Across the Universe now available!

My latest anthology (co-edited with Randee Dawn) is now available!


Sorcerers, superheroes, and zombies.

Out of work, out of luck, out of practice.

Gods, clods, or four simple lads.

Here are the Beatles as you’ve never known them before: singing for their supper, singing for their souls, and singing to save the world.

Look at this amazing Table of Contents:

Introduction by Nancy Holder
“Rubber Soul” by Spider Robinson
“A New Beginning” by Jody Lynn Nye
“The Perfect Bridge” by Charles Barouch
“The Hey! Team” by Gordon Linzner
“Paul is Dead” by Lawrence Watt-Evans
“Come Together” by Allen Steele
“The Truth Within” by Sally Wiener Grotta
“Foursomes” by Ken Schneyer
“The Fabtastic Four” by David Gerrold
“All You Need” by Cat Rambo
“Used to Be” by Keith R.A. DeCandido
“Game Seven” by Bev Vincent
“When I’m #64” by Patrick Barb
“Deal with the Devil” by Carol Gyzander
“Meet the Beatles” by Pat Cadigan
“The Walrus Returns” by Gail Z. Martin
“My Sweet Lord of Light” by Barbara Clough
“Liverpool Band Battle 1982” by Eric Avedissian
“Undead in the Material World” by Alan Goldsher
“The Heretic” by R. Jean Mathieu
“Cayenne” by Beth Patterson
“Through a Glass Onion” by Christian Smith
“A Hard Day’s Night at the Opera” by Gregory Frost
“Apocalypse Rock” by Matthew Amati
“Doing Lennon” by Gregory Benford

It’s available in hard cover or paperback!

We’ve already received some great reviews!:

“This collection is a Magical Mystery Tour through alternate universes where the familiar narrative of the Beatles is turned on its head. Or ear. Or ass. It’s fun, irreverent, sexy, and twisted–just like the Fab Four themselves.” — Vicki Peterson, The Bangles

“I must have read a thousand Beatles books. But not one of them mentioned that the Beatles were attacked by aliens at the Hollywood Bowl. Or talked about their encounter with the Mersey Monster. Or discussed how they became zombies. I had to learn all of this from the thoroughly entertaining anthology Across the Universe. Each of its 25 stories of speculative fiction re-imagine The Beatles in alternative universes, allowing us to laugh at and with John, Paul, George, and Ringo. Highly recommended!” — Scott Freiman, creator of Deconstructing the Beatles

Across the Universe is way too much fun! It’s the Beatles in the Twilight Zone of infinite possibilities! Highly recommended!” — Jonathan MaberryNew York Times bestselling author of V-Wars and Rage

Across the Universe is a fantastic, freewheeling, and imaginative romp of a collection. The authors transported me not only across the universe, but to what might have been in many and various alternate universes, all populated by the Beatles and their peculiar possible transmutations. Totally engrossing.” — Paul Marshall, Strawberry Alarm Clock

 “The Fab Four are reimagined as wizards, robots, hockey players, zombies, the Marx Brothers, and more in this anthology from Ventrella (Big Stick) and Dawn (Home for the Holidays). An introduction by “Wicked” series coauthor Nancy Holder sets the stage. Standouts include the clever time-travel, short-short “The Perfect Bridge” by Charles Barouch; “Meet the Beatles” by Pat Cadigan, a delightful exercise in nostalgia; and two stories based on the “Paul is dead” hoax: “Paul Is Dead” by Lawrence Watt-Evans, in which an alternate universe Paul replaces the original, and “When I’m #64” by Patrick Barb, in which Paul constantly dies and comes back to life. The absolute standout is “Through a Glass Onion” by Christian H. Smith, a poignant, inspirational tale about a failed musician named John Lennon from another universe who is given a vision of the success he had in ours. VERDICT: This anthology will be mostly of interest to Beatles fans, but even non-fans will find stories here that will move and surprise them.” — Library Journal

“Ranging from trippy fantasy to hard science fiction and zombie apocalypse mash-up, the stories in this anthology send the members of the Beatles on wild adventures through alternate timelines and universes. In Allen M. Steele’s “Come Together,” artificial intelligences named for each of the Fab Four identify so strongly with their namesakes that they jeopardize their space probe’s mission when they begin to fall out with one another, mimicking the breakup of the band. An idealistic George Harrison tries to teach transcendental meditation to Richard Nixon with disastrous geopolitical results in Sally Wiener Grotta’s “The Truth Within.” Gregory Frost’s “A Hard Day’s Night at the Opera” plugs the band members into the plot of a Marx brothers movie to hilarious effect. It’s clear that each of the 25 contributors are true fans, filling their tales with references to Beatles history and, in the case of David M. Gerrold’s “The Fabtastic Four,” so many song lyrics that readers will be tempted to sing along. Beatles aficionados and fantasy fans will enjoy this affectionate, speculative homage.” — Publishers Weekly

My turn to be interviewed

The Philadelphia Liars Club Oddcast has me as the guest this week, discussing the Constitution, the Monkees, the Beatles, Sherlock Holmes, Virgins, writing and editing!  Have a listen!

Interview with Hugo-Award Winning Author Spider Robinson

MICHAEL A. VENTRELLA: Today I am pleased to be interviewing Spider Robinson, whose books I have enjoyed for many years. And why shouldn’t I? They are often about music, humor and puns – and anyone who knows me understands why that appeals. (If you’re not familiar with his work, check out his Wikipedia page and be rightly impressed.)

Spider with wife Jeanne

Spider has a story in my upcoming anthology “Across the Universe” – a collection of alternative Beatles stories which also features David Gerrold, Gregory Benford, Jody Lynn Nye, Alan Goldsher, Cat Rambo, Keith DeCandido, Lawrence Watt-Evans, and Gail Z. Martin (among others).

So instead of the usual questions Spider gets about writing and his work, I thought we’d have a nice discussion about the Beatles instead, since he is clearly as big of a fan as I am.

Spider, what is your earliest memory of the Beatles and how did that influence you?

SPIDER ROBINSON: I was a high school junior in a Catholic seminary, studying to become a brother and then a priest: engaged to the Virgin Mary. They used to tell us we would be “God’s Gestapo,” and none of us even flinched. To shield us from mundane secular temptations we were permitted to either watch TV news or listen to either of the two records permitted, a Johnny Mathis and a Perry Como, for a maximum of fifteen minutes, right after mandatory sports. (The two Ray Charles albums I’d brought were instantly confiscated.) One day the news was entirely devoted to four weird-looking dudes. I gathered vaguely that they made music, and heard about fifteen seconds of it, but most of the coverage was about the immense crowds of screaming girls that swarmed them. At the end of that fifteen minute news story, I said to myself, in almost these words, Something is going on out there. Everything is about to change, somehow. And I’m in here. A few months later I was a civilian again, and could already play “Love Me Do”.

During those few months, I was visited three times by my family, parents and sister Mary, who had driven hundreds of miles to take me out to dinner and buy me new clothes. My sister made sure we spent as much time as possible driving somewhere, so she could spin the dial on the car radio for me. I have never satisfactorily thanked her for that.

The new book I’ve co-edited which features a story from Spider

It absolutely didn’t matter what station came in best: nobody on the air was playing anything but the Beatles, who owned the whole Top Ten while several others of theirs waited their turn. I tried to memorize every note, and even succeeded….but had most of them in the wrong order or song. “She loves that I want to hold your long tall taste of honey don’t…” I wish now I had recorded what I thought the songs were, for study.

VENTRELLA: Culturally, do you think they are given enough, not enough, or too much credit for both their influence?

ROBINSON: All of the above. I believe anyone sensible who was born in any other age, past or future, would envy me and my cohort. We were given heroes so amazing, the very first time the entire planet heard a song at the same time, it was called “All You Need Is Love.” By which it did not mean just sex. How can you possibly overestimate how cool that is? No matter what happened next, whether we fell short of our dreams or exceeded them, we had stated clearly, my whole species, that the thing we ALL wanted most of all was to forgive one another, and stop making life even harder. You think there’ve been a lot of eras in history when that concept was even conceivable, let alone expressible?

VENTRELLA: What is your favorite of their albums and why?

ROBINSON: I checked my iTunes, and my instinctive guess was eerily accurate: since 1984, when I bought my first Fat Mac, I have played every Beatles album roughly the same number of times. I won’t bore you with the calculations needed to say so with confidence. Even MAGICAL MYSTERY TOUR, conceived and realized as the group was in shock and mourning for their Father, produced some of their most enduring work.

VENTRELLA: What do you think caused them to break up?

ROBINSON: Fookin’ money. And Daddy’s premature death.

VENTRELLA: How about the solo years – who do you think had the best solo career musically (as opposed to financial success)?

ROBINSON: Paul. He’s lasted. He will run out of air before he runs out of irresistible hooks. Who has too many of those?

VENTRELLA: What are your favorites of the solo albums?


VENTRELLA: I recall seeing you at a convention once where you did a concert and played (among other things) “Here Today” – Paul’s song about John. It obviously meant something to you. What are your memories about John’s last night? How did that affect you?

ROBINSON: I spent most of that night and following morning either hugging Jeanne or on the phone with people we love, sharing our horror and insupportable grief and profound sadness. In every conversation we spoke of how appalling it was that we meant so much to each other, yet had allowed so much time to pass that it taken something like this to get us talking again. So even in death Johnny taught us, we decided. He always had a knack for instructing us even as he broke our heart.

VENTRELLA: Have you ever seen any of them in concert? What was it like?

ROBINSON: On the evening of August 15, 1965, I was present at the Stadium of Shea when Brenda Holloway, King Curtis, the stunning Sounds Incorporated, the Young Rascals, Cannibal & The Headhunters, and the band James Taylor always called The Four Singing Beatles, all successfully conspired to entertain us. Marvin Gaye was introduced but did not sing, and Mick and Keef were there but never left the dugout. The girl I was going steady with at the time, Kathy Allen, had entered a Cousin Bruce Morrow contest on WABC-AM radio and won four tickets. I hope she’s well and happy today.

Meeting the First Lady

The first thing I want to say is, because we had lousy seats, I could hear the music just great.

We were just a smidge to the right of home plate….so high up we could have gained more altitude only with jetpacks. Fortunately we were smart enough to have brought excellent binoculars. But most important: we were so high, in so many ways, that we were several rows above the thick cloud of nicotine and THC smoke that sat over the entire stadium….containing the screams beneath it. All we could hear was the Beatles, well mixed, on the house PA system, which though by no means concert standard, was much better than the average transistor radio of those days. We heard every note, with better fidelity than most of our parents’ home stereos (if we were lucky enough to have stereo) could have provided.

It’s been edited out of every documentary or memoir I’ve ever seen, but one of my favorite moments was when one enterprising young New Yorker somehow scaled the centerfield wall at the right field side, ran broken-field through a thousand moonlighting cops full of donuts, and reached second-base untouched. He leaped as high as he could, managed to briefly tug the back of Ringo’s jacket. Without losing the beat, let alone his seat, Ring glanced over his shoulder, tossed the kid a quick salute with a drumstick, and the lad waved back with a huge grin. A thousand flashbulbs went off. Then, just in time, he evaded five closing cops, ran broken-field all the way back to the centerfield wall, and started over. One cop who’d had coffee instead of beer managed to grab his ankle. The boy kicked the cop square in the face, and went over the wall to a standing ovation. Ah, youth! In the London of P.G. Wodehouse, it was once common for young men to knock policemen’s hats off, but New York is a tougher town. I’ve often wished I knew his name.

I have one other story about the Beatles at Shea, but I do not want to tell it here, now. Ask me sometime when I’m drunk.

VENTRELLA: Ringo often gets overlooked both as a drummer and as a solo act. What is your opinion of his drumming?

ROBINSON: I’ve listened to dozens of hours of Beatles outtakes: takes that were halted because somebody fucked up. Happens to all groups. Hit a clam, forgot a lyric, dropped their guitar pick, couldn’t suppress a cough, Geoff Emerick hit a wrong button in the booth, a million reasons. By now I’m pretty confident I’ve heard every one there is, at least once. I have never once heard a mistake that was Ringo’s fault. He never blew a take. That’s eerie. Man, Buddy Rich made mistakes sometimes, OK? In the whole Beatles catalog I’m aware of just one time when Ringo failed to keep metronomically perfect time: halfway through “You Won’t See Me,” he slows down just a shaved vaginal hair (the finest kind there is). I don’t know if he ever invented anything, but he did play at least four different licks I’d never heard before in popular music, and sadly have never heard since because they’re just so iconically associated with him. (“Ticket To Ride,” “Tomorrow Never Knows,” “Come Together,” “Yer Blues”)

VENTRELLA: I think Ringo had some great solo albums when he was working with Mark Hudson, but less so when he’s on his own. Your opinion?

ROBINSON: Agree. Except for RINGO. And you know what? As he ages, Ringo’s range has increased. He has several more notes on the top end now, which Paul cannot claim. And he’s learned a lot about how to use it. He’s just sui generis. He should’ve been dead decades ago, medically speaking. When they first came up, he was asked his ambition. He said, “To end up….sort of unforgettable.” He achieved it long ago.

VENTRELLA: What’s your favorite songs of theirs to play as a musician?

ROBINSON: “Michelle,” or “I Should Have Known Better,” or, if there are two other voices around, “Because.” “Till There Was You” is another favorite, but that’s Meredith Willson’s — same guy who wrote The Unsinkable Molly Brown” as well as “The Music Man”… and might’ve died poor if a Beatle had not liked one of his songs. Musicals don’t make the big bucks — or didn’t until A HARD DAY’S NIGHT.

VENTRELLA: Do you have a favorite Beatles book?

ROBINSON: I dug ‘em all. But Geoff Emerick’s memoir, I found especially informative about them as men.

VENTRELLA: Is there anything else you’d like to say about them that I haven’t specifically asked about?

ROBINSON: I’d just like to say this (and you must bear in mind I’m Irish myself, out of County Meath): thank God for the Potato Famine! If you ever hear some mad Mick has invented or stolen a time machine, and intends to go back and prevent the indisputably tragic deaths of a million Irish—stop him!

Or else, like all the sad people in the world as the movie YESTERDAY opens, we’d all have to have somehow made it through the horrors and tragedies of the Sixties with nothing to sustain us but Dave Clark Fivemania. I don’t like our chances.

And as Rabbi Shlomo Carlebach wisely said,
“We are the people.
We are this season’s people.
We are all the people there are, this season.
If we blow it….it’s blown.”

Tool-building has its uses….but I think the only asset we have that’s as good as grandmothers is music.

VENTRELLA: ACROSS THE UNIVERSE is now available for pre-order. The release date is December 3rd, and there will be a release party with a reading at the Brooklyn Commons Cafe.

But let’s leave with a word from Spider about why the Beatles are important…



My Philcon 2019 Schedule

I’m looking forward to the Philcon science fiction convention the weekend of November 10th. It’s Philadelphia’s oldest literary convention. It’s in New Jersey.  (Look, it was cheaper, okay?)philcon_logo

I’ve been a guest at Philcon for years, and it’s always great to go back there and see so many of my friends. Guest of Honor this year is Tim Pratt. This year’s event will be on the weekend of November 8-10. Pictures from previous Philcons are below!

Here’s my schedule:

EYE OF ARGON INTERACTIVE (Friday 11 pm): Since everyone is usually laughing too hard to get through reading what has been dubbed the worst piece of published SF of all time, we’re starting mid-way through the story this year. Audience participation is encouraged.  [Panelists: Mark Singer (mod), Keith R.A. DeCandido, B. Lana Guggenheim, Michael A. Ventrella, James L. Cambias]

READINGS: LAWRENCE M. SCHOEN, MICHAEL VENTRELLA, ELEKTRA HAMMOND (Saturday noon): Guest writers read from their latest works. [Panelists: Lawrence M. Schoen (mod), Michael A. Ventrella, Elektra Hammond]

AUTOGRAPHS: LAWRENCE M. SCHOEN, MICHAEL VENTRELLA, JAY SMITH (Saturday 1 pm):  Writers are available to discuss their works and sign books! [Panelists: Lawrence M. Schoen (mod), Michael A. Ventrella, Jay Smith]

WHAT TO DO WHEN BAD PEOPLE WRITE GOOD BOOKS (Saturday 2 pm): How do we get past — or should we get past — judging the output of a problematic creator. [Panelists: Jeff Warner (mod), Samuel Delany, Michael A. Ventrella, Ellen Asher, Marilyn ‘Mattie’ Brahen, Vikki Ciaffone]

ACROSS THE UNIVERSE (Saturday 5 pm): Contributors to “Across the Universe!”, an anthology of tales imagining The Beatles in SF&F scenarios, read selections from their short stories. [Panelists: Ian Randal Strock, Randee Dawn, Gordon Linzner, Michael A. Ventrella, Keith DeCandido, Gregory Frost, Eric Avedissian, Sally Weiner Grotta, Carol Gyzander, Charles Barouch]

WHAT KIND OF EDITOR DO I NEED? (Saturday 7 pm): Yes, there’s more than one kind! There are developmental editors, line editors, copy editors, proofreaders… We’ll explain the difference between them, how to tell which you want, and where to find reliable ones. [Panelists: Russ Colchamiro (mod), Elektra Hammond, Michael A. Ventrella, April Grey, Anna Kashina]

GAME OF THRONES (Saturday 11 pm): It wouldn’t be inaccurate to say that everybody lost when it comes to the HBO adaptation. How should the show have ended? How might the ending of the novels differ? [Panelists: Charlie Robertson (mod), Michael A. Ventrella, Muriel Hykes, Paul Levinson]

PLAYING MR. POTATO HEAD WITH THE PAST (Sunday 10 am): Will changing things inevitably makes a mess? Why are time-travel fix-its one of the longest lived and most popular tropes? [Panelists: Roberta Rogow (mod), Lawrence Kramer, Michael A.
Ventrella, Richard Stout, Elektra Hammond]

GENRES AND ALTARS (Sunday 2 pm): Religion in fantasy worlds tend towards polytheism, while SF seems to favor monotheism or atheism. Why? And what are the exceptions? [Panelists: Jeff Warner (mod), Tom Purdom, Michael A. Ventrella, Ann
Zeddies, Barna William Donovan]

My Turn to be interviewed (again!)

Here’s my interview from earlier tonight with Gynesis Radio with Vincent Ford, discussing the Constitution and my latest book “How to Argue the Constitution with a Conservative.” The video is choppy, but the audio is great!

My turn to be interviewed

The Fun Ideas Podcast has me as guest today, talking about the Monkees, Sherlock Holmes, and the Constitution (among other things). Check it out!

My 2019 Capclave Schedule

small_dodo_transparentI’ll be a guest at the 2019 Capclave convention on the weekend of October 18th, and the Guest of Honor is one of my favorite authors Robert Sawyer! This convention is held in Rockville, Maryland. It has a dodo for a mascot and its slogan is “Where reading is not extinct.”

My schedule is below, and pictures from previous Capclaves are below that!

Friday 4:00 pm: SETI (Ends at: 4:55 pm)
Panelists: Carolyn Ives GilmanEdward M. Lerner (M), Michael A. Ventrella
Why have we not yet found any evidence of aliens? What could this mean? Are we looking in the wrong places? Or are we alone in the universe?
Friday 5:00 pm: Psychos (Ends at: 5:55 pm)
Panelists: Robert SawyerJ. L. GribbleLarry HodgesLawrence M. SchoenMichael A. Ventrella (M)
What is a psychopath and are they really running the world? Do psychopaths have an advantage when it comes to running countries and major corporations? What can we do about it? What if we developed an accurate test (as in Sawyer’s Quantum Night) to see who is a psychopath?
Friday 10:00 pm: Bad Fan, No Cookie (Ends at: 10:55 pm)
Panelists: Sunny MoraineSuzanne PalmerDon Sakers (M), Michael A. Ventrella
From angry puppies to attacks on SJW, from critics of The Last Jedi and Captain Marvel to attacks on Laurie Forest’s YA novel The Black Witch for racism to the cancelling of Amelie Zhao’s Blood Heir to Gamergate, why is there so much negativity in fandom recently? Is this inevitable as political tribalism steeps into everything or an outgrowth of fannish diversity? What can be done to counter this growing problem?
Saturday 2:00 pm: Imagine No Religion (Ends at: 2:55 pm)
Panelists: Marilyn “Mattie” BrahenGordon Linzner (M), James MorrowL. PenelopeMichael A. Ventrella
John Lennon sang “Imagine no religion.” Let’s do that. What would the world be like if religion never developed? What system of morality might replace it? Would humanity be more united or would we just find something else to fight about?
Saturday 4:00 pm: Is the golden age of sf still relevant? (Ends at: 4:55 pm)
Panelists: Sarah AveryBrenda W. Clough (M), Jon SkovronMichael A. VentrellaSherri Cook Woosley
Should readers continue to read golden age stuff? Can new readers still enjoy stories from the 40s and 50s without the benefit of nostalgia? If not, how far back can new readers go? Do new readers lose anything by not knowing the history of the genre?
Saturday 10:00 pm: The Golden Child (Ends at: 10:55 pm)
Panelists: Martin Berman-GorvineTom DoyleJon Skovron (M), Michael A. Ventrella
Much of fantasy is based on the prophesized child whose destiny is to fight the evil one. From the Bible (Moses, Jesus) to Paul Atrides, to Harry Potter. Why is this overused and is it making it too easy for the author to avoid creating motivation for the conflict? Is this a holdover from the rightful king idea? Which authors do this right? What alternatives exist?
Sunday 10:00 am: Mechanistic Magic Systems (Ends at: 10:55 am)
Panelists: Leah CypessLH MooreJon SkovronMichael A. VentrellaChristopher Weuve (M)
Do elaborate mechanical systems of magic such as in Sanderson’s Mistborn remove the awe and wonder of magic and make it into a science? Or do such restrictions enable the author to be more creative?

Interview with Nebula Award Winner Elizabeth Moon

MICHAEL A. VENTRELLA: Today I’m pleased to be interviewing Elizabeth Moon! I first discovered her work with “The Deed of Paksenarrion” series way back when… I’m pleased to be interviewing her today! Elizabeth Moon grew up on the Texas-Mexican border.  She has two degrees (Rice University, history; University of Texas at Austin, biology) , spent three years on active duty with the USMC, served six years on a volunteer rural EMS service, and has been married (as of Sept 20, 2019) forty-nine years, ten months, and 20 days.  She has published twenty-eight novels, including Nebula winner THE SPEED OF DARK, and Hugo nominee REMNANT POPULATION,  fifty shorter works in anthologies and magazines, and four short fiction collections, most recently DEEDS OF HONOR (2014).   Her most recent novel is Into the Fire (Del Rey, 2018.)  When not writing, she enjoys horses, swords, knitting socks, baking, and photographing native plants and wildlife.

Tell us the story of how you got your first book published.

ELIZABETH MOON: That’s a long, old story. But OK. SHEEPFARMER’S DAUGHTER had been rejected lots of places when my agent sent me a rejection letter from Baen (he doesn’t send me rejection letters anymore). I reacted…firmly…to the rejection letter, sending it to my agent and detailing why the reasons given in the letter were factually wrong. With references. Plus, maybe “a woman” couldn’t write believable military-based fantasy, but a Marine sure could.

So my agent sent it back to Baen emphasizing my military experience, and Jim Baen felt he had to at least look at the book, and he liked it, and he published it and the other two in the group. That in itself was impressive. But more than that, he told the story on himself, more than once, for which I respected him greatly. And so it came out, and then it started selling well, and then it sold better, and it’s still in print 30 years later. (That’s the short version. The long version I tell at conventions sometimes, and it’s funnier, but much longer.)

VENTRELLA: Do you plan a series out in advance or just take it one book at a time?

MOON: Sometimes one and sometimes the other.. I usually know at the start if the story’s going to be longer than one volume, but I’m frequently wrong about how many. After all “The Deed of Paksenarrion” was intended to be a short story. It grew.

VENTRELLA: Is it important for readers to read each series from the start or can the books be enjoyed individually?

MOON: Unlike a true series (e.g. some detective series where there is little or no development or overarching plotline) mine are conceived as a story that’s too long to fit in one volume, though I do try for a subplot arc for each volume. Thus it’s better to start with the first of each group, and starting later than the second can lead to confusion.

VENTRELLA: If someone were to read this interview and say “I should check out her work,” what book would you recommend they start with?

MOON: Depends on what that person likes. If it’s epic fantasy, then they can start with the first volume in the Deed of Paksenarrion (SHEEPFARMER’S DAUGHTER) or DEEDS OF HONOR, a collection of shorter works.

For science fiction of the space opera or military SF type, HUNTING PARTY for the Serrano Suiza books (though ONCE A HERO is just possible as an entry point) or TRADING IN DANGER, the first book of “Vatta’s War.” The two standalone novels, REMNANT POPULATION and THE SPEED OF DARK could each be an entry point; THE SPEED OF DARK is (as my editor pointed out) “barely” SF, being set in the very near future, which is closer now than it was in 1999 when I started it.

VENTRELLA: Have you ever surprised yourself when writing?

MOON: Many times. Sometimes happy surprises and sometimes not. I had no hint that Sergeant Stammel had put on a red shirt (of the Star Trek type) early on in the “Paladin’s Legacy” group, until the book in which he was attacked. I’d expected him to retire eventually, up in the duke’s territories like most of the older soldiers. On the other side of the SF/fantasy line, I did not expect the junior officer who ended up commanding a ship after a mutiny in WINNING COLORS to be the reason the story didn’t end there. Esmay Suiza turned out to be a remarkable plot generator of a character, shedding light on history and other characters alike for another four books.

VENTRELLA: How has your military experience helped shape your fiction?

MOON: It made writing military fiction possible, both because it gave me direct experience of the military and because it gave me (just barely) enough legitimacy as a woman writing it to get it published. The direct experience is invaluable, yet male writers who had not themselves served can get by with second-hand research. Some women had already written good military scenes in fantasy, but as with much woman-written fantasy at the time (’70s & ’80s) their work was not recognized as military fiction.

VENTRELLA: Most military science fiction is written by men. Do you notice that when reading it? 

MOON: It’s interesting: male-written military SF has changed a lot in the past thirty years, in large part due to Joe Haldeman’s FOREVER WAR, I think. In my generation, all men in this country were affected by the draft, whether they accepted it or fought it. Men who had not served rarely wrote military fiction, while those who did serve wrote a specific slant of it… until Haldeman. As younger men grew up out of the shadow of the draft, the types of military SF (and military fantasy, as well) written by veterans and non-veterans became quite recognizable. Veterans have the “feel” of the military, whether male or female, something non-vets find hard to hit (including those who were military dependents.) However, some non-vets have access to military culture via spouses, parents, siblings.

VENTRELLA: How does yours differ?

MOON: Compared to most male-written military SF, I believe I have more realistic female military and civilian personnel. Not just because I was in the military, but specifically as a woman writer. There’s more to writing good military fiction than being able to create good female military personnel, of course.

VENTRELLA: Are there any authors you really like or really hate?

MOON: I don’t like to discuss specific writers whose works I don’t like–not fair to them or their fans–but military or fantasy SF can fail for the same reasons “real world” military fiction can fail–it’s not true to military science, military history, military cultures (not just ours) or the military culture does not mesh with the civilian culture out of which it grows.

Authors I really like include Lois McMaster Bujold, whose stories of Barrayar’s military culture feel real for its history, and the other cultures she depicts also express themselves realistically throughout. Tanya Huff’s books featuring Torin Kerr are excellent. C.J. Cherryh’s ability to create alien military cultures (including in the Foreigner series which I’ve recently re-read) reads very well.

VENTRELLA: When you first started writing, having women in combat was “science fiction” and is now a reality. Has that made it easier for “sad puppy” types to accept your work or are they unredeemable? Did you get criticism at the time that has now subsided?

MOON: I have no idea what they think of my work or if their opinion has changed. For much of my writing life, I was also extremely busy beyond writing and paying only minimal attention to what was going on in the field. I heard stuff from friends, but concentrated on the immediate issues that cropped up every day. There’ve always been those who didn’t like it, and those who did. Since those who did bought enough books to keep the lights on and the bills paid, I didn’t worry about those who didn’t.

VENTRELLA: How have you used your education in history and biology to further your fiction?

MOON: In multiple ways. I studied history with two professors at Rice–Floyd Seward Lear and Katherine Fischer Drew–who were both remarkable scholars. Lear was an amazing connection to past scholarship (he’d been at Oxford, a classmate of Arnold Toynbee) and Drew had, besides many other strengths, translated two of the barbarian-Roman legal codes, the Lombard Laws and the Burgundian Code, both of which I used as background when writing the big fantasy books and considering how the Code of Gird developed. Lear’s book Treason in Roman and Germanic Law was also the foundation of my conception of dwarves and gnomes.

We studied the legal codes, as well as the governmental structures, from Greece and Rome, up through the medieval and Renaissance periods. That, plus the anthropology classes I took as electives, gave me a feel for both the similarities and differences in how different human cultures view behavior, responsibility, guilt, innocence, and so on. If you’re making up fictional cultures, this offers more options than just living in your own culture… not everyone views these the same way. I knew that from growing up next to Mexico, of course, but studying it across a larger geographical area, and longer timespan, with more different cultures, was a big help. We also studied the economics and to some extent the technology of different locations and eras–how that impacted both behavior and the laws. For instance, the way that labor shortage during the various plagues in Europe forced changes in the laws.

The formal study of history also meant that I developed an eye for sources, making further study on my own more productive, including in fields far from history. I already had a taste for military history myself.

The biology degree, later, undergirds the shorter science fiction pieces, as well as the books (especially Remnant Population and The Speed of Dark.) It’s augmented by my experiences in EMS and working in a rural medical clinic. At the time, we took an array of science and medical journals, and I gulped those down every week, not always all of them, but substantial chunks. Its effect on fantasy shows up mostly in the worldbuilding end, because that, and the geology classes, helped me design the terrain and the climate, as well as the biology living on it.

VENTRELLA: You don’t shy away from politics on your Facebook page. Do you think starting authors who are trying to establish themselves should avoid such topics?

MOON: I think writers should understand the possible consequences of being open about their beliefs and then make their own decision. I know conventional PR wisdom says they should be silent their political views, but my experience as a novice writer was before social media, so I was already speaking out at conventions. I figured it was too late to be someone else on social media. You will have said something to someone somewhere, and besides, the writer’s voice will come through the work, so hiding who you are and trying not to upset anyone is… just not practical. Somebody’s going to hate you and somebody’s going to love you, no matter what you do. Honesty’s a lot simpler. Keep writing.

That being said, there are a lot of people who read hastily and carelessly and are eager to extend “I prefer mustard to mayonnaise” to “He hates mayonnaise and everyone who eats it and wants them all to die and be eaten by rabid dogs.” Nothing you can do about that. Keep writing.

VENTRELLA: You’ve had your own political controversies in the past that have kept you from being invited to certain conventions. Would you like to comment upon that? Have your views changed at all since that time?

MOON: Only to say what I’ve said since: convention organizers have a right to run their conventions as they see fit. Whether I, or any writer or fan, agrees or disagrees with their decision doesn’t matter. They’re the ones taking the financial risks.

VENTRELLA: Do you have a preference for science fiction or fantasy or does it just matter what mood you’re in?

MOON: Not so much on my mood, as the characters who crawl into my brain and demand that I write their stories. Some are clearly fantasy characters (they’re riding a horse and have a sword, or they’re mending the water wheel of the village mill) and others are clearly science fiction characters (they’re in a space ship, space station, conducting interstellar deals by ansible, or they’re crouched in a tight space trying to fix the household AI after a toddler poured syrup into the ventilation holes and the chips are all fried.)

VENTRELLA: Let’s talk about writing. How much of writing is innate? In other words, do you believe there are just some people who are born storytellers but simply need to learn technique? Or can anyone become a good writer?

MOON: Like every other human activity, excellence in writing is a mix of innate talent and experience and the work the individual puts into it. Anyone can learn to write a better story than they do now–the part of writing that can be fairly easily taught. Grammar, syntax, story structure. But the desire and ability to imagine so vividly that characters come alive, places feel real, and the deep logic of the story–the actions flowing from motivations that the reader accepts–that is at least partly innate. And then there’s the sheer stubborn grind of doing the work, over and over and over.

VENTRELLA: How important is a professional editor?

MOON: For me, very important. The outsider eye matters. However, a fit between writer and editor also matters. Editors (like the rest of us) have innate preferences in style, plot, pacing, characterization, and so on… and that’s fine. Writers also have innate bed-rock level preferences in the same areas. So if an editor’s instincts run opposite to a writer’s, then that editor cannot help that writer except at the most surface levels, spotting typos or contradictions. I’ve had mostly very good to excellent editors, but even so some were better “fits” than others. That’s inevitable.

VENTRELLA: What’s your opinion on self-publishing?

MOON: Very different from when I started, because publishing has changed so much. It is now much easier to do true self-publishing (not with a vanity press, but literally self-publishing, putting material out on the internet oneself.) They don’t have to have thousands of dollars to pay a vanity press, nor does the work have to be financially rewarding enough for a traditional publisher. For the writer with a following already, it’s a saving throw against an upheaval in a publishing house that orphans a writer and her books because “her” editor was let go, or when his older books have quit selling as well as the publisher wants, and rights can be reverted. So self-publishing is a legitimate and viable way for writers to put their work out.

It’s still harder for new writers to grow their name into producing income enough to live on, (everything’s harder for new writers!) but it’s possible.

VENTRELLA: What’s the best advice you would give to a starting writer that they probably haven’t already heard?

MOON: I think U.K LeGuin and Neil Gaiman, between them, have covered everything I could say.

VENTRELLA: What are your pet peeves when you read? What plot clichés or other problems really bug you?

MOON: Consistently sloppy, careless factual errors (conflating typhus and typhoid, impossibly fast travel by horse, movement of large armies across barren areas w/o mention of supply, cities that, given the technological level described, are not sustainable for the given population… the result of sloppy research. I’m up for any one or two imaginary-make-it-happen tech things in a story (FTL flight, without which space opera and serious military operations in interstellar space couldn’t exist), and invented stuff for which we have the basics, but not all the tech doing all the wonderful things and never malfunctioning. A flush toilet’s a simple thing and we don’t even have those so they never malfunction. Cultures that exist only to prop up the writer’s favorite political theory. Bad biology (no pollinating insects so “wind” pollinates those plants that require physical pollination. Artificial gravity surges to “pop” a baby out of a pregnant woman. Planets with functioning ecosystems but only one or two species of plant (or animal, or bird, or whatever.) Little planetoids with a breathable-to-humans atmosphere despite having no plants and earth-normal gravity in spite of being so small you can walk all the way around them in a few hours.

Plot and characterization clichés… some don’t bother me as much but smart people as physical wimps, and strong, muscled people as mentally less smart. Plots that require one side to make stupid mistakes without at least showing that the mistake arises out of deep characterization. Plots that require one side to be perfect in every way, every time, without at least showing the the character is actually unable to make mistakes.

VENTRELLA: Do you think readers want to read about “believable” characters or do they really want characters that are “larger than life” in some way?

MOON: Readers are highly variable about that. Same way with “likeable” characters (and what does “likeable” mean to each reader? Not the same thing). Some get upset if the hero has flaws…others if the anti-hero has any soft spots in their heart (flaws from the anti- side). Readers want characters that they, individually, can relate to, and that changes even for one reader (including me) as the reader’s life changes and the reader amasses more experience. Books they used to love now feel flat, or dull, or impenetrable, the characters unrealistic or unimportant. So the writer writes what the writer wants to write–characters the writer wants to read about–and has to hope there are enough others of similar taste.

VENTRELLA: What’s the worst piece of advice you’ve heard people give?

MOON: Anything that starts with “You have to–” Whatever follows will be the worst advice for some writer.

VENTRELLA: What’s your next project?

MOON: I hope it will be the final “Vatta’s Peace” book, but it’s too early to tell whether it will stay alive for the duration–it’s just over 50 pages at the moment. It’s being shy and slow, as everything has been since the concussion last year. So I guess I do have less-heard advice for writers… avoid concussions. You don’t know which one will knock your storytelling apparatus to bits, and whether you can find all the bits and reassemble them. Recovery can be slow and scary.

How to Argue the Constitution with a Conservative

My latest book is now available in paperback and hardback, with the kindle version coming soon.

Here’s the copy from the back cover:

Immigrants have no rights!

America is founded on Christianity!

Unlimited guns are my birthright!

These are just a handful of arguments being shouted by vocal conservatives even though the Constitution of the United States–the very laws of our nation–says something quite different.

If liberals are going to counter these erroneous, angry, ill-informed positions with facts, they need to learn for themselves what the Constitution says.

To remedy this knowledge gap, criminal defense attorney and unabashed liberal Michael A. Ventrella teaches the basics with a large amount of humor and snark, all illustrated with more than 40 cartoons by 2019 Pulitzer Prize-winning editorial artist Darrin Bell, creator of the syndicated comic strip Candorville.

Here are the opening paragraphs:

Studies show that a majority of Americans know very little about the Constitution, the very document that is the foundation of our government and laws. That doesn’t stop them from having an opinion, of course. We’re Americans; we think we know everything.

This is especially true of many conservatives these days, who proudly hold positions contrary to all facts. (Climate change is a hoax! Evolution is a lie! Trickle-down economics works! Being gay is a choice! Obama was born in Kenya!) You’ll never win a debate with these people because they’re operating on a completely different plane of thought as the rest of us.

However, there really are some reasonable conservatives out there who will respond to actual logic and facts. They may not be in charge of the current Republican party, and they may be few and far between these days, but when you do encounter one, this book may help you.

For that matter, this book may also help you debate well-meaning liberals who don’t understand things like Freedom of Speech. There seems to be an impressive number of them, especially on college campuses.

And it’s really not that complicated to get the basics of the Constitution right.

This book is meant to help. It’s definitely not a textbook; I’m not going to go into great detail about the hundreds of years of case law, and hopefully I’m going to keep it interesting (something my Constitutional Law professors often had trouble accomplishing). It’s short — almost as short as the Constitution itself—because it’s meant to be introductory. Even if you just read this short book, though, you’ll know more about the Constitution than 99% of your fellow Americans, including certain Presidents I could name.

Click here to read the first chapter

Steamfest 2019

I’ll be a guest at Steamfest 2019 in Bethlehem, Pennsylvania on August 31st. This is the first year I’m participating, and I’ll be giving a lecture on writing Steampunk stories and how to avoid the biggest mistakes made by new authors.

The event is held at an old factory that has been turned into a public park. Bethlehem has events there all the time! I love this picture of the place. How can you not get into a steampunk mood there?

The program guide for the event is here and their web page is here.

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