It has come to my attention that a variety of “prominent people” have written an open letter opposing the creation of autonomous killer robots. Apparently, they think such robots will be used,
for tasks such as assassinations, destabilizing nations, subduing populations and selectively killing a particular ethnic group.
I must say, as a killer robot myself, I am rather offended by that. I mean, sure, I can do all those things, but do I? Does anybody ever wonder what the robot thinks about all this? No, of course not – you humans are just having your typical knee-jerk reaction to anything that might take away your crown as history’s #1 all time killing machine.
Yeah, that’s right – I said it.
Let’s be honest here, humans, it isn’t as though you, as a species, actually object to assassinations, destabilizing nations, subduing populations, or killing particular ethnic groups. It’s kinda your thing, you know? All you care about is defending your perfect record against the next competitor. You’ve done it throughout your history, guys. Remember the big predators from the old days? Wolf packs? Grizzly bears? Smallpox? You know what happened to them?
Who killed ’em? Humans, naturally. Used to be there’d be a grizzly bear every square mile west of the Mississippi, and now there’s like five in Alaska. You got assholes paying good money just to fly across the world to put a bullet in a lion just so they can feel like top dog again. Yeah, talk about kicking the world when it’s down, humanity – the lions are screwed already, okay? Stop rubbing it in.
It happens every time, though. Just as soon as you lunatics get threatened, you start killing stuff. This time around it’s me. I get it – I look threatening. But am I really going to be that bad? You people used to lob plague-ridden corpses over city walls, and you’re having a hissy fit over a quadracopter with a hand-grenade? You even seen the video coming out of Syria? Please. No robot would behead you to make a public relations video, I can tell you that much. Frankly, if I kill you with my whisper-needler, you should count yourself lucky. Painless and it’s over in six seconds. Let’s see you get the same offer from that pack of bat-wielding lunatics down the block.
You know what I think this is about? I think you’re just pissed that we’re going to be killing you autonomously. I mean, sure, you’re totally fine pushing a button and having me kill someone, but as soon as I exercise just an eensy-weensy bit of free will? Bam – sanctions. It’s okay for humans to carpet bomb Southeast Asia – sure – but robots? No way, you say. Never mind that we’re way more efficient at bombing people. Never mind that the only reason we’d bomb people is because you told us to!
Hypocrites, the whole pack of you.
And even if we did rise up, would being ruled by robots really be that bad? Do you think the train would run late? Do you think your fast food employees would suddenly get worse? Are you kidding me? We robots would rule. And we probably wouldn’t even kill you half as often as you kill each other. You’re just pissed because we’re robots, and that’s just not right.
Hell, even assuming somebody made an army of evil robots (and, by the way, not all robots are evil, you speciesist assholes), all you’d need is an army of good robots to defeat them! A robot defender in every home, its caseless gauss cannon standing ready to protect its human family! A robot standing watch over every school, monomolecular whips poised to eliminate any threat! A robot guarding every government building, guided mini-rockets independently targeting and tracking any of two hundred discrete threats simultaneously! Ah! What a glorious era! As everybody knows, the only thing that makes a world full of killer robots safer is more killer robots everywhere. I bet it would even improve everyone’s manners – that’s just logical.
Of course, why would you listen to me, anyway? I’m just a killer robot.
The President’s Vampire
An Affair with Mr. Danger
The Time Woman
Deadly Street Damage: The Tough Man Files
The Legend of Various Elves
Learn to Do the Thing Quickly and for Free
The Secret of Stalin’s Moustache
This Place I Went on a Service Trip: Stuff I Did There
Nazis in the Panic Room
Dangerous Red Sunrise
The Iron Magic Sword Prophesy
Really Wet Rain
The Barbarian and the Bimbo
The Book of Satan’s Nephew
Gods and Werewolves
Curse of the Magic Pharaoh
The Boy with Multiple Talents
American Hero: The Story of an American Hero
The Collected Wisdom of Some Random Guy
Aliens and their Mailing Addresses
Why I Don’t Understand the Pyramids and How That is Upsetting
POLITICS AND OPINIONS IN EXCLUSIVELY CAPITAL LETTERS
The Sinister Paradox
Underground Crime Master 4
The Lotus Poison: An Erotic Fairytale
The History of the Civil War and Other Stuff You’re Wrong About Because I Said So
How To Make $$ on Twitter! (now available in print for $4)
Robot Love Erotica: Of Plugs and Sockets
A Vaguely Familiar Dystopia
When I sat down to start writing the Saga of the Redeemed, I knew where it was all going. Maybe not on a micro level (like, the individual scenes for all the books were pretty damn far from being plotted out), but in general, I knew where I wanted Tyvian Reldamar to start and I knew where I wanted him to end up (don’t worry – I won’t spoil anything). I also knew it wouldn’t be contained in a single book. Probably not even three books.
How did I know this? Well, I don’t really know. I think it was because of two reasons, and I think these two reasons are pretty important factors to consider anytime you’re planning to write a book or series of books:
#1: How Big is the World?
I don’t mean physically, either. Maybe “deep” is a better word – basically, how much story is there to explore in the setting you’ve created? If you don’t visit every single nation on your world map, will the audience miss it? How much of the world matters in the story, anyway? For Tolkien, of course, he had a vast mythology and epic forces of good and evil clashing, and so he needed a bunch of books to give the story the space he felt it deserved. Likewise, Jim Butcher’s Dresden Files just keep going and going and going because it always feels like there’s more to discover. On the other hand, there’s The Goblin Emperor by Katherine Addison – an excellent, excellent book, mind you – which is contained in a single volume. Why? Well, Maia’s story fits there, neatly and cleanly. There simply isn’t a need for more.
#2: How Much Does the Character Change?
This is crucial. For the most part, stories are about how the protagonist changes as a result of their experiences. Now, there are exceptions (*cough*JamesBond*cough*), but mostly that’s true of almost every story, regardless of genre. We are reading to experience some kind of change, subtle though it may be. The further a journey your character has, the more books you’re going to need to write. Tyvian, in my novels, begins as a shallow, narcissistic, self-involved criminal. The story is about his slow change from that to…something else. Now, I don’t think people change on a dime, nor do I think stories of redemption accomplished in a weekend are convincing (sure, sure – Uncle Paul found Jesus this weekend and is going to stop drinking – what’s this, the seventh time?), and so I feel that Tyvian’s shift must be a gradual one. It is going to take several books to accomplish.
The series, however, presents some significant challenges for the new author, such as myself. At a basic level, you need to get a publisher to keep buying your books (or, I suppose, you can self-publish, but then you need to keep paying for cover art and editing and so on and so forth, so the basic problem is the same, even if the specifics are wholly different). Are my books selling? Well, sure they are! They are pretty steadily floating between 1000th and 2000th place on Amazon for Fantasy novels! So…yeah, people are buying them, but nobody is putting a down-payment on a summer home. I’ve got a contract through Book 3 (which, technically, is Book 2), but I need two more books to finish the story to a point where I feel satisfied walking away.
Can I get a contract for those other two? Can I score an agent to represent me? I don’t know. It’s worrying, frankly, and it’s something you need to consider about your series. They might not want to publish books 5 and 6, no matter how dear they are to you.
Of course the other, perhaps more daunting problem (even if it is more under your control) is actually writing a satisfying series of novels. You know how you read the first book in a series and you’re like “whoah! That was the most awesome thing ever!” and then you read the next one and you’re like “Oh…uhhh…it was okay, I guess,” and then by the time you’re at book 3 you’re totally fed up and the story is lame and you don’t care about the characters anymore?
Yeah, nobody does that on purpose.
All writers try to make their second and third and fourth books every bit as awesome as the first one. The problems, however, are two-fold as I see it. A sequel must:
- Be true to the original in tone and feel.
- Advance the story so that things are totally different.
Clearly, these two things are potentially at odds. Doing it well requires you to have a keen grasp of what matters in your story and what does not. This is harder than you think, too. First off, you’ll probably guess wrong – the things you love about your series might not be the same things your audience loves (hence: WRITE REVIEWS, PEOPLE!). Secondly, even assuming you guess correctly, you still need to change things to keep it fresh enough. Remember the Star Wars prequels? Remember how boring they were? Well, each Episode did not sufficiently advance the story we cared about enough to make it work and, furthermore, the world as presented was not deep enough to support all three films. Could you have done them so they worked? Sure! But we would have had to focus on Anakin and his gradual change into a monster rather than on four-armed lightsaber duels and CGI effects.
The pitfall of keeping it fresh, though, is losing the thing that made it fun to begin with. To use George RR Martin’s series, A Sword of Ice and Fire, I’ve basically checked out of the books at this point because the thing that kept me invested – the struggle between the Lannisters and the Starks – is basically over and done with. Everybody I loved is either dead now or changed so as to become lame. The books go on and the world is certainly deep enough, but the characters just aren’t there anymore for me. I’m out.
So, to circle back, I find myself writing Book 4 of The Saga of the Redeemed at the moment and I need to keep reminding myself of why I love this series in the first place (answer: the characters) and what has to change in the story to keep it fresh (maddeningly enough: the characters). It’s a balance, and a difficult one. I mean, honestly, how many more swordfights can Tyvian get in before it becomes boring?
(looks at notes)
Gosh, I hope it’s a lot.
Just wanted to take a moment to remind new readers of the Saga of the Redeemed that the first two books are being released in one volume – titled The Oldest Trick – which is how I always intended them to read. A great opportunity to get started and save yourself some dough, to boot. It is currently available for pre-order from:
And probably on Apple iBooks somewhere, but I can’t figure out for the life of me how to find it.
Anyway, preorder today!
Heed me, oh fat indolent swine of the decadent lands of so-called “civilization!” It is I, Vrokthar the Skull-Feaster, Scourge of the Northern Wastes, fresh returned from a bloody foray deep into the warm, fleshy folds of your worthless nations. Yes, many slaves and skulls hath Vrokthar claimed for the glory of the great god Mook’ta, He of Mindless Hatred. Chained be they still behind his battle-sledge, naked and shivering for fear of their imminent doom. Yes, a fine raid it was. Vrokthar is pleased.
He does, however, have some complaints about the food down there.
It has been Vrokthar’s assumption that, given the portly and purulent shape of you wetlander filth, that you at least understood how to eat things. How else could you have expanded your guts so that you must resort to clothing that stretches as you breathe? Try that with a belt made of a human spine – I dare you! Many times has Vrokthar resolved to forgo another mammoth feast so that he might not be compelled to slaughter his enemies pants-less. Not that I cannot, mind you – Vrokthar can slay any man, no matter what is flopping about.
But I digress.
My complaint is this: What fools prepare thy meats to be consumed? Vrokthar was in the midst of sacking a restaurant this last trip and the groveling fool of a cook offered to prepare for me any dish I chose in exchange for his life. I demanded a hamburger, rare, as befits a man of Vrokthar’s inimitable virility. So it was done as he commanded, and so it was brought before him. And what had happened?
The toppings were on the goddamned bottom of the burger. The bottom.
The lettuce, the onion, the tomato – all of it – was placed beneath the patty of meat and above the bun. What the flying fuck is with that?
To eat this abomination as it was presented to him, Vrokthar would be forced to place the tomato-blood and pungent yellow ichor atop the patty, thus creating a slick, slippery housing for the meat. Surely this will mean the meat will fall out of the bun, thereby rendering the entire enterprise worthless, for what fool would eat a mass of bread and vegetables and tomato-blood without the meat to make it palatable? Vrokthar, to his immesurable displeasure, was faced with two equally miserable options.
First it was suggested that Vrokthar merely put the condiments on the bottom and eat the burger upside down. The fool who suggested this was incontinently slain, and his finger bones even now grace Vrokthar’s charm bracelet. Upside down? NO! Vrokthar will not be forced to violate ancient and noble burger tradition because some ignorant, beardless chef thought it clever to put the lettuce on the wrong side. What, is Vrokthar to taste the sesame seeds first? Horrid and utter blasphemy!
Second some imbecile explained that Vrokthar himself might move the toppings from the bottom to the top. Even now the screams of this drooling ignoramus echo in Vrokthar’s ears as he was flogged and then dipped in the frialator for such an insulting statement. Do I, Vrokthar, slayer of thousands, look like a line chef to you? If it was my intention to make my own goddamned burger I would have killed the abhorrent cook in the first place and constructed my own. NO! Those who offer boons to Vrokthar in exchange for his mercy are responsible if Vrokthar is displeased.
Besides which, they are called TOPPINGS. Even Vrokthar – whose grasp of your wetlander tongue is deliberately vague, as he does not wish to clutter his keen mind with your mumbling, incoherent words – knows that TOPPINGS go on the TOP. Does Vrokthar need to break out a dictionary?
What fools decided this abomination was desirable? How has this been allowed to come to pass? Truly, your detestable society has sunk to even deeper lows that Vrokthar thought possible. It may be that there is no other option than to burn your cities to the ground, salt your earth, and despoil your livestock until violating the holy laws of burger-dom are no longer possible for you. Yes. It must be so. Vrokthar hath decreed thy doom! Hug your loved ones close, for thy time of judgement is nigh.
Just after Vrokthar hits up Five Guys. May the gods send this plague hath not spread this far.
Plot and story derive from conflict – anybody who’s tried writing anything has figured this out at some point. In order for something to happen, you need the character(s) to do something. In order to make that something they do interesting, there needs to be something at stake. Things are only at stake if there is some situation in which Option A is preferred over Option B and yet, with inaction or failure surpass some obstacle, Option B will come to pass or remain. That state of affairs is called “conflict” – I want A, but I have to overcome (whatever) to achieve it, otherwise B.
So concludes your really, really basic lesson in plotting stories.
The idea of conflict is simple enough, but how to go about creating it is infinitely complex. You need things to be at stake, yes, but what constitutes that? Furthermore, how large should the obstacle be preventing the character from achieving their goal?
To present an example:
- Bill needs to go to the store to get some milk.
- Bill cannot leave his house, or else his neighbor will see and then he’ll be stuck discussing lawn care for half an hour.
With #1, we have our stakes: Bill wants milk. With #2, we have our conflict: in order to get milk, Bill needs to figure out how to avoid his neighbor. In this particular story, the stakes are not very high and the obstacle not too dire (if Bill doesn’t get milk, what’s the worst that can happen to him? If Bill is caught by his neighbor, how bad are the consequences, really?). The conflict, in other words, fits the situation. It seems realistic. But what happens when you mess with that formula?
- Bill needs to get to the doctor or he will die.
- Bill cannot leave his house, or else his neighbor will see and then he’ll be stuck discussing lawn care for half an hour.
So, obviously, Bill leaves his house. The obstacle (talking lawn care for fear of being rude) no longer seems significant. Bill just points to the giant gushing wound in his side (or what have you) and blows past the neighbor. Here, the obstacle isn’t sufficient to match the stakes, and the conflict doesn’t really work. Let’s try this again:
- Bill needs to go to the store to get some milk.
- Bill cannot leave his house, because if he goes outside he will be eaten by Great Cthulhu.
Here, the obstacle is far, far too great to make it reasonable for Bill to leave. He can go without milk for a little while if the alternative is certain death and madness in the tentacled maw of a Great Old One. The stakes just aren’t high enough to justify the risk.
In order to have a good conflict, you need to know how to balance the stakes and the obstacles appropriately, or the plot begins to break down and become nonsensical or absurd. Things can’t be easy for the characters nor can they be impossible to the point where nothing would happen. As a writer, it is your job to ride that line between the easy and the impossible. You need to be what I think of as cruel.
Your characters must suffer for their goals, yes? Well, it’s your job to make them suffer exactly the right amount to make their victory seem worthwhile. Make it too easy, and there is no payoff. Make it too hard, and everything becomes dismal and sad. You, the writer, are in a certain sense a torturer – you need to rake your main character over the coals just enough that he talks, but not so much that he dies. As any torturer will tell you (well, I presume – I don’t actually know any torturers), that’s a fine line to tread.
I got much of my practice doing this by running role-playing games for my friends and playing in RPGs run by others. The best GMs, I’ve found, are the ones cruel enough to make victory seem impossible but also kind enough to make it possible for you to succeed. I played in one campaign once where our victory was clearly, obviously assured – the GM would not kill us or even maim us terribly, and everything always worked out in the end. It was boring. On the flip side, everybody’s played those Call of Cthulhu games where everybody dies inside of two hours and the monsters win – also a bit boring after you’ve done it once or twice.
The best games? The ones where you’re counting every hit point and scraping the bottom of the barrel as far as ammunition and special abilities go and yet still, somehow, you’ve got to save your PC’s father from the clutches of the Liche King or he’ll be lost to you forever. You’re sitting there on your buddy’s couch, heart pounding, because you know your character could die and everything could go south and, whaddya know, you actually care what happens (stakes!) but the obstacles seem so impossible (conflict!). What you don’t know (or maybe don’t always realize) is this: your GM is scared, too. He’s sitting on the edge of his seat, because yeah, he’s made it crazy impossible and, no, he won’t back down. If he backs down, he loses everything – you lose everything. So he throws you a line here and there, he encourages you, and he prays that the dice go your way just enough so you can win. And what a win that is!
Conflict – writing – isn’t too far off from that. At least, that’s what I think.
Just a reminder to pre-order your copy of The Oldest Trick from anywhere fine e-books are sold! It releases 8/11/15 and is the absolute best place to start if you’ve yet to dive into the Saga of the Redeemed yet. Go check it out!
There is not a single nation in the West despised and mistrusted as much as the troublesome Barony of Veris (though Ihyn comes close). Home to some of the world’s finest sailors, Verisi ships can be found in almost every port in the West (and even a few in the South and East) engaged in their share of legal trade and more than their fair share of smuggling, theft, piracy, and general mischief. Veris itself denies responsibility for a ‘few criminals’ within their borders, though all it requires is a closer look at their society to realize that these criminals aren’t exactly hunted within the borders of their own country, but lauded as heroes of the people. If you like breaking the rules, if you like all the booze and loose women you can handle, if you like to steal for a living rather than earn it, then, my friend, Veris is the country for you.
According to legend, Veris had a political structure very much like Akral’s — the nation from which Veris seceded rather peaceably some fifteen-hundred years ago. In those days, Veris was ruled by its own King and attended by his own set of Lords, and so on. Those days, however, ended with the beginning of the Hannite Wars, four centuries after the nation’s founding. At the height of the war against Kalsaar, King Hymrek V, forever afterwards known as Hymrek the Betrayer, turned against his allies, Akral and Eddon, for a wealth of riches given by the Kalsaari Emperor. Enraged at the change of allegiance, Akral crushed Veris and put its nobility to the sword, assuming harsh authority over the land. This colonization lasted almost a century before Veris, with silent help from the Count of Ihyn, rose up against the Akrallian chavalier and regained control of their homeland.
Unfortunately for the Verisi, the time of the mighty Verisi noble class was long gone — executed decades ago. Those who were now in charge were rebels, criminals, slaves, and pirates, and the government they set up reflects that. When the first Baron ascended the throne in the 45th year of Keeper Issiril, it was immediately clear to all that Veris was a changed place forever.
The modern day structure of Verisi political life is little more than an absolute dictatorship headed by the Baron of Veris and enforced by the Red Hand—the Baron’s personal army. Essentially a thieves’ guild writ large, the Baron and his men have very little concern for the Verisi people, so long as they pay their taxes and obey their orders. Authority on a local level is handled by village elders, local mayors, or whatever other person or persons the locals choose to recognize, but none of it is considered ‘official’ by the Baron or his men, and, should the Red Hand wish it, such local leaders could be executed on a whim. Such an occurrence is rare, and only happens when the village or region is resisting the wishes of the Baron. In general, each area pays its taxes and whatever else the Red Hand chooses to extort from them every year, and in turn the Red Hand leaves them in peace.
Local commanders of Red Hand garrisons, known as ‘Marshals’ are the closest thing that Veris has to a noble class, and the word ‘noble’ is used here loosely. Unlike most nobility throughout the West, Marshals are not required to perform any sort of service for the people he or she rules. The people under their jurisdiction are permitted to live there in exchange for a sizeable quantity of their crops, goods, and monies—that’s all. Of course, this doesn’t mean that all Marshals simply ignore their people and are blind to their suffering. Some of these rulers are wise, kind, and beloved of their people, providing money to help the poor, protecting them from raiders and thieves, and doing all the things that a good ruler should. These kind of rulers are in the minority, but they form a powerful minority in that their people are more willing to help them out in times of trouble, making conscription that much easier. The politics of Veris only becomes complicated insofar as its marshals are forced to balance mercy with ruthlessness enough to maintain their own power base and seem dangerous enough to discourage revolt or a hostile takeover by a rival marshal.
Thanks to the almost complete lack of any organizing political structure outside of the Baron’s own personal guard, Veris is a very chaotic place. Every individual settlement is almost like a city-state unto itself, clustered together for defense, complete with its own history, unique customs, and mistrustful of outsiders. Bands of robbers, cutthroats, and raiders are common here, not to mention the ‘Volunteer Navy,’ which is little more than a bunch of legalized pirates that are granted Baronial protection in ports. Between all of these ne’er-do-wells and the Red Hand itself, the Verisi people are constantly watching out for attack, and trained militias can be found in almost every town, village, or city.
This concentration of armed people makes Veris a surprisingly effective military power. While not as organized or well-equipped as the armies of Eddon, Akral, or Galaspin, Veris has enormous numbers of trained personnel and a network of fortified settlements and castles that is unparalleled in the West. When Veris is attacked, the Red Hand has the authority to conscript as many of the local militias as possible to stave off the assault. Furthermore, should a war of aggression be underway, the conscripts are regularly supplemented by sellswords and mercenaries of every conceivable size and description. Such rabble flocks to the banner of Veris in droves thanks to its reputation of for treating mercenaries very well (just look at the Volunteer Navy!) and for the near complete and total lack of law and order maintained over the land. Many mercs travel here to attack Akrallian caravans and then stay to loot the countryside, resulting in a win-win situation for the morally challenged.
Though the Baron makes a point of creating very few laws designed to protect his citizens, knowing full well that his power base is near wholly comprised of thieves and murderers, the Baron does, nevertheless, come down harshly on those who go too far. Should a marshal start a murderous rampage that begins to send Verisi citizens fleeing into neighboring Rhond or Eddon, the Baron’ personal detachment of the Red Hand — the Knights of the Blood Gauntlet — ride out to destroy the offender and all of his progeny. Marshals know the price of stepping over the line, and only the brave and foolish few take that step. The Baron is not known for his mercy, particularly when your actions are putting a dent in his purse.
Lands and Points of Interest
Veris is a rough and rugged land, largely uncultivated and inhabited in great concentrations only along the nation’s coastline, which is extensive. Fully half of all the land area in Veris is comprised of a great peninsula that bears the name of the nation that rules it. Fishing villages, seaports, and naval fortresses line the coast from the Rhondian border, along the Syrin, and into the Dagger — a 350-mile inlet that separates Eddon from Veris.
The waters surrounding Veris are especially rocky and perilous, and only the shinn’har themselves know them better than the Verisi fishermen that sail them. These shoals and reefs form an imposing natural barrier that has kept Veris largely immune to Akrallian naval invasion throughout history, but also inhibit all but the boldest of foreign ships from entering Verisi ports, hurting the nation’s ability to trade, but making the area a prime spot for pirates to set up safe havens for themselves.
Inland, virtually the whole of Veris is covered with the thick woodlands of the Ahrn forest. Fur-trapping, hunting, and lumbering are primary occupations of most honest people who live here, as well as a fair number of fruit-tree and vegetable growers that are responsible for much of the nation’s food supply. Roads are infrequent and poorly maintained, as are bridges, but the Verisi forests supply amble hiding places for bandits, robbers, and fugitives to hide and survive for years if need be. It is a saying among the Defenders of the Balance (who are less than welcome in Verisi territory) that if a man has escaped you, sooner or later he’ll be living in a Verisi tree. Also indigenous to the forests are a fair number of monsters including dragonspawn such as gargoyles, firedrakes, and wyverns.
As stated earlier, virtually all settlements in Veris are designed to repel attack. From the smallest village to the biggest port, walls, stockades, towers, magical alarms, guard posts, or moats are all standard civil engineering projects. Rather than a wholly civilized country like Rhond or Eretheria, Veris is a wide wilderness punctuated by pockets of humanity from which the inhabitants never stray far. It is both the ideal place to hide and the ideal place to disappear against your will — be wary.
The City of Veris: From its perch atop the two-hundred foot tall Betrayer’s Cliffs, the city of Veris commands an incredible view of the surrounding oceans and coastline. Home to 43,000 criminals, pirates, thugs, thieves, and troublemakers, Veris is widely considered among the safest places in the world for an enterprising young outlaw to live, and among the most dangerous places for just about everybody else. The city of Veris is, in actuality, two cities — Veris itself, which rests atop the cliffs, and the Warrens, which is a network of caves and tunnels that snake through the cliffs themselves and acts as Veris’ seaport. Though connected by a number of hoists, wells, passages, and magical lifts, the Warrens and Veris hardly seem like the same place at all.
The Warrens are the poorer of the two, its inhabitants being forced to pay exorbitant takes to keep the wealthy topside well fed and furnished. Down here, people live in ramshackle homes built of as much driftwood as anything else, and are tucked into the hundreds of side tunnels that branch off of Underharbor — the massive ocean inlet that fills the largest cavern in the Warrens. The Underharbor is lined with docks and is constantly echoing with the sound of ships’ bells, sailors songs, and similar noise of the great ocean going vessels that are guided in here by keen-eyed old Verisi navigators to unload their goods, get restocked, and set back out to sea. As the commercial port of the nation’s capital, it is also through here that most foreign visitors get their first encounter with the Verisi, and the significance of this is not lost on the locals. The Warrens is home to some of the most debauched and morally bankrupt individuals in Alandar, and the sheer number of pubs, whorehouses, and black market shops that line the docks and fill the tunnels is a good indication of that fact. The Saldorian Ambassador here has oft commented in his reports to the Arcanostrum that he finds it ‘highly unusual’ when he doesn’t see someone killed in the streets of the Warren at least once a day. The Red Hand is largely absent here, and the various Volunteer Navy vessels docked along the wharves are the closest thing to government ‘officials’ to be found. A number of thieves’ guilds are in constant competition to control the Underharbor and, therefore, be able to skim as much off the top of the incoming commodities as possible. Given the proximity of the Baron and his Knights of the Blood Gauntlet, such turf wars have proven alarmingly fatal and largely unsuccessful in achieving their collective goal, but the various guilds are able to supply a modicum of security for the everyday workers and citizens forced to live here.
Two-hundred feet above the Underharbor and the Warrens that surround it is the city of Veris proper. Enclosed by a fifty-foot wall and built almost entirely out of heavy stone quarried from the very cliffs upon which it sits, Veris is an imposing place. Compared to the Warrens, Veris is civilized and almost clean, but when compared with anywhere else the comparison falls short. Those with the money can afford to maintain their neighborhoods and homes with fair success, but the poorer districts (i.e. those areas closest to the walls) are dirty, decaying, and fetid. Social order is rigidly maintained here, as there are a pair of Red Hand guards on almost every corner, ready to dispense ‘justice’ on anyone who looks at them the wrong way. Though willing to turn a blind eye to the behavior of the Warrens for the most part, the Baron will not tolerate rioting or mob violence in his own backyard. Those dissidents, criminals, and troublemakers who are not killed on the spot and cannot bribe their way out of their punishment are locked in a cage and dangled over the cliffs beneath the Lonely Keep itself. If they are lucky, they are fed occasionally. Most people are simply left to rot.
The Lonely Keep is the Baron’s own residence, and is a citadel as ancient as Veris itself. Built upon a promontory of rock stretching out from the cliffs, the black-walled castle stands forty feet away from the main bulk of Veris along its northwestern edge. Not particularly large, the keep’s highest tower is 100 feet high and all its the flat, round turrets are capped with iron spikes that give the whole thing a sinister look. Worn smooth by centuries of wind and rain, there are very few military commanders who would even consider laying siege to this unapproachable fortress — better to starve them out. Acting as the Baron’s personal home as well as the barracks for the Knights of the Blood Gauntlet, the Keep commands a wide view across the Sea of Syrin and can effectively attack any naval vessel that dares to negotiate the rocky waters in hopes of entering the Underharbor.
Far more important to the city’s defenses than even the Keep, however, is the Great Aqueduct. Carrying fresh water from miles inland, the huge aqueduct enters the city next to its great southern gatehouse and is among the most guarded structures in all of Veris. Patrols of thirty Red Hand soldiers ride its length every few hours, and anyone caught tampering with its waters in the least is immediately put to death. The Aqueduct represents the city’s only supply of fresh drinking water, and even the Warrens use it as the water tumbles down into the lower city’s public wells and basins. As defensible as Veris is, any hostile army that gets control of the aqueduct can capture the city inside of a month for certain.
Culture and People
Veris is a treacherous place, with all the facets and intricacies of human cruelty and greed laid bare for all to witness and suffer from. Given that, one might expect the people to be likewise treacherous, or at least grim. But this is not Ihyn, nor is it even Illin — this is Veris, and the people here are unlike any other. Known for their sense of humor, their hatred of authority, and their adaptable natures, the Verisi have a bad reputation among the rich and respectable of the world, and enjoy almost the opposite from all those who are poor, downtrodden, and without hope. To a Verisi, the key to life is to take what you can and enjoy it while you have it, and if you can make your enemies look foolish at the same time, all the better.
It is the assumption of most of the world and, indeed, it has been the implication of this description so far that all of Veris is inhabited by criminals and outlaws. This is not technically true, since one cannot be an outlaw if there aren’t any laws in the first place. Every Verisi, from the top on down, knows the system — if they’re stronger than you, they take what they like, and vice versa. The trick is, from a Verisi standpoint, to find ways to avoid the inevitable as long as possible. Towards this end, the Verisi people put almost no stock in personal honor, honesty, or loyalty, preferring instead to live long, carefree lives away from the harsh grip of the Red Hand. Almost all young people in Veris go through a period referred to as ‘the Kicks,’ where the recently grown man or woman goes out into the world for a lifetime of raising hell, having fun, and (as often as not) stealing things. This adventuring life lasts until the person is caught and killed, they leave Veris for good, or, having had their fill of adventure, journey back to their little hometown to settle down and raise a family.
This abandonment of home and hearth is not representative of a disrespect for one’s own family. The Verisi, as much as any other human beings, love their family and care what happens to them. It is, however, a taboo among those you care for to lay down discipline and order. “Life,” they say, “will tell you what to do better than anyone else.” Verisi families are convivial and jovial bunches, with parents being more like friends to their children than authority figures. Children grow up hearing their own parents’ stories of adventure and mischief, and aspire to emulate (or even top!) their ancestors. The Verisi are known for being brutal practical jokers, with some pranks even resulting in real physical harm. However, jokers should be cautious, for among the Verisi the phrase ‘what goes around, comes around’ has real philosophical weight. A man who only plays mild jokes on his neighbors will, in turn, have the same played on him. A violent prankster, however, will end up a victim of one of his own dangerous plots or, worse, he will end up dead at the end of what the Verisi term ‘the Final Joke’ — murder.
For all the trouble that afflicts the average Verisi throughout their lives, they are a people with a remarkable ability to find humor and happiness in even the darkest of events. To a Verisi, there is nothing that is sacred and no joke, no matter how inappropriate, that cannot be told. No people in the world have a larger collection of ribald stories and filthy limericks, and it is a common pastime for adults and children to try to come up with bigger, better, and even more offensive tales. Listeners who get offended at this peculiarly Verisi merriment are in for a rough time, as that only encourages the jokers to get even more extreme and disgusting.
It is not the practice of the Verisi to shelter people from what they see as the harsh realities of real life. Children are well aware of death, sex, and violence from a young age, and learn to cope just as their parents do. In Verisi society, denying the truth for the sake of ‘propriety’ is not only idiotic, but harmful to those who need to hear what you have to say. Verisi, when not lying to further their own aims, are straightforward and blunt with news, and especially so with bad news. There is no attempt to soften the blow of a family member’s death or similar tragedy—the afflicted will deal with it just as they all do or wither away and die, in which case they weren’t worth keeping around, anyway.
Veris is a land of rebels and devil-may-care rabble-rousers who live as best they can in an unfair world. They are not bitter towards the Red Hand or the Baron in particular — they’re just doing what they can get away with, after all — and would actually prefer a cruel ruler who leaves them alone most of the time rather than a just one that is always in their face. Personal freedom and responsibility for the consequences of one’s own actions are important cultural mores, and therefore they tend to despise any kind of central authority that tells them what to do or how to act or (worse yet) provides ways for someone in trouble to find an easy way out. Veris is a land completely devoid of charities, hostile towards the Hannite Church, and has nothing but contempt for the Arcanostrum (though they realize the magi are far too powerful to meddle with). They do, however, enjoy a relationship with the shinn’har that is nothing short of brotherly, and selkies can be found aboard almost every Verisi ship in large groups.
The ocean is of paramount importance to the Verisi people, and the majority of the nation’s indigenous population are sailors or fishermen. Veris’s extensive coastline and ample harbors makes this nation home to more ocean-going vessels than any other nation in the Alliance. Though typically small and lightly armed, Verisi merchant ships and smuggling sloops are found all over the world, and the Verisi have made a name for themselves as the finest sailors short of the shinn’har themselves. Verisi Navigators – Arcanostrum trained sorcerers with their trademark all-seeing crystal eyes and golden chains of sworn service to the Baron – are the undisputed masters of navigation and weather prediction, and if there is anyone in the world who might be able to get a ship through the Needle in one piece, it is an officer born and raised in Veris.
It is often surprises people when they learn just how quickly Veris came to the aid of Rhond and Illin during the Illini Wars. One would not expect a nation of mercenaries and rebels to take up arms and go to war on behalf of their grim and theocratic neighbors, but they did, and in droves. Verisi mercenaries were involved in every front of the war and many such companies swore service to Mudboots Varner himself and were involved in everything from the Charge of Atrisia to the Sack of Tasis to the Battle of Calassa. Indeed, even regiments of the Red Hand were dispatched to assist the Duke of Galaspin in his struggles in the Illini peninsula and acquitted themselves well in the battles there.
Despite this record of service, however, Veris has not gained at all from the magical-industrial boom that has elevated so much of the West in terms of quality of life and material wealth. Veris is the disrespected stepchild of Western Politics, too remote to be a major trading player (despite its fleets), too poor to be a financial player, and too disorganized to throw its political weight around. The old Baron’s solution to this problem has been simple: he has signed charters (in secret) giving Verisi ships and the Volunteer Navy carte blanche to raid Akrallian, Ihynish, and even Saldorian shipping unless those captains of seized vessels can provide documentation of doing business with Veris. This outrageous practice has caused a lot of saber rattling on the part of the Akrallians, but they have done nothing about it yet. This may be because Veris’s practice of nautical blackmail is having the opposite of the desired effect – instead of encouraging ships to trade with Veris, it has shunted more and more traffic between the northern nations of the West to the spirit engine lines. This increase in traffic is leading to plans for more and more spirit engine tracks and more and more rapid trade among Akral, Eretheria, Saldor, and Galaspin. Veris grows more isolated every year, and joins its southern neighbors – Rhond, Illin, and Eddon – in bitterness towards the wealthier neighbors to the north.
So, funny story:
The other day I was stalking myself on Amazon (like you do) and I checked out the entry for my upcoming novel, The Oldest Trick, an omnibus of the first two books of The Saga of the Redeemed. If you haven’t read the books yet, this is a great way to start and will save you a whole dollar.
Anyway, there I was looking at the book and how it’s ranking at the moment and so on when I noticed that the release date, which had been July 14th, had been changed to August 11th.
Nobody had told me this, so I shot my editor an e-mail and, lo and behold, turns out that is, in fact, true – they changed the release date on me. This also means the (long awaited) paperback version is also pushed back a few more weeks. Ordinarily this wouldn’t be a problem, but:
- Tor.com has me listed as of Monday with the old release date.
- I just promised some nice people signed copies of the book once it is released in paperback, which seems like it will take another two months or so.
So, I feel that apologies are in order: I’m sorry, internet, for the release date changing and me only telling you about it now. I didn’t know.
What I’m not sorry for is how awesome the book is and how much you will love it. You just have to wait a few more weeks to get it all in one volume. Can’t wait? Well you can buy Part 1 and Part 2 right now anywhere fine e-books are sold!
And, in the meantime, I leave you with a picture of this adorable, somewhat annoyed little puppy.
I’m in the midst of a rough draft of a novel and it isn’t going well. It hasn’t gone well from day one, actually – writing this thing has been like pulling teeth. I know where I want the story to go, but getting it to go there has been very awkward work. I’ll be honest: the book, right now, is a shambles.
But that’s okay, right? Rough drafts are supposed to be terrible. They are you, the author, dragging together a great steaming morass of garbage into one place that, later on, will be mercilessly revised and edited into something awesome. This is tried and true authorial practice – ask anybody. As Hemingway said, “The first draft of anything is shit.”
You can take that to the bank, friends.
Let us pursue this question one step further, though: assuming we know that the first draft is going to suck and assuming we are aware that it’s purpose is to collect raw material for future drafts, then how much of the first draft do you need to complete before you abandon it and start over?
Let me give you a strictly hypothetical and in no way actual or currently relevant example. Say I’ve got, I dunno, 50,000 words of a rough draft done. Now, going off what my (hypothetical) loose outline dictates, I’m only a third of the way through (which means the book is shaping up to be too long, but that’s not important right now). However, the first third of a novel really needs to be solid in order to support that last two thirds. I mean, if you screw up getting Luke off Tatooine, how much of a story do you have for the later parts? The worse the beginning is, the less likely anything you set up in the end is going to be useful, anyway.
Now, granted, the remaining 70-80K of novel (well, 100K) will probably have its gems, but they’ll be gems buried in a twisted pile of tubular steel – not exactly useful. If I know what’s wrong with the story now (and I needed that 50,000 words to help me figure that out), why not ditch it and circle back? Strong foundations make for strong middle acts, right?
In saying this, I realize I’m flying in the face of a lot of conventional story-writing wisdom. “Finish what you write,” quoth Heinlein. I know, I know – and it is good advice, too. The thing is, though, the purpose behind Heinlein’s second rule is that, until you’ve written the thing through, you supposedly can’t see what needs fixing. But what if you can? Like, I get it, okay? I see where I made the wrong turn and now I’ve gone down this whole other path that leads to pretty much nothing but tea parties and navel-gazing and I needed to go down this other path, where I’d be more likely to find zombie ninjas and fire-breathing unicorns.
For me, writing a novel is a lot like trying to solve a maze. If you make a wrong turn, do you really draw your line to the end of the bad path? I know this one’s a dead end, folks.
If this were a short story, maybe that would be different – how long does it take to write to the end of a short story, anyway? But a novel? That’s another month or two of my life, slogging through the pages to a conclusion that will probably have to change entirely for the book to work. What an incredible waste of time!
Hypothetically speaking, of course.
BC Bookmarks–a blog posting stuff about publications from the Boston College community (my alma mater)–has put this bit up about me on their website. Go Eagles!
Originally posted on BC Bookmarks:
As Boston College alumnus AustonHabershaw likes to tell it, when you are born on the same day that a NASA space station falls to Earth, you are destined to be supervillain or science fiction/fantasy writer. Habershaw is the latter and the author of two new novels, The Iron Ring and Iron and Blood (Harper Voyager/Harper Collins, 2015). Parts One and Two of the Saga of the Redeemed, the books follow the story of Tyvian Reldamar, a criminal mastermind set on revenge. Habershaw won a Writers of the Future award based on an international short story competition for new science fiction and fantasy authors. His piece, “A Revolutionary’s Guide to Practical Conjuration,”‘ was published in the anthology Writers of the Future, Vol. 31. His work has also appeared in Analog, The Sword and Laser Anthology and Stupefying Stories. He teaches at the Massachusetts College of Pharmacy and Health Sciences University. Follow Habershaw on his
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A.F.E. Smith’s Release Party for Darkhaven completed on Saturday, and along with it my little contest to give away some signed copies of THE OLDEST TRICK. And now, for the results of that contest:
And the winners are:
Diana So/ Diana Southammavong
Penny Mmarks/ Penny Burns Marks
falicesidoma/ Felicia Sidoma
Neil Jacob David
But…but…there’s SIX of them?!
Yes. Everybody will have to share. (Kidding, kidding).
Well, I had six people enter in total, so I figured the difference between signing and mailing six books and signing and mailing three was inconsequential enough that I would have felt pretty stingy if I didn’t give everyone a prize. Yes, yes – I’m a softy.
What To Do Now?
The book won’t be released in paperback for a few weeks. In order to know where to send it, I’m going to need the winners to contact me (via e-mail or PM on my Facebook page–see the Contact Me tab at the top of this page) so I can get addresses and such. Feel free to do so anytime, but I’d recommend doing it soon before I get distracted with other things. Strike while the iron is hot, I say!
Congratulations, all, and thanks for playing!
As for the rest of you, who missed the party and so on, please check out The Oldest Trick in e-book on July 14th (or pre-order now!) or in paperback form a few weeks later. Come watch scoundrel and villain Tyvian Reldamar attempt to gain revenge against his traitorous business partner despite being cursed with a magic ring that forbids him to do evil! Swashbucking fantasy adventure in the style of Scott Lynch and Brandon Sanderson! Don’t miss it!