For Your Consideration


As John Klima reminded me over the weekend, it’s time to send in those ballots for the World Fantasy Award (you’re eligible to suggest nominations if you attended last year or have a membership for this year’s con). Get ’em post-marked by the end of the month, and you can get the ballot here. The World Fantasy nominations are primarily chosen by the judges, but there is room in each category for suggestions from the field.

John also pointed out that the novel category is defined by “published in 2007” and “more than 40,000 words.” With that in mind, I’d like to suggest that if you are looking for a dark horse contender, you might want to throw The Oneiromantic Mosaic of Harry Potemkin on your ballot in the NOVEL category. Serialized hypertext novels will, of course, be all the rage NEXT year, but right now the novelty is still fresh.

HARRY is one of those projects that slipped under the radar a bit. Farrago’s Wainscot was publishing short fiction on a quarterly cycle, and it was a little tougher for us to keep eyeballs tracking HARRY during the other months. As the site’s popularity grew among readers, writers, and reviewers, the idea that it was a “quarterly” became more entrenched, and, well, HARRY on his odd little 30 day cycle, became odd man out. And I’m not whining about it; this is more of an observation in hindsight in how we didn’t quite match up content with perception. I’m still incredibly pleased with HARRY; I think it was an experiment that grew exponentially from our original vision, and while it’s not something I’m in a rush to do again, I think, as a writer–especially as a young writer, trying to figure out a work ethic and process–it was a phenomenal opportunity.

Darin Bradley [darinbradley] and Aaron Leis [ripperbard] should, of course, be nominated in the SPECIAL AWARD NON-PROFESSIONAL category for Farrago’s Wainscot, as the whole site went from a little germ of an idea into a powerhouse of content and intent. Darin edited HARRY, as well, keeping me on the straight and narrow, and frankly, the project wouldn’t have been completed if he hadn’t been there to keep prodding me to see it through.

So, yeah, there’s very little chance of HARRY winning, but if we want to push the genre boundaries, if we want to recognize that there are new models for reading and for telling stories, then asking the judges to consider the possibility of hypertext and serialization is certainly a valid way to keep the discussion of experimentalism alive.

There is also the expanded version, if you prefer something with a more robust navigational framework.

Haunted Radio Signals


I’ve fallen off the radar in my listening habits over the last year. Too busy with active projects that require passive listening. I tend to avoid lyrics in my music, as they are distracting. Unless it is something that I’ve heard a hundred times, I try to sort out the lyrics and it tends to be distracting while I’m writing. The good news is that I’ve been writing enough that I just haven’t had time to listen to any much, but the bad news is that I am really behind on what sounds are out there.

Meredith Yayanos has a post at Coilhouse today about close listening and ghostly music. She talks about Joshua Zucker’s A Room Forever project which, had I a working turntable and a shitload of disposable income, I’d be all over. As I have neither, I must make do with Zucker’s podcast series: Roadside Picnic. I’m listening to “Solemn/Nostalgia” right now, and it is gloriously haunting.

Also Entia Non’s Lilt keeps loading and playing when I start my browser (the joy of persisting tabs across application launches), and I’ve finally gotten around to downloading the whole thing tonight, as every day I hear a little more of it. Every day, I wonder why it isn’t on my iPod and with me always.



Blew through what we’re calling “R.3” this morning. Now I’m trying to remember what was supposed to happen in “R.4.” Or whatever comes next really, I have a little block of boxes in my notebook, labeled R.1 -> R.10 with another set of numbers beside them, indicating their temporal position, and even that’s not quite accurate as the moments prior to “R.2” don’t happen until Section 2. Ah, the joy of non-linear story-telling. While I procrastinate some more, here’s a bit of the telephone booth conversation.