Happy Holidays!

rejections

I hope you all are enjoying the holidays!
As the year draws to a close, I usually take stock: How did I do with my goals for the year, in particular with my writing goals? Some of these goals included polishing my query and synopsis for my MFA novel and querying it; finishing up my time-travel novel, writing a query letter and synopsis, and querying; writing/polishing various short stories and submitting them; querying my favorite novel as opportunities arise, keep writing the three new novels I'm working on. So, the good news is: I achieved all my goals! I actually even had one pro sale, a short story. W00t!

However, I received at least 100 rejections this year. Ugh. Intellectually, I know querying and being rejected is part of the authors job but... Ugh. So, in case you received some rejections in 2012 here are some tales of woe that should make you feel better at the awesome website: http://www.literaryrejections.com/best-sellers-initially-rejected/

Keep on trying! Good luck to all of us in 2013!

lab lit?

There's been some hubbub around cyberspace lately about a new genre of fiction called "lab lit", short for laboratory literature. For example, last week Katherine Bouton discussed it in The New York Times: "In Lab Lit, Fiction Meets Science of the Real World". Bouton says Lab lit is not science fiction, and in my opinion it’s not historical fiction about actual scientists.... Bouton also refers to LabLit.com, 'the culture of science in fiction & fact,' and quotes, lab lit "depicts realistic scientists as central characters and portrays fairly realistic scientific practice or concepts, typically taking place in a realistic — as opposed to speculative or future — world."

There's even a wikipedia entry: Lab lit, which states Lab lit is a genre of fiction that centres on realistic portrayals of scientists, and science as a profession.

Let's take a step back. What exactly is science fiction? I interviewed one of the world's foremost experts on this in 2007. James E. Gunn said, Science fiction is the literature of change; science fiction is the literature of the human species; science fiction is a (note not "the") literature of ideas. If I had to choose one, slightly longer, it would be: Science fiction is the literature of the human condition experiencing meaningful change.
So, does lab lit fit into this definition? Yes?

As a speculative fiction editor, the question of a story's genre does come up from time to time. I must admit if a story could all be true, I reject it as not speculative fiction. Of course, truth in science is a moving target. Faster-than-light neutrinos would be science fiction. Higgs bosons would not be science fiction.

So, what do you think? Is lab lit a genre? Is it separate from science fiction? I'm undecided...

music?

I hope everyone's been enjoying the brand-new issue of Electric Spec. I know I have.

In fact, I've been procrastinating horribly for the last few days and not doing my writing. Today, I decided enough is enough, put on my ipod, and forced myself to get busy. Suffice it to say, I got some stuff done I needed to get done. W00t! As a reward, I goofed around cyberspace a bit and came across: "The Complete American Gods Mix Tape" by Bridget McGovern over at tor.com . W00t! This combines a plethora of neat things including Gaiman, American Gods, TOR, music, and HBO. Check it out. :)

McGovern begins with If you’re familiar with Neil Gaiman’s work, then you know that music tends to play an important part in his writing, both on and off the page. This raises the question, does music play an important part in your writing?
I believe music makes me more productive. It shuts out the world's distractions and enables my creative juices to flow more easily.

We've published quite a few music-centric stories over the years, for example, "The Boogie-Woogie, Time-Traveling Cyborg Blues" by Barton Paul Levenson and "Me and the Devil Blues" by Stuart Neville.
What are your favorites?

We're live!

Hopefully everyone's noticed already but the fabulous new November 30, 2012 issue of Electric Spec is live! W00t! Thank you very much to everyone who helped us with this issue, especially Chris Devlin who pitched in with some copy-editing and associate editor Nikki Baird! W00t!
Thanks a lot to our authors Malon Edwards, L. Young, Jesse Knifley, and D.L. Young, and to our artist Ron Sanders. Thank you to YA author Rebecca Taylor who let us interview her. W00t!
Finally, thank you, too, to all the authors and artists who submitted but didn't make this particular issue. We appreciate you, too. W00t!

So, what's your favorite story this time? :)

new issue soon

Tick, tock. Tick, tock. Our brand new November 30, 2012 issue of Electric Spec is almost here! What fun stuff does this issue have? Well, I'll tell you...

• Lest they Drink and Forget the Law by Malon Edwards A story of a unique character on a unique world who gets herself into a sticky situation.
• Wolfshead by L. Young A new twist on the werewolf story.
• Ximena by D.L. Young (no relation to the above author). A foreward-looking business woman tries to fulfill one of her dreams.
• A Magician's Silver by Jesse Knifley Epic fantasy at its best, as magicians compete for a prize but find something even more valuable.
• Special Feature: Author Interview of Rebecca Taylor A supernatural YA author tells us about her work and her journey.
• Editors Corner: The Last Car in Town by Lesley L. Smith When our society transforms, some things will remain the same.

Check it out at the end of this week!

Story Endings

We had an interesting discussion at the production meeting at the beginning of the month about story endings. Alas, some of the stories we get in our slush pile don't really have endings. IMHO,the most crucial part of a story is the ending. It's the payoff. Readers read until the end to get this payoff. What happens if your story doesn't have this payoff? I'll tell you: trouble. Readers are not satisfied and editors are not buying. Please make sure your story has a payoff. I concede for every rule there's an exception. A few authors make a good living not including endings (Kelly Link comes to mind).
Here are some tips for satisfying story payoffs:

• allude to, and resolve--one way or another--the story's major conflict. Notice this means your story must have a major conflict. Actually, this also means your protagonist must have a goal and motivation (and the reader needs to know these). The conflict is what stops him/her from achieving this goal.
• are a consequence of the protagonist's actions. Notice this means your protagonist must act. Note, too, the protag can succeed or fail, but it must be because of what he/she does.
• are integrated with the story elements. All the parts of the story should be intertwined, should mesh together. Even surprise endings should utilize story elements--they're a surprise because they alter our perception of existing elements.
• evoke an emotional reaction in the reader. I admit this is tricky. The idea here is readers become the characters when reading fiction. Authors want the reader to empathize with the characters, to feel what they feel, and to understand them.
• speaks to the beginning. I like to look at my first page and my last page, and make sure they have some theme, phrase, or other element in common. Some people call this circularity. Some people call it bookending. This works great with novels, too.
• Your tip here. What do you think?

Review: The Signal

I recently had the opportunity to read The Signal by Rebecca S.W. Bates, a short speculative fiction novel published in 2012. The blurb says, A warning signal or an offer of peace? The signal arrives from deepest space. Landon Walker--Earth's radical expert in communication--refuses to believe it's a warning. Called back to headquarters in Brazil, he reluctantly teams up with other top scientists to decode the message. At the same time, shamans in primitive societies around the world seem to know what the signal means. But they are all dying for their effort. Decoding the signal may lead Landon to the same fate. Then the signal targets Landon's baby daughter, and suddenly its message becomes crystal clear. He must act to save her--and all of Earth

This was a rip-roaring adventure in the classic science fiction style. There are space ships and a mysterious signal, neat tech, colorful characters, disasters, and even possibly...aliens.

The future world Bates creates is familiar and yet very different from our present, with a myriad of environmental and cultural changes. What differentiates this story from classic science fiction, however, is the inclusion of Brazilian culture and mythology. Bates clearly has a good understanding of what, to many Americans, is an exotic culture in itself, Brazil. In addition, one of the pivotal characters is the daughter/niece of two of the main characters--which is also unusual.

While the main plot lines of the book are resolved, I suspect most reader will be left asking for more. Luckily, this is the first book of a trilogy, so readers will get more. I can't wait!

Get more info about the book, including the free first chapter, at the publisher's website: DM Kreg Publishing.

literary tension

The story discussion at production meetings is always rather spirited. We often veer into questions of what makes a story good, in general.
One thing you need is literary tension. What the heck is this, anyway? Recall, in general, tension is mental, emotional, or nervous strain. I think the thing to keep in mind, however, is we want to evoke tension in the reader. Tension is the mechanism we employ to make the reader want to keep reading. We want the reader to wonder, "What happens next?"

Often in critique groups, it seems like tension gets a bit mixed up with conflict. Literary conflict is something different. Conflict is when something or someone stops a character in a story from reaching his/her goal; it can be an external or internal obstacle. The reader has to know what the goal is for this to work. I would say tension, then, is a result of conflict. The reader wonders, "Will the character overcome this conflict?"

How, then, do writers create tension? In a nutshell, the author has to evoke questions for the reader and not answer them right away.
how-to-evoke-tension suggestions from around cyberspace include utilizing:

• a mystery or puzzle--The classic here is, of course, a dead body or other committed crime that must be solved. But an author could also have a secret, a magic ring, locked treasure chest, etc. that the reader wants to find the answer to.
• a solution--The author tells the reader the end of the story and the reader wants to find out how the story gets there. A lot of thrillers utilize this, e.g. bad guys are going to blow up the world unless... Come to think of it, romances use this method as well: the reader knows the boy and girl (or whatever) will get together at the end, but how does it happen?
• Related to the solution is the author actually telling the reader things. I see this a lot in the beginning of (successful) books and stories.
• present hints and possibilities--Savvy readers know when an author spends time on a character or object it's important, e.g. gun on the mantle, suspicious janitor, etc. Readers wonder, "What's up with that? What's up with him?" This method could also encompass multiple plot lines or protagonists. Readers want to know how they all fit together. Plus, as an added bonus, when you change point-of-view it evokes tension in the reader: "Wait. What happens next with this first guy?" This can be tough to pull off in a short story, however--you don't want to get too complicated.
• knowledgable reader--Here, the reader knows more than the characters, often because of multiple points-of-view. The reader gets to see them all, but the characters do not. "Oh, no! That guy she's dating is the guy that killed her sister." :) Horror stories often utilize this. Readers know the characters should not go into the basement. Alone. At night. Bare foot. In her negligee. With a killer on the loose. In the house...

What do you think? What's a good way to evoke tension?

from behind the curtain

I know you all have been waiting with bated breath for news from behind the curtain, so here it is...

Yes! We did have our Electric Spec production meeting. We, once again, achieved the impossible. We winnowed down all the publishable stories in the hold-for-voting pile to a few select few which will be appearing in the next issue. It was a tough job, as usual. We had to imbibe some adult beverages to get through it. Personally, I had a seasonal Harvest Pumpkin Ale (crafted with pumpkin and spices of cinnamon, nutmeg, cloves, and allspice) by Blue Moon Brewing Company, and I have to say it was yummy. Was that too much detail about our meeting? :)
Then, suffice it to say, we utilized all our standard conflict resolution techniques such as arm- and thumb-wrestling, fencing with Parisers, caber tossing, etc. This time, to shake things up, we also had a spelling bee. (Sorry, Editor Dave!)

Anyway, to get to the info you might actually be interested in, all the authors in hold-for-voting should have heard back from us by now. Either we sent a congrats and a contract, or a sorry and please-try-again. If you did get a contract, please send it back as soon as possible, so we can get to work editing your masterpiece.

Once we get the contract back, we edit. Then, we go back to the authors and get their feedback on the edits. Rinse, repeat, rinse, repeat. You get the picture. Notice, we do edit stories. Once in awhile authors don't like this. Too bad. You've been warned.

Then, we post the stories using our content-management-system (Thanks, Stuart!). And then, we go live! W00t! :) Be sure to read the new issue on November 30 2012

And now, for your reading pleasure, here's a literary trivia question: Where does "behind the curtain" come from?

If you guessed it's from L. Frank Baum's The Wonderful Wizard of Oz you would be correct. Ding, ding, ding. We have a winner! :)

dialogue tips from a master

Never fear, we are working behind the scenes on the next issue of Electric Spec. I'll keep you posted with more info later.

In the meantime, I went to a conference this past weekend: MileHiCon, the annual Denver science fiction conference. Suffice it to say, the only place I actually talked to Editor Betsy was in the bar. :) We were both pretty busy with panels. Consider this conference for October 2013; it is really a lot of fun.

This year a highlight of the con was the dialogue workshop taught by Grand Master Connie Willis. Here are some of her tips (in no particular order):

• Dialogue is not like real-life conversation. It's more concise. Omit all those 'hellos' and 'goodbyes' and 'ums.'
• Don't use too many dialogue tags. Use as few tags as possible, without confusing the reader.
• Authors shouldn't write more than about four lines of uninterrupted dialogue. No soliloquies unless your name happens to end in Shakespeare.
• Characters should never talk about things they both already know. For example, a character should never say, "As you know, Bob, we've been married forty years."
• The exception to the above rule is: unless it's in a fight. For example, in an argument you could say something like, "Bob! We've been married forty years and you've never once picked up your socks!"
• Dialogue should serve a purpose such as moving the story forward, giving information, and/or contributing to characterization. The more it accomplishes, the better!
• Create subtext in your dialogue. How? Use non-verbal communication to suggest something different from what the characters are actually saying. Willis used some movie clips as examples. In the 1966 film Walk, Don't Run a couple sits in the back of a cab. The woman talks about how wonderful her fiancee is, all the while gazing in infatuation at the man sitting next to her (not her fiancee). The man starts kissing her and she kisses back and talks about wonderful fiancee "Mr." Haversack. It's a fun and effective scene.

That's all I remember for now.
What are your dialogue tips?

notes from behind the scenes

Greetings from behind-the-scenes! Savvy writers know we closed for submissions for the November 30, 2012 issue on October 15. We are furiously reading through all the submissions and will let writers know by the end of the month of they are rejected (sorry!) or being held-for-voting (hurray!). Then, by the beginning of November we will let folks know if they're in the issue (yeah!). Really savvy writers will have deduced that means we have our production meeting at the end of October/beginning of November. They would be right. :)

On behalf of all the editors, I'd like to say "Thank you very much." to everyone who submitted.

Since I've been reading through so many stories, I do have some tips... I apologize to faithful readers of the blog: you've seen most of these tips before.

• Only use 'said/say' or 'asked/ask' in your dialogue tags. I'm not kidding here. Why? Because 'said/say' and 'asked/ask' are invisible, while 'grunted', 'sighed', etc. takes the reader out of the story. Can you grunt words? Sigh words? We want the reader to stay in the story.
• Use specific and unique descriptions. Descriptions should always be from the point-of-view of the protagonist. For example, don't say 'She was pretty.' Be specific. How is she pretty? Maybe 'She had the most luscious lips John had ever seen and he couldn't wait to kiss them.'
  A laundry list of descriptive words often has the vagueness problem. For example, 'He was wearing a blue suit, wing-tipped shoes, an expensive watch, a red power-tie.' It doesn't really paint a picture. But 'Sally gasped when she saw his diamond-encrusted Rolex.' does paint a picture.
• Subject your work to the 'Huh?' test. After reading your story, does a person say, 'Huh?' This is not a good thing. After reading the first page of your story, does a person say, 'Huh?' Again, not a good thing. If an editor can't tell what's going on in your story, he/she is not going to buy it. IMHO, 100% of writers need to let someone else read their story, and ask them, 'What happened?' If it's not what the author intended: rewrite.
• Think carefully about writing a story about vampires or werewolves or zombies. It is particularly difficult to pull of something fresh in this arena.
• Please submit to us in rtf format, as we request.
• Please write at least a sentence or two in the cover letter. Please do not write 100 sentences in the cover letter. (Your time is valuable!)
• Please read the excellent new issue of Electric Spec when it comes out at the end of November. :)

quantum fiction

I have a confession: I love quantum physics. So, as you might imagine I'm pretty jazzed that a scientist from one of my alma maters just won the Nobel Prize in Physics. The Nobel Prize in Physics 2012 was awarded jointly to Serge Haroche and David J. Wineland "for ground-breaking experimental methods that enable measuring and manipulation of individual quantum systems". Read all about it on The Novel Prize in Physics site.

So, of course, I also love quantum fiction and often write it and read it. In case you aren't familiar with the term, Wikipedia says Quantum fiction is a literary genre that reflects modern experience of the material world and reality as influenced by quantum theory and new principles in quantum physics.

Last week I discovered author Paul Melko. His novel The Walls of the universe is quintessential quantum fiction and so good. John Rayburn, an Ohio farmboy, is tricked by his own doppelganger into using a broken universe-hopping device, sending him on a one-way trip to a dozen other, bizarre universes. He must use his wits to find his way back to his home universe, without running afoul of the mysterious forces afoot in the multiverse.

His novel Broken Universe is also very good. John and his friends have been trapped in a parallel universe while they try to build dimension-hopping transfer device, and when they finally get back to their home universe, they find that the Alarians have exploited the homemade transfer device john left behind. John and his team have got to stop them before they use the transfer device to unleash themselves upon the multiverse. Along the way, John and friends recruit an army of their doppelgangers to help them build a transdimensional company.

Besides the awesome plotting and really cool quantum physics ideas, these novels work because the protagonist John is extremely likeable. The novels also address the whole nature versus nurture paradigm. Do we all contain good and evil? Exactly what would it take for evil to win out?

What good books have you read recently?

invisible intentions

I had a funny thing happen recently. I finished the first draft of a story and followed my own advice: I asked several critique partners what happened in the story. I got several totally different interpretations!
You either have to laugh or cry. I choose to laugh. :)
A couple people did interpret the story the way I intended it. A lot of people went off on weird tangents, taking small story details and running with them. So, yes, I will be working on that story today and I will be removing all those apparently intriguing details.

This experience relates to Verlyn Klinkenborg's blog at The New York Times from earlier this week: The Trouble With Intentions. Among other things he says,
Your opinion of what your sentence means is always overruled by what your sentence literally says. and This means you’ll need to write, and revise, as if your intentions were invisible and your sentences will be doing all the talking, all on their own. This may be the hardest thing a writer has to learn.

I agree. This is one of the hardest thing a writer has to learn. The hardest thing for me, however, is divorcing my intentions from the literal sentences, seeing what is really on the page. Klinkenborg also says,
Seeing what your sentences actually say is never easy, but it gets easier with practice.

Good luck to all of us!

notes from the slush pile

I guess by now the heart-pounding thrills and chills of the August 31, 2012 issue of Electric Spec has started to wear off. Time marches on, so, we've started working on the new November 30, 2012 issue. We have a lead on a neat interview! Stay tuned for more info in November.
As a heads-up, we will close to submissions for that issue on October 15, 2012.

Anyway, I've been going through my slush pile...
I did come across a couple of head-scratchers. By this I mean I read the whole story and I couldn't figure out what happened. I strongly suggest every author get another set of eyes on their work before submission. This can be your significant other, Mom, BFF, or whatever. But, after they read it, ask them what they think happened. If all they can say is: "It was good." or "I liked it." They are a true friend BUT you probably need to work on the story some more.

I also came across a couple stories where the protagonist didn't do anything. I'm not saying they tried to do something and failed--that would be fine. I'm saying they didn't even try to do anything. I'm sorry, but this editor doesn't think that's a story. Authors should always investigate their market before submitting.

There were some stories with totally unrealistic dialogue. An easy way to spot this is to read the story out loud, by yourself, or with a friend.

There were some stories with major info-dumping. Bummer. This kind of thing went out in like the 1950s. Characters should never discuss something they all already know, e.g.

"As you know, Bob, my new warp drive bends space-time in front of and behind a vessel rather than attempting to propel the vessel itself at light-speeds."

"Yes, Joe. That was a good idea."

No. Generally, authors don't want to give the reader info in paragraphs of narrative either. The bottom line on info is: less is more. Instead, show us. For example, what happens when the Alcubierre Drive fails?

Of course, there were also some very good stories in my slush pile that made it into hold for voting. Hopefully, you'll get to read them too.

I look forward to reading your story! Keep sending them in.

optimism or pessimism in fiction

I just finished an awesome book This Shared Dream by Kathleen Ann Goonan in which the characters tried to eliminate war and suffering on Earth.

It reminded me of fascinating comments made by Robert J. Sawyer in reference to his WWW Trilogy in an interview. I asked about the idea of a moral arrow through time: "the same force-complexity-that produces consciousness also naturally generates morality, and that as interdependence increases, both intelligence and morality will increase."

He said, You may say I'm a dreamer-but I'm not the only one. My own thinking on these issues has been informed by many other people, including the Jesuit paleontologist Pierre Teilhard de Chardin and nonfiction author Robert Wright, who wrote Nonzero: The Logic of Human Destiny and more recently The Evolution of God. Bob and I were recently both speaking at a public-policy conference in Washington, DC., sponsored by the New America Foundation; it was the first time we'd met, and we've become friends. But, yes, I'm a dreamer, and an optimist, but I'm also a realist, I think-and I don't think those are contradictory things to be.
This fiction is uplifting and optimistic! Optimism in fiction can be very effective.

At the other extreme, I just started reading The Drowned Cities by Paolo Bacigalupi. This book is very dark and dramatic. The teaser copy says Soldier boys emerged from the darkness. Guns gleamed dully. Bullet bandoliers and scars draped their bare chests. Ugly brands scored their faces. She knew why these soldier boys had come. She knew what they sought, and she knew, too, that if they found it, her best friend would surely die.

This reminds me of fascinating comments made by Warren Hammond in reference to his KOP Trilogy in an interview. I asked: SF academic Edward James has said "the ability of the writer to imagine a better place in which to live died in the course of the twentieth century, extinguished by the horrors of total war, of genocide and of totalitarianism." Do you agree? Disagree?

He said, I've never heard that before, but I have to agree. I don't think it's true for all writers, but it is for me. I've seen the ovens of Auchwitz and toured S-21, the Khmer Rouge's infamous prison that held an estimated 17,000 prisoners between 1975 and 1979. Of the 17,000 prisoners who went in, there were only seven survivors. Seven.

The truly horrifying thing is knowing these atrocities were committed by regular people. Not all Nazis were monsters. And not all Khmer Rouge were monsters. Many were patriots. Many were idealists. Many were just scared to stand up to authority.

Knowing how easy it is for humans to kill each other, I find it impossible to imagine a future where our problems will all be solved.
Very dramatic! Clearly, pessimism can also be very effective in fiction.

What's your preference in reading and writing? Optimism or pessimism?

keep learning

We hope you continue to enjoy the latest edition of Electric Spec. What's your favorite story or feature? I know, it is a tough choice! :)

This week is also a big one for the Electric Spec Editors. Starting Friday Sept. 7, we'll all be at Rocky Mountain Fiction Writer's annual conference: Colorado Gold. I can't recommend this conference enough. There will be lots of special speakers and guests including Jodi Thomas, Debra Dixon, Beth Miller, Jennifer Unter, Katharine Sands, Anita Mumm, Carlie Webber, Nephele Tempest, James Minz, Erika Imranyl, Peter Senftleben, Liz Pelletier, Libby Murphy, and Terri Bischoff.
There will tons of panels and workshops besides the totally awesome "Short Story Workshop" with the Electric Spec Editors. In short there will be many, many opportunities for learning about writing. If you've signed up already: Great! See you there! If not, there are a few spots still available, or consider it for next year.

The point I'm trying to make, however is, writers need to keep learning and improving their craft. How? Well, I'll tell you. :)

• Write! This is the most important thing. Your writing can't evolve if you don't write.
• Get feedback and consider it. This can be a critique group or beta reader or whatever, but it needs to be honest feedback. As a writer, then, you need to consider this. I'm absolutely not saying you need to do what readers or critiquers tell you to do.
• Read and study fiction. Try to decipher what works and what doesn't work. Think about it. Write it down. Talk it over with your significant other or writer friend.
• Read and study writing about writing. There are a lot of good books, articles, and blog entries out there about writing. What are my favorites? That's a tough choice, but some good books include: Goal, Motivation, and Conflict by Debra Dixon, On Writing by Stephen King, Story by Robert McKee, and Writing the Breakout Novel by Donald Maass. I'm sure you have your own favorites. If not, find some. :)
• Your learning suggestion here.

Happy learning!

We're Live!

The awesome new issue of Electric Spec is live! Go check it out!
Thank you very much to everyone who helped us put this one out including authors Andy Goldman, James Bizzel, Joe Ollinger, Simon Kewin, Linda Hilburn, and this time Nikki Baird! Woo hoo! Thanks to our cover artist, Laura Givens. Thanks to all the editorial and technical staff.

And for those of you who submitted stories and didn't make it into the issue: Thank you to you, too!

Especially, thank you, Readers!

Get Ready!

Readers, get ready! Start your, uh, spectacles? E-readers? I guess start whatever you want to start. This week we will release our new issue of Electric Spec! Some highlights include:

As Dave recently alluded to, there's lots of awesome fiction! In the fantasy sub-genre, we have "My One and Only" by James Bizzell, which uses an unique story structure to explore the question of just what is a soul mate. Also in fantasy, Simon Kewin brings us "The Chronicles of Zer" which emphasizes the importance of books being read. In the cyberpunk department, we have "False Negative" by Andy Goldman, which reminds us the spam in our inbox isn't nearly as bad as it could get. Another late summer thriller for sci-fi readers is Joe Ollinger's "10,000 Bones", an extraterrestrial noir tale that will shake you to your . . . er, bones.

And as if all that wasn't enough, in Special Features, we offer an interview with vampire writer Lynda Hillburn, of Kismet Knight fame. And finally, we're excited to present a new addition our Editor's Corner: our awesome associate editor Nikki Baird shares with us the unique romantic fantasy, "The Hundred Year Storm." Combine that with dramatic cover art and you have a super-fantastic ezine issue! W00t! :)
I admit I may not be totally objective.

Check it out this week!

New Issue Almost Here!

We're putting the final touches on our August issue, which comes out one week from today. To whet your appetite, I'll mention that one of the stories I edited was unique not just in its plot, but also in its structure. Really cool how the events in the story mirror the structure of the story itself. (Okay--I won't keep you guessing. It's James Bizzell's "My one and Only.") I'm also excited because we have a great story from one our favorite E-spec authors, Simon Kewin. I believe this is Simon's forth story with Electric Spec!