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Posts from the ‘BRAD R. TORGERSEN’ Category

Why read me when there are new books out?

The new Alternate History Anthology edited by James Young, Trouble in the Wind, has stories by current and MGC members Sarah Hoyt, Brad Torgersen, and Peter Grant… as well as S.M. Stirling, Kevin J Anderson, and David Weber!
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Wednesday’s double-barreled BOOK BOMB!

WEDNESDAY MORNING DOUBLE-BARREL BOOK BOMB! My friend and colleague Larry Correia has been kind enough to double-promote Tuesday’s releases of A STAR WHEELED SKY and Dan Willis’s IN PLAIN SIGHT. Please, please, please, share wide and far! Dan’s noir urban fantasy is only 99 cents on Kindle right now. It’s a steal! And there is a paperback to boot. (I have three paperbacks on order myself, in addition to the Kindle download.) I will vouch for Dan, as one of Utah’s veteran authors, and a great guy as a person. You cannot go wrong putting down dollars on both books for the holidays!

Dan Willis’s In Plain Sight for Amazon Kindle, or also Trade Paperback.
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Book launch for A Star-Wheeled Sky

Amazon paperback.
Amazon Kindle edition.
Amazon audio book edition.
Barnes & Noble paperback.
Barnes & Noble Nook edition.

FOR OVER A THOUSAND YEARS the Waywork has been both boon and bane: an alien interstellar highway system, which offers instantaneous travel between a closed network of stars. Within this bubble, the orphaned refugees of Earth—long lost—vie for control of humanity’s destiny. Can the beautiful daughter of a royal family, together with the rugged son of a shipping magnate, join forces with a proud but disgraced flag officer, to seize the initiative? Because the Waywork may at last be ready to give up its secrets, and one woman—a merciless autocrat, from the Waywork’s most brutal regime—is determined to ensure that she controls it all . . . Read more

Trial by mob, the SJZ preference

I won’t devote too much time to rehashing this past week’s slanderous sabotaging of Larry Correia (at Origins) which bore an eerie similarity to the slanderous sabotaging of John Ringo (at ConCarolinas.) In each instance, it was a political hit job. And in each instance, there was no proof offered to substantiate the lies which preceded both Larry’s and John’s disinviting.

I find this timing rather remarkable, only because I am presently on TDY to Washington State for the purpose of serving on a separation board. Now, for those not familiar with the term, a separation board is a military legal proceeding in which officers will review cases to determine if the cited servicemember has in fact done something egregious enough to warrant discharge — and if so, what the nature of that discharge will be. Not every discharge is honorable, and there is more than one kind of general discharge, above dishonorable. So, it’s the board’s job to determine if the preponderance of evidence supports the recommendation of the offending soldier’s chain of command.

Preponderance of evidence . . .

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Blast from the Past: What is “legitimate” in the 21st century publishing environment?

(Brad is away from his keyboard today so I pulled this post of his from January 2017. It is as timely now as it was then. — ASG)

Not very long ago, the intarwebz — or at least that part of the intarwebz which is fascinated with all things authorly — became infuriated over this toss-off commentary from the Huffington Post. Now, toss-off commentary is not surprising at HuffPo. In fact, one might say that toss-off commentary is HuffPo’s raison d’être. Articles like this are supposed to inflame. HuffPo wants clicks, and caterwauling. That’s how HuffPo functions. And while men far better than me have taken the commentary to task, I think it’s worth pointing out that the article does bring up a very valid question, which lurks in the shadows at every author workshop, convention, kaffeeklatsch, and bar conversation: when will each of us know we are legitimate? Read more

Crumbly bits of good author stuff, from LTUE

Life, The Universe, and Everything is Utah’s premier symposium for serious SF/F creatives (who aren’t always so serious!) and has been an ever-expanding project of the local SF/F fan-creative community for almost four decades. My first one was in 2009, and by the following year I wound up on the other side of the panel table, dispensing what knowledge I could about this nutty new career I’d invented for myself. Due to military deployment and other issues, I wasn’t able to attend in 2016 or 2017, but I was thrilled to be back for 2018, and even more thrilled to find the symposium had grown even more — attracting an ever-larger pool of professionals, semi-professionals, and aspirants. Both from around the state of Utah, and from across the country as a whole.

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Let an old Western teach you about good story elements

A couple weeks ago I had the great pleasure of seeing an old favorite from the 1980s: Silverado. In its time, it was not a blockbuster. Nor did it achieve the iconic silver-screen cultural footprint of other contemporary Western productions like Young Guns or Unforgiven. But it did have a long life on the cable movie networks, gaining a substantial amount of audience traction among those who appreciate a good old-fashioned Western feel-good drama. Silverado has an excellent ensemble cast, with numerous faces familiar to anyone who knows the eighties. But more than that, it has great story elements which are instructive for anyone considering how to properly plot and pace their writing.

HOOK BEGINNING. Everyone talks about how the opening of Star Wars hit them. With the Imperial cruiser roaring over the top of the audience, blasting away at the Rebel blockade runner. I think Silverado does a very similar trick. With very little context — other than a slow, silent pan shot across what is clearly rustic cowboy gear in a rustic cowboy shack — we’re plunged directly into the action, as nameless desperados shoot up the shack, attempting to kill our as-yet unnamed protagonist. He gets the best of his opponents, of course. In a feel-good Western, the hero always does. And in the process, we discover that our man is lightning-fast with a revolver, as well as a rifle. He’s got skills. And the canvas for his story is going to be the gorgeous backcountry of the American Southwest. The entire sequence taking less than two minutes. That is how you rope your reader in. Hit ’em quick, show ’em a lot, and given ’em something compelling. Don’t meander into the thing, over chapters and chapters. Put the stakes up front.

ORGANICALLY BUILD YOUR CAST. Just as the opening credits finish, we meet our next hero. A man down on his luck. Left for dead. With very little dialogue, we learn that our gunslinger is also a compassionate man, while the new guy has a sense of humor; even in the face of personal catastrophe. Together they ride. It’s an association of expediency, sure, but we sense quickly that these are decent men. Even if they’ve both become more acquainted with jails than is healthy for honest citizens. It’s discovered that the new guy was the victim of still more desperados, though not the same bunch who targeted our initial protagonist. The two men suddenly have an alliance of interest: who did this to us, and why?

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