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In 1979, Orson Scott Card published the story “Sandmagic.” Like “Ender’s Game,” the piece is about people at war and how war affects children. Both are about innocents who become weapons.
Sure, the most obvious option is to take the standard contract, but as many of us have learned the hard way, the standard contract isn’t usually the best deal you can get.
Morgan and Francis actually come from a couple of dreams I had about a Slayer-like girl and her sidekick in a post-apocalyptic world.
A man (it’s almost always a man) becomes a powerful magician (or later, a scientist) and creates something that looks almost human. Then it all goes wrong.
You have to know the characters, or at least believe that you do. The moments that make up family life are primarily quiet ones, in and of themselves seemingly insignificant.
Steampunk is frequently associated with the Victorian and Edwardian periods of British and world history lasting roughly from 1837, when Queen Victoria took the throne, through the end of World War I.
While I was writing Mechanique, I watched hundreds of hours of circus footage—both the shows themselves and whatever behind-the-scenes material I could get my hands on.
Welcome to issue fifty of Fantasy Magazine! On tap this month… Fiction: “Study, For Solo Piano” by Genevieve Valentine, “Creation” by Jeffrey Ford, “The Devil in Gaylord’s Creek” by Sarah Monette, “Sandmagic” by Orson Scott Card. Nonfiction: “Now Hiring in the Airship Lounge” by Stephen A. Watkins, “Man-Made Men” by Alex Irvine, “Five Ways to Trick the Devil” by Heather Shaw, “Feature Interview: David Gaider and Heather Rabitach of Dragon Age II” by Matt London.
At present, when one hears the word “unicorn,” the associations are obvious: a horned white horse, representing purity; a similarly chaste and pristine young woman; a series of single entendres.
You have to constantly ask, what’s being betrayed: the unicorns themselves, or the medieval cultural ideal of them? If the latter, is that a bad thing? Is it betrayal or subversion?
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