Athena, 3/20/14

Dressed for her sports award ceremony this evening (she was in power lifting). And looking pretty stylish, if I do say so myself. 

Reader Request Week 2014 #8: What Writing Lurks In the Shadows?

Katy asks:

Is there anything you’ve written that is sitting in a drawer/file cabinet that will never see the light of day?

Not really, no. The very first novel I wrote was Agent to the Stars, which I sold shortly after Old Man’s War (the second novel I wrote) was published. All the other novels I’ve written since were either written under contract or claimed after I wrote them. Likewise, I only wrote a couple of short stories before OMW was published and I sold both of those, and since then I only write short stories that either have been commissioned or that I write for my own amusement and then post here. So there is literally (hah!) no backlog of material from me, and (thankfully) no stuff I’d be embarrassed to show off.

Now, the above applies only for work that I wrote as an adult. When I was a teenager I wrote several stories (not to mention poetry and song lyrics), and I have them here in the office with me. Most of these are, well, not good — I think they’re fine for the output of a teenager, but I’m definitely grading on a curve, there. I’m not ashamed of them, but neither do I imagine there’s much of a market for them (one of the stories, set in the future, features a semi-truck full of cassette tapes). Unless I decide to pay someone to type them into the computer, and then post them here purely for archaeological interest, I don’t imagine any of you will ever see them.

I’ll also note that there’s a fair amount of material I wrote professionally that isn’t readily available on the Internet — most of the work I did for newspapers, for example, which is only accessible via paid archives; a lot of the other print work, which is not available anywhere online; most of what I wrote for AOL back in the day, which also went away when the client-based AOL service did, and material posted here prior my first Movable Type installation in 2003, because I revamped the site and took a lot of that stuff offline.

None of that stuff will “never see the light of day” because in fact most of it was seen by a ton of people when it was first published. It just won’t be seen again. The good news there is that a fair amount of it isn’t worth seeing again, for reasons ranging from marginal competence on my part, to the material simply being woefully outdated. No one will miss it much, me included.

So: Yeah. I got nothin’ for you lurking in the shadows, I’m afraid. What you’ve seen from me is really and truly everything I have. Well, except for the upcoming novel Lock In, and the novella I finished up a couple of weeks ago. But those are both on their way. Honest.

To Note The Passing of Fred Phelps

I have donated $100 to The Trevor Project.

And that’s all I’m going to say here about the passing of Fred Phelps.

Twenty Years Online

Above, you see the very first verifiable evidence of me being on the Internet: A USENET post, on the sci.astro newsgroup, dated March 20, 1994 — twenty years ago today. For trivia fans, it was posted from my apartment in Fresno, where I was working at the local newspaper as their film critic, and if memory serves, I posted it on a Mac Quadra (probably this model), whilst facing north (no, really).

This is what I looked like in 1994:

At least Krissy looks pretty much the same.

Of course, it wasn’t the first time I had been online. Prior to that I had been online via a local BBS in high school and the Prodigy online service, starting in 1992, but when I upgraded to the Quadra I also started looking around at that new-fangled “World Wide Web” thing I had heard so much about. Once I started looking about, in reasonably short time I had my own hand-rolled Web page via a local service provider (, now defunct) and begun reading an posting to USENET, most notably at alt.society.generation-x, which was a center of my online life until I got my own domain, started Whatever, and began blogging in earnest here. But as far as the memory of the Internet is concerned, this sci.astro post is where I first pop up. As I mentioned elsewhere, I’m immensely relieved that the Internet’s first note of me is of me asking about science, rather than porn.

This is the part where I would note with wonder all the changes that have been wrought to the Internet since that fateful day, two decades ago, when I dipped my toe into the cyber-waters, but you know what, blah blah blah blah blah take it as read. I will say, as all middle-aged and older folks must in situations like this, that it’s a little amazing that twenty years has gone by. Sitting there in my Fresno apartment, staring into my Quadra’s monitor as I use Netscape to visit Spatula City, really doesn’t seem all that long ago. I wonder how it will feel in another 20 years.

Reader Request Week 2014 #7: Editorial Independence

Dpmaine asks:

How do you intend to maintain editorial independence given that you are now working with one of the largest international media conglomerates, headed by a notorious right-winger billionaire?

Context: My book Redshirts is in development as a limited TV series at FX, a cable station owned by 21st Century Fox, owned by Rupert Murdoch. 21st Century Fox was a company formed when News Corporation split into two companies: Fox for film/broadcast properties and News Corp for its publishing properties. Both companies have Murdoch as their Chairman/CEO. Fox News was assigned to 21st Century Fox rather than News Corp, which makes it easy to snark that it was grouped in with the entertainment properties (i.e., film/tv) rather than the news properties (i.e., publishing).

I’ll begin by noting that my association with FX is not, in fact, my first association with a large international conglomerate; indeed, I have worked with several. I worked with AOL during the time it was part of Time Warner (or more accurately, when Time Warner was part of AOL, as technically AOL bought TW). Old Man’s War’s movie option was with Paramount, part of Viacom. When I was Creative Consultant for Stargate: Universe, that was on Syfy, part of NBCUniversal. I did consulting for Disney on a project that I’m not at liberty to disclose publicly. I’ve published books with Rough Guides and Heyne, now both part of Penguin Random House, jointly owned by Bertlesmann and Pearson, both major international conglomerates; and of course I publish with Tor Books, owned by Macmillan, which in turn is owned by the Holtzbrinck Publishing Group, which is also, you may surmise, a large international conglomerate. So, again: working with 21 Century Fox will not be my first time at the conglomerate dance.

(Note bene: In all of the above, my relationship with the conglomerates has been as an independent contractor, often for a company that itself contracted with the conglomerate, and not as an employee. I was an AOL employee once, but not during the Time Warner era.)

Does working with a conglomerate impede one’s editorial independence elsewhere? Well, yes, it can. You may see an example of that above, where I noted that there was a project I worked on at Disney that I can’t discuss publicly. That’s because I signed an non-disclosure agreement about it. I’d like to tell you about it, because it was a very cool project and I worked with very cool people on it, but I can’t. I’m legally obliged not to, and also, I said I wouldn’t, and I prefer to keep my word.

Likewise, sometimes in contracts, one is asked to sign non-disparagement clauses. In my experience these are usually confined to specific projects. So, for example, if I worked on [X], I would agree not to say disparaging things about [X] to the media or on social media. So I couldn’t come here or go to Twitter or Facebook and say “Jesus, I’ve been working on [X] for months now and I can’t believe what a tremendous pile of crap it is.” I don’t think that’s usually an unreasonable thing to agree to.

But even without that contractual bar, I’d have to say it would be very very very unlikely you’d see or hear me publicly rubbish a project I was directly working on. One, in my experience most everyone is trying to make a project work, and sometimes it just doesn’t, and that’s the way it goes. Two, only an idiot burns bridges when they don’t have to. Future work can still come out of failed projects.

With all that said, I don’t think that working with a large media conglomerate is an automatic bar to criticizing it or the practices of the corporation (or some portion of it), or the output of that conglomerate. Indeed, there’s a long history of one part of a corporation looking at other parts with a critical eye. Entertainment Weekly and Time Magazine have panned Warner Bros. and New Line Cinema films; The Wall Street Journal has cast its eye on the business practices of various part of the Murdoch empire; and The Simpsons, shown on Fox network, has said less than nice things about Fox News (see the graphic at the top of the entry).

Yes, yes, but would you do that criticizing, you ask? One way to answer that is to note I’ve done it before — I’m published by Random House (via Rough Guides and Heyne) but that did not stop me from expressing my displeasure in no uncertain terms about the company’s (now-updated) contracts from the Hydra and Alias imprints. Likewise, I’ve criticized Amazon and its business practices, even as the company is one of my publishers — and a very good one, I will note — through its audiobook subsidiary Audible. I made snarky comments about the Sci-Fi Channel changing its name to Syfy after I agreed to be the consultant for SGU. Past actions are not a guarantee of future results, of course. But it is indicative of how I approach these things.

Now, I think it would be perfectly reasonable for people to remember my various business associations and take them under consideration when they see me talk about things that touch tangentially (or not-so-tangentially) on those associations. But I would ask them to keep in their minds that thinking I am or am not discussing a subject because I am in the pay of one conglomerate or another is a fairly reductive way to look at things. There are going to be times when I might say “I’m a little too close to this one, so I’m going to stay out of it publicly,” because sometimes that’s true. But there are a lot of reasons why I might choose not to comment on a thing.

In short, I don’t think the fact that I’m working with FX will keep me from commenting when, say, someone on Fox News says something egregiously stupid enough to inspire me to comment. Alternately, I don’t see me starting to positively quote nuggets of wisdom from Sean Hannity, just because a chunk of my income issues forth from the vasty Murdochian depths. I don’t imagine anyone at FX will care — or anyone at Fox News, for that matter. Nor Rupert Murdoch, bless his heart.