Adrian Tchaikovsky is the author of the acclaimed Shadows of the Apt fantasy series, and he joins us as the second volume in his Echoes of the Fall series celebrates its publication date – that’s The Bear and the Serpent, the sequel to The Tiger and the Wolf. See the very pretty covers below…
Adrian of course had a great 2016 as his brilliant science fiction novel Spiderlight won the Arthur C. Clarke Award, and apparently he has lots more top SF in store for us this year. Come and find out what Adrian has been writing about…
… and joining us as interviewer for Adrian is Ian Whates!
Ian is the author of the City of a Hundred Rows fantasy series, and in science fiction The Noise series published by Solaris and The Dark Angels series published by Newcon, of which the much-anticipated second volume, The Ion Raider is being launched at Eastercon. Ian is also famous as the brains behind Newcon Press, and is a Director of the BSFA, having been the Chair before me…
When: usually the 4th Wed of each month (excl Dec). Fand meet from 1800 in the main downstairs bar-prompt upstairs start at 1900 -though some regulars go upstairs earlier.
Where: Artillery Arms (upstairs –private– bar) 102 Bunhill Row (corner of Dufferin St) EC1Y 8ND
Nearest Tube/NatRail: Old St-exit 3 (->Barbican). Brewery: Fullers. Hot food available. SF Book raffle* (tickets 5 for £1) Some attendees join the Speaker/Meeting Organisers later for an informal (usually Thai) meal. (though no obligation to partake).
Mar 22- Andrew Wallace
Apr 26- TBA
Ian Whates is a tour de force in the realms of sff. Author of the City of a Hundred Rows books (City of Dreams and Nightmare, City of Hope and Despair, and City of Light and Shadow) published by Angry Robot and The Noise Within and The Noise Revealed published by Solaris, and the excellent Pelquin’s Comet from his ongoing Dark Angels series, Ian is also a prolific short story writer, and was shortlisted for the BSFA Best Short Fiction Award in 2007. As an editor, Ian has presided over the Solaris Rising series, and his own independent publishing house, the multi-award winning Newcon Press. He is also a former Chair of the BSFA, and one of it’s current Directors.
“Born story-teller Ian Whates takes us on a gripping, terrifying trip-of-a-lifetime, through the heights and depths of the exotically grim city of Thaiburley, in this excellent fantasy thriller.”
– World Fantasy Award-winning author, Tanith Lee
He is interviewed by Gerard Earley, who runs the Science Fiction Book Club in London.
ALL WELCOME – FREE ENTRY
6pm Fans gather
7pm: start of interview.
8.15pm: book raffle (win a selection of sf novels for just £1 for 5 tickets). Start Time: 19:00 Date: 2016-11-23
NB: there is no event in December. We’ll be back 25th January.
Aliette de Bodard talks to journalist David Barnett following her double win of BSFA Awards for Best Novel and Best Short Fiction
Accepting Awards on stage are Jim Burns, winner of Best Artwork for the cover of Ian Whates’s novel Pelquin’s Comet, and Ian Whates himself of Newcon Press collecting on behalf of Adam Roberts, whose collection Rave and Let Die: SF & Fantasy of 2014 was the winner in the Best Non-Fiction category.
Aliette de Bodard remembers she has *two* prizes!
Following the announcement of the BSFA Awards I thought I would share my pictures with you of the happy winners, receiving their trophies at Mancunicon, at Manchester Deansgate’s Hilton hotel last week. This was quite special, as Aliette de Bodard became the first person to win both the fiction awards in the same year. Lucky for Jim Burns, too, as this was his thirteenth win in the Best Artwork category. And Adam Roberts was the Best Non-Fiction winner, having previously won the Best Novel Award for 2012 for Jack Glass.
You can read David Barnett’s resultant article in The Guardianhere.
The Solaris Rising anthologies you’ve edited have received a lot of success, the second expanding on the first – what were the parameters you set finding authors for this latest volume?
Yes, I’m delighted at how well received the books have been. There are some cracking stories in both volumes. As always when considering who to approach, I’ve chosen authors whose work I admire and who I felt confident could contribute something different to the project. In a sense this is akin to putting together a mosaic. From outset I’m looking for as rich and varied a selection of stories as possible, and in my mind each invite represents another element in an ever-changing pattern. Some authors inevitably decline due to existing commitments, while others submit pieces that aren’t quite what I’m after, but slowly the book takes shape. The hardest part is often deciding on which stories to leave out.
What is the process like working on this type of book – is there a lot of interaction with the editors at Solaris or do they give you full responsibility to bring the product to fruition?
Jon Oliver and the team at Solaris are excellent to work with, in this and just about every other regard. They trust me enough to give me my head and wait to see what I deliver. Once contracts are signed, they pretty much leave me alone to source the authors, commission stories, edit the stories, etc. Then, at or even (dare I say it) before the prearranged deadline, I send them the manuscript. I’ve no doubt that were they not to like what I submit I’d soon know about it, but so far…
It seems that you’ve brought in a number of new, lesser known authors alongside some ‘bigger’ names – how did you go about finding these writers and their stories?
Yes, that’s a policy I’ve pursued right from the start with my own NewCon Press anthologies and have carried through into Solaris Rising as well. It’s a little more tricky with the latter, because I have other people to answer to – the Solaris team. While I know they’re as enthusiastic about good science fiction as I am, I’m also conscious of the need to ensure the book sells well, and that means providing potential readers with new stories from authors they recognise and want to read. At the same time, introducing readers to exciting new voices is one of my principle motivations in putting anthologies together in the first place, but you have to get the balance right.
How do I find these newer voices? That’s easy. I’ve been reading short stories in magazines and, in recent decades, online for as long as I can remember. I meet writers at conventions and events. I belong to writers’ groups and critique work… All of these things bring me into contact with aspiring authors. I can’t count the number of times I’ve read something by a new, emerging, or lesser-known writer and thought, “Wow, I’d love to publish something by him/her!” It’s then just a matter of waiting for the right opportunity.
What is the best part of putting together a collection of stories such as the ones found in Solaris Rising 2?
Actually receiving and reading the submissions; especially when a given piece arrives from a writer I’ve not worked with before, whether that be from a newer voice or an established author I’ve long admired. The thrill of reading a really good submission and knowing you’re going to be privileged enough to present this the readership is… wonderful.
Is there a cross-over in terms of experience from your Newcon Press work and editing an anthology?
Very much so, in all sorts of ways. I couldn’t have begun to take on a project such as Solaris Rising without the experience gained from editing NewCon Press anthologies over the past few years. In addition, I wouldn’t have had the contacts to approach, nor the reputation (such as it is) to command the attention of established ‘big name’ authors.
How did Newcon Press come about? (I’ve read there is a story in this.)
I’ve been known to claim that NewCon Press was a venture that started by accident, and that isn’t so far removed from the truth. When freshly arrived in the community, I became involved in organising a convention in Northampton: Newcon 3. We had a fabulous venue, terrific guests: Jon Courtenay Grimwood, Liz Williams, and Fangorn, and attracted a number of other authors besides: Ian Watson (the convention’s chair), Gwyneth Jones, Sarah Singleton, Mark Robson, Steve Cockayne… Unfortunately, too few people came along to enjoy the event, and we lost money.
I wasn’t carrying any of the resultant debt personally, but felt determined to do something about it, so I hit upon the idea of putting together an anthology of original stories as a fund raiser. What followed was an incredibly steep learning curve, as I’d never edited anything before, let alone sourced printers, commissioned cover art and stories, sorted out layout, etc etc… Ian Watson was a huge help on the editorial side, and Mark Robson, who had self-published very successfully before being picked up by Simon and Schuster, was invaluable when it came to the practicalities. Eventually, Time Pieces emerged, and I can’t begin to describe the thrill of holding that first title in my hand. Immediately, all the stresses and frustrations of recent months were forgotten, and I thought, “Hey, I could do this again…!”
You’ve also written a number of novels yourself – does this influence your choices and processes as an editor and vice versa?
Inevitably it all interlinks. When I write, I try to produce the type of novel or story that I’d want to read, that I’d be happy to shell-out my hard earned money for. When I compile and edit an anthology I take the same approach, accepting stories that appeal to me and which I’d be happy to pay for. That’s one of the first lessons I learned as a writer: if an editor rejects something by you, that doesn’t necessarily mean it’s a bad story, simply that this particular piece doesn’t suit their requirements or taste. I’ve recently seen two stories I rejected appear in fairly significant venues, which is great – best of luck to the authors. I’m also aware that I’ve accepted pieces in the past that have been rejected elsewhere. Again, so what? This sort of thing is inevitable, and that venue’s loss is my gain.
You write across the genre boundaries from Space Opera to Urban Fantasy – do you think those borders are permeable and interactive, each helping you write in the other landscape as they appear quite opposite?
I wrote the Noise books (space opera) for Solaris and the City of 100 Rows trilogy (urban fantasy with steampunk elements and SF underpinning) for Angry Robot simultaneously, and it helped enormously that I had both series on-going. As I finished one novel, I would take a break of a week or two and then swap to the next volume in the ‘other’ universe, so approaching the task with a fresh eye. To me, the Noise books are very much SF, the City books a little more ambiguous. Though the latter are structured as fantasies there are elements that straddle traditional genre boundaries. I’ve always enjoyed authors and works that do that – blur the margins of definition and refuse to conform to expectation. At the end of the day, labels such as ‘science fiction’ and ‘fantasy’ are not meant to enforce restrictions on the narrative structure but merely to give us, as readers, an idea of what to expect from a given book. They’re guidelines for the reader, not imperatives for the author. So yes, the genre borders are as permeable as an author chooses to make them for any given work.
Your Noise Within novel has been described by Stephen Baxter as ‘24 meets Starship Troopers’ – could you expand a little on that explanation for would-be readers?
Yes, it was very kind of Steve to say that. The Noise books were my opportunity to have fun with space opera: a black ops agent armed with an intelligent gun, AI spaceships, virtual reality, downloaded personalities, a ‘hidden’ rebel colony awaiting civilisation’s hour of need, a playboy businessman with hidden depths, a flawed heroine who is more than she seems, first contact with an alien civilisation that may or may not have been stage managed… High octane action, political skulduggery, doomed romances, assassination, exotic locations, a hedonistic pleasureworld, piracy in space, and very alien extraterrestrials… What more can I say?
You are also published by Angry Robot, producing a number of novels set in the City of Thaiburley where you’ve created a complex and intriguing world – what was the inspiration behind these stories?
To be honest, this whole series evolved from a single scene that sprung vividly into my head while watching a local TV news item about Burghley House, a nearby stately home. The report featured the mansion’s roof, which includes a dramatic array of elegant, slender chimneys and ornate crenellations. There’s a walkway built around the inner circumference of the roof and the views are designed to be visually stunning from wherever you’re standing.
I was instantly captivated by this roof and imagined it expanded to cover a vast city. As soon as the report finished, I dashed to the computer and started tapping away. The drama unfolded as I typed: there’s someone desperate to reach this roof, a place he’s never been to and not supposed to go. He’s a teenager, a thief; he’s already overcome many obstacles to get this far and has nearly reached his goal, but is thwarted at the last by witnessing a murder. The real murderer pins blame on the boy and the chase is on, with assassins and police hunting the fugitive through the underworld of an extraordinary metropolis…
These books seem to blend a number of elements and themes – is the ‘City’ books your space to let your imagination run wild?
Very much so. I had great fun writing these and was able to play around with everything from sword wielding warriors to rogue bioengineers, from flying policemen to lurking monsters, from steampunk steamships to feisty streetwise urchins… What’s not to love?
I’m a fan of China’s Perdido Street Station and of Alan Campbell’s Scar Night, both of which feature unique cities that inhabit the books in the same way that Fritz Leiber’s Lankhmar does in so many of his Fafhrd and the Gray Mouser stories. I’d always promised myself that one day I’d create my own wondrous and fascinating city, a place both quirky and dangerous… and here was my chance! As the series develops I take some of the central characters out of the city to find the source of the river Thair. While expanding on the urban sleaze of Thaiburley, this also enables me to explore the world beyond and introduce a wide variety of cultures, races and characters. I’d love to return to thaiburley at some point and don’t feel I’ve finished with the city, not by a long shot; my attention has merely turned elsewhere for now.
What can we expect from you next – more novels, more editing, more of everything?
Short answer… Yes! My latest novel, Pelquin’s Comet, the first in a new space opera series, is currently being considered by publishers. In some ways this is Sherlock Holmes-meets-Firefly, but in many others it isn’t at all. Solaris have recently commissioned me to compile a third volume of the Solaris Rising anthology series; my latest short story collection Growing Pains has just been released via PS Publishing; I have four short stories due out over the next few months in various anthologies and magazines, a 21,000 word novella, The Smallest of Things, that takes place across alternative versions of London currently being serialised in the webzine Aethernet… And I have all sorts of projects progressing via NewCon Press, with four anthologies currently being compiled, short story collections from Steve Ransnic Tem, Stan Nicholls, and Adrian Tchaikovsky imminent, as well as a fabulous novel from Neil Williamson called The Moon King, another, The End, from Gary McMahon, and the first ever UK publication of (this year’s Clarke Award winning author) Chris Beckett’s Marcher, previously only released in the States. This new version of the novel will be extensively revised, with a rewritten ending… So, enough irons in the fire to keep me busy for a while yet.
Science Fiction Comes to the National Space Centre
Saturday February 9th 2013
By Peter Ray Allison
The Leicester-based National Space Centre is no stranger to science-fiction
conventions. In fact, many would claim it is the ideal location, especially those who
have attended the Space Centre’s previous Movie Mania Weekends, Brit Sci Fi
events, or the Aliens Anniversary.
Hence, it was only a matter of time before the Space Centre considered hosting
a sci-fi/fantasy literature event. The first of which was Space Fiction, held one
Saturday afternoon in snowy February. Headlining the event were special guests
BSFA chairman, Newcon Press owner, sci-fi writer and all-round good-guy Ian
Whates; diesel-punk dystopian-rock chic author Kim Lakin-Smith, and Ack-Ack
Macaque author Mr. Dead-pan himself, Gareth L. Powell.
The event opened with a brief introduction from each of the authors, explaining
their career paths within the realm of science-fiction, before taking a short break
for a series of readings (subtly edited in Gareth L. Powell’s case for pre-watershed
listening of the more tender ears). After the readings and a second small break,
the intrepid authors reconvened for a Q&A session presided by Del Lakin-Smith,
quizzing the authors on science-fiction topics, before opening the floor for questions
from the audience (preferably none about what the authors would do if giant robots
attacked). The afternoon concluded with a signing session by the authors, where I
was fortunate enough to pick up a signed copy of Ian Whates’ The Noise Within, and
was sorely tempted by Gareth L. Powell’s Ack Ack Macaque after his poop-laden
Space Fiction was unlike any of the alternative-genre literature conventions I had
previously attended, as the event was held in a more open and informal manner.
Barring the initial entry fee to the Space Centre (which you can transform into an
annual pass free-of-charge if you gift-aid your ticket), Space Fiction was free to
attend, and was held in a section of the Space Centre where members of the public
could wander in, as and when they wished. This openness of the event was reflected
in the willingness by the authors to happily answer questions from young and old
Whilst small in both size and scale, Space Fiction remained an eminently friendly
event filled with informal debate. Some may question the validity of Space Fiction’s
informal openness, and debate its validity as a serious literature event. I would claim
that informal events such as this have as much validity as the more focussed events
such as Alt.Fiction and Edge-Lit. Space Fiction’s openness introduces the realms of
science-fiction literature in a far less overwhelming manner than the latter events,
and thus acts as a conduit for future generations to continue exploring the realms of
Personally, I hope that Space Fiction will be the first of many genre-literature
conventions held at the National Space Centre and, needless to say, I’ll be there…
Despite the last minute rescheduling from the original date a week prior, this meeting was pleasingly well attended, with some 30-odd in the audience. Dave Hutchinson spoke openly of his experiences as a writer and recovering editor, including how he came to have his first short story collection published at the age of eighteen. A journalist of some twenty-five years standing, Dave also had some interesting opinions on the recent phone-hacking scandal and the state of journalism today. This sparked a discussion involving the audience which could have gone on long into the night had time allowed. Our thanks to everyone who came along.