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RIP Mass-Market Paperbacks

When I saw three articles on the death of mass-market paperbacks (MMPBs) in the last couple of weeks, I knew something was up—and the articles said what was up, if not why: ReaderLink, the largest book distributor in the US, announced that it would stop distributing mass-market paperbacks. The piece from The Guardian (an affiliate link) mentioned ebooks in passing as one factor in the collapse of the format. (The other two articles did not mention ebooks at all.) A Kindle Paperwhite is more or less the same size as an MMPB, and thinner. Furthermore, a lot of people—Carol included—now read ebooks on their smartphones.

MMPBs first appeared in the 1930s, as a means of spreading book retail sales beyond traditional bookstores. MMPBs were designed to be sold like magazines: In drugstores, grocery stores, gas stations, dime stores, train stations, and other places where casual, low-value sales occur. They were cheap to broaden the reader base beyond trade paperbacks and hardcovers. When I first began buying my own books with allowance money in high school (1966-70) MMPBs started at 60c or 75c, with fat ones (like Dune) sometimes 95c. (The obese 1970 MMPB of Blish’s Cities in Flight cost a stinging $1.25.)

How do I even know this? I still have the books. I have hundreds of MMPBs on my shelves, many going back to my high-school days. They look amazingly good for a peculiar reason: I coated most of them with my mom’s ConTact self-adhesive transparent shelf plastic. I don’t pull them off the shelf much anymore. When I have tried to read them in the past five or ten years, the yellowed and sometimes crumbly pages came loose in my hands.

I wasn’t surprised. Like the magazines that inspired them, mass-market paperbacks were intended to be read once and thrown away.

But there’s another issue that none of the articles I linked to mentioned at all: The audience is aging, and aging eyes often can’t read MMPBs comfortably. I remember when I tried to read Charles Harness’s The Ring of Ritornel two or three years ago, that I needed my strong readers to make the near-microscopic text readable. And even then, while possible, the reading was nothing anywhere near comfortable. Ink fades over time, and type contrast matters.

I’ve asked several of my contemporaries in their 70s and beyond, and they agree: The type is too small. It was small to make the books cheap. Now they’re mostly unreadable.

The answer is obviously ebooks. I don’t buy print books very often anymore, and when I do, the size of the type is often the decision hinge. I have two Samsung Galaxy Tab tablets, which I read ebooks on for a simple reason: I control the size of the type. This doesn’t work well on books containing photos/graphics or stuff like source code, but print books like that are often twice the size of MMPBs or more. And I don’t generally sit down and read print books like The Rust Programming Language from start to finish in long stretches. I read them until my eyes start to hurt.

Alas, the only serious downside to the death of mass-market paperbacks is that a lot of them haven’t made it to ebooks and probably never will. Most of the short story collections I read in high school are just gone. Groff Conklin did a lot of good anthology work. Amazon carries the crumbling print editions.

Anyway. Ebooks are the answer. My Galaxy Tab S9 is full of ebooks, many of which cost less than $5. Those old MMPB covers on my shelves remind me of being young. Sooner or later I’ll have had enough of that, and they will feed the dumpster. I just wonder what will take their places on my shelves.

“Whale Meat,” Second Edition

WhaleMeat AI Cover Mark 2

Amazon has just approved an update to my ebook novelette “Whale Meat,” which has been available on Kindle for 99c since 2011. Some of you have probably read it. Why did I update it? Glad you asked! There’s a story about the story. Here goes:

I was enthusiastic about Kindle since Amazon first made it available in the late oughts. I was already publishing paperbacks of things like Carl & Jerry via lulu.com, but ebooks finally seemed to be coming into their own. I needed a story to test how the Kindle system worked. I would be creating book-length ebooks soon enough, but the first one would ideally be shorter than books, and not one of my best-known works. “Whale Meat” shook a fluke at me to get my attention, and so it was that the story became my very first Kindle publication.

The story itself was not new. In fact, I wrote the first draft in early 1971, when I was still 18 years old. It was the first fantasy story that I had ever completed. I was trying to write something that didn’t reek of King Arthur or the Tolkien/Lewis canon. I made it contemporary, set in urban Chicago, and whereas it was about two witches, they were not wart-equipped elderly women in pointy hats riding brooms.

No. They were hippies. Or that’s what they wanted to look like. It was a tricky business, as they were born in the 1300s and were immortal. So in pondering what it might be like to be immortal, I hit upon a possible story gimmick: Telling the story in present tense. If you’ve been alive for centuries, maybe you see the world as a perpetual Now. And that’s how I told it.

I had not yet sold a story into a professional market, but I had a book by Writer’s Digest and knew how it was done. I sent it out to several magazines, including, sheesh, Analog. It came bouncing back from all of them with little or no delay. After five rejections, I started wondering why nobody seemed interested. Maybe it was that weird way of telling the tale in present tense. So I rewrote it in conventional past tense, and a few years later sold it for $35 to Starwind Magazine, published by Ohio State University. It appeared in their fall 1977 issue.

Now, I wasn’t the first to invent present tense in storytelling. John Updike generally gets that honor, beginning with his well-known novel Rabbit, Run. But as weird as it seemed in 1971, in 2026 it’s used by a great many authors, and sounds modern and savvy. So last summer I rewrote the story, top-to-bottom, in present tense. I cleaned it up and fleshed it out in other ways as well. My intention was to replace the 2011 “Whale Meat” on Amazon with a newer, present-tenser edition.

All I needed was a cover.

So I attempted the obvious: Get an AI to draw a cover for me. I subscribe to X, and get the Grok AI as part of the package. So one afternoon a few days ago I gave Grok a prompt: Draw a scruffy middle-aged male witch in modern Chicago, summoning a whale through hyperspace.

It drew me a scruffy man…in a black robe and pointy black hat. Heh. No sale. I took a breath and gave the prompt more thought: Draw a scruffy gray-bearded middle-aged sorcerer wearing a floppy work-cap in modern Chicago, summoning a whale through hyperspace. It drew pretty much what I’d asked for. I saved that image to disk and asked Grok to regenerate using the same prompt. I got another image much closer to what I wanted. I spent some fascinating minutes regenerating images, all of which were different, and saving them to disk until I had about 15. After a certain amount of staring, I chose the image you see above. Ok, the prompt is a spoiler, but I’m guessing whoever might have enjoyed “Whale Meat” among Contra readers has already read it.

Now, this was an experiment. I’ll gladly pay a human artist for a cover on a novel-sized book. This was a 9,000 word novelette that I sell for 99c. I wanted to see how close an AI could come to something that resonated with the story. Grok did pretty well. When I uploaded the new text and cover, Amazon asked if any part the ebook was generated by AI. I clicked Yes. Other writers I know are doing this. I think Amazon is just gathering stats, and they approved the new edition a couple of hours ago. The first edition sold 55 copies across 15 years. This one may do better. We’ll see. If you read it, please drop a review on Amazon. Thanks!

The NYT Vs. ChatGPT

You may have seen this story come up over the last year and change: The New York Times is suing OpenAI, creator of ChatGPT, for copyright infringement. Earlier this year, a federal judge ruled that the lawsuit can move forward. And now—good grief!—the Times is demanding that OpenAI save all discussions people have with ChatGPT. All of them. The whole wad—even conversations that people have deleted.

You want a privacy violation? They’ll give you a privacy violation, of a sort and at a scale that I’ve not seen before. The premise is ridiculous: The Times suspects that people who delete their conversations with ChatGPT have been stealing New York Times IP, and then covering it up to hide the fact that they were stealing IP. After all, if they weren’t stealing IP, why did they delete their conversations?

Privacy as the rest of us understand it doesn’t enter into the Times’ logic at all. The whole business smells of legal subterfuge; that is, to strengthen their copyright infringement case, they’re blaming ChatGPT users. I’ve never tried ChatGPT, and I’m certainly not going anywhere near it now. But this question arises: If a user asks an AI for an article on topic X, does the AI bring back the literal article? Golly, Google does that right now, granting that Google respects  paywalls. Can ChatGPT somehow get past a paywall? I rather doubt it. If the Times wants to go after something that does get past its paywall, it had better go after archive.is, over in Iceland. I won’t say much more about that, as it does get past most paywalls and is almost certainly massive copyright infringement.

And all this brings into the spotlight the central question about commercial AI these days: How do AIs use their training data? I confess I don’t fully understand that. This article is a good place to start. Meta’s Llama v3.1 70B was able to cough up 42% of Harry Potter and the Sorcerer’s Stone, though not in one chunk. Meta’s really big problem is that it trained Llama on 81.7 terabytes of pirated material torrented from “shadow libraries” like Anna’s Archive, Z-Library, and LibGen, and probably other places. I consider these pirate sites, albeit not as blatant as the Pirate Bay, but pirate sites nonetheless.

I’m still looking for a fully digestible explanation of how training an AI actually works, but that’ll come around eventually.

So how might an AI be trained without using pirated material? My guess is that the big AI players will probably cut a deal with major publishers for training rights. A lot of free stuff will come from small Web operators, who don’t have the resources to negotiate a deal with the AI guys. Most of then probably won’t care. In truth, I’d be delighted if AIs swallowed Contra’s 3500+ entries in one gulp. Anything that has my name in it will make the AI more likely to cite me in answer to user questions, and that’s all I’ll ask for.

Ultimately, I’m pretty sure Zuck will cut a deal with NYT, WaPo, the Chicago Trib, and other big IP vendors. Big money will change hands. Meta will probably have to charge people to use Llama to pay off IP holders, and that’s only right.

But lordy, this is a supremely weird business, and I’m pretty sure the bulk of the weirdness is somehow hidden from public scrutiny. Bit by bit it will come out, and I (along with a lot of you) will be watching for it.

New Edition of FreePascal From Square One

[I released a new rev of the book as of 10-21-2025, and the link in this post now points to the new rev.]

Once I got The Everything Machine published on KDP this past March, I went back to a project I’ve tinkered with for almost 15 years: FreePascal from Square One, a 354-page PDF providing an introduction to programming, using the FreePascal FOSS compiler and the Lazarus IDE for editing and building. I need to mention here that the book does not go into Windows programming, OOP, software components, or the Lazarus GUI builder. I have a concept for a second book for those topics, and have written some of it, and borrowed a little from my portions of The Delphi 2 Explorer. No schedule yet, but I work on it when time permits.

FreePascal from Square One really is a free ebook. It’s a distillation of the four editions of my Pascal tutorial, Complete Turbo Pascal, which first appeared in 1985 and culminated in Borland Pascal 7 From Square One in 1993. I sold a lot of those books and made plenty of money, so I’m now giving it away, in hopes of drawing more people into the Pascal universe.

The book begins at the beginning of the beginning, and explains the ideas behind programming, drawing on metaphors from daily life, before jumping into coding. I’ve turned loose increasingly polished revisions on a regular basis since 2011 or so. This one has things none of the earlier revisions had: A new chapter on simple Pascal file I/O, and a clickable table of contents.

The TOC thing made me nuts for awhile. I tried to make it work using InDesign, but InDesign (my 2005-era copy, at least) can’t do it. I know it can be done—I have a couple of technical ebook PDFs with clickable TOCs—but needed to buy a high-end PDF editing tool to make it work. The product is PDF X-Change Pro from Tracker Software. It’s not free, but if you do any amount of work with PDFs, it’s essential. The Pro-level product comes with a 1,372-page manual—in PDF format, of course. It took me most of a day plowing through that monster manual to find out how to make clickable links in PDFs, but once I located that part, adding links to the TOC took me less than an hour.

It’s not tied to TOCs. You can define a clickable rectangle anywhere in a PDF, and specify what page that clickable rectangle will send you to. I drew rectangles all around the lines in the TOC, then right-clicked each rectangle and specified a destination page number for each line.

If you want the book, it’s right here. You’re welcome to share it around, post it on your site, or give it to anyone who might be find it useful. If you’re interested in FreePascal and Lazarus, here’s where to go to download them. They’re as close as you’ll get to Delphi in the free software universe, and it’s about the only programming environment that I use these days, unless I duck back into x64 assembly. Give it a try. It’s bogglingly good.

Now Available: “The Camel’s Question”

CamelCover-500 wide.jpg

“Listen, young ones, for I, Hanekh, am a very old camel, and may not be alive to tell this tale much longer. Listen, and remember. If I leave nothing else behind but a spotty hide and yellow bones, I wish to leave this.”


So begins my latest ebook publication, “The Camel’s Question .” It’s now available on Amazon for 99c. It’s a short story, not a novel, and won’t taken you more than ten or fifteen minutes to read. There is a story behind the story, so what better place to tell it than here?

In the spring of 1966, when I was in eighth grade, we were tasked to write a Christmas story. It wasn’t required to be fiction, but it had to be about Christmas. So in longhand on yellow paper I wrote a story I called “Master Melchior and Me.” It was about the camels that carried the Three Wise Men to Bethlehem. We read our papers aloud in class, and when I finished reading mine, the class applauded. I had apparently touched a nerve.

I began with the title, which was inspired by a 1953 Disney animated short, “Ben and Me” about the humorous adventures of a mouse living in Ben Franklin’s house. I actually pictured it as Disney-style animation. Remember that I was 13, and “young for my age.” I was writing fiction already by 8th grade, and tended to picture it in my head as cartoon animation. I think I intended to make it humor, but as has happened so often with me, my subconscious had other ideas. The story was serious but upbeat, about a lesson one of the camels learned from the Christ Child.

Jump ahead a few years, to the fall of 1972. My father was battling cancer and losing, My poor mother was worn out by both working as a nurse, and nursing my father past the crude, debilitating, and ultimately futile radiation treatments. I wanted to give her something that would get her mind off her troubles for a few minutes. I was a junior in college and by then had taken a lot of literature courses. I realized that I had written a fable, which is an ancient literary form in which animals are made to think and talk like humans to put across a moral.

By 1972 I had already lost the original handwritten manuscript, so I started at the beginning and told it again, having in the meantime grown mostly to adulthood and written a lot of things, fiction and nonfiction. I didn’t like the title, as Master Melchior at best played a background role. But I didn’t know what to call it, so I kept the original title. The story, however, was lengthened, deepened, and in some respects moved a hair to one side of being a true fable.

It didn’t matter. I gave the typewritten manuscript to my mother as a Christmas gift, and she was deeply moved by it. The typescript went into her dresser, and Gretchen and I found it after mother died in 2000. I scanned it, OCRed it, cleaned it up a little (but surprisingly little, after 50 years of additional practice telling stories) and gave it a new title: “The Camel’s Question.” Of the three camels, two are fairly ordinary. The third–well, he’s a skeptic and a contrarian, and asks a great many questions about the world and its workings, and the men who dominate the world and the lives of camels.

One of those questions is a doozy.

And that’s where I hand the baton back to you. The story’s out there if you’re interested. It sat in a box for literally fifty years. Better late than never, I guess. It’s dedicated to my mother, who suffered far too much but never failed me in any way. It’s only the third story I’ve ever written with no fantastic elements in it.

Ok, ok. Talking camels. I did the best I could with what I had.

Thanks in advance to all who buy it and read it.

The Publishing Problem That Dare Not Speak Its Name

Last week a friend of mine pointed me toward something I might otherwise have overlooked: Fiction editors at big NY imprints are quitting their jobs at a boggling rate. There was evidently a Twitter meltdown back on March 11 about the Big 4 (or is it 3? 5? 2.7343? ) losing editors and not being able to find new ones. The trigger was evidently a junior editor at Tor (the SFF imprint of Macmillan) writing a longish note on why she was quitting. Molly McGhee loved the work and did it well, but there was far too much of it for what she was paid. And so she quit.

She was not alone. This appears to be a trend: Fiction editors at NY imprints are bailing in droves. A number of other articles on the topic have appeared in the days since. (Beware: Google the topic and you’ll find a lot of articles about editors resigning due to racist accusations and other weird things, but that’s all old news, going back to the last years of the oughts. This is something much more recent, and completely different.) People aren’t screaming about racism or sexual assault. It’s all about too much work for too little pay. The New York Times asks, “When Will Publishing Stop Starving Its Young?” (paywalled) What they don’t ask is why they’re starving their young to begin with.

Indeed, there is this peculiar air of mystery hovering like a grim gray cloud over the whole unfortunate phenomenon. Why are the big NY imprints treating their staff so badly? Nobody seems willing to even venture a guess. Question marks buzz around these articles like wasps from a poked nest. Want an explanation? I can give you one, an explanation that none of those articles mentions at all:

Indie authors are eating NY’s lunch.

And their hors d’oerves. Not to mention dinner. And their bottomless bags of Cheetos Suzettes. It’s the publishing problem that dare not speak its name: Basically, Kindle is detroying the NY publishing business model. So far it’s just fiction. Technical nonfiction can be a gnarly challenge for ebooks. But I’ve also read a lot of indie-published textual nonfiction ebooks in the last couple of years. For titles without a lot of diagrams or source code, it’s no greater a challenge than novels. Once you know the tools well, a reasonable text-only ebook can be laid out in an afternoon. (I do it all the time.) It doesn’t take weeks or thousands of dollars of hired help. The NY presses lie like rugs: Ebooks are not as costly to produce as print books. And once produced, there’s no printing costs or warehousing costs. Unit cost for the product is zero. Sure, indies have to pay for freelance editing services, and probably cover artists. I maintain that anyone who can write can lay out their own damned ebooks. Lots of people I know are doing it all the time and have done it for years. The cost of entry isn’t zero, but it’s a lot less than New York City.

A huge part of this is the peculiar business model that has grown up around hardcover editions since WWII. I’ve written about this at some length. We had to cope with it at Coriolis back in the 1990s. We did as well as we did for as long as we did in large part because we were not located in luxury pestholes like New York City. Publishing is a low-margin business. It cannot succeed in the cores of monster cities. Rent is soaring in most large cities. You can’t pay staff enough to afford local rents. These days, a publishing company can be spread out among several small towns, or anywhere Zoom-capable broadband is available. NYC culture is its own worst enemy: Smaller cities don’t have the nightlife that huge urban centers have. People who demand that nonstop nightlife won’t be happy in Des Moines or Omaha–much less Flagstaff. But those are the sorts of places where publishing can thrive in 2022.

Will Molly McGhee move to Omaha? Somehow I doubt it.

This doesn’t mean I don’t sympathize. Big companies need to pay their people well, or staff will quit and start careers in other industries. Amazon has trained its customers to feel that ebooks should not cost more than $9.99, You have to operate somewhere that a $10 ebook will pay your bills. That is not NYC. Or San Francisco. Or Chicago. Or LA. Alas, it probably isn’t Phoenix anymore either, though it certainly was when I created Coriolis in 1990.

There are other issues: Spreadsheets now run traditional publishing. Editor instincts matter a lot less than they did 30-40 years ago. The people who make decisions at big publishers (as a friend of mine said years ago) are people who don’t read books. There is also a sort of near-invisible good-ol-boy/girl network in NY that decides who gets promotions and plum positions. It’s gotten to be more who you know than what you know. Choosing the right parents and getting into Harvard now matter a lot more than talent and hard work.

In the meantime, NY publishers who are short on cash are cancelling recently acquired books and putting more muscle behind their existing midlist. They claim (and lie, as do other businesses) that they can’t find anybody to fill positions of those who quit–and then pile the work of vanished staff on staff who remain. Not hiring people is a great way to save cash, and you can always blame the pandemic, or supply chain problems, or the Russians. (Everybody else does.) Rents are up hugely in the big cities. Editors can’t work for peanuts when rent is caviar.There’s a deadly feedback loop here that I don’t need to describe in detail. Do the math.

New York City is too expensive for book publishers. Really. There is absolutely no reason for publishers to remain there, now in the age of Zoom. The city’s fixed costs are astronomical. To make any money at all, publishers have to keep ebook prices just a hair below hardcover prices. Making ebook prices higher than trade paperbacks is nuts–unless you simply can’t abide the idea of ebooks and are privately terrified that they will drive those essential hardcovers into a relatively limited luxury market. Which they will. And then Boom! goes their business model.

I still see articles online claiming that ebooks never really took off, and indie publishing is a tiny little corner of the publishing world. Tracking indie ebook sales is essentially impossible, so a lot of publishing pundits simply ignore them. If you can’t plug a number into a spreadsheet cell, the item in question might as well not exist. My conversations with indie authors gives the lie to that delusion. They’re making money. Few are making their entire living from indie publishing–but how often did authors make their entire living writing under traditional publishing? Damned few, and only the most famous.

There is middle ground, in the form of small press. Coriolis was a small press, even at our biggest, because, well, everything is smaller than Macmillan. My hunch is that many editors who bail out of the Big Apple may be quietly hunting down jobs at smaller presses in smaller cities. (The editors are not alone.) Enough of that, and the notion of Manhattan Publishing will quietly fade into the background, obscured by the taps of tens of millions of fingers moving to the next indie ebook page.

Excerpt: Complete Sentences

5

Three flashlight beams lit the campground road. With Charlene to his right and Marianne to his left, Eric led the way to where the road swung toward the lake and the sand came right up to the crumbling edges of the asphalt. A slow breeze like a soft warm breath came off the lake, heavy with the scent of summer, and gentle water sounds joined with the August cricket song. Charlene’s left hand gripped Eric’s right arm just below the end of his T-shirt sleeve. Her touch was still magical, perhaps moreso because she was putting her weight on his arm whenever she took a step. She could walk because he was there to help. He tried to drive the thought out of his head, but with each tightening of Charlene’s hand on his bare arm, the intoxicating thought returned: She needs me!

The trio walked out onto the beach until they had gone midway across the sand, within several yards of the water. Eric scanned the horizon. “This should be good, right here.”

Charlene squeezed his arm one last time, and pulled herself against him. She tipped her head until her temple touched his shoulder. “Thank you,” she whispered.

“Whatever I can do to help,” he whispered in reply. He looked up again as she drew away. “Turn off your flashlights.” The three lights flicked out, leaving them in darkness.

No one moved nor spoke as their flashlight-dazzled eyes gradually adapted. Above them, in an order Eric had witnessed under many dark Wisconsin skies since he’d been a small boy, the stars were coming out. First, the brightest of the brilliant: Antares, Spica, Vega, Deneb, Altair, all torches of the night. And one more, in their league but not of their kind: Saturn, a steadfast untwinkling pale yellow in the southeast. As his eyes grew more accustomed to the dark, the second-string stars appeared. Eric could name some but not all, and they were everywhere, the framing members of the constellations, not torches but-he grinned-two by fours. Soon after emerged the multitudes of lesser magnitudes, down to the limits of his eyes to discern. Finally, meandering down the sky toward Sagittarius in the south, a river of pale stardust, the Milky Way.

“Wow!” Marianne said to his left. “I’m lost already!”

Charlene tsked. “Nobody’s lost with Eric around.”

“Especially you,” Marianne muttered.

It was a girl thing; Eric guessed that he wouldn’t understand. He shrugged, and knelt beside Marianne. “We’ll start right here. Turn toward the north.” He gripped Marianne’s hand and pulled her around until she was facing the same way he was. He noted that there was no magic in Marianne’s hand, as there was in Charlene’s. “Right over the trees in the north. Look hard. You’ll see the Big Dipper.”

He felt her hand tense. “Yes! It’s there! I see it! It’s really big!”

“Yup. That’s why it’s not called The Medium-Sized Dipper. Now look at the bowl of the Dipper. Find the two stars at its left side.”

“I see them.”

“Now draw a straight line between those two stars, and extend it upward until the line hits another star.”

Marianne remained silent for a few seconds. If she had never looked up at a sky as crisp and clear as this, she might have trouble separating the Dipper’s canonical stars from the clutter of fainter lights everywhere around them. So he was patient. She was only nine.

Charlene placed her hand on his shoulder and squeezed twice. Eric suspected she was thanking him for catering to her bratty little sister. Again, he felt Marianne’s hand tense as her eyes learned the skill of separating the brighter lights from the fainter.

“Yes! It’s there! What star is that?”

“Polaris. The pole star. The whole sky revolves around it.”

“Wow! And that’s really because we’re rotating, right?”

“Right. And Polaris is the end of the handle of the Little Dipper. It’s harder to see because its stars are fainter. It’s about the same shape as the Big Dipper, but smaller and aimed the opposite way.” Eric lifted lifted Marianne’s hand until it pointed to one side of Polaris. “See it?”

Eric could almost feel the epiphany that came upon Marianne. “I do! Wow! The Little Dipper! How do you knowall this stuff?”

Eric released her hand and stood. “I read books. Lots of them.”

 

In one rapid-fire lesson, Eric took Charlene and Marianne through the hallmarks of the late summer sky: Scorpius, the teapot of Sagittarius, the Summer Triangle, Delphinus, the Great Square of Pegasus, and all the bright stars from horizon to horizon. Halfway through the tour, he felt Charlene’s soft, small fingers wriggle their way between his. He lost his train of thought, and caught himself wondering where Achernar was. No, wait-that wouldn’t be visible this early until October. Only one thing was clear in his mind:

A beautiful girl was holding his hand.

“Please show me Lyra,” Charlene asked. Eric’s heart was pounding. “In the book I read, it actually looked like a harp.”

Lyra was almost at the zenith. Eric craned his neck back until he felt it pop. “Straight up. A very bright white star with a touch of blue. That’s Vega, Alpha Lyrae. You can’t miss it.”

“Yes! It was so bright and beautiful in that book. I wanted a T-shirt with ‘Lyra’ on it, printed in gold ink on black above the constellation. I wanted it to be my symbol.”

Eric pointed at Vega. “Lyra is a parallelogram, with Vega above and to the right of it. Four stars. It would be easier to see if it wasn’t straight up.”

“That’s easy to fix,” Charlene said, and sat on the sand. She stretched her legs out toward the water, and lay down. “I see it! Perfectly! It’s better even than the book!”

“No picture of the stars ever does them justice.” Eric pointed again, almost to the zenith. “To the right of Lyra is Hercules. It looks like a keystone.”

Charlene grabbed Eric’s ankle. “Don’t look straight up like that. You’ll hurt your neck. Lie down like me.” She turned to her sister. “Marianne, you too.”

“I dunno about this,” Marianne grumbled, but complied.

Eric hesitated, looking back toward the trees that separated the beach from the tent sites. He had done plenty of observing flat on his back. It was certainly a more comfortable position for looking at the zenith. But he’d never done it with a girl-or anyone else-beside him.

Once Marianne was stretched out on the sand, he sat down between the two girls, took one more nervous glance toward the road and the trees, and lay down himself.

The lecture began again. He explained how you could follow the curve of the Big Dipper’s handle and “arc to Arcturus” and later, following the same general curve, continue to Spica. He showed them the close pair of stars called the “cat’s eyes” at the stinger end of Scorpius. Wistfully, he told them that if he had his telescope finished, he could show them the rings of Saturn.

Eric heard Charlene wriggling toward him on the crunchy sand. Her hand gripped his right arm. The next thing he knew, her head was on his shoulder, her body pressed against his side. He had the intuition that she was paying but a fraction of the rapt attention that she had shown only minutes before. His tour of the sky stopped abruptly.

A slow, silent minute ticked past. Eric oscillated between elation and dread.

Dread won, in the form of Marianne’s agitated voice. “Hey, Shar, what are you doing over there? If mom sees us lying down like this, she’ll be mad.”

“Your mom is always mad.”

“You’re lying down and hugging a boy!”

Charlene looked over Eric’s recumbent body at her sister “I’m hugging my friend.”

“He’s a boy. It’s not like hugging mom.”

Charlene’s voice grew sharp. “Your mom hugs you. She’s never hugged me. Ever. And your dad never hugs anybody. Who am I supposed to hug?”

The last thing Eric needed was for the girls to get in a screaming match across his ribcage. The pale green luminous hands of his watch showed 9:41. He had promised Mr. and Mrs. Sawyer to get their daughters back to the site before ten. This was as good an excuse as any.

“Um, we have to go home now. It’s quarter to ten.”

Eric helped Charlene to her feet, with Marianne standing nearby, her arms crossed. Charlene rubbed her eyes and cheeks against the sleeves of her T-shirt. Once their three flashlights were lit, they walked back to the tents without another word. Charlene’s limp was still obvious, but she did not take Eric’s arm. And one faint smile was her only reaction when he finally said ‘G’night”.

Announcing Complete Sentences

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And now for something completely, totally, top-to-bottom (for me at least) different: I present Complete Sentences, a short novel about two very articulate high-IQ 12-year-olds. Not in space. Not in the future. Not on some other planet nor in some unlikely fantasy world. No hyperdrives. No monsters. No magic. Nossir. On Earth, our Earth, our timeline, in Wisconsin. In 1966.

I’m not even sure the term is still used, but when I was first making my name in SF, we called such fiction “mainstream.” In other words, a story about ordinary people in the here and (approximately) now, with no fantastic elements at all. Yes, I wrote mainstream fiction. I’ve done this only one other time in my increasingly long life, back when I was in college in 1972. I wrote a short story about two guys my age who were sweating bullets about the draft lottery during the thick of the Vietnam meatgrinder. My Modern American Literature prof loved it and told me I should try selling it. The story is grim. One guy pulls #244. He’s free. The other one pulls #6. He runs. Mainstream literature is full of stuff like that, which is why I now mostly avoid mainstream literature.

So what’s it about? Let me borrow the descriptive text I uploaded to Amazon with the book:

It’s late summer 1966. Family camping is the rage. Boomer kids are everywhere. Star Trek is brand-new. Smartphones and social media haven’t even been dreamt of yet. So summer crushes happen the old-fashioned way: young face to young face.

While scoping out sites for stargazing at Castle Rock Lake, 12-year-old Eric meets a girl from the next campsite over. Charlene and Eric are both gifted, highly articulate kids: Eric in math and science, Charlene in art and composition. He shows her the constellations in the ink-black Wisconsin night sky; she sketches him and writes him poems. An attraction neither has ever felt before soon blossoms between them. Eric’s sensible parents caution him that 12 is too young to fall in love, while Charlene’s parents barely speak to each other, let alone her. She aches for the love she sees in Eric’s family, and takes strength from the attention and kindness that Eric offers her.

For Charlene has a secret, one that cuts to the heart of who and what she is. When the conflict in her family threatens to end the campout early, she must explain that secret to Eric, and begs him to accept the vision she has of her own future. Facing the possibility that they may never see each other again, Eric and Charlene struggle to put words to the feelings that have arisen between them. They discover the answer in the language they both speak, and had spoken together all along: Complete sentences.

I’ll post a sample chapter tomorrow.

In the meantime, you all might reasonably ask, Why? For the same reason I wrote whacko humorous fantasy like Ten Gentle Opportunities and Dreamhealer: To prove that I could. Before I wrote Complete Sentences, I didn’t know that I could write mainstream fiction. Now I know. Before Kindle made self-publishing possible, I had to write what publishers wanted. I first tasted the forbidden fruit 25+ years ago, when Coriolis established a book publishing operation and I was the one who decided what to publish. Could I have sold The Delphi Programming Explorer to Wiley or Macmillan? That was a gonzo book. It was also the Coriolis book that sold the most copies and pulled in the most revenue for all of 1995. I (maybe barely) sold Assembly Language Step By Step (under its original title Assembly Language from Square One) to the late Scott, Foresman in 1990. That was just as gonzo, if not moreso. (My four-fingered Martians are standing up and cheering.) A guy once sent me an email telling me that that book saved him from flunking out of his computer science program. Yeah, that book is nuts. But I have independent evidence that it works, in the form of hundreds of fan letters. Not to mention the fact that it’s been in print now for 31 years.

These days I write what I do largely to push back personal boundaries–and sometimes try things I’ve been wanting to try for literally decades. I always wanted to write a love story where the nerd gets the girl in the end. It took awhile. Then there was Dreamhealer. I don’t call it a love story. But it contains one–in fact, two.

In writing Complete Sentences, I drew on bits and pieces of my own history. (Just bits and pieces. It is pointedly not autobiographical.) When I was 12, I found myself longing for female company. Not love, nor, lord help us, sex. I didn’t know why, exactly, but alluvasudden I wanted girls to be my friends. I remember that feeling clearly. I didn’t know what to call it, and for the most part it was an annoyance, at least for the next couple of years. I now know what to call it.

Complete Sentences is not a love story, not in the usual sense of the word.

Or…maybe it is.

You tell me.

 

Watch This Space…

(Something interesting coming soon to a Contra post near you…)


By the time Eric reached the road, his mother was already headed back to their campsite. He had to trot to catch up.

“She’s an interesting girl,” Marcia Lund said, when Eric drew alongside her.

“I think so too. But how did you…”

“No, I mean interesting.”

Eric’s mother had used that word with that emphasis before, sometimes of things she didn’t entirely approve of. “Mom, c’mon.”

Marcia laughed. “She came up to me and introduced herself. Dad came over and she introduced herself again. She said she wanted to meet you. I said you were down at the beach. Then your father invited her to have lunch with us.”

Eric grimaced. “Just like dad.” He took an uneasy breath. “Um…will she?”

“If her parents don’t object. And why would they?” Marcia grabbed her son’s forearm and squeezed it.

Eric waved her hand away. “Ok, ok. Now, what makes her, um, interesting?”

“Everything she said, she said in complete sentences. You could learn a few things from her.”

Eric groaned. “You’re an English teacher even on summer vacation.”

“I get paid year-round. And my kids will not be illiterate.”

They left the road and rounded the family’s big blue tent.

Charlene was already sitting at the campsite picnic table across from Eric’s younger sister Lisa, with a bright orange Melmac plate in front of her and a very big grin on her face.

Announcing the Publication of Odd Lots

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It is with considerable pleasure (and a great deal of relief) that I announce the availability of my newest book, Odd Lots. It’s available in both ebook ($2.99) and trade paperback ($12.99) format.

I announced the project here last October. It’s taken a lot of time to put together in part because I had to OCR so much of it, and I hate OCRing. The other time-consuming element was trying to decide what-all should be in it. The bulk of what I’ve written on programming is now obsolete, and what isn’t obsolete is in published books that are already available. But my DDJ columns? DOS programming? Modula 2? Extinct. I suffered over those decisions more than I should have. I gave myself a 250-page topstop for the paperback. It came in at 235 pages, so I could have thrown in another Contra entry or two. At some point I simply had to say, “It’s done.”

What’s in it? Five topical sections:

  1. Essays, idea pieces, and editorials from PC Techniques/Visual Developer.
  2. Entries from Contrpositive Diary
  3. Parody (most of which came from the magazine)
  4. Memoir
  5. None of the above.

Part 1 contains pieces from the magazine that I felt had lasting interest, like “The All-Volunteer Virtual Encyclopedia of Absolutely Everything,” a few essays about the wearable computers I called Jiminies, “Pay Them Forward,” and “Hail the Millennium!”

Part 2 contains entries from Contra, again items I felt had lasting interest. I threw in my oddball series “50 Days’ Meditation on Writing,” which I posted on Facebook on fifty consecutive days way back in 2014.

Part 3 contains humor and parody, some of which was originally published in the magazine, and some in fanzines that now go back almost fifty years.

Part 4 contains excerpts from my memoirs, along with the very first written item I ever sold for money, which ran in 73 Magazine in December 1974. Some of that appeared here on Contra. A great deal of it is published in Odd Lots for the first time.

Part 5, well, some things don’t categorize well. Whatever didn’t fit in the first four categories ended up here. A couple are funny, including one that might be considered a parody of myself. The others might be classified as “inspirational,” depending on what inspires you.

The cover photo, some might remember, came out of a 2015 Contra entry called “Samples from the Box of No Return.” I think it qualifies as a collection of odd lots, just not written ones. It’s a shame I couldn’t photograph everything in the box, which has a lot more stuff in it than shown here.

Again, I assembled the book because I regularly get emails from people asking where they could find one or another editorial or idea piece from the magazine or Contra. I posted a few on my site. I don’t have word processor files for most of them, and had to OCR them. It’s almost a private publication for my fans, some of whom have been reading me since I launched Turbo Technix at Borland in 1987. I freely admit that some of it sounds like bragging. Hey, I really did predict Wikipedia in 1994, using technology we had in the early ’90s. Keep in mind that I wrote a great deal of that early material with a grin on my face. It was blue-sky stuff, satire, and primarily entertainment. I’ve never been one overly given to seriousness. Please read it with that in mind.

And I once again thank all my long-time readers for giving me a reason and a forum for writing interesting and funny stuff, and for (finally!) having a place to put it.

It’s done. Whew. Go get it! And if you think Odd Lots was odd, heh–just wait until you see my next publishing project. (Stay tuned.)