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Author Spotlight: Olivie Blake on Masters of Death

9781250884879

In honor of the paperback edition of Masters of Death by *the* bestselling sensation Olivie Blake finally hitting the shelves, we’re bringing back this fun, in-office chat we had with her. She dives into all things supernatural creatures, relationships of love and turmoil, Death’s godson, and more! <3

Oh, and don’t forget! This paperback edition includes a special bonus story and beautiful purple sprayed edges.

Check it out!


What inspired you to write Masters of Death?

video soruce


How did you approach writing from the perspective of undying immortals?

video soruce


Do you have a message about Masters of Death that you’d like to communicate to potential readers?

video soruce


Rapid Q&A!

video soruce


Order Masters of Death Here:

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The Inspiration Behind A Certain Kind of Starlight: ‘Stars Fell’ by Heather Webber

A Certain Kind of StarlightIn the face of hardship, two women, Addie and Tessa Jane, learn how to rise up again under the bright side of the stars in A Certain Kind of Starlight, the next book from USA Today bestselling author Heather Webber, “the queen of magical small-town charm” (Amy E. Reichert). Under the bright side of the stars, Addie and Tessa Jane come to see that magic can be found in trusting yourself, that falling apart is simply a chance to rise up again, stronger than ever, and that the heart usually knows the best path through the darkness.

Read below to see Heather’s beautiful statement on the inspiration behind her upcoming novel, A Certain Kind of Starlight!


by Heather Webber:

Stars Fell

In a couple of weeks, I’ll be in a car, headed south to Alabama. Just like I was back in 2007, when I visited the state for the first time. In the way that some things never change, I’m sure I’ll be eating things not very good for me, listening to music and singing—badly—along. I’ll probably groan at the traffic in Nashville and break into a big smile when I see the green Welcome to Alabama road sign.

After I cross the state line, I know I’ll start looking for Alabama license plates that have Stars Fell on Alabama written on them, because there’s a soft spot in my heart for those plates, that phrase.

Back in 2007, when I saw the plates for the first time, I didn’t know the story behind the phrase. I quickly learned it was in reference to a widespread meteor shower in 1833, where it appeared as though hundreds of stars were falling from the sky. I was enchanted with the thought of it.

Although I’ve referenced the celestial event a couple of times in previous books, I knew one day I wanted to write a whole magical story around a fallen star—and I did just that in A Certain Kind of Starlight.

In the novel, the town of Starlight, Alabama, is famous for the field where a star once fell a hundred years before, leaving behind a shallow crater. At night that crater glows with a magical aurora where people can find clarity and guidance in the light. No one needs that clarity more than two sisters who come back to town to help their beloved aunt run her bakery while she deals with health problems.

At its core, it’s a story about broken hearts, literal and figurative, and trying to heal them even while knowing they might not be fixable. And although the book deals with some tough topics, it’s a heartwarming story full of love, forgiveness, healing, and learning that only through darkness can stars shine the brightest.

During my upcoming trip to Alabama, I’ll definitely be keeping an eye on the skies at night, watching for falling stars. And during the day, I’ll keep hopeful eyes on the road, looking for the license plate that inspired this story, even though those plates were retired in 2009.

Will I see one?

I think so.

Because, as we know, I’m a big believer in southern magic.


Click below to pre-order your copy of A Certain Kind of Starlight, available July 23rd, 2024!

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Space(fam) Jam! L. M. Sagas on Found Family in Space

cascade failure by l m sagasHere at the Tor Blog, we’re pretty good at lists. It’s kind of our bread and butter, and since (as stated) we’re decent listicle chefs, we add all the culinary accoutrements when we cook a bread’n’butter listicle.  That’s very convoluted, but suffice to say: we are impressed with the listicle of spacefaring found families put together by L. M. Sagas, author of Cascade Failure, a science fiction adventure novel that is out today! So check out this list, and then check out L. M. Sagas’ book. Then read more listicles and more books. Reading is good!


by L. M. Sagas

Fantasy, mystery, horror—for my money, found family’s a top-tier trope in any genre. But as you might’ve guessed from the title, there’s one take on this classic trope that’s especially near and dear to my heart: found families in space

I’m not quite sure if it’s the sheer variety of folks (and folk-like humanoids, organisms, and assorted extraterrestrials) you see coming together from the far reaches of the universe, or the delightful volatility of cramming them all in a high-tech soda can for long periods of time and shaking them up ’til it pops. Maybe it’s C, all of the above, and a secret third thing besides. Whatever it is, something about a spacefam just hits different—especially when it’s full of mismatched pieces that shouldn’t work but do

My upcoming novel, Cascade Failure, follows the adventures (and misadventures) of just such a spacefam. But the crew of the Ambit isn’t the first ragtag bunch of misfits to cobble together a home among the stars. Here’s a list of some (but by no means all!) of my favorite spacefaring found families across different books and television. 

the long way to a small angry planet by becky chambersThe Wayfarer Crew from Becky Chambers’ Wayfarers Series

If you’re on the hunt for a heartfelt, hopeful, and occasionally hilarious example of a space-based found family with members from all walks of interstellar life, look no further than Rosemary Harper and the motley crew of the Wayfarer. They’ve got humans and Aandrisks and Harmagians (oh my!), and a few more species and subspecies besides, and each one brings their own needs, their own perspectives, and their own culture to life aboard that charming little vessel. And as awesome as each character is on their own, what I really love about this story is the way they interact with each other—the bits and pieces of themselves they share, the accommodations they make for one another, the respect that they have (even if there are a few hiccups along the way). It takes this great, sprawling universe and makes it feel small in the best possible way. And did I mention it’s cozy? Because it’s super cozy. 

the last watch by j s dewesThe Sentinels from J.S. Dewes’ The Divide Series

There are few things I enjoy more than a bunch of stubborn, self-reliant smartasses who absolutely do not need to rely on other people, being forced into a situation where—you guessed it—they really need to rely on other people. That’s exactly what you get with The Divide series, with some wicked-fun flourishes along the way. You start off with the Sentinels, a crew of outcasts from wildly varied backgrounds who are stuck together playing Night Watch (for you Game of Thrones fans out there) at the end of the universe, and they all seem pretty happy to keep themselves to themselves—at least, as much as they can, living together on a ship in the outer reaches of space. 

But when the rubber meets the road—or, in this case, when the semi-retired warship meets the ever-compressing boundaries of the universe—they all have to scrunch their eyes, pinch their noses, and take that Big Scary Leap into trusting each other, and the relationships that bloom from that choice turn that outcast, misfit crew into a bona fide found family you can’t help cheering for. Warning: it may also leave you craving veggie pie. 

the vanished birds by simon jimenezNia and Ahro from Simon Jimenez’s The Vanished Birds 

Everyone loves a good “unlikely adoptive parent” story (that’s right, we’re looking at you, Pedro Pascal’s Collecting Magical Orphans Cinematic Universe), and the duo I lovingly call the “Flute Fam” hits all my favorite notes (pun intended). Nia definitely isn’t the first person anyone would pick to take in a lost kid, much less a mysterious, musical lost kid with bucketsful of trauma and a future that could fundamentally change the way humanity experiences the universe. But slowly, through trial and error and the judicious use of food-bribes and humor, she and little (and then eventually not-so-little) Ahro fumble and feel their way to a profound bond that reshapes both of their lives, and the lives of those around them.

leviathan wakes by james s a coreyThe Crew of the Rocinante from The Expanse Series by duo James S.A. Corey

Families can be messy, and I think that’s true of found families, too. To me, that’s one of the most appealing things about the crew of the Rocinante (both in the book series and the television show): the messiness. From Holden’s occasionally ill-fated idealism to Amos’s, erm, nonchalant approach to violence, each of the characters comes with their own rough edges, and they don’t always fit so smoothly together. But those moments of tension are just as compelling as the moments when everything gels, and when you put them all together, it paints such a visceral, relatable picture of life and love in the crucible of space that it’s got a permanent spot on my list of favs.  

the killjoys by syfy season 1 promotional image, which includes three characters with weapons walking out of bright light coolyTeam Awesome Force from Killjoys

Confession time: if you’re familiar with the show, you’ll know that part of this found fam is also technically fam fam, since the brothers Jaqobis are actually brothers. But nevertheless, I stand by this pick, because it’s a witty, gritty, bombastically optimistic example of one of my favorite aspects of the trope: putting your ass on the line for the family you choose. Across flashbacks and character arcs and an array of major and minor cataclysms, you get to see so many moments where each of these characters—Dutch, Johnny, D’avin, even Lucy-the-ship-AI—look at each other and roll their eyes and go, yeah, sure, I’d die for that idiot, because no matter how much they screw with each other, nobody had better screw with them. And I just think that’s beautiful. 

That’s it for the list! There’s definitely plenty more out there to choose from, and if you’ve got some to add, please drop a comment and share. And for more spacefam fun (and feels!), don’t forget to check out my book, Cascade Failure, on sale now!


Order Cascade Failure Here!

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Queer Robots & Real Love: TJ Klune Talks In the Lives of Puppets

in the lives of puppets by tj kluneLast year, TJ Klune’s In the Lives of Puppets released to tremendous acclaim. This year, it’s releasing in paperback, making this story of queer robots and real love available to new readers! TJ’s here to talk his book and explain how he’s going to make you fall in love with a vacuum cleaner named Rambo.

Check it out!


Dear Reader,

Once upon a time, I took you to an island to find a home where one should not exist. After, I invited you to a mysterious tea shop where the living helped the dead find meaning and purpose, joy and acceptance.

For my next trick, I’m going to make you fall in love with a vacuum cleaner named Rambo.

Okay, wait. Let me back up a minute.

I am so thrilled to present In the Lives of Puppets, a queer retelling of Carlo Collodi’s The Adventures of Pinocchio. In the following pages, you’ll be going on an adventure unlike anything you’ve seen from me before. Though this story deals with robotics, androids and machines of all shapes and sizes, it is firmly rooted in fantasy, a fable that explores the ideas of kindness, humanity, and forgiveness, including who has the right to forgive.

This book is not The House in the Cerulean Sea. This book is not Under the Whispering Door. There is no stuffy, bland middlemanager bureaucrat in need of a wake-up call or an attorney who finds life after death. There is no island to discover, no tea shop to make a home. This is the story of an already happy family who built each other up and carved out their place in the world. And this time I’m taking their home away from them. I’m sending them on a journey across a strange and dangerous country to save one of their own and fight to reclaim the happiness they worked so hard to build together.

But in this journey, you will find hints of the familiar: love, life, and the hope for a better future, all wrapped up in a story of loyalty in the face of betrayal and how even the smallest of us can make a difference when called upon to do so. It is also about the heart and soul of Victor Lawson—the main character, and the only human of the bunch. Though he was raised by machines, I set out to show that Victor’s humanity could not be denied, that it wasn’t something that needed to be justified or earned. It just is, and in this unforgiving place, it counts for something. Perhaps everything.

But Vic won’t be going it alone. He will have his friends with him: Rambo, the vacuum who wants only to be loved (so you better get on that, no pressure). Nurse Ratched, a nursing machine who has a few of her wires crossed, sadistically so. And a machine with a dark past. A robot with secrets locked away in his head. An android with blood on his hands and a heart in his chest: Hap, also known as the Hysterically Angry Puppet.

Together, they must do the impossible: travel to the soulless heart of this world and bring the last member of their family home. And in doing so, they will learn the truth about the past, the present, and the future of all things.

Are you ready for an adventure?

TJ Klune


Order In the Lives of Puppets in Paperback Here!

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Author Spotlight: Olivie Blake on Masters of Death

masters of death by olivie blakeMasters of Death is a New York Times bestselling sensation written by *the* bestselling sensation, Olivie Blake. It’s about supernatural creatures struggling, relationships of love and turmoil stronger than mortality, and Death’s godson, who is both a professional medium and a shameless fraud <3. But don’t just take that silly intro sentences’ word for it, we have Olivie herself here in the Tor office to chat about her book!

Check it out!


What inspired you to write Masters of Death?

video soruce


How did you approach writing from the perspective of undying immortals?

video soruce


Do you have a message about Masters of Death that you’d like to communicate to potential readers?

video soruce


Rapid Q&A!

video soruce


Order Masters of Death Here:

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Cory Doctorow: The Swerve

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the lost cause by cory doctorowby Cory Doctorow

Dystopia isn’t a setting – it’s a vibe. There’s nothing dystopian about depicting a world where things are breaking down. Things break down. Assuming things won’t break down doesn’t make you an optimist – it makes you a dangerous asshole. “Things won’t break down” is the thinking that leads to “so the Titanic doesn’t need lifeboats.”

Dystopia is a society where things are breaking down – and no one will lift a finger to fix it.

My next novel, The Lost Cause, is set in the midst of a spiraling climate crisis punctuated by mass death from zoonitic plagues, floods, wildfires, and drought. Tens of millions of Americans have become internal refugees, their hometowns wiped off the map.

It is a utopian novel.

What makes this novel of a world in worsening calamity, attended by unimaginable human suffering, “utopian?”

Simple: they’re doing something about it.

In July 2022, I wrote the following for my column in Locus magazine:

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We’re all trapped on a bus.

The bus is barreling towards a cliff.

Beyond the cliff is a canyon plunge any of us will be lucky to survive.

Even if we survive, none of us know how we’ll climb out of that deep canyon.

Some of us want to yank the wheel.

The bus is going so fast that yanking the wheel could cause the bus to roll.

There might be some broken bones.

There might be worse than broken bones.

The driver won’t yank the wheel.

The people in expensive front row seats agree.

“Yank the wheel? Are you crazy? Someone could break a leg!”

We say, “But there’s a cliff! We’re going to go over the cliff! We’re going to die!”

“Nonsense,” they say. “Long before we go over the cliff, we’ll have figured out how to put wings on this bus.”

We argue.

They add, “Besides, who’s to say we’ll fall off the cliff? Maybe we’ll be going so fast that we leap the canyon. Fonzie did it! Calm down. Hey! Keep your hands off the wheel? What are you, a terrorist? Don’t you dare do that again. Someone could get really badly hurt.”

The climate emergency is real and we are living through it. As I write this, I’ve emailed some writer friends in the southwest to ask if the fires threaten them or their homes. One hasn’t answered yet. The other wrote back to say they’re fine, but what about the wildfires near my house?

Oh, I wrote. We’re fine. So far. California is in for a hell of a wildfire season. It’s dry out there. It’s an emergency. Officially.

(It was an emergency before, but that was unofficial)

We’re not acting like it’s an emergency. In mid-May, The Guardian reported a bombshell: a series of planned “carbon bombs” – large-scale oil and gas projects that will “shatter the 1.5C climate goal.” The war in Ukraine has the world scrambling for winter heat – for sources of oil and gas, that is, not renewable alternatives.

Of course not. The only way for renewables to replace Russian oil and gas this coming winter is for Europe to have retooled around sustainable heating: a mix of beefed up insulation, heat pumps, and mass power storage. Those are long projects. We knew we’d need them decades ago, but we kicked the can down the road, and further down the road, and further.

Incredibly, climate denial still festers. “There’s no cliff,” they insist. “This bus is on a smooth road that goes all the way to the promised land. Only a fool would swerve now.”

The good news is: climate denial is on the wane. The bad news is: deniers have pivoted to incrementalism: “We’ll fix the climate. Give us a couple decades to phase out oil and gas. Give us a couple decades to replace the cars and retrofit the houses. Give us a couple decades to invent cool direct-air carbon capture systems, or hydrogen cars that work just like gas cars, or to replace our overland aviation routes with high speed rail, or to increase our urban density and swap out cars for subways and buses. Give us a couple decades to keep making money. We’ll get there.”

In other words: “We’re pretty sure we can get some wings on this bus before it goes over the cliff. Keep your hands off the wheel. Someone could get really badly hurt.”

People are already getting really badly hurt, and it’s only going to get worse. We’re poised to break through key planetary boundaries – loss of biosphere diversity, ocean acidification, land poisoning – whose damage will be global, profound and sustained. Once we rupture these boundaries, we have no idea how to repair them. None of our current technologies will suffice, nor will any of the technologies we think we know how to make or might know how to make.

These boundaries are the point of no return, the point at which it won’t mat­ter if we yank the wheel, because the bus is going over the cliff, swerve or no.

Focus on the swerve.

Believe it or not, the swerve is a happy ending. This is a hopeful article. Here’s what I hope we can do: I hope we can swerve.

A couple decades ago, the swerve might have been avoid­able. It was 1977 when Exxon’s own scientists concluded that their products would render the planet uninhabitable for humans. Exxon knew. They buried the research and paid for denial.

George H.W. Bush came into office in 1988 as the “Environ­mental President.” He campaigned on “conven[ing] a global conference on the environment at the White House. It will include the Soviets, the Chinese… The agenda will be clear. We will talk about global warming.” By 1992, he abandoned the idea of the US retooling to avert the catastrophe. “The American way of life,” he told the Rio Earth Summit, “is not up for negotiations. Period.”

If we’d started in 1977, we might have paid some civil engineers to build a bridge over the cliff. In 1988, it was still entirely possible. In 1992, the option was still there.

Today, time has run out for bridges.

All we’ve got left is the swerve.

We’ve got to seize the wheel of the bus. We’ve got to plunge past the first-class passengers in the front rows of the bus, and we have to yank the wheel. We have to swerve.

The bus will roll over. It won’t be nice. We will probably have to abandon some of our most beautiful coastal cities and towns. We will probably have to retool our industries in haste, and commandeer our factories to build new energy tech instead of consumer tchotchkes – the way we ordered factories to produce vaccines and PPE last year.

I don’t know what the first-class passengers were thinking. Some of them will be dead of natural causes before the bus goes over the cliff, and they didn’t want to sacrifice any of their material comforts to ensure that the rest of us continued to live once they passed on, I suppose.

Others are just ideologically committed to traveling in a straight line. The swerve is morally bankrupt. It’s communism. The only way to get over the cliff – if such a thing exists – is to floor the bus. Go as fast as possible. Leap the gorge! The Fonz did it, right?

The swerve is our hopeful future. Our happy ending isn’t averting the disas­ter. Our happy ending is surviving the disaster. Managed retreat. Emergency measures.

In the swerve, we’ll still have refugee crises, but we’ll address them hu­manely, rather than building gulags and guard-towers.

We’ll still have wildfires, but we’ll evacuate cities ahead of them, and we’ll commit billions to controlled burns.

We’ll still have floods, but we’ll relocate our cities out of floodplains.

We’ll still have zoonotic plagues as animals flee their disappearing habitat, but we’ll apply the lessons of COVID to them.

We’ll still have mass extinctions, but we’ll save the species we can, and we’ll prioritize habitat restoration as a way of preserving our horizontal broth­ers and sisters (as Muir called animals) and as a way of putting the climate back in balance.

We’ll swerve. The bus will roll. It will hurt. It will be terrible.

But we won’t be dead on canyon floor.

We’ll fix the bus. We’ll make it better. We’ll get it back on its wheels. We’ll get a better driver, and a better destination.

That’s our happy ending. That’s our hopeful future.

We gotta get ahold of that wheel first. You ready?

Let’s roll.

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That’s what the people of The Lost Cause are doing. Through hard work and hard fighting, they create the historical contingency that allows them to call themselves “the first generation in a century that does not fear the future.”

They have embraced a muscular Green New Deal that treats the emergency with the gravitas and urgency it demands. They have embarked upon a 300-year project to relocate coastal cities inland, above the rising seas’ new level. They infill their cities, making space for refugees, who are welcomed as more hands and more minds to turn to surviving the crisis. They have grabbed the wheel and they’re swerving.

Of course, not everyone is happy about this. Those first class passengers, the ones who insisted that there was no cliff, that they’d figure out how to attach wings to the bus, that if the bus went fast enough it could leap the gorge? They’re furious – and they’re rich, and they have an army of followers who see things getting worse and blame the people who are working to make them better.

This counter-revolution is a powerful alliance of domestic white nationalist militias and seagoing anarcho-capitalist wreckers, determined to snatch defeat from victory’s jaws.

The Lost Cause is a novel about what we do with the losers of a just revolution. It is a story about fierce comradeship on both sides, and the special problems of winning the fight.


Cory Doctorow is a regular contributor to the GuardianLocus, and many other publications. He is a special consultant to the Electronic Frontier Foundation, an MIT Media Lab Research Associate and a visiting professor of Computer Science at the Open University. His award-winning novel Little Brother and its sequel Homeland were New York Times bestsellers. His novella collection Radicalized was a CBC Best Fiction of 2019 selection. Born and raised in Canada, he lives in Los Angeles.


Pre-order The Lost Cause Here!

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Travis Baldree on Bookshops & Bonedust and Writing

bookshops & bonedust by travis baldreeBookshops & Bonedust is a story of high fantasy, first loves, and secondhand books. Set in the same world as Legends & Lattes, meet Viv in her sword-swinging mercenary days. Except it doesn’t look like she’ll be drawing a blade until she can finish her company-mandated recovery after a mission gone wrong. But even the sleepy town of Murk has more lurking adventure than Viv would have expected, and when can one ever anticipate affairs of the heart? 

A little while ago, Travis Baldree stopped by the Tor office to answer some questions about his upcoming work.

Check it out!


Did you originally intend to write another book in the Legends & Lattes universe?

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What character are you most excited for readers to meet in Bookshops & Bonedust?

video soruce


Who was your favorite character to write in Bookshops & Bonedust?

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How did you approach writing a romance both you and readers know won’t be endgame?

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What was the writing process like for this book? How did it differ from the first book?

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What’s the most important thing you hope people take away from Bookshops & Bonedust?

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Rapid Q&A

video soruce


Order Bookshops & Bonedust Here:

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The Art of Projections by S. E. Porter

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projections by porter

S. E. Porter is an artist and author, often together. Today, she’s here with us to talk some about her upcoming novel Projections, and to share artwork tied to pivotal moments from the story. These pieces are currently on display at the Delight Factory in Brooklyn until November 18 as part of her art show.

Check it out!


by S. E. Porter

There’s an odd problem that can arise while writing a book, or soon after finishing it. Sometimes the story and the images blazing through it refuse to be contained by the pages. Instead characters or scenes keep floating up like ghosts. They shapeshift, but remain recognizable. It’s like a dream that won’t dissipate with waking, but plays on as a transparent veil across the ordinary world.

The images from Projections stayed with me, twisting and reforming, long after I’d handed in my final draft. My story about the ghost of a murdered girl stuck to her killer, and implacably seeking revenge against him over the course of centuries, pulled the neat trick of haunting its author. My long, strange historical fantasy novel apparently wasn’t enough to satisfy the ghost of Catherine Bildstein. She wanted more from me.

Eventually I tried another strategy for placating her ghost, and began putting some of the book’s imagery into mixed-media artwork. And if it hasn’t been quite enough to send Catherine and her worlds to sleep, it’s at least calmed them down.

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Séance

significance is expounded

Catherine is a young girl in the middle of 19th century western New York: the center of its era’s radical movements, especially Spiritualism. It’s hard to grasp now just how revolutionary Spiritualism was; its passionate history has vanished behind a century of portrayals of the Spiritualists as a pack of vicious frauds, preying on grieving parents. There was certainly plenty of grief to exploit: roughly half the children born then died before their fifth birthdays.

Calvinism had blithely condemned those dead children to hell. Spiritualism came along and upended that idea, creating a cosmology where the kids were just fine. There were frauds involved, especially as the 19th century wore on, but there was also a gigantic fuck you to a cruel and pervasive dogma.

There’s a scene in Projections where Catherine attends a séance, and I did quite a bit of research into what séances were like. The girl in this picture, with her head thronged by ghosts and her hands spread on the séance table, is almost Catherine—Catherine a moment before a strange voice spills over her lips and calls itself by a dead girl’s name.

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The Empty Room

significance is expounded upon by the author in the text beneath

The popular image of the 19th century as a prim and placid era is wildly mistaken. There was tremendous ferment, as movements for abolition, women’s rights, and new religions sent the old certainties reeling. Where before the spirits of the dead were believed to stay safely in heaven or hell, Spiritualism proposed a haunted world, one whose ghosts were as close and intimate as skin.

My Catherine ultimately rejects both Spiritualism and her father’s Christianity. But like everyone in her era, she confronts this newly haunted world. Like the young Victorian woman in this image, entering a room and finding all the furniture hovering in midair, Catherine faces the intrusion of uncanny forces—long before she becomes a ghost herself.

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Suture

a piece of significance is expounded upon by the author in the text beneath

After her childhood-friend-turned-stalker, Gus, murders Catherine, her ghost loses the ability to speak. Her voice is consumed by an unending scream—but her mind remains intact, even while everyone around her regards her as a senseless ghoul. Gus objectifies her to the point of exploiting her ghost as a kind of magical battery.

The young Victorian woman in this image is another stand-in for Catherine. Her eyes lowered, her body diagrammed like a cow in a butcher’s shop, but with memories of her childhood bleeding through, she, like Catherine, is seeking agency against all odds.

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Niagara

a piece of avant-garde art porter significance is expounded upon by the author in the text beneath

Shortly before her murder, Catherine travels with two Spiritualist friends to see the Great Blondin cross Niagara Falls on his tightrope. Blondin, balanced in this image above a cataract of faces, was a sensational daredevil who crossed Niagara repeatedly. Unlike modern funambulists, he used no net or line, and any slip would have been fatal.

Catherine, Thomas, and Reverend Skelley go to see Blondin’s first performance, when he sat down on his rope at the midpoint, hauled up a bottle of wine from the boat Maid of the Mist, and toasted the crowd. In his subsequent crossings, Blondin increased the difficulty of the feat in increasingly bizarre ways such as pushing a wheelbarrow, or carrying his terrified manager on his back. He was so surefooted that the crowd eventually grew bored and diminished, even as he kept adding to the spectacle.

This image of him, though, is taken from his first triumphant crossing. Catherine is watching in the crowd, never suspecting that she has only days left to live.


S. E. Porter is the author of Projections, forthcoming from Tor 2/13/24. The images in this piece were taken from her show Séance, on display at the Delight Factory in Brooklyn through 11/18/23 More works from the show can be viewed here.


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Tending the Fire, Together: Community & Loneliness in Spec Fic

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sandymancer by david edison

Writers spend a lot of time alone in their own heads. David Edison is here to talk about the sometimes loneliness of writing, finding his community, and his new book, Sandymancer.

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There’s a true myth that writers are solitary animals, and that our work takes place in some holy half-light of focus and flow. That’s bupkis.

Pick a writer—any writer! Now imagine them working. Is the scene cozy, or is it a busy one? Is there a cat on a shoulder, a dog in a lap? Tea, coffee, Mommy’s perfume scotch? Is there smoke from cigarettes, incense, or a fireplace? Are they in a room of their own?  

Are they alone in that room?

Writing and dreaming can both be lonely work. But unlike writing, there’s no workshop I know of that teaches you how to curate your dreams, or warns of the hungry quicksand that may swallow you whole if, by chance against chance, your dream comes true and you find yourself without a new dream to chase. That’s a lesson I learned after the fact, almost backward.

But almost everything that’s happened to me has happened backward, starting with gastrulation, when I was a 21 day-old embryo, and the cells that would become my organs failed to properly rotate, leaving me with mirror-imaged, inverted organs.  The inversion is imperfect—when I was ten, they disemboweled me to find my appendix.

I felt very alone in that cold, yellow-white room with its one blue blanket. Was I?

When, by hook and by crook, I hustled my way into an informational interview with the legendary editor-cum-agent Loretta Barrett, I had no idea that my career would begin as backward as my zygote did. This woman had hired Jackie Onassis to work at Doubleday, and now she wanted to read “the longest thing I had.” That was the first three chapters of The Waking Engine, which I had shelved in 2003 because I thought it too baroque and unwieldy.

“Finish the book and I’ll sell it.” Loretta disagreed, and who was I to argue? So I did, and she sold it to my dream publisher, the one whose craggy mount I had looked for on book spines since I was eight.

Hoo doggies, did I feel alone. Electric! Alive! Alone.

I never expected I’d need a new dream. Finishing a book, finding an agent, and selling that book to Tor seemed like a reasonably unattainable dream—I don’t fault myself for failing to plan ahead. I learned abruptly that whether our dream comes true or if it crashes like one of those scary race cars, what follows is exactly the same: something new that’s up to you. 

My advice?  Don’t just dream big—dream thoroughly. Dream with multiplicity. They’re dreams, so there’s no sense in limiting them. If I had allowed myself to look farther down that dream-road, I might have saved myself many headaches and at least one existential crisis.

More backwardness: It was only after Waking Engine was in revisions that I began to find a community of writers. I feared mere contact with other writers would destroy my confidence. Backward! With community came mentorship, and at the sage advice of Delia Sherman, I applied for the Clarion West Writers’ Workshop. Delia aptly pointed out that in my backwardness, I had skipped some basic “boot camp” elements of my writer’s education. I’d been in workshops since I was 15, but never at a professional level. My concept of POV, for instance, was woefully underdeveloped, and it’s only because of Delia’s one-on-one instruction that Waking’s sprawling, multiple POV characters weave together with any sense at all.

For the first time in my writing life, I didn’t feel quite so alone.

Clarion West changed me on a mitochondrial level.I don’t mean that it changed what I write, or even how I write—it’s hard to convey how intense those six weeks can be. It scraped out much stagnant bullshit and poured in distilled, peer-reviewed craftsmanship. I needed a few years afterward, to let that ultra-concentrated experience percolate through my subconscious.

I came out knowing what I needed to learn next. I was proud of Waking‘s complexity, but if I needed to learn anything, it was simplicity. So I set out to write a more simply-plotted story with a single POV character and a single narrative arc. (There is a minor second POV character, because I am a recovering abuser of embedded texts.)

I was not alone. Loretta passed away too early, my editor left Tor, and time passed as I wrestled with the choice to reboot my career—but for the first time, I had found My People.

That first day at Clarion West revealed the true treasure I would find there: community. Here were 18 people who had been the rockstar of every workshop they’d ever taken, and we instantly realized that we were in the company of…ourselves. We were the same Cylon model, under the skin, each of us nervously and beautifully embodying the writer’s core programming, which Octavia E. Butler so perfectly summarized: “an oil-and-water combination of ambition, laziness, insecurity, certainty, and drive.”

Suddenly I could share in Usman T. Malik’s passion, which would win him well-earned awards. I could share in E. Lily Yu’s switchblade-sharp deconstructions, in Neon Yang’s joy and off-the-cuff, from-memory piano recitals. Jen Geisbrecht’s punchy snark and absurdly brilliant sentence structure. Malcom Devlin’s one-liners and haunting horror stories. Alix Solano’s laughter and siblingship. Helena Bell’s three-theme theory of storytelling, and her encyclopedic knowledge of where to submit your stories. Kelly Sandoval’s beautifully sweet soul that she reflects so perfectly in her writing. I’ll stop there, but you get the picture: it was a good time, and I’ve felt like a proud brother, watching my cohort earn and receive their accolades.

The lesson of community reverberates. During the final work on Sandymancer, I reveled in the collaboration between my editor, the cover and map artists, design, marketing: Claire Eddy; Sanaa Ali-Virani; Andreas Rocha, Rhys Davies; Julia Bergen; my local photographer, Blanca Parsiak, and more—all of these people and more were right there with me. They’ve told the story of Sandymancer with their insight, expertise, and artistry.

As for me? My crisis came and went. I wrote the novel that I needed to write, Sandymancer, and I learned the lessons that I set out to learn. Not one to repeat mistakes, I wrote the sequel with new lessons in mind. Will the risk be worth it? Will readers find it? 

I’ll find out. When I do, I may be isolated in a room of my own, but I will not be—and never was—alone.

by David Edison


David Edison was born in Saint Louis, Missouri. He currently divides his time between New York City and San Francisco. In other lives, he has worked in many flavors of journalism and is editor of the LGBTQ video game news site GayGamer.net.

…And he sleeps in unicorn corpses, tauntaun style.


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Meow, Baby! Cats in Science Fiction and Fantasy

starter villain by john scalziWe love cats and SFF and John Scalzi, and are thrilled to introduce all three today!

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by John Scalzi

Hello, Tor/Forge blog readers! I have a new novel coming that recently released called Starter Villain, and if you’ve seen the cover—and what a cover!—then you may surmise that cats may play a significant role in the events of the story. That would be correct, and also, it would not be the first time that cats have been integral to the stories that science fiction and fantasy writers write and share with the world.

To make this point, below please find a curated selection of feline friends who pop up in science fiction and fantasy works across several media. Because, after all, cats are everywhere. This is by no means an exhaustive list, so once I offer up some of my favorites here, please add your own in the comments. Because you can never have too many cats!

JONESY THE CAT, from Alien (1979)

The more things change, the more things stay the same—cats were crew members on sailing ships in order to help control the vermin, and Jonesy had a similar role on the Nostromo, the massive cargo-hauling space ship in the film. Now, you might argue that Jonesy fell down on the job when he didn’t hunt down and snap the neck of the alien when it was still small and snake-like, but, look, a smart cat knows when to pick his battles. It’s not for nothing that Jonesy is only one of two survivors of that whole crew.

THE CAT, from Coraline (novella, 2002; film, 2009)

In science fiction and fantasy cats are often presumed to be able to walk between the real world and the wilder worlds of imagination, and that’s the case here, as the stray cat Coraline sees lurking about her house follows her through the secret door the leads to the seemingly-nice-but-then-not-at-all Other Mother and her intriguing, ultimately dangerous pocket universe. The cat and the Other Mother do not get along at all, a fact Coraline uses to her advantage at one point.

GOOSE THE FLERKEN, from Captain Marvel (2019)

Technically Goose is not a cat at all, but if an alien species looks like a cat, walks like a cat and meows like a cat, you can go ahead and call it a cat… at least until physics-defying tentacles fly out of its mouth and devour all those who threaten it. Which, you have to admit, is not something a cat can do—but absolutely IS something a cat would do, if it could. Go on, look at your cat. Tell me it wouldn’t. In an instant.

THE STRAY, from Stray (2022)

Would domesticated cats survive the human apocalypse? In the video game Stray, not only do cats survive, one of them actually manages to unravel the mystery of what happened to those disappeared humans, and why they left behind an entire subterranean city of helper robots. All while simply being a cat (and also, being helped by their very own robot, which is a nice boost if you can get it).

THE CAT, from Love Death + Robots (2019)

Speaking of apocalypses and robots, in the “Three Robots” episode of this animated anthology series, a trio of mechanized explorers visit the ruins of a city and see delights from the human era they’ve encountered before, like balls! And very old hamburgers! And rockets! And, of course, a cat, who decides to then accompany them on their adventures, because it’s cute and furry and harmless… or is it? In the third season of the series, the robots appear again, as does the cat, in the most unusual of places. Boy, whoever thought up this particular cat really must consider them evil geniuses or something.

There’s a starter list of cats in science fiction and fantasy. Add your own to the list in the comments! And check out Starter Villain, the novel, when it’s out on September 19. You won’t be disappointed in its cats, I promise you.

JS


JOHN SCALZI is one of the most popular SF authors of his generation. His debut Old Man’s War won him the Astounding Award for Best New Writer. His New York Times bestsellers include The Last Colony, Fuzzy Nation, and Redshirts (which won the 2013 Hugo Award for Best Novel), and 2020’s The Last Emperox. Material from his blog, Whatever, has also earned him two other Hugo Awards. He lives in Ohio with his wife and daughter. 

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