Martin L. Shoemaker retweeted
COUNTDOWN: DAY SIX
Thursday night, we'll count down the last four hours.
Early this morning, we hit 600 backers. We still have over 600 people following the Kickstarter who haven't backed it yet. Can we get to 1,000 backers in the next five and a half days?
If you haven't yet, take a look at the Witchy War Kickstarter campaign and consider backing it here:
kickstarter.com/projects/hap…
Martin L. Shoemaker retweeted
Get sci-fied!
🛍️ Grab your copy here
Amazon
amazon.com/dp/B0HKKDB8JK
B&N
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Apple
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Google Play
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Kobo
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Learn More
infinivoxsf.com/tytsf1
Martin L. Shoemaker retweeted
Get sci-fied!
🛍️ Grab your copy here:
Amazon
amazon.com/dp/B0HKKDB8JK
B&N
barnesandnoble.com/w/the-yea…
Apple
books.apple.com/us/book/id68…
Google Play
play.google.com/store/books/…
Kobo
kobo.com/us/en/ebook/the-yea…
Learn More
infinivoxsf.com/tytsf1
Martin L. Shoemaker retweeted
"A Deeper, Darker Sea" by Jay Werkheiser
Hard sci-fi supernovella coming spring 2027
Sign up to be notified when launched:
kickstarter.com/projects/all…
Deep dive!
Learn more and join our newsletter:
infinivoxsf.com/ddsea
Martin L. Shoemaker retweeted
Now that the contract is signed, I can announce that my combat memoir, WAR IN PIECES, will be published by @wargate books.
In the meantime, revisions continue…
Martin L. Shoemaker retweeted
As a working professional writer and guy who has actually taught creative writing classes (only mine were about how to make money at writing as opposed to academic navel gazing) I am constantly amazed just how dumb and out of touch opinionated internet randos are about how becoming a better writer actually works.
The single most important resource a writer has is his enthusiasm to write. Anything that stomps on that enthusiasm is the kiss of death, especially when you're starting out and don't really know what you're doing yet.
The reason most creative writing classes suck and utterly fail at teaching students to write is they suck all the joy out of the process. They tack on a bunch of arbitrary bullshit rules and regulations (all of which we can find examples of really successful authors who routinely violate those "rules") and then you get graded not on if people get something from your art, or even better, would people be willing to pay you for your art, but rather on how good you adhere to those arbitrary rules which are totally meaningless outside of that one teacher's class.
There's a lot of classes that are more anti-creative writing than creative. Which is why when actual working authors see a meme about some absurdist classroom bullshit we've got zero problem believing it, because we've all seen variations of it in real life.
There's this silly pervasive belief that to get good at something you need to suffer first. You need to be forced to do a bunch of crap that you don't want to do before you can tell the kind of story you want to tell. No, you really don't. Who gives a shit?
Interestingly enough I see the same dumbass philosophy in how schools teach reading to younger kids too. I've gone off on this a bunch, but the way we teach English lit to children is fucking asinine and totally ass backwards. So by the time kids get done torturing a turgid novella about the ennui of angsty Jazz age New Yorkers looking for Freudian symbolism in every friggin' line for an entire semester the kids come out of there hating books and never reading again.
When it comes to actual professional business development creative writing classes are about the most ass backwards thing ever, because the gate keeper of taste is one person-usually a failed author themselves-declaring if something is good or not. When in reality good is determined by the audience, audiences are wildly diverse, and what one audience will think is garbage will be a bestselling mega hit to another.
Martin L. Shoemaker retweeted
I've got "Crystal King" (fantasy) and "Discovery" (SF) both on sale this week in this list. Give it a look and find a new favorite author! basedbooksale.substack.com/p…
@basedbooksale
Martin L. Shoemaker retweeted
"A Deeper, Darker Sea" by Jay Werkheiser
Hard sci-fi supernovella coming spring 2027
Kickstarter launching August 21:
kickstarter.com/projects/all…
Deep dive!
Learn more and join our newsletter:
infinivoxsf.com/ddsea
Martin L. Shoemaker retweeted
Big bot stories!
Learn More:
"Nic and Viv’s Compulsory Courtship"
infinivoxsf.com/robots-ai-2
"Philly Killed His Car"
infinivoxsf.com/robots-ai-2
"Dollbot Cicily"
infinivoxsf.com/robots-ai-4
Sale ends 7/22:
infinivoxsf.com/product-page…
Martin L. Shoemaker retweeted
Moonshots!
Check out the lunar adventures in the three classic hard sf novellas in this collection:
infinivoxsf.com/3-hard-shots…
Available as:
ebook;
paperback;
signed numbered limited edition hardcover
Martin L. Shoemaker retweeted
The Revenant and the Tomb is now only 99¢. If you like dark and gritty Fantasy, you might want to check it out. amazon.com/dp/B09QK2JCNJ
Martin L. Shoemaker retweeted
Seeing too many fans get their Ticketmaster (@Ticketmaster) tickets canceled last-minute with nothing but vague “policy violation” emails or zero explanation.
Support hits them with the same scripted runaround. No proof, no details—just tough luck.
Why are real buyers getting burned by these copy-paste excuses? Share if it’s happened to you or someone you know 👇
Martin L. Shoemaker retweeted
MASTER ALVIN is the finale to a series that truly began forty-five years ago, in 1981, with a poem.
This last & seventh volume contains “Prentice Alvin and the No-Good Plow” in its entirety (as well as the story of how it came to be).
For fun, here’s the opening stanza:
“Alvin, he was a blacksmith’s
prentice boy,
He pumped the bellows and he ground the knives,
He chipped the nails, he het the
charcoal fire,
Nothing remarkable about the lad,
Except for this: He saw the world askew,
He saw the edge of light, the frozen liar
There in the trees with a black smile
shinin cold,
Shiverin the corners of his eyes.
Oh, he was wise.”
a.co/d/026R50ZI
Martin L. Shoemaker retweeted
If you have not yet read me, my sale of signed, personalized copies of my short fiction treasury remains ongoing. 15 stories across 15 years in pro SF publication. Including several award nominees, and some readers choice selection winners as well. Get your copy direct from my Web site: bradrtorgersen.com
Martin L. Shoemaker retweeted
Ender’s Game is what I’m known for, and gratefully so. But it may be The Tales of Alvin Maker through which, if you tell me you’ve read them, I feel most known.
Master Alvin, the final book of the series, will be out this Tuesday, April 28.
Thank you to those who’ve patiently waited, and those who have eagerly prodded… and all who’ve taken these stories to heart and made them finer for being there.
Preorder on Amazon: a.co/d/0iRYBxJ1
Preorder on Barnes and Noble: barnesandnoble.com/w/master-…
Preorder on IndieBound (bookshop.org):
bookshop.org/p/books/master-…
Martin L. Shoemaker retweeted
You don't need advice from editors on rejected manuscripts.
My short story “Ender's Game” was rejected by Ben Bova at Analog back when that was the top market for a sci-fi story. Ben gave me feedback. He thought the title should be “Professional Soldier” and he said to “cut it in half.”
But I knew he was wrong on both points and submitted it to Jim Baen at Galaxy. He sat on it for a year, and responded to my query with a rejection. There was some kind of explanation, but I don't remember what it was. I concluded at the time that Baen's comments showed that he had barely glanced at the story.
So … I got feedback both times, but it was not helpful. I looked at Ben's rejection again. What was it about the story that made him think it should, let alone COULD, be cut in half?
Apparently it FELT long. What made it feel long? Now, post-Harry Potter, I would call it the quidditch problem. I had too many battles in which the details became tedious. So I cut two battles entirely, merely reporting the outcomes, and shortened another. In retyping the whole manuscript (pre-word-processor, that was the only way to get a clean manuscript), I added new point-of-view material to the point that I had cut only one page in length. So much for “in half.”
But I already knew that my manuscripts did not need cutting — if it wasn't needed, it wouldn't be there in the first place. Even the battles were still there, but instead of showing them, I merely told what happened (so much for the usually asinine advice “show don't tell”), which kept the pace going.
Those changes made, I sent it to Ben again. I did not remind him of what he had advised me to do. I merely told him I liked my title, and said, “I have addressed your other concerns,” which was true. I figured he wouldn't remember what his exact words had been. My answer was a check. That revised story was the basis for my winning the Campbell Award for best new writer.
Did Ben's feedback help? Yes — but his specific advice was not right, and I knew it. On my next two submissions, Ben hated my endings, and I revised as suggested. The fourth submission he rejected outright, and the fifth, and I thought, Am I a one-story writer? I went back to Ender's Game and tried to analyze why it worked. Then, deliberately imitating myself, I wrote “Mikal's Songbird.” Ben bought it, and it received favorable mentions. I was afraid then that I had consigned myself to writing stories about children in jeopardy. But in fact I was writing character stories rather than idea stories. And THAT was how I built a career, not by self-imitation, and not by following editorial suggestions.
I did get wise counsel from David Hartwell on my novel Wyrms, but that was on a book that was already under contract, and it was story feedback, not style. I got wise counsel from Beth Meacham, too, on various books over the years — but again, only on books that were under contract. I also received appallingly stupid advice from the editor of my novel Saints, which temporarily destroyed the book's marketability; after that, I was allowed to go back to my original structure and save the book — now it's one of my best.
Editors don't know more than you about your story. They especially don't know why they decide to accept or reject stories. YOU have to know what your story needs to be, and take only advice that you believe in.
Your best counselor on a story nobody bought is TIME. Let some time pass and then reread the story. Don't even think about why it Didn't Work. Instead, think about what DOES work, and then write it again, a complete rewrite, keeping nothing from the previous draft. Find the right protagonist and begin at the beginning — the point where the protagonist first gets involved with the events of the story. Be inventive — the failed first draft no longer exists, so you're not bound by any of your earlier decisions. THAT is how you resurrect a good idea you did not succeed with on your first try.
Martin L. Shoemaker retweeted
If you have not read the novel "The Chaplains War" you should fix that.
goodreads.com/book/show/2141…
If Angel Studios ever made a scifi movie, it should be this one.
I was putting fresh oil into clay lamps at the altar when the mantis glided into my foyer. The creature stopped for a moment, his antennae dancing in the air, sensing the few parishioners who sat on my roughly-hewn stone pews. I hadn't seen a mantis in a long time—the aliens didn't bother with humans much, now that we were shut safely behind their Wall. Like all the rest of his kind, this mantis's lower thorax was submerged into the biomechanical "saddle" of his floating mobility disc. Only, this one's disc didn't appear to have any apertures for weapons—a true rarity on Purgatory.
Every human head in the building turned towards the visitor, each set of human eyes smoldering with a familiar, tired hate.
"I would speak to the Holy Man," said the mantis through the speaker box on its disc. Its fearsome, segmented beak had not moved. The disc and all the machines within it were controlled directly by the alien's brain.
When nobody got up to leave, the mantis began floating up my chapel's central aisle, the mantis's disc making a gentle humming sound. "Alone," said the visitor, his vocoded voice approximating a commanding human tone.
Heads and eyes turned to me. I looked at the mantis, considered my options, then bowed to my flock, who reluctantly began to leave—each worshipper collecting handfuls of beads, crosses, stars, serviceman's bibles, and various other religious items. They exited without saying a word. What else could they do? The mantes ruled Purgatory as surely as Lucifer ruled Hell.
I waited at the altar.
"You are the religious officer?" said the mantis.
"The Chaplain is dead. I am—was—his assistant."
"We must speak, you and I."
Again, I noted the mantis's lack of armament.
"What can I do for you?" I said.
"I wish to understand this entity you call God."
I stared at the alien, not quite sure if I should take him seriously.
"To understand God," I said slowly, "is a skill that requires ongoing mastery."
"Which is why the other humans come here, to this structure. To learn from you."
I blushed slightly. In the year since I'd built the chapel—some two years after our failed invasion and subsequent capture—I'd not given so much as a single sermon. Preaching wasn't my thing. I built the chapel because the Chaplain told me to before he died, and because it seemed obvious that many humans on Purgatory—men and women who had landed here, fought, been stranded and eventually imprisoned—needed it. With the fleets from Sol departed, and our homes many thousands of light-years away, there wasn't much left for some of us to turn to—except Him.
"I don't teach," I said, measuring my words against the quiet fear in my heart, "but I do provide a space for those who come to listen."
"You are being deliberately cryptic," the mantis accused.
"I mean no offense," I continued, hating the servile tinge in my own voice as I spoke to the beast, "it's just that I was never trained as an instructor of worship. Like I said when you asked, I am only the assistant."
"Then what do the humans here listen to, precisely?"
"The spirit," I said.
The mantis's beak yawned wide, its serrated tractor teeth vibrating with visible annoyance. I stared into that mouth of death—remembering how many troops had been slaughtered in jaws like those—and felt myself go cold. The Chaplain had often called the mantes soulless. At the time—before the landing—I'd thought he was speaking metaphorically. But looking at the monster in front of me I remembered the Chaplain's declaration, and found it apt.
"Spirit," said the mantis. "Twice before has my kind encountered this perplexing concept."
"Oh?" I said.
"Two other sapients, one of them avian and the other amphibian."
Other aliens . . . besides the mantes? "And what could they tell you about God?"
"Gods," my visitor corrected me. "We destroyed both species before we could collect much data on their beliefs."
"Destroyed," I said, hoping the alien's ears couldn't detect the shaking dread in my voice.
"Yes. Hundreds of your years ago, during the Great Nest's Third Expansion into the galaxy. We thought ourselves alone, then. We had no experience with alternative intelligence. The homeworld of the avians and the homeworld of the amphibians were pleasing to the Patriarchal Quorum, so those worlds were annexed, cleansed of competitive life forms, and have since become major population centers for my people."
I took in this information as best as I could, unsure if any human ears had ever heard anything like it. I thought of the Military Intelligence guys—all dead—who would have given their years' pay to gain the kind of information I had just gained, standing here in the drafty, ramshackle confines of my makeshift church.
I experienced a sudden leap of intuition.
"You're not a soldier," I said.
The mantis's beak snapped shut.
"Certainly not."
"What are you then, a scientist?"
The mantis seemed to contemplate this word—however it had translated for the alien's mind—and he waved a spiked forelimb in my direction.
"The best human term is professor. I research and I teach."
"I see," I said, suddenly fascinated to be meeting the first mantis I'd ever seen who was not, explicitly, trained to kill. "So you're here to research human religion."
"Not just human religion," said the mantis, hovering closer. "I want to know about this... this spirit that you speak of. Is it God?"
"I guess so, but also kind of not. The spirit is . . . what you feel inside you when you know God is paying attention."
It was a clumsy explanation, one the Chaplain would have—no doubt—chastised me for. I'd never been much good at putting these kinds of concepts into words that helped me understand, much less helped other people understand too. And trying to explain God and the spirit to this insect felt a lot like explaining the beauty of orchestral music to a lawnmower.
The professor's two serrated forelimbs stroked the front of his disc thoughtfully.
"What do the mantes believe?" I asked.
The professor's forelimbs froze. "Nothing," he said.
"Nothing?"
"We detect neither a spirit nor a God," said the professor, who made a second jaw-gaped show of annoyance. "The avians and the amphibians, they each built palaces to their Gods. Whole continents and oceans mobilized in warfare, to determine which God was superior. Before we came and wiped them all out, down to the last chick and tadpole. Now, their flying Gods and their swimming Gods are recorded in the Quorum Archive, and I am left to wander here—to this desert of a planet—to quiz you, who are not even trained to give me the answers I seek."
The professor's body language showed that his annoyance verged on anger, and I felt myself pressing my calves and the backs of my thighs into the altar, ready for the lightning blow that would sever a carotid or split my stomach open. I'd seen so many die that way, their attackers reveling in the carnage. However technologically advanced the mantes were, they still retained a degree of predatory-hindbrain joy while engaged in combat.
Noticing my alarm, the professor floated backwards half a meter.
"Forgive me," said the alien. "I came here today seeking answers from what I had hoped would be a somewhat reliable source. It is not your fault that the eldest of the Quorum destroy things before they can learn from them. My time with you is finite, and I am impatient to learn as much as possible before the end."
"You have to leave . . . ?" I said, half-questioning.
The professor didn't say anything for several seconds, letting the silence speak for him. My shoulders and back caved, if only a little.
"How many of the rest of us will die?" I asked, swallowing hard.
"All," said the professor.
"All?" I said, at once sure of the answer, but still needing to ask again anyway.
"Yes, all," said the professor. "When I got word that the Quorum had ordered this colony cleansed of competitive life forms—prior to the dispatching of the Fourth Expansion towards your other worlds—I knew that I had a very narrow window. I must study this faith that inhabits you humans. Before it is too late."
"We're no threat to you now," I heard myself say with hollow shock, "all of us on Purgatory, we've all been disarmed and you've made it plain that we can't hurt you. The Wall sees to that."
"I will return tomorrow, to study your other visitors in their worship," said the alien as his disc spun on its vertical axis, and he began to hover towards the exit.
"We're not a threat—!"
But my shouting was for naught. The professor was gone.
Martin L. Shoemaker retweeted
I offer X Subscriptions.
I have had great success with my game designs. While there are certainly designers with more DEPTH than myself, I can't think of many with more BREADTH. I've won awards and made a mark with tabletop RPGs (Call of Cthulhu, RuneQuest, Ghostbusters, Cthulhu Mythos for D&D, and more); with digital games (Doom, Age of Empires series, etc.); and with board games (Cthulhu Wars, Planet Apocalypse, Hyperspace).
For some time now I've been doing subscriber posts three times a week. They range from game design advice, to anecdotes, to scenario ideas. Today for instance, the subscriber post was a magic item for D&D - a cursed mirror made from a damned soul.
Join my subscriptions if you want to see what I offer. Also you get the sincere gratitude of a man seeking to ensure a safer old age for me and my wife.
I also have been doing articles, which you can find on my home page pretty easily. So far none of the articles are subscriber-only.
Martin L. Shoemaker retweeted
A sweeping epic of Mars’s fight for freedom—an unforgettable saga of war, family, and civilization on the red frontier.
Pre-order Travis J.I. Corcoran's Red State Mars now!
@MorlockP @travis4nh
passage.press/products/red-s…
Martin L. Shoemaker retweeted
Try this. 112 to 104 pages means cutting 8 pages. There's 54 lines average per script page, 432 lines total. Spread over the 112 means cutting about 4 lines per page, narrative or dialogue. Start with one-word hangers at the end of paragraphs, and go from there. Not so bad.



























