Archive for May, 2011

  • Progress so far

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    By now, stalwart reader, you would have heard that I’m self-publishing my space opera romance, War Games. Here’s the update.

    War Games is currently being worked on by my Developmental Editor (known as DevEd from now on). He’s running late. I had hoped to have those edits back by now but he’s been swamped in his day job so I know the proper thing to do is to sit on my hands and not bug him.

    I also have my Copy/Line Editor lined up. Like DevEd, he works peripherally in literature but has a wonderful command of the (UK) English language and was intrigued enough by the first chapter I sent him to take on the task of editing the entire book. (He was terribly disappointed by the “high level” of errors he found in the first ten pages. One instance of improper usage (Americanism), three outright mistakes and two other recommendations on rephrasing! He was appalled, I was delighted, but it’s going to be a roller-coaster of a ride, of that I’m in no doubt.)

    You’ll notice that neither of my editors are genre editors. I picked them because they both have an eclectic view of fiction that doesn’t draw lines between literature and genre or even within genres themselves. Because they don’t have extensive knowledge of particular genre tropes, they are more likely to step on the brakes when something is not explained as well as it should have been rather than just accept a particular shorthand and move on. (I like that they ask, “Why?” a lot.) Given a choice, I always prefer an editor who is able to offer a different perspective.

    While I wait on DevEd and War Games, I’m working on the second-draft edit of alter-ego Cara d’Bastian’s first book, The Check Your Luck Agency. This will be the start of a paranormal series set in south-east Asia and featuring a coloured (Eurasian) protagonist. Cara has her own blog here, which she/I updates every Tuesday. If you’d like to hear more of The Check Your Luck Agency, please consider signing up for the bi-monthly newsletter. We’d be most grateful! :)

    You might also like the post that’s coming out on Tuesday on Cara’s blog. It concerns electrical storms in Malaysia.

    I have contracted one story, Tainted Love, to an upcoming Halloween anthology from Total-E-Bound and am plotting out both a short thriller for a 2012 anthology (I dreamt the first scene, would you believe?) and Book 2 of the Check Your Luck series, tentatively titled “Return of the Hantu”. “Hantu” is the Malay word for “ghost”. And there’s another SFR in the works too (set back in the Republic universe), so the rest of 2011/2012 should be busy and, I hope, productive.

    Have a good weekend and I’ll catch you next week.

  • Killer clauses – The Right of First Refusal

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    Last time, I had a look at different publishers’ period of rights. This time, I tackle the Right of First Refusal. I have signed contracts with this clause in but it’s usually pretty straightforward. Like this:

    In the event that the Author writes a sequel to the Work which uses an identical central theme and/or characters as the Work, the Publisher retains a right of first refusal for the sequel. If the Publisher does not accept first publication of the sequel within 90 days of its submission, this would be deemed a refusal by the Publisher and the Author will be free to publish the sequel with a third party publisher without encumbrance.

    The first time I read that clause I underlined the words “sequel”, “identical central theme and/or characters” and “within 90 days”. Not everyone likes this clause. I don’t mind it, as long as I have my writing planned out for the next 1-2 years (which I do). I also know that the particular publisher that has this clause only holds rights for a few years (less than five) and that I can broach this clause with the publisher at a later date, should I so wish. Because of these two combined conditions, I am happy to sign this clause with this publisher. However, I would not sign this clause with a publisher that holds my works for, say, more than three or four years. (That’s my own personal set of conditions; yours may vary.)

    And, of course, there are publishers who don’t have this clause at all, bless ‘em.

    Moving right along, Acme Coyote Publishing was a different kettle of fish again. Their Right of First Refusal clause went something like this (I’ll underline the interesting bits):

    Acme Coyote Publishing reserves the right of first refusal as to all subsequent similarly-themed novels/novellas greater than 15,000 words by the Author, including but not limited to sequels, revision, or republication of the Work, as long as the contract remains in effect. During such time, Author shall not seek offers from nor negotiate with others for any similarly-themed novel until first offering said work to Publisher.

    The length of the contract, in this particular case, was not 2 or 4 years but as long as they had a single digital, electronic or audio copy for sale. You’re cringing, aren’t you? But it gets worse. (And this is from a bona fide contract.)

    After submission of said manuscript, Publisher shall have forty-five (45) days to determine whether to publish the said next work; if Publisher wishes to publish the work, the Parties shall negotiate in good faith regarding the terms of the publishing agreement. If the Parties are unable to reach agreement within sixty (60) days of Publisher’s stated wish to publish said work, then Author shall be free to offer the said manuscript to others, but only on terms more favorable than those offered by Publisher. Author shall notify Publisher in writing of such offer, including all particulars, within seven days of the receipt of said offer, and Publisher shall have seven (7) days to match said offer of any other publisher and if matched, then Author shall be obligated to accept Publisher’s offer.

    What this long clause, that I’ve broken up into two, says is that if AC-Pub buys the rights to, say, a steampunk novel I’ve written, then they’ve locked up every other steampunk novel or novella I will ever write for the rest of my life. I’ll just pause here and let you think about that for a moment. And not only that. They have 45 days to review the next book + 60 days to drag out a stalled negotiation (total of 105 days). You have 7 days to get them the counter-offer, after which they have 7 days to match the offer. And, if they match it, you have to publish with them.

    Is there a way out of it? Sure!

    (a) The Author may be released from the obligations set forth under this Section, upon mutual agreement by the parties subject to the following: The Publisher shall be entitled to recover from the proceeds of the sale of Authors Works 100% of the cost of editing and production, exclusive of marketing and promotional costs, of all Works published or to be published, prior to further royalty payment commencing on the date of said agreement.

    Wow, what a wily clause. I’m not entirely sure, but I think they’re saying that I can get around this whole Refusal lock-up if I pay all of the costs of editing and production for a story that hasn’t been published yet! Essentially, I will be paying them off so I can hawk my steampunk novel to someone else. Hmmm, that sounds ethical. Not.

    Believe it or not, it gets worse. They go on to say:

    A proposal for a work does not constitute a manuscript. If Publisher declines a proposal, the right of first refusal extends to the manuscript outlined in the proposal should Author chose [sic] to write it.

    Wow. So, I forward a proposal to them along the lines of Romance Amongst the Hydraulics During The Ice Age. AC-Pub turns it down, but the idea doesn’t go away. I really want to write this novel, which I subsequently call “Frozen Fluids”. Well, AC-Pub still has the right of first refusal on “Frozen Fluids” even though they thought my proposal was a heap of crap.

    Ay carumba! If you’re getting the impression of the door of a steel cage closing inexorably on you while you’re inside, you’d be pretty much where I was when I read that clause.

    Next week, subsidiary rights.

  • New contract!

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    In order to grow (build? mutate?) some paranormal chops, I decided to write a short urban fantasy for an anthology. What I like about anthology specifications is that they force me to focus. This anthology is due for release on Halloween. Any romance is allowed as long as it has vampires in it! LOL

    Oh my, was my first thought. I hadn’t ever thought of writing a vampire story. In fact, vampires aren’t even my favourite paranormal creature, what with them being all sparkly and sun-resistant nowadays. Hmmmmm. Tackling a topic like this, especially if it comes from left field, is very useful because it gets you out of your comfort zone. I love writing science-fiction so of course it made sense for me to tackle a contemporary vampire fantasy. How else can you improve as a writer if not by tackling challenges?

    TAINTED LOVE is about a vampire. And a human. And a grudging relationship they build. Here’s the blurb:

    Bryce Craven is different but, until he meets Cleo, he doesn’t realise how different he really is.

    As a serial killer stalks the streets, the city is in terror. People stay home, afraid to venture out in the dark hours lest they too are discovered, murdered and drained of blood.

    But one person who isn’t afraid is Bryce Craven. He seeks a woman. A special woman. And he won’t rest until he finds her and she delivers to him his heart’s desire. Only her. Only him. And the blood that courses through both their veins.

    Of course, blood doesn’t really course through veins, it courses through arteries. It just gets pushed along in veins, but “And the blood that courses through both their arteries” just doesn’t cut it, does it? So I’m sticking with the coursing-through-veins thing for now.

    The ink is still wet on the contract so no first chapter for at least another couple of months, but at least you know I’m not just concentrating on this self-publishing malarkey.

    The paranormal bug…I haz it.

  • Killer clauses – Length of Rights

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    Firstly, many thanks to Heather Massey for mentioning an upcoming title of mine, War Games, on her fantastic blog, The Galaxy Express. In the post, Heather excerpted part of the novel’s background where I say:

    The [publishing] house accepted the revised novel BUT I wasn’t happy with some of the contract clauses. This is a tough one. Every author wants so badly to see their work in print. But the clauses were rather infantile…and they tied any future stories down to a mindboggling degree. I walked away.

    More than a year later, when I look back on that decision, I’m still happy I made it. (And, for the record, I do not publish anything with the house I walked away from.)

    With all that in mind, I thought I’d post a short series with what I consider to be criminally bad clauses that publishers foist on authors because, unfortunately, supply far exceeds demand, especially in these trying times. With this series, I’m only dealing with contracts I’ve had personal dealings with so your mileage may vary, but I’ll try to be as comprehensive as possible. (And if anyone would like to copy-paste one of their clauses in the Comments (anonymously, if you wish), that would be great too.)

    For the first in this series, I’ll tackle the Length of Rights. This is very important to authors because having rights run out means you’re free to take back that story and do with it what you will. Remember that the publisher isn’t buying your book but only the rights to publish your book under their moniker. So stay sharp!

    I have signed contracts varying from two years to, well, more. The house offering two/four years is my favourite and I’ll work with them gladly because it’s such a short period of time and I know they’ve previously given back rights and republished extensively revised stories after this time from authors happy to stick with them. As far as I’m concerned, that publishing house has proven its bona fides to me. With that contract, the length of rights withholding (“the Term”) is defined upfront as:

    “the Term” shall mean a period of 2 years for single Works and series Works, and 4 years for contributing stories in anthologies and seasonal collection Works, ending on the anniversary of the date of the Initial Publication Date.

    Then you get the longer but straightforward rights clauses. Seven years. I wince, but it’s doable and, hey!, at least it’s not “length of copyright”, right? Another house offered:

    If at any time after the expiry of seven (7) years following the first date of exercise of any of the Rights, all of the following are or become applicable in respect of the Work, namely the Work is not in print…, not for sale and no other Rights are being exercised in respect of the Work by Publisher, its Related Licensees or Unrelated Licensees, then Author may make written demand to Publisher to exercise any of the Rights within eighteen (18) months from receipt of such demand. If none of the Rights is exercised pursuant to such written demand, Author shall have the right to request that the Rights revert upon written notice to Publisher. [that's a badly phrased sentence, isn't it? You have to read the next sentence for it to make full sense] Upon receipt of such written notice, Publisher shall revert the Rights to Author subject to any existing agreements which shall not be extended or renewed and which will continue to be subject to the terms and conditions of this Agreement.

    Soooo that means 7 years + letter + however long Publisher takes to process the letter, assuming the book is defined as “out of print”. The other thing to watch is when that rights clock kicks in. With some publishers, it’s when you sign the contract, with others it’s when the book is published. It varies, so make sure you take note of which it is. At the top of each contract (which I print and file religiously), I write down the Publication date and the date when the rights can revert to me. In this way, especially when dealing with varying terms from different publishers, I can easily track when what is about to expire.

    Back to the contracts. You can see that I’ve arranged them on the scale of not-so-bad to freakin’-awful, can’t you?

    And so we come to Acme Coyote Publishing (shortened to AC-Pub…a fictitious name, obviously), which initially handled War Games. And their Reversion of Rights clause looked something like this:

    The terms of the contract will remain in effect as long as the work is made available for sale in any form as outlined in Section 1A with the following exception:

    If the work is not made available for print within three years of the date of the contract, the print rights will revert to the author.

    Hmmmmm. So AC-Pub has three years to print the puppy and if they don’t, I get back the print rights. Only the print rights. Which makes Section 1A very very important. What’s exactly in Section 1A? How about:

    1A) Exclusive, worldwide in all countries and in all languages, right to:

    i) Print, publish, distribute, sell, and market the Work in the following formats: print, hard cover and soft cover (of large or small format), electronic, digital, and audio versions
    ii) License publication of mass market edition(s) by other publishers.
    iii) License publication of foreign language edition(s) by other publishers.
    iv) License publication of reprint edition(s) by other publishers.
    v) Switch the Work in part or in whole to Mass Market when and if market demand justifies mass sales.

    So, if AC-Pub don’t print the book within 3 years of the contract date, I get my print rights back BUT still lose everything else. Wily sons of bitches, aren’t they? This is Not Good and what it means is that, as long as they have one digital copy for sale in their shop, I’m locked up. And did you like the way the two clauses are not concurrent, which means you have to go hopping all over the contract to pull all the pieces together? All contracts are like that. I suggest having a pencil and notepad handy when you get your paperwork. Publishers? You can’t trust ‘em.

    Anyway, when it came to AC-Pub, the warning bells started ringing then and they only got more deafening as I continued reading the contract.

    Part II next Wednesday on the right of first refusal.

    POSTSCRIPT the First: With thanks to iconcubic for the use of the icon.

    POSTSCRIPT the Second: And congratulations to Karen Haas who won the Sexy Scavenger Hunt prize pack! Happy reading Karen!

  • Competition: Sexy Scavenger Hunt

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    Wow, this is a good one! As part of the Sexy Scavenger Hunt to celebrate the release of SFR anthology, “Seeing Stars” from Total-E-Bound, four of the anthology authors are giving away a digital prize pack of great books! All you have to do is answer four simple questions and you’re in the draw. The winner gets:

    • a copy of the “Seeing Stars” anthology from Sophie Angerming, featuring stories by Lisabet Sarai, Justine Elyot, KS Augustin, Buffi BeCraft, Lizzie Lynn Lee and Sophie Angerming
    • a copy of the “Master Me” anthology from Justine Elyot, featuring stories by Elizabeth Coldwell, Jane Davitt, Justine Elyot, Trina Lane, Lisabet Sarai and Charlotte Stein
    • a copy of the “Cougars & Cubs” anthology from KS Augustin, featuring stories by Ashley Ladd, KS Augustin, Mia Watts, Catherine Chernow, Elizabeth Coldwell and Imari Jade
    • a copy of “Truce of Trust” from Lisabet Sarai

    That should be enough stories to keep you satisfied, for a little while at least! :)

    What do you have to do to win?

    Easy! Answer four questions and email your answers to CONTEST [at] LISABETSARAI [dot] COM We’ll even give you the website details where you can find the answers

    Q1) Lisabet Sarai has a story in a recently released steampunk anthology. What’s the name of that anthology? (http://www.lisabetsarai.com)

    Q2) What is the title of Justine Elyot’s story in the “Master Me” anthology? (http://justineelyot.com)

    Q3) KS Augustin has written for one other Total-E-Bound anthology. What is the name of that anthology? (http://www.ksaugustin.com)

    Q4) Captain Kate Thorn from the “Seeing Stars” anthology has a sister. What is the sister’s name? (http://www.sophieangerming.co.uk)

     

    Put your answers in an email with “Sexy Scavenger Hunt” in the Subject line and send it to CONTEST [at] LISABETSARAI [dot] COM for your chance to win!

     

    The competition starts TODAY! (9th May) and runs through to the 15th May and the winner will be announced here, there and everywhere! So get hunting, get your entries in by the 16th May and the best of luck!

  • Guest post: Opera in space (Justine Elyot)

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    It’s terrific to be here today – Hi, Kaz and hi to all your readers. Thank you for having me.

    I’m clueless in a lot of ways and, mad as it might seem, I had never heard the term ‘space opera’ until last year. And yet so many of my formative imaginings revolved around film and TV space opera that I spent about three years – between the ages of 8 and 11 – pretending that I lived on my own version of the Starship Enterprise (but with shinier uniforms). Instead of a grubby kid in crimplene slacks, I was a space princess called Suka who hailed from a fabulous crystal planet, sadly destroyed in an intergalactic war over salt or something.

    And now, having left that childhood universe to stew in the furthest recesses of my memory for nearly thirty years, I have written my first science-fiction story – and the heroine is called Suka! She isn’t a space princess, though, but a slightly sulky starship ensign. The female version of Mr Chekov (I had such a crush on him) perhaps.

    The story appears in the forthcoming Total E-Bound anthology Seeing Stars, and my story is called The Sevarian Way. Here’s the premise:

    In space, no-one can hear you scream. So you can spank as hard as you like.

    Commander Azed Paul and Ensign Suka Demontel are space anthropologists in a future civilisation where kink is illegal. Both have learned to repress their natural sexuality, but Suka’s undergraduate work on the ancient practice of BDSM has captured Paul’s professional attention, and his less academic interest too.

    This makes her the perfect crew member to accompany him to the surface of Paladium Three, a dead planet where old-fashioned service and discipline were woven into the fabric of life.

    There might not be any life forms left there, but what Paul and Suka discover is fascinating evidence of a culture that both realise might have suited them very well…

    The temptation to experiment, risk-free, with the kinks they have been denied all their adult lives, proves too much for the space explorers and they give their fantasies free rein.

    But will this be a unique, never-to-be-repeated experience, or will Paul and Suka find a means to fully embrace the Sevarian Way?

    Reader Advisory: This book contains BDSM

    As you can imagine, this deviates a little from my childhood imaginings, which didn’t contain a lot of sex. This does. To say the least.

    So why have I left it so long before diving back into my beloved sci-fi melodrama? I really don’t know. But I’m extremely glad I did and, now I’ve started, whole galaxies of stories are queuing up in my head to be written.

    Bio: Justine Elyot has written extensively in the genres of erotica and erotic romance for publishers including Black Lace, Xcite Books, Carina Press, Total E-Bound, Resplendence Publishing and Cleis Press. She lives in the UK, where she pursues her passions for history, music and hot men (not necessarily in that order).

    She loves to tweet and generally blether on and can be found on Twitter and Facebook, as well as at her website, JustineElyot.com.

    A WORD FROM KAZ: Loved your background, Justine. You may find that you leave the whys and wherefores of contemporary tales behind for spinning more SF stories. It’s seductive like that. And to my stalwart reader, there’s a competition starting next week with an ABSOLUTELY TERRIFIC prize pack, so have a good weekend and check back on Monday for all the details.

  • At Justine’s

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    And today I’m at Justine Elyot’s blog! Justine is another fellow author of the “Seeing Stars” anthology and she’ll be here tomorrow so I hope you’ll at least stop by and lurk, stalwart reader.

  • Over at Lisabet’s today

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    I’m at Lisabet’s blog today, talking about being contrary…something anybody who knows me knows I know something about! If you haven’t heard of Lisabet Sarai, why not??? She’s a wonderful writer and I’m so happy I’m in an antho with her.

  • Guest post: Silver Underwear (Lisabet Sarai)

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    Micheal Rennie was ill
    The day the earth stood still
    But he told us were we stand ;
    And Flash Gordon was there
    In silver underwear
    Claude Rains was The Invisible Man…

    - “Science Fiction/Double Feature” by Richard O’Brien, from The Rocky Horror Picture Show

    I’ve always loved science fiction. I started with Eleanor Cameron’s Mushroom Planet books when I was in third graden. By high school I’d read most of Heinlein and Asimov. One of the happiest years of my life was in the mid-nineties, when a close friend started a sci fi reading group and I was introduced to Sheri S. Tepper, Octavia Butler, Greg Bear, James Tiptree, and a host of other exciting and talented authors. Every month about a dozen of us would read someone new and then discuss the book over a potluck dinner. The food and wine were usually excellent, but it was the stories that got me high.

    Although I’ve read tons of scifi, I haven’t dared to write much of it. I’m just too intimidated by the required combination of exceptional imagination and scientific precision. Yes, I’ve dabbled a bit – you can find an early effort, recycled as a free read, here – and I have a half-finished M/M scifi novel that’s been sitting untouched on my hard drive for the past six months, but “Bodies of Light“, in the Total-E-Bound anthology Seeing Stars, is my first published science fiction. I’m definitely nervous as to how it will be received. I comfort myself with the notion that most of the readers will view it as romance first, and only secondarily as scifi, but for me, the speculative aspects are at least as important as the love and the sex.

    Bodies of Light is set in the relatively near future – near enough that the heroine’s grandmother remembered watching Alan Shepard’s brief voyage into space. That’s actually a memory of my own – sitting in the elementary school cafeteria, watching the black and white TV mounted on the wall, holding my breath as the rocket blasted off into the unknown. After that, I wanted to be an astronaut, at least until someone informed me that my extreme myopia and pronated arches would disqualify me. (Nobody ever told me that wasn’t a suitable occupation for a girl!)

    In any case, one reason Bodies of Light takes place fifty years rather than fifty centuries in the future is that I’m not sure I can convincingly portray a time and place at such an extreme distance from our own. Today’s world is vastly different from the world into which I was born, in terms of attitudes and styles as well as technology – and we’re talking fewer than half a dozen decades. Furthermore, the rate of change seems to be accelerating. So with this story, I decided to play it safe.

    I couldn’t avoid including some scientific details, though. I spent hours examining the known properties of star systems, seeking a plausible destination for the Archimedes, reviewing the coordinate system for locating objects in space, and refreshing my knowledge of quantum mechanics. I really didn’t want to make some dumb mistake. Even so, when my husband read the first draft, he wrote “No!” in big red letters at a number of points in the text and I had to rework several scenes to correct the errors he pointed out.

    Anyway, for better or worse, I can now say that I’ve published some science fiction. I’ve included the blurb and an excerpt below. Oh, and I should mention that Alyn and Zed, the two heroes, do wear something like silver underwear – when they’re not naked, that is – although I wasn’t thinking about the song when I wrote the tale!

    Blurb

    Love travels faster than light.

    Physicist Dr. Christine Monroe has devoted her lonely life to research on hyper-space travel.

    Her continued failure leads her to sign on to the Archimedes, a sub-light-speed mission aimed at establishing a colony in the Sirius B system. Waking from suspended animation, she discovers that the ship is wildly off course and the rest of the crew are dead due to equipment failure.

    At first she thinks the two handsome strangers who show up on the ship are figments of her imagination – erotic hallucinations created by isolation and stress. However, Alyn and Zed are solid, real, and ready to sacrifice their lives for the strong woman they’ve found stranded in deep space.

    As her ship begins to disintegrate, Christine must choose between the planet she was sent to save and the two alien beings she’s come to cherish.

    Excerpt

    The bridge was as silent as the suspension bay. However, a survey of the blinking panels and rotating 3D displays revealed that the entire ship had power. The pods had been some kind of anomaly. Relieved, Christine settled into the pilot’s chair (Sven Harlsson, gone like all the rest) and searched the cluttered controls until she found the viewport activation button. The curved shields slid open, revealing a hemisphere of blackness. For the first time, Christine gazed out into the emptiness of interstellar space.

    Terror tightened her throat. She was falling into the immense void before her, drowning in the utter absence of light or form. She closed her eyes, trying to summon the scientist within her. No one had seen this before, the vast reaches of the universe outside Earth’s solar system. She was the first.

    She forced herself to peer into the darkness, pressing against the transparent carbon-crystal of the viewport. As her vision adapted, she found she could see faint glowing clouds that must be galaxies and pinpricks of light that were distant stars. The universe was not totally empty, after all. She swallowed her fear and tried to speak.

    “Request interstellar coordinates.” Her long-unused voice came out as a croak, but Archimedes understood her command.

    “359˚ 56’ 39.5’’ galactic latitude, -2˚ 42’ 46.3’’ galactic longitude,” the ship replied crisply.

    “Request distance from Sirius cluster.”

    “Approximately thirty-four-point-seven light years.”

    “What?” That was farther away than they’d been when they started! “There must be a mistake! Recheck your calculations.”

    The ship’s computer hesitated for a fraction of a second—almost as though it were offended, Christine thought. “There is no error. Current position is 34.68643 light years from Sirius, 41.321966 light years from Terra. Current speed is .917 c. Heading is 22˚ 13’ b by 9˚ 2’ l.”

    Forty-one light years from Earth! Had they overshot their goal? Of course, a tiny miscalculation in their initial trajectory would be magnified into an increasingly large discrepancy the farther the ship travelled from its starting point. “How long has it been since departure?”

    “Four years, sixty-two days, four hours and twenty-two minutes,” the ship intoned.

    Only four years? “That’s not possible,” Christine objected. Given their maximum velocity, they could not have travelled anywhere near this far. Something was very wrong.

    “Run full self-diagnostics,” she ordered. “Report any faults.”

    The computer was silent for about ten seconds. Christine stared out of the viewport, wondering whether any of the faint, flickering points of brightness might be Sol.

    “Self-diagnostics completed,” Archimedes announced. “No faults detected.”

    Christine leaned back in the padded chair with a weary sigh. Pain pounded in her temples. Her usually nimble mind felt stiff and rusty. She had to figure this out.

    Once again, she saw Ravin’s blank, lifeless face. She had not loved him, but she had respected him, and he had given her pleasure during their pre-launch familiarisation exercises. She found that she missed him. “The crew are all dead,” she murmured to herself. “I’m the only one left, and I’m lost in space, billions of kilometres off course.”

    “All suspension pod power was terminated,” the ship commented. “A collision with unidentified debris damaged the electrical distribution cables in the hull. Backup systems failed to engage.”

    “What? How long ago did this happen?”

    “Sixty-two hours and seventeen minutes ago.” Less than three days! If she had awakened a bit sooner, she might have saved them. The impact must have triggered the reactivation sequence in her own pod. Or perhaps the backup had kicked in to handle the life support for her pod alone.

    “EVA is recommended to repair the breach,” Archimedes added. “Probability of atmospheric loss over the next twenty-four hours is point-four-six.”

    Christine collapsed on to the control panel, her face buried in her hands, squeezing her eyes tight to hold back the tears. The ship wanted her to risk her life, venturing outside to patch the hole before the air escaped. But why should she bother? She was dead one way or the other.

    The vastness of space weighed on her, even when she was not looking at it. The unending blackness threatened to smother her. She felt as empty and hollow as the universe stretching into infinity on every side.

    Bio

    A dozen years ago LISABET SARAI experienced a serendipitous fusion of her love of writing and her fascination with sex. Since then she has published three single author short story collections and six erotic novels, including the classic RAW SILK. Dozens of her shorter works have been released as ebooks and in print anthologies. She edited the acclaimed anthologies SACRED EXCHANGE and CREAM and is currently responsible for the altruistic erotica series COMING TOGETHER PRESENTS. In addition, she reviews erotica and erotic romance for the Erotica Readers and Writers Association and Erotica Revealed websites.

    Lisabet holds more degrees than anyone needs from prestigious universities who would no doubt be embarrassed by her chosen genre. She loves to travel and currently lives in Southeast Asia with her highly tolerant husband and two cosmopolitan felines. For more information on Lisabet and her writing visit Lisabet Sarai’s Fantasy Factory or her blog Beyond Romance.

  • Say hello to Cara d’Bastian

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    Last week, I said that I’d post something completely tangential on Monday. Well, I got my Mondays mixed up so I decided to bring another piece of news forward.

    I’d like to introduce you to Cara d’Bastian. Cara is an author of urban fantasy, tidying up her novella before it goes to the dreaded Developmental Editor for the usual Litany of Embarrassing Disclosures™. Cara’s urban fantasy is a series based in south-east Asia that uses south-east Asian characters and south-east Asian mythologies. You can obviously see how it’s going to be a hit, right? ;)

    With this in mind, rather than trying to hit up all the literary agents with an urban fantasy nobody wants, Cara has decided to go it alone. Get a cover professionally made. Get the novella professionally edited. Release it. And let the chips fall where they may.

    Because of all these difficulties, Cara is also looking for newsletter subscribers, to help build the buzz for her “Check Your Luck” series.

    Check Your Luck? Isn’t that a strange sort of name? Not if you live in Singapore and, well, want someone to check your luck; specifically, your bad luck. Is it due to a curse? A ghost? A demon in your home? Look no further, the Check Your Luck Agency is here to help!

    Cara’s blog is at http://caradbastian.blogspot.com

    In her most recent post, she discusses the reasons why she’s self-publishing. I believe her next post is about the length of self-published works. If you’re interested in what she has to say, please subscribe to her blog.

    And, as a final piece of disclosure, Cara d’Bastian is me.