Just recently, indie author and artist Cedar Sanderson put together two anthologies of hunting stories, non-fiction and fiction. She has graciously included Night Hunt as an entry in the second volume (The Deer Shot Back). The stories are fun reads, focused on the humor and mishaps of the hunting life.
I'm working on a scifi story collection called There's a Sword for That (using a fantasy motif in a scifi context — just for the fun of it). The tales come out of a weapons shop on a space station, which you can see on the cover.
The collection won't be ready for a while, so I've released a couple of two-story bundles in the meantime, for your amusement.
Monsters – Xenoarchaeologist Vartan has promised his young daughter Liza one of the many enigmatic lamedh objects that litter the site of a vanished alien civilization.
No one can figure out what they're good for, but Liza finds a use for one.
Adaptability – The Webster Marble Deluxe Woodsman, Model 820-E, has been offline for quite some time. Quite some time indeed.
Good thing Webster has a manual to consult, and a great many special functions.
The Visitor – Felockati is anchored to his permanent location underwater and misses the days of roaming his ocean world freely.
But something new drops out of the sky and widens his horizons — all the way to the stars.
Your Every Wish – Stealing the alien ambassador's dagger is a sure thing for Pete — just what he needs to pay off his debts.
Until he starts talking to it. There has to be a way to get something for himself out of the deal. Has to be.
The Visitor was previous published in Strange Horizons.
I have a few scifi short stories lined up for release, and here's the first one — Second Sight, a story about unintended consequences.
BORROWING SOMEONE ELSE’S PERCEPTIONS FOR A POPULAR DEVICE CAN ONLY MEAN COMMERCIAL SUCCESS. RIGHT?
Samar Dix, the inventor of the popular DixOcular replacement eyes with their numerous enhancements, has run out of ideas and needs another hit. Engaging a visionary painter to create the first in a series of Artist models promises to yield an entirely new way of looking at his world.
But looking through another’s eyes isn’t quite as simple as he thinks, and no amount of tweaking will yield entirely predictable, or safe, results.
SETTING A TRAP TO CATCH THE MAKERS OF CHAINED WIZARDS.
A clue has sent Penrys back to Ellech, the country where she first appeared four short years ago with her mind wiped, her body stripped, and her neck chained. It’s time to enlist the help of the Collegium of Wizards which sheltered her then.
Things don’t work out that way, and she finds herself retracing a dead scholar’s crooked track and setting herself up as a target to confirm her growing suspicions. But what happens to bait when the prey shows its teeth?
In this conclusion to the series, tracking old crimes brings new dangers, and a chance for redemption.
I'm just about to start writing a new series. Unlike some of my others, this one is open-ended, rather than coming to a natural (if extensible) close after just a few books.
Is it better to release the new series books one at a time as they're finished, or to write the first several, and then release them quickly, one right after another?
Easy to say — hard to analyze. Lots of uncertainty.
For my own curiosity, I built a spreadsheet to help me do the analysis, and I'm sharing that here with you. As always, I am not responsible for any errors in my assumptions or algorithms — please do your own calculations using your own assumptions.
Time to write a book in the series: 3 months. That's 4 books/year. Sometimes it might be faster, sometimes slower.
I assume my partners (cover artist, conlanger) can keep up. That should only be an issue as the release schedule begins to crowd the writing schedule.
Length of series: Even if I write ahead, the various models end up the same beginning with book 10, so 10 books is enough for this evaluation.
To analyze, you need numbers. Those numbers have enormous uncertainty associated with them. Tinkering with the parameters will give you an idea about the sensitivity of the results to the initial setting. Since I'm only interested in the comparative results of different plans, using the same parameters will help cancel out the uncertainty.
Book 3 of The Chained Adept
CHAINS WITHOUT WIZARDS AND A RISING COUNT OF THE DEAD.
The largest city in the world has just discovered its missing wizards. It seems the Kigali empire has ignited a panic that threatens internal ruin and the only chained wizard it knows that's still alive is Penrys.
The living wizards and the dead are not her people, not unless she makes them so. All they have in common is a heavy chain and a dead past — the lives that were stolen from them are beyond recall.
What remains are unanswered questions about who made them this way. And why. And what Penrys plans to do to find out.
You can find a full (and growing) list of audiobook retailer links here.
I had a lot of fun producing this edition, and every reader who complained about my use of Welsh names should feel gratified that I was forced to say them myself. Repeatedly. Into an unforgiving microphone.
More than two years ago I decided to experiment with producing an audiobook edition of To Carry the Horn, the first book of The Hounds of Annwn. Many new authors were having success with audiobook editions, and I wanted to get some experience with the market and the process.
I looked at the primary partner at the time (and still), ACX, where most people went for this service. The process was well-laid out and very thorough. They offer voice actors who charge by the finished-hour of recording. There are ways of having some of that cost subsidized. It's a very clean, seductive marketplace, bringing authors and voice performers together and distributing the results.
I went through the audition process and located a couple of promising voice actors but then I… stopped. You see, the costs to produce an audiobook are quite high.