Dublin WorldCon 2019 is not only my first WorldCon but my first convention ever. I spent a couple summers as a banquet waiter for conventions but have never been able to partake in the fun. Now, I get to go wild.
My goal for WorldCon is to learn as much, see as much, and meet as many people as possible. Especially those who want to talk SFF writing and publishing.
If you want to meet up, chat, grab a drink, or just say hi, DM-ing me on Twitter or Instagram would be your best bet. I’ll try my best to respond.
This is going to be one intense, incredible weekend and I can’t wait.
The worlds we create belong to some reality. Those realities must have some form of physics that governs the actions within. These physics must be the type that can create and sustain life or at least things that are capable of having and conveying experiences within that reality. No characters, no story. These factors combined with our limited imaginations as 3D, corporeal, mortal beings means that the realities we create are almost always analogous to our own.
So what does this mean for our writing? It means the world, our real world, is a treasure trove of inspiration. If our writing is doomed to be analogous, why not hunt for some bitchin’ analogs!
I’m a lucky man and I get to travel a lot thanks to my rad wife’s rad job. Wherever we go, I always like to keep an eye out for intriguing settings or details from scenes that could one day make it into my stories. This, for example, is an actual Victorian surgical theater smack dab in the middle of London. As a writer of mostly dark themes, I had to check this place out. Who knows when one of these rooms will creep into a story. So, I hopped on the tube and bought my ticket and hauled myself up the narrow stairwell, through the gift shop, and up to the vantage point where I took the photo. That photo, however is just the tip of the iceberg when it comes to the way I go about scene collecting. Continue reading
I’m excited to announce I’ve just had another article published in The Woolf, Zürich’s premier English language e-magazine on writing.
Writers are very used to thinking about the various styles of POV as means to deliver information but often ignore their power to hide it. In the Masks edition of The Woolf, I take a deeper look at POV as a tool for mystery and subterfuge. If you’re interested, follow the link below.