Tonight, I’m reading with with Kris Saknussemm as part of the New York Review of Science Fiction Reading series. Guest curator is Amy Goldschlager. There’s a bit more information in yesterday’s post, if you scroll down.
Tonight, I’m reading with with Kris Saknussemm as part of the New York Review of Science Fiction Reading series. Guest curator is Amy Goldschlager. There’s a bit more information in yesterday’s post, if you scroll down.
The reading is at 7:00 pm at the South Street Seaport Museum, 12 Fulton Street, New York City. Directions are available at the series website: http://www.hourwolf.com/nyrsf/
The New York Review of Science Fiction Reading Series has showcased some of the most prominent and upcoming authors in the genre. However, the series’ commitment to providing a venue as an ongoing science fiction reading series in New York City, is open to all works of speculative fiction, whether they be works of fantasy, magical realism, horror, or science fiction. The range of writers who have participated in the series speaks of not only of its diversity, but its quality as well. Jonathan Carroll, Susanna Clarke, Samuel R. Delany, Ellen Kushner, Ursula K. LeGuin, Jonathan Lethem, Patricia A. McKillip, Walter Mosley, Naomi Novik, and Peter Straub are among the authors who have participated.
Most readings are taped for broadcast over WBAI, 99.5 FM, on Jim Freund’s science fiction radio program, Hour of the Wolf (http://www.hourwolf.com/toc.html). The broadcasts themselves are available ‘on demand’ for about 8 months from that same Web site.
The series was created by Gordon Van Gelder around 1989. Subsequent curators have included Robert K. J. Kilheffer, Claire Wolf, Joe Monti, Carol Cooper, Sheree Thomas, Paul Witcover and currently Jim Freund who has been recording the series from the start.
WHEN: Tuesday, 4/7/9
Doors open at 6:30 — event begins at 7
WHERE:The South Street Seaport Museum12 Fulton Street — 4th floor
http://maps.google.com/maps?f=q&hl=en&geocode=&q=12+fulton+street,+ny
HOW:
By Subway
Take 2, 3, 4, 5, J, Z, or M to Fulton Street; A and C toBroadway-Nassau. Walk east on Fulton Street to Water Street
By Bus
Take M15 (South Ferry-bound) down Second Ave. to Fulton Street
By Car
From the West Side: take West Street southbound. Follow signs to FDR Drive. Take underpass, keep right – use Exit 1 at end of underpass. Turn right on South Street, six blocks. From the East Side, take FDR Drive south to Exit 3 onto South StreetProceed about 1 mile.
By Boat
http://nywaterway.com/ferry/terminals/wallstreet.asp
or http://www.nywatertaxi.com/
“I have been correcting the proofs of my poems. In the morning, after hard work, I took a comma out of one sentence…. In the afternoon I put it back again.”
–Oscar Wilde (1854-1900)
This excerpt is from the opening chapter of my third novel for Harlequin Spice.
###
“My lady,” Maxime said, “I understand you’re disappointed–“
The Lady Diamanta threw a gold-and-ruby pomegranate at Maxime’s head. He ducked, but it still clipped the top edge of his ducal coronet and spun into the wall of the receiving room before hitting the floor and spinning to a stop.
A handblown goblet whizzed by his ear; he flung up his hand and caught it before it could shatter against the ducal throne behind him. “Now, wait,” he said. “That was a particular token of my esteem–look, it has all these beautiful cloudfish etched into the bowl–“
“F— you!” the Lady Diamanta screamed.
“I’m afraid not,” Maxime said. “I did not agree to this marriage. Therefore I will not marry you.”
Diamanta vibrated with rage, her slender fingers clenched upon the next gift, a handful of ebony hairsticks topped with gold knobs, the rich coppery-red gold of the far south, seldom seen in the duchies. She snarled, “You have no choice in the matter.”
“On the contrary,” Maxime said. “I am a Duke of the Realm. I may marry whom I please. My charter clearly states–“
“You will marry at the king’s command,” Diamanta said, her voice going cold. She set the hairsticks back on the table, but continued to fondle them, as an archer might fondle arrows. “If you refuse me, my life will be ruined.”
“No, it won’t,” Maxime said. “You hate me. You’ve hated me since we were both fourteen.” He set the goblet on another table, out of her reach.
Diamanta licked her lips. They were plump and pink and inviting. She said, “My feelings don’t enter into it, nor do yours. I am wealthy.”
“So am I.”
“That’s why we belong together. That’s why I am to be a duchess. My father’s wealth will provide a substantial dowry for the crown, and for your duchy as well. I’ve been trained for this role from birth.”
“You won’t be my duchess,” Maxime said. He clasped his hands behind his back. The elaborate rings he’d worn, hoping she’d see them as the respect he intended for her, dug painfully into his fingers. “I am despondent you travelled all this way. I informed the king weeks ago I would not marry you, or anyone of his choosing. Perhaps you could convey this to him directly.”
He held her gaze. She held his. Slowly, she released her grip on the hairsticks and trailed her fingers up her ribcage and over her bosom. It was one of the finest bosoms in all the duchies. She lifted a brow. Maxime shook his head.
Diamanta took one of the hairsticks and briskly used it to tidy dislodged strands of her platinum-pale hair. She remarked, “You would have been lucky to have me. You’re not such a prize, you know. No matter what the women of the court say of your…endowments.”
“I’d rather not be a prize in a contest,” Maxime said. “You will of course accept my gifts, which express my regret in refusing our betrothal?”
Diamanta cast a glance over the tables spanning the room, each one laden with silks, jewels, and exquisite handicrafts. Thirty matched tourmalines were arrayed on black velvet. A tiny yellow bird with an orange beak warbled sweetly in its bamboo cage, and an albino monkey sat on a realistic carving of a tree, eating a grape.
Feigning reluctance, Diamanta said, “I suppose they will have to do.” She gestured to her silently waiting maid, whirled in a swirl of silks, and exited.
When the door closed, Maxime sank into a chair and scrubbed his hands over his cropped dark beard. He’d barely escaped a fate that made him shudder inside, that being a lifetime of brittle politeness and sex with someone to whom he didn’t want to even converse.
He was lucky the king hadn’t had him drugged and forced to speak vows. He cast a glance at his wineglass, remembered Diamanta had passed near it, and poured the remainder of the wine into a potted tree.
He’d thought he had more time.
###
I’ve sold two more books to Harlequin Spice.
The first one is tentatively titled The Duke and the Pirate Queen, but that will very likely change, since all of my other tentative titles have changed before publication. The second is open at the moment; I have several different ideas, and will talk it over with my editor.
The Duke and the Pirate Queen is scheduled for late 2011, and stars the Duke Maxime and Captain Leung, who appeared in The Duchess, Her Maid, The Groom and Their Lover.

The image accompanying this post is a lamp from a hotel room in which I stayed recently. It requires no further comment, I hope.
I find this quote to be so very, very true:
“I have noticed that in books this sort of stalemate never seems to occur; the authors are so anxious to move their stories forward (however wooden they may be, advancing like market carts with squeaking wheels that are never still, though they go only to dusty villages where the charm of the country is lost and the pleasures of the city will never be found) that there are no such misunderstandings, no refusals to negotiate. The assassin who holds a dagger to his victim’s neck is eager to discuss the whole matter, and at any length the victim or the author may wish.”
—The Sword of the Lictor, Gene Wolfe
I’ve never been entirely sure what voice is, while at the same time I feel it’s something I know in my bones, unique as a retinal print.
As a writer, my voice is part of me. Yet it’s not static.
The time my voice comes out most is when I’m not focusing on craft (tools of writing). However, I don’t think voice can clearly emerge unless the craft elements are already in place. When word choice and rhythm and flow are happening on the unconscious level, I think it’s easier to see the voice that’s present. Also, I think a writer’s voice is often strongest when she is writing about something important to her, especially when it’s of emotional importance. The extra commitment comes through on the page.
We can refine and strengthen our own voice in revisions just like anything else, if we know how to recognize it.
I feel voice is something that grows and changes as your skill with writing tools grows and changes, and as your topics change.
Related Posts:
Zero Drafting.
Rather, I don’t like the idea of vampires. This does not stop me from reading vampire novels, of course. I just don’t prefer them.
The heart of my dislike is vampires killing humans for their own eternal life; secondarily, the way certain types of vampires treat humans as food only. Most contemporary vampire fiction elides this or, better, creates their own lore so that their hero/heroine is not a murderer. I like that type much better; for instance, it doesn’t seem so awful to me if a vampire feeds on their lover in small amounts, giving pleasure or psychic strength or something in return. All of the vampire books I’ve enjoyed have either mutuality (P.N. Elrod), vampires as a separate species who don’t need human blood (J.R. Ward, except I get annoyed that their blood-partner must be of the opposite sex, which isn’t logical to me in a biological sense), or vampires who are considered evil because they kill, and the consequences of that (Barbara Hambly). I’ve also enjoyed vampire stories about humans who fight evil vampires, as in Colleen Gleason’s work.
The other thing I dislike about vampires is that, in romance at least, the vampire hero (nearly always a hero, not a heroine) is almost exclusively given an “alpha male” personality. It makes sense for this to be so; instead of the Duke of Manlypants sweeping in and whisking the heroine away to a new, luxurious lifestyle, the Vampire Studly swoops in and whisks the heroine into immortality, or at the least through a whirlwind of supernatural sex. The only difference is in scale. At base, both are the same fantasy: powerful male chooses heroine out of all others and places her above all others, and she is safe and loved forevermore. If one’s feminist ideals are bothered by the idea, it’s easier to believe in if Mr. Alpha really is more powerful than you because he’s eight centuries old, or can fly, or can mesmerize a city with his glowing gaze.
It was interesting to read Joey Hill’s The Vampire Queen’s Servant, which features a female vampire. I had hopes that I would enjoy it more, but it only reinforced my opinion that what bothered me about vampire books was the power differential. The vampire’s gender didn’t matter to me. Even in a book like that one, with its complex and subtle issues of dominance and submission, it was the vampire ultimately having the power of life and death over his or her romantic partner that kept me from buying into the fantasy.
If you’re looking for an inventive atypical vampire romance, I recommend Marta Acosta’s Happy Hour at Casa Dracula. It’s really fun, with some interesting variations on both vampire romances and chick lit.
Related Posts:
Normative Heterosexuality and the Alpha Male Fantasy.
Romancing the Beast.