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Fippokats in space!

Kill your darlings, they say. That means you should cut the parts from your book that don’t move the plot forward, even if you love them. So, on the wise advice from my editor, I killed the final section of the novel Interference about some fippokats (well, they were going to die anyway) and write a different ending that was much more dire.

Here’s the original ending for your enjoyment: the alternate epilogue to Interference.

EPILOGUE—KELLY—LATER THAT DAY—IN ORBIT

Oh, this is the strangest place and the most wonderful. It frightened me at first, yes, although the Big Ones are happy, so we are happy, Moss and Emerald and Lime and I am Kelly. We have our sleeping box and we drink water from a tiny pipe next to strange food dishes and it is a game just to eat because the food floats. It all floats, the Big Ones and the food and the toys and us and everything.

But we do more than float, Moss and Emerald and Lime and I. We jump and hop and chase each other, leaping from wall to wall, from floor to ceiling, anyplace to anyplace, and look at this somersault, three in a row! We can fly!

We hop and we glide along the walls and ceilings and floors and tabletops, and it is easy, a twitch of the toes and now a somersault again. Here I come at a Big One, and I spread my legs to steer and slow, and the Big One catches me and says Kelly Kelly Kelly and pets me and we float to the window to look outside, but it is night, so I will stay where it is bright and warm and full of fun.

The Big One helps me spin, whee! and I come to a wall and jump off because Lime is down the hall and we can chase each other through the air. Lime sees me and launches herself at me and we meet in the air and bat at each other’s back feet and we connect and here we go! Back and forth and up and down, wall to floor to ceiling. It is the best game ever.

We can fly! We can fly!

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A fan-made map of Pax

I wish I’d had this map when I was writing the novel Semiosis. I made a couple of my own maps, but this one is better.

It was made by Patrick Hixenbaugh, who got in touch with me:

“I’d like to share a map I made of the colonists’ journeys on Pax during the first novel, which I made for an assignment on literary maps for a college cartography course. We learned about maps for fictitious places, like Treasure Island and Narnia, and I thought of Pax right away. I thought you might like to have it, and see how accurately (or not!) it matches your vision of Pax.”

You got Pax exactly right, Patrick, and thank you for sharing it. Authors often rely on maps from real-life or imagination to orient the characters in their environments. For example, when characters travel to the mountains, they need to turn left at the bridge every time. This sounds easy, but when you’re writing a novel, every kind of mistake can creep in.

Patrick described his process for making the map:

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What went into making my map? Well the first time I read Semiosis, the details like East and West Vine with the river flowing through it made it feel like a real place, especially when the colonists themselves talked about seeing the landscape from the sky and from satellite images. I had the mental picture of the river flowing up the mountains to Glassmaker City for a long time.

The course was an Introduction to Cartography for the geography/environmental science program at my college — I’m working towards a certificate in Geographic Information Systems (GIS). We studied some literary maps like what you’d find in Treasure Island and Tolkien, and were assigned to create a map in the same “literary” style — letting the map tell the story. I thought pretty quickly how much I’d love to see the map of Pax I’d been imagining.

I reread it once again just for fun and to get a general impression of the landscape, which reminded me of the lake, which eventually flows to a distant sea, and of the “Lief’s waterfall” area, where it turns out a lot of things happened! I thought a lot about the gates of the city, the bridge that Higgins destroyed in the eagle attack, but ended up not putting the bridge on the map since I wasn’t positive where it went.

I reread it a second time, really looking for the geographic details, and I loved picking up on everything that made Pax feel like an alien world — the strange moons with weird orbits and the sun’s brown dwarf companion star that rises and sets ahead of the sun. I realized they really ought to make it onto the map, so I drew them above the planet, in space. And I had to make a sizeable change to my mental map — I originally had thought the river that flowed through the colonists’ first area had led directly to the Rainbow City. But when I reread it, I found the place name “Thunder River” and got the impression that the pieces of bamboo and glass they recovered after the hurricane had not flowed directly past them, but had washed up on the shores of the lake instead. So I made Thunder River into a separate river that also flowed into the lake.

I had a lot of fun reading the trek from the parents’ colony to Rainbow City and sketching out where I thought the mountains and waterfalls were. I also picked up on a detail, that the city sat on a bluff above the river, which was really nice imagery I hadn’t picked up on before.

I also had a lot of fun with Nye’s first contact mission to the nomadic Glassmakers. The first time I read the novel I read it at the level of just feeling how arduous and dangerous their trek was. This time, reading through it and working out how their journey could map out into a plausible landscape was really interesting, and I got a lot out of that.

I finished the project this fall and went on to other things, but for winter break I read Interference again, and I noticed how the Coral Plains were always “south” of rainbow city, where I had always imagined them as “further up.” And that the Earthlings orbiting Pax found the colony in the Southern Hemisphere. That was a really cool discovery, and so I changed the North Arrow on the map to a South Arrow and had fun imagining life in the Southern Hemisphere, and thought about the rotation of solar systems and galaxies, and magnetic fields and how you would define north and south on an alien planet.

That does mean that east and west are reversed on my map! Just realized that now! Whoops! Was Rainbow City “north” of the parents’ settlement, or just upstream? Maybe the Pax colonists and the Earthlings used different references for north and south? I guess now I can reread Semiosis again and find out 🙂

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My 2023 houseplant Christmas tree

Every year, I coerce one of my houseplants into impersonating a Christmas tree, but this year, the Pilea peperomioides enthusiastically volunteered. The little plant wasn’t what I had in mind — I intended to conscript the bigger and more cone-shaped crown of thorns — but Pilea insisted:

“I’ll be perfect! My leaves are already just like those round glass ornaments!”

I answered that its species is sometimes called a money plant because its leaves are flat and round like coins, but Christmas ornaments are actually spherical.

“Christmas cookies are flat! And I’m Christmas green! An actual evergreen!”

Yes, I told it, it is green year-round, but that doesn’t mean it’s a conifer, and besides, it’s kind of small for the job.

“Presents will look bigger under me! If I can’t do this, I’ll drop all my leaves and be the Festivus Pole!”

So, I backed down. Here’s my tree. Merry Christmas.

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Podcast with Tasshin

I had a delightful two-hour podcast conversation this week with Tasshin, who describes himself as “an extremely online pilgrim wandering this precious world for the benefit of all beings.”

We came to know each other when he reviewed my novels Semiosis and Interference, examining  ethical themes raised by the books, the world of Pax, and the character of Stevland. His review is long and deeply thoughtful, and I think it captures what I was trying to do.

You can watch our conversation here on YouTube, where there are also links to an audio version and a transcript. I hope you enjoy it as much as we did.

***

In other matters, the first short story I ever published, “Poet for Hire,” is available here. The background to the story is here.

In Tor.com’s Reviewers’ Choice: The Best Books of 2023, Matt Keeley calls Dual Memory “a satisfying thriller about art, climate, conspicuous consumption, and artificial intelligence. Burke remains one of our foremost science fiction writers.” Thanks, Matt!

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If I were a plant

Suppose my skin were impregnated with chlorophyll and I could practice photosynthesis. It’s what plants do to turn sunshine into energy. If I spent a full day laying naked in the sun, I would produce the energy equivalent of one cocktail peanut.

This illustrates two main differences between plants and animals.

The average woman (me) needs to ingest the caloric equivalent of 333 cocktail peanuts per day. Animals burn a lot of energy, but then again, we do a lot in a day. Plants lead slower lives.

But compared to a plant, we’re fairly small, measured in surface area. The average human has about one square meter of skin. Plant leaves are designed to maximize surface area. A mature, healthy tree has about 200,000 leaves and a photosynthesizing surface area of around 500 square meters. On a sunny day, a mature tree produces enough energy to fuel a big, active man — a soldier, for example.

But instead of waging war on us, they make our food. Animals eat plants. That makes us the top of the food chain, right?

I’m not so sure. Consider the apple. The apple tree makes apples to seduce us into taking the fruit, eating it (the energy equivalent of a mere seven cocktail peanuts), and depositing the core elsewhere, which may be a good place for the seeds to grow. Apple trees have convinced us not merely to distribute their seeds but to care for them. We’ve allowed the trees to take over 200,000 acres of Washington State in exchange for giving us 10 billion apples per year, and we think it’s a bargain.

Wheat controls America’s Great Plains. Corn runs rampant in Iowa. Olive trees have conquered southern Spain. Rice rules Japan. The lack of potatoes almost destroyed Ireland, proving that we need them more than they need us.

We’re not the only animal that does plants’ biddings. Grass wants to be eaten (or mowed). It grows from beneath the soil with only the leaves above. Grazing animals, like buffalo in the prairies, eat the leaves, which grass can easily replace. But the animals also eat weeds in their entirety, which kills them. This is why a healthy, regularly mowed lawn remains weed-free. (We are weekend substitute buffalo.) Grass has found the perfect ecosystem in suburban environments. In some places, grass is even mandated by law.

So much for being in charge. They’ve co-opted our municipal ordinances. In any case, we’re hopelessly outgunned.

On Earth, measured by mass, there is 100 times more plant life than animal life. We worry about the consequences of global warming, and it would be hard on plants, but in the long run, human beings are one species, and there are more than 400,000 species of plants. They are as varied as algae, moss, roses, maples, grapes, and cacti. They will endure, though our orchards and gardens might miss us.

However, scientists are searching for ways to persuade plants to photosynthesize better, since photosynthesis takes carbon dioxide from the air. Plants might save us from ourselves. We speak of our hopes as “green.” Yes, exactly.

That’s why, if I were a plant, I would rule this planet, and you would work for me — for peanuts.

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‘Alphaland and Other Tales’ by Cristina Jurado

My good friend, Cristina Jurado, has a new collection of short stories available, Alphaland and Other Tales. It includes a story I translated from Spanish into English, “Embracing the Movement.”

I met Cristina when I was living in Spain, and I’ve collaborated with her on a number of projects. She’s an award-winning author, enthusiastic editor, and cheerful promoter of speculative fiction. You can recognize her from across a room by her wide, warm smile.

This collection includes nine short stories, and the back cover describes them this way: “Otherness is the idea that permeates all these speculative stories, full of characters troubled by the misconstruction of their identities, and in permanent search for answers in the margins of reality.”

I translated “Abrazar el movimiento” (Embracing the Movement), an intense first-contact story whose beautiful images hide horror.

Every translation has delightful problems. Many words never have exact equivalents. In this case, the challenge started with the first sentence: No somos tan diferentes, forestera. “We are not so different…” and then there’s that word: forestera. It is used repeatedly throughout the story, and I had to get it right.

The Real Diccionario Española defines forastero/a as someone or something que es o viene de fuera del lugar: “that is or comes from another place,” a stranger, an outsider. But there’s more: forastero is male, forastera is female. In the context of the story, it matters that the person being addressed is identified as female. I needed to find a way to preserve that sense.

Thesauruses listed close-but-not-quite words like foreigner, nonnative, outlander, alien, nonresident, drifter, transient, wanderer … which led to nomad, rambler, roamer, rover, stroller, vagabond, wanderer, wayfarer … Wait. The word rover suggested something … the Mars rovers, Perseverance, Curiosity, Spirit, Opportunity, and Sojourner. The Sojourner was named after Sojourner Truth. In 1797, she was born into slavery as Isabella Bomfree in New York State, and after she became free, she chose a new name because she felt called to travel and testify for the abolition of slavery and for the improvement of women’s rights.

“Sojourner” means someone who stays as a temporary resident, who comes from another place. The word in English has associations with space exploration, and it’s a name still being used for baby girls today.

I decided I’d found the word for forastera, although I needed to reinforce the female meaning in the first reference, and I realized that I could do so by introducing an important element from further within the story. Finally, I had the opening line in English:

“We are not so different, sister sojourner.”

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My story in ‘The Cosmic Muse’ anthology, and other news

What if you could adopt rescue dragons the way you can adopt rescue dogs? Who would do the adopting? How? Where?

These questions led to my story “The Virgin Who Rescues Dragons” in NewMyths Anthologies Volume 4: The Cosmic Muse. It just came out, and you can buy it through this link:

https://books2read.com/b/br6Z67

I drew inspiration for my story from The Tough Guide to Fantasyland by Diana Wynne Jones. That book is a parody of tourist guidebooks, and it lists the common tropes of fantasy fiction. I studied up on Dragons, Virgins, Evil Mages, Boy Kings, Dark Lords, and Foreboding Castles, then added a few Compelling Motivations, Backstories, and Inner Conflicts — and soon, I had a fun tale to tell.

The Cosmic Muse will give you 40 stories and poems involving magic or expressing awe at the universe, with cover art by Fiona Meng, its third eye promising insight and inspiration. I’m excited to be included among so many impressive authors.

***

OTHER NEWS:

André Santana has been nominated for Best Science Fiction Audiobook Narration for Dual Memory by SOVAS, the Society of Voice Arts and Sciences. Congratulations André! The winner will be announced December 10.

Alex Kingsley has reviewed Dual Memory for Ancillary Review of Books, and I think they explain wonderfully the role of art and artists for both humans and AIs in the novel. Beautiful Things We Weren’t Supposed to Make: Review of Dual Memory by Sue Burke

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“Perhaps you wrote this story, and then I happened”

This is weird and wonderful:

The very first short story I sold, back in 1995, “Poet for Hire,” involved a young woman with curly brown hair who starts a freelance poetry business in Milwaukee. She works out of a storefront in the 2200 block of Kinnickinnic Avenue, down the street from where I used to live, and she gets vital inspiration from the plants in the Arid Dome of Milwaukee’s Mitchell Park Horticultural Conservatory.

Last month I was contacted by Anja Notanja Sieger. Someone found the story and sent it to her — because she’s Milwaukee’s first and only poet for hire, she has written poems in the Arid Dome, her husband owns a used bookstore in the exact same storefront in the story, and she has curly brown hair.

Anja invited me to her podcast, The Subtle Forces. I read the story out loud, and we chatted about its coincidences. “Perhaps you wrote this story,” she said, “and then I happened.”

You can listen to the podcast here:

https://subtleforces.podbean.com/e/episode-37-poet-for-hire/

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I’ve finished ‘Usurpation’

I’ve turned in the manuscript for Usurpation, the third book in the Semiosis trilogy. At the end of the second book, Interference, rainbow bamboo has been taken to Earth and is flourishing, and Stevland tells them to protect and dominate the humans. But how? The third book tells that story.

Usurpation should appear in bookstores in October 2024.

A whole year from now! Yes, it seems like a long time, but a lot still needs to be done. My editor at Tor might suggest a few more changes, such as adding a scene that could strengthen the story. Then the manuscript will be sent to a copyeditor.

Good copyeditors are far, far more than proofreaders. As they go over the manuscript, they will make a glossary or stylesheet of names of characters, places and other terms, and they’ll check to see that they are used consistently. They’ll note distinctive formatting or punctuation, and make sure the text conforms overall to the Chicago Manual of Style and a standard reference dictionary. They might need to check facts, such as dates of actual historic events. They also look for inconsistencies in the story: Becky might have blue eyes in Chapter 2 but brown eyes in Chapter 3. They’ll go line by line and make sure every sentence makes sense. Copyeditors have saved me from many howling mistakes, and they have my affection and respect. I don’t want them to rush.

After I review and approve the copyeditor’s changes and suggestions, the manuscript will be typeset, which is an art in itself. Then it will be proofread — twice. The proofreaders might have additional questions for me.

Meanwhile, an artist will design the cover. Finally, the package will be sent to a printer, and the printed books will be sent to a distributor.

If there’s an audiobook, and I’m sure there will be, the audiobook publisher will select the narrator, who will begin the work of reading the novel aloud creatively.

The final steps are marketing, sales, and publicity, and I may have a lot to do to promote Usurpation before and after the publication date.

Still, for me, the hard part is done, and right now, I’m thinking about my next novel. It won’t be about talking trees … but what? It’s a nice problem to have to solve. Any suggestions?

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I’ll give a talk Nov. 9 on “The Costs of Plant Blindness”

I’ll be giving a Zoom talk on Thursday, November 9, from 6 to 7 p.m. CST for the Audubon Society of Northern Virginia about plant blindness, the inability to see or notice plants in everyday life. It also refers to failing to recognize the role of plants on Earth and believing that plants are somehow inferior to animals.

When I wrote Semiosis, one of my secret goals was to make my readers afraid of their gardens and afraid for plants in general. I’ll speak on how plant blindness affects our environment and what can be done to be more aware of the foundation of our ecosystems. Plants, like birds, connect us to the Earth.

You can join us. Sign up here.