the spongy center of some world, it’s the emotional stuff that we can all relate to on some level that powers its heart and makes it so unforgettable.

As the saying goes, folks may forget what you say, but they won’t forget how you made them feel. Fiction is very much like this, and it’s another reason I don’t like to tie up my stories into nice neat packages. I want to leave the readers with questions that they can mull over as they contemplate the story itself and how it affected them. There’s a reason I ended Nyx’s story the way I did in Rapture. And it’s not because I’m an asshole. Like the reader, I too, like to wonder what fate Nyx deserved, and whether it was the lady or the tiger stepping out of that bakkie. Nyx has done terrible things, but I understand that it’s not up to me to judge her, after all. Rhys would say it’s up to God; I would say it’s up to each individual reader. It’s not for me to decide. Such are the endings on which much great fan fiction can be imagined.

When I sit here looking at Broken Heavens and the original emotional heart of the story, I understand why it’s collapsed, like a souffle, now that I have a different ending. I had spent a great deal of time in the prior two books setting up a very specific ending. What I had failed to do in this latest draft of Broken Heavens is make it clear what the emotional turning point is for the character here so she understands she doesn’t just have two choices, those two choices I set up so many books ago. I realize that the character needs to have the same kind of emotional moment I did after the election, when my entire conception of my country and where it was headed and who were not only were, but who we wanted to be, got flushed down the toilet forever. I will never forget that moment. How betrayed I felt; how my own people had voted to destroy everything I knew and loved. It was a break in reality, for me, the moment when I felt the whole world literally lurch onto another timeline. It was among the most surreal moments of my life. And I knew I had to accept immediately that it had changed everything I knew, and was going to profoundly affect the future – my own and those of my friends and family and the world itself – in terrible ways.

Those are the emotional turning points we talk about. It’s the moment I got out of the hospital after nearly dying, and had to ask for help cutting asparagus because I was so weak. It was laying out the syringes and medication I would have to take now everyday for the rest of my life, or die. It was that understanding that I was not as strong and robust and invulnerable as I’d always assumed, that knowledge that everything I believed about the world and myself had been irrevocably changed. My future, my expectations of such, were rewritten before my eyes.

These are the emotional experiences, and the emotional moments, that we often use fiction to explore. I may not know what it’s like to chop off someone’s head, but I know what it is to be called a monster, and to wonder if it’s true. I may not have ever given birth to a world, but I know what it is to be at war with one’s body while the world itself tries to control you. We use these emotions as leaping off points, and memorable fiction understands that to endure, to touch people, takes more than explosions. It takes tapping into these very vulnerable parts of ourselves, often the very worst moments from our lives, and translating them onto the page.

This is not to say that there aren’t plenty of bestsellers that don’t do this. I just read a bestselling author who wrote a mystery novel that was absolutely emotionally devoid. I also tossed it immediately into my Goodwill pile to give away and promptly forgot even the names of the characters. But making work that lasts needs to touch people in some way. It must be memorable. It must bleed all over the page.

I get that, and yes, some days it does bother me, because frankly, I don’t want to revisit a lot of my most vulnerable moments. This is likely why I’m a discovery writer, because it allows me to sneak up on these emotions in a very organic way. It allowed me to simply write Nyx falling to her knees in the ring, longing to submit, knowing she couldn’t, and having no idea why that scene felt so powerful to me; why it felt just right. Not until much later.

But as I struggle with the massive backlog of projects I have right now, I realize that I have less time to allow myself the comfortable blinders of pure discovery writing in order to creep up on the truth. I have to face it head on, first thing. Even if it scares me.

Even if it bleeds.

GET TO WORK HURLEY: Episode 3. “You Don’t Own Meeeeeee” Chat about when one becomes a “real writer,” the Everest of publishing, who owns your time, Swecon roundup, and the annoying inevitability of publisher rights grabs.

Hej hej folks!
 The GET TO WORK HURLEY podcast is a monthly rant about the hustle of making a living as a writer of All of the Things.

You can support this podcast each month as a Patron or make a one-time donation.

  • EPISODE THREE: You Don’t Own Meeeeeee. Chat about when one becomes a “real writer,” the Everest of publishing, who owns your time, Swecon roundup, and the annoying inevitability of publisher rights grabs.

 

Direct Download Link

(still working on iTunes setup)

*Music credit. Remixed All Eyes and Teeth by Eaters. Attribution-NonCommercial-ShareAlikeLicense. 

What More Can Be Said?

I just spent eight days in Sweden, and the come down after that experience has been rough. Getting caught back up on the latest bizarro world news to come out of the United States is like waking up with a terrible hangover. We passed under the big airport archway that said, “Welcome to the United States” and were confronted with customs agents who fingerprinted and retina-scanned non-citizens. What the fuck do we need all that data for? “Why are you taking a picture of my mommy?” says the little girl in the creepy customs video playing on the monitors. “So we can make sure no one else is pretending to be her,” says the jolly customs agent, like something out of Starship Troopers.

We have a backwards country, looking back, back, back, no longer forward, withdrawing from climate agreements, willfully blinding itself to what’s coming, ensuring that the people here are wholly unprepared for the new reality. Our schools are being dismantled. Our access to healthcare is being further curtailed. To be lucky in this country is to be rich. We are descending softly into the 80’s dystopia I was promised, and I am very, very pissed off about it.

I am pissed off because this was not (and, to a certain extent, still is not) an inevitable outcome. We could have, still could, change this path. But the greedy folks in power see only half a step ahead, just like the greedy corporations that they represent. We are all just so much human fodder for the corporate machine. We are human resources, to be ground up and distilled for maximum profit.

I don’t like living in a country that voted to kill me by making healthcare effectively out of reach. I’m pushing 40 years old, and I’m fucking tired of having to proclaim my humanity to a government that believes God ordains who gets sick and who gets rich.

The pendulum shifted here on that election day. All the villainy that we had been denying and tempering down and trying to tamp out has been unleashed, a Pandora’s box of the very worst in all of us. There was no pretending that this is not a country built on genocide and slavery. At best, we get a civil war. At worst, a nuclear war. But the most likely scenerio is simply more of the same – the same long, slow slide into backwardness and superstition, sorcery and lies. We could be better people. We could take care of each other. We could realize that we are all only as good as how we treat those who have the least. My realization over these last few days is that it takes a profoundly terrible and violent event to make people realize how much they need each other. My fear is that the US is going to need to have one great glorious horror show here soon if we ever want to turn the tide away from extremism. They have to get what they asked for first. And that’s the part that scares me, because we aren’t all going to survive that. I will likely not survive that.

Being back here after being away is like being a lobster saved from the slow warming of the water, only to be tossed right back in while it’s boiling full tilt. It’s a slap in the face. A rude awakening, death by a thousand cuts.

My hope for the future doesn’t rest here, so much, as with other places. There’s a whole world out there, and as long as we don’t blow it all up, they were survive. They will endure. They will continue to know what we could not: that we are all in this together, and that our greatest enemy remains ourselves, and the very people we propel into power.

Cultivating Compassion When We’re All Tired

I’m pretty tired right now, which is a feeling shared by a lot of folks, I know. During the brief period when I thought the latest healthcare-gutting bill was dead, I was feeling positively upbeat, but the blinds closed again recently and I picked up a couple beers and went back to bed for awhile.

The last couple months, I’ve started doing this thing where I clench my jaw at night; even during the day, now. I can feel it tightening up with worry and grim determination, and I have to force myself to relax. I make OK money right now, but I’m one job loss away from being uninsurable soon, and that’s a weight I haven’t had to grapple under since 2010. Note that I didn’t really start jamming out work at speed until 2011. That means my entire professional novel career, I’ve had the ACA safety net to take my mind away from the horrors of 2007. I could say, over and over, that yeah, things may get bad, but I’d never have to go through THAT again.

Working under this weight has been really hard. I have a health insurance plan right now with a $5k deductible, which means I paid $1500 for meds last month. Under the new plan, I could be charged like $20,000 a year just in premiums. I could have a $50,000 deductible on top of that, even on an employer plan, because all those regulations that the ACA made to keep insurance companies honest are very likely to go away, because they want people like me to “pay their share.”

Newsflash, folks: the whole point of health insurance is to have it cover you in case something horrible happens.

Something horrible happened to me.

The rhetoric coming out of this bullshit regime is like saying that the house insurance you bought isn’t going to cover damage from a fire because you should pay your share. Ummm… like… that’s not how insurance works. It’s literally hedging one’s bets against disaster. My disaster happened already. 

I am hunkered down and trying not to go all “worst case scenario” because the truth of what we end up with will likely be a middle ground, but when you live like I do, with an chronic illness that’s this expensive to manage, you have to think ahead. And that’s exhausting. At the very least, I have to stay employed at a traditional employer forever. Which, hey, fine. At worst, even making what I do at a traditional employer, I’ll have to cut back to bare essentials just to make ends meet. We already have medical debt from our last health insurance plan with a high deductible that we are paying off. We were super thrilled when we finally paid off my spouse’s cancer medical debt a couple years back. It’s like this revolving door that we’re on, always hustling, hustling, hustling, and never getting ahead.

To take a system that is already fucked and make it worse makes you the worst human beings imaginable. To have voted in people who lied to you boldly and baldly is equally unconscionable. The amount of money I’m paying in taxes, in premiums, in deductions, is more than a lot of people make, period. But I’m the one who should die? I’m the one who shouldn’t be covered, when literally the point of insurance is to cover catastrophic bullshit that happens to people?

It’s tough to do work outside what’s keeping you in meds and food when you’re this stressed out, too. I’m pretty proud of all the shit I’m getting done, honestly, even if stuff like The Broken Heavens is running late. It’s still moving, and let me tell you – that’s a fucking heroic act right now. And the short story every month? And the podcast? Patreon rewards? AMAZE. I am fucking AMAZED every fucking time I GET OUT OF BED in the fucking morning, these days.

But I am fucking tired. And when your own life is in the balance, you tend to get pretty annoyed with people and their petty bullshit. I’ve been working hard to stay as un-engaged from Twitter and other social platforms as possible, because you just want to dismiss people’s whiny bullshit with, “WE COULD ALL BE DEAD IN THE MORNING,” and that’s not helpful for anyone. Little things also make you want to go nuclear, even when it’s just clerical error stuff. Every little thing, from dishes in the sink to a snarky email, makes you want to BURN DOWN THE WORLD. I was DM’ing with another writer recently who was like, “Oh, you look so put together in public!” and I’m like… yeah. Yeah, well, I’m a pro, etc.

Let’s not pretend that it doesn’t wear at us, though, no matter our public faces or snarky podcasts and sly jokes or ALL CAPS. I deal with stress like this with raw humor, and yes, that includes the snarky podcasts and sly jokes and ALL CAPS. That’s how I cope, and I’m doing the best I can to cope in a way that helps other people cope, too.

So if you see me around the interwebs, or rambling through events (I’m GOH at a convention in Sweden in less than 2 weeks! Dear lord), and I seem to laugh a little too hysterically, this is what’s up. I don’t hate you, I’m not high. In truth, I am doing the very best I can to cope in what is a horrifying and literally deadly situation for me here. I am one job loss away from losing everything I’ve worked to build the last ten years, and living with that knowledge hurts.

I am an American pre-existing condition, and vulnerable to death by vote.

 

GET TO WORK HURLEY: Episode 2. “How to Get to Work When the World Wants to Get You Down.” Chat about how to create and promote work during tough times, how to balance caring for your sanity and health with being a good, active citizen, and why you should tell everyone to fuck themselves and just write what you want!

The GET TO WORK HURLEY podcast is a monthly rant about the hustle of making a living as a writer of All of the Things.

You can support this podcast each month as a Patron or make a one-time donation.

  1. EPISODE TWO: How to Get to Work When the World Wants to Get You Down. Chat about how to create and promote work during tough times, how to balance caring for your sanity and health with being a good, active citizen, and why you should tell everyone to fuck themselves and just write what you want!

Direct Download Link

 

(available on iTunes early next week)

*Music credit. Remixed All Eyes and Teeth by Eaters. Attribution-NonCommercial-ShareAlikeLicense. 

GET TO WORK HURLEY: Episode 1.” The Business is Writing, The Business is Death.” Chat about broken stairs in the publishing world, multiple income streams, writing and entitlement. With bonus apocalypse Q&A.

  1. EPISODE ONE: The Business is Writing, The Business is Death. Chat about broken stairs in the publishing world, multiple income streams, writing and entitlement. With bonus apocalypse Q&A.

The GET TO WORK HURLEY podcast is a monthly rant about the hustle of making a living as a writer of All of the Things.

You can support this podcast each month as a Patron or make a one-time donation.

 

*Music credit. Remixed All Eyes and Teeth by Eaters. Attribution-NonCommercial-ShareAlikeLicense. 

The Geek Feminist Revolution Arrives in Spain!

Yesterday we finalized a deal with Lee Runas, the SFF imprint of Spanish publisher Alianza, for Spanish translation rights to The Geek Feminist Revolution. This morning I woke up to happy, exclamatory tweets in my Twitter mentions, all in Spanish, so I must conclude that the news is already out!

Lee Runas is the same Spanish publisher that picked up The Stars Are Legion translation, which will be out this fall. I was very pleased to have Geek Feminist Revolution find a home with the same supportive publisher.

Best of all, this seems to have made fans in Spain very happy, and we all need a little more happiness in the world.

So thank you to Lee Runas and all the tireless fans who I know have been asking Spanish publishers to pick up my work. You were heard!

 

Christmas 2016 & Ruminations on the Future

I love Christmas. It’s my favorite holiday. I start listening to Christmas music in October. I decorate the house, whenever possible, the day after Thanksgiving (and only that late because my spouse insisted many years ago: No Decorations Until After Thanksgiving, which is fair). We like to get the tree the first week of December, so we can enjoy it through New Year’s week. It’s a lot of work to put up a tree that’s only up for a week.

But this year has been a tough one, as it has been for a lot of people. We both got sick just before Thanksgiving, and though we had a great trip out to see family and friends in Albuquerque, it meant it took us even longer to recover from being sick. Since this summer, my spouse has also been being treated for some health issues, which culminated in a lot of tests and doctor’s appointments and hospital visits in December (he is OK). Last week I realized I was just too tired to get a tree and decorate it this year, and neither of us had the energy to put up the Christmas lights. I managed to get up the Christmas village and hang some bulbs on the trees outside, but that was it.

We burned through all of our savings and too much credit earlier this year trying to save our dog, Drake, who finally died in July of an antibiotic-resistant staph infection. We had some checks we anticipated getting this month (including reimbursements from pet insurance) that haven’t arrived, so things are tight here, and it’s not the usual blow-out extravaganza of presents I like to do, but we do have cash flow, so it’s not like we’re poor, just… not the usual holiday. We cashed in our Chipotle Chiptopia reward of catering for 20 and ate that all last week because we were both too tired to cook and hey, it would save us on groceries! So that gives you an idea of our energy levels.

The exhaustion and political horror of the last couple of months can sometimes mask the fact that good things happened this year, too. The Geek Feminist Revolution came out in May (May! Feels like a lifetime ago, and a whole other world ago) and is selling OK. Reader reactions to that one have been amazing; it’s got the highest rating of any of my books on Goodreads. I also finished writing The Stars are Legion back in… March? And now that review copies have gone out, reader reactions are coming in, and it’s blowing people’s minds in just the right way (a lot of people didn’t believe it could possibly be a book with ALL WOMEN in it. Ha ha it’s a sci-fi world! There’s even a sci-fi reason! See, writers can do anything! Your own worldbuilding excuses are invalid!).

I continue to have a stable job that doesn’t eat my soul, provides health insurance for me and my spouse, and gives me the flexibility I need to stay sane. In 2016 and the years to come, this is pretty rare, and something to celebrate. Before the election my goal was to move to writing full time by the time I was forty. Now, without access to affordable health insurance through the ACA in the next few years, that’s not going to happen (“access” to health insurance is not “affordable” health insurance. I’m sure the new admin would be happy to let me pay $50k a year to get covered and call that “insurance access for everyone!”). The ACA was a cool dream. The dream is most likely over, so I’m adjusting my future goals accordingly.

As for my own health, a series of poor test results (increasing blood pressure, increased A1C, another weight jump) led my doctor to try a few different drugs this year to see if they could help. We seem to have hit on one that both helps my body process the insulin I have to inject for the rest of my life and reduces appetite dramatically. I no longer think about food all the time and I admit I keep wondering, “Is this how skinny people feel all the time?” After I dieted back in 2012 to drop the 30 lbs I gained after God’s War came out, my hunger came back with a raging vengeance, and it’s been nigh impossible to stop the uptick, to the point where I thought there was something seriously wrong with me, metabolically. Don’t crash diet, people. Seeing the scale number jump significantly backwards for the first time in many years, I find it ironic, once again, that weight gain or loss is still considered a moral matter in this country, like you’re somehow better if you can be thinner, when there are in fact all sorts of hidden bodily reasons that people stay thin or fat. Our Puritan idea that we must suffer hunger and toil, and that a slender body is the outward manifestation of this, is just bizarre. Let me tell you, with the raging hunger I’ve had for the last four years, it took some suffer and toil to be only this size. If this side effect to my meds continues, don’t think I’ve got some secret later this year when you see me and I’ve lost weight. There’s no secret. There’s no magic. It’s just that bodies are weird. I’m the same person at every weight. The dissonance I’ve felt inside my weirdly messed up body does bleed over into my fiction a lot. I am very aware of being a gooey sack of meat.

In other news, I’ve also joined the local YMCA, which is just $30 a month and which is just down the street from my day job, so I can swing by there a few times a week for some quick cardio (not suffering and toil. Quick cardio!). I’ve been writing a shitbrick of articles this year for the day job about health and wellness, and there are two things that all of the research agrees on: people who exercise 20 minutes a day and eat green leafy vegetables tend to live longer and in better health. Oh, and smoking is bad. But that should be a given, these days. That’s it. So I am getting back to moving again, for actual health as opposed to toil, and that should help solve the blood pressure issue, too. 2017 is no time to die of a heart attack. I mean, the Resistance will just be getting started…

As I look ahead to the next year, I see a lot of uncertainly, like many people. I have the final book due in my Worldbreaker Saga, The Broken Heavens, in April (wait until you see the cover! Squee!). I also have another stand-alone SF book due to Saga Press at the end of next year as well. Those are the last of my contracted books, so I’ll be working with my agent this year on a few other projects. We also have many other irons in the fire, some with the God’s War books/possible spin-offs, a possible story collection, and one pilot script project that’s spinning its wheels. We’ll see what happens.

My motto for this year and perhaps the next few is going to be “Survive.” That is my goal, really, to dig ourselves back out of dog medical debt, to write some great projects, to persevere, to survive. Thriving would be great! But sometimes you have to be OK with survival, and this year, of all years, I’m OK with survival. I admit this means I have no pithy hopeful statements about the future (though I find the idea that I’ll survive into the future pretty hopeful!). Instead, I have only the guarantee that I will do what I can to survive, and that I will stick it in here beside you as I always have.

As I’ve told some people, one of the tricks I’ve manufactured to get myself through the relenting badness that is the news these days (besides reducing time on Twitter) is to imagine myself looking back at this time from a point far in the future when things are much better. I had this striking dream of myself as an old woman on this timeline, living in an adobe house in the desert, opening the door to some young kids who’d brought copies of Geek Feminist Revolution and who thought I was some kind of ancient seer. They had come to talk about the past, about the world I lived in that spawned that book, and all the books that came before and after it.

That sort of dream may not seem very powerful to you, but to me it was. With my shitty health the last few years and all the political turmoil, I was honestly worried about my chances of making it to old age. That dream gave me the vision of some other timeline, a vision I could use to plot my way forward through the coming years, which may be rough in order to get me to wonderful. We all need a story to see us through the darkest times. Do you need a story of that hopeful future? Write yours, too, and cling to it tightly. We’ll need them.

Epilogue: My Wish for You

This is excerpted from the epilogue to The Geek Feminist Revolution

My gift to you today:

——

My goal is to change the world. Change it into what, though? Into a better place, I’d hope. Into a place where we don’t have to fight as hard to be heard. Into a place where we have not equal opportunities, but true equality that lets us all start out our lives on the same footing. I want the world to be a demonstrably better place when I leave it than it was when I came into it. Not just for me, or for people like me, but for every one.

The truth is, though, that I don’t know how to do that. All I know how to do is write (and drink, to the limit my illness allows). I know how to persevere in the face of bullshit. I know how to not be afraid. I know how to live. Sometimes living, and speaking aloud, is the most subversive act one can manage.
That, perhaps, is enough for me. But is it enough for you?

I am getting older, and though some may scoff at that, the fact is that death and I have danced before, and though she did not win that time, each day I can hear her breathing in my ear, with every shot of medication I take and every low sugar reading I get while hiking out in the woods alone, and I am reminded that she will get me eventually, as she gets us all, because her dance card is long, and she is more persistent even than I.

I have no children, and no legacy but my work— and you.

I have the power to reach back to you long after I am dead, through these spidery marks on paper or pixels, and remind you that you have a voice, you have agency, and your voice is stronger and more powerful than you could ever imagine, and long after I am gone, you can pick up this beer beside me and carry on the work we are doing now, the work we have always been doing, the work we will always do, until the world looks the way we imagine it can be.

I am a grim optimist, and this is my hope for you: that you will be louder than me, and stronger than me, and more powerful than me, and that you will look back at me as a relic, a dinosaur, as the minor villain in your own story, the rock you pushed against in your own flight to fame, to notoriety, to revolution.

That is my wish for you.