Sci-Fi Book Recs!

This week we’re talking about one of my favorite subjects—let’s talk about books! 

It never fails to blow my mind when a writer mentions they don’t read. Maybe you’re one of them. But I firmly believe, and will continue to say,  that reading will improve your own writing. 

Yes, you can take classes and get degrees that will teach you how to write. But if you don’t read and absorb emotions from the page, it’s like following a recipe step by step but never stopping to taste what your cooking. 

Back to my favorite topic! Books! I write both fantasy and science fiction, and though I read basically all genres (sorry gridmark, you’re a touch too dark for me) I glom SFF reads. Recently I’ve devoured some excellent sci-fi! So, let me gush:

Re-Coil by J.T. Nicholas

Out on a salvage mission with a skeleton crew, Carter Langston is murdered by animated corpses left behind on this ship. Yet in this future, everyone’s consciousness backup can be safely downloaded into a brand-new body, and all you’d lose are the memories of what happened between your last backup and your death. But when Langston wakes up in his new body, he is immediately attacked in the medbay and has to fight once again for his life—and his immortality. Because this assassin aims to destroy his core forever.

Determined to find his shipmates and solve this evolving mystery, Langston locates their tech whiz Shay Chan, but two members are missing and perhaps permanently killed. Langston and Chan are soon running for their lives with the assassin and the corporation behind him in hot pursuit.

What Langston and Chan ultimately find would signal the end of humanity. What started as a salvage mission just might end up saving the world.

This futuristic, as opposed to near-future, sci-fi plays off the idea of our souls consisting of the neural pathways that we’ve been able to contain on a computer chip and when you die, you can be re-coiled into a new body. 

There’s quite a bit of repetition in describing how different people mentally handle being re-coiled into various bodies. Some readers/writers go the repetitive route, some, like me, avoid it. To each their own. But the plot line is tight, intriguing, and the emotional connection between Langston and his former crew mate is intense. 

I highly suggest this if you’re in the mood for a sci-fi with a heavy dose of mystery, tension, and a nice romance sub-plot.

The Blighted Stars by Megan E. O’Keefe

When a spy is stranded on a dead planet with her mortal enemy, she must first figure out how to survive before she can uncover the conspiracy that landed them both there in the first place.

She’s a revolutionary. Humanity is running out of options. Habitable planets are being destroyed as quickly as they’re found and Naira Sharp knows the reason why. The all-powerful Mercator family has been controlling the exploration of the universe for decades, and exploiting any materials they find along the way under the guise of helping humanity’s expansion. But Naira knows the truth, and she plans to bring the whole family down from the inside.

He’s the heir to the dynasty. Tarquin Mercator never wanted to run a galaxy-spanning business empire. He just wanted to study rocks and read books. But Tarquin’s father has tasked him with monitoring the mining of a new planet, and he doesn’t really have a choice in the matter.

Disguised as Tarquin’s new bodyguard, Naira plans to destroy his ship before it lands. But neither of them expects to end up stranded on a dead planet. To survive and keep her secret, Naira will have to join forces with the man she’s sworn to hate. And together they will uncover a plot that’s bigger than both of them.

This sci-fi follows off the same theory that our souls can be downloaded into new bodies, making us near immortal. And it’s immortality that’s driving a dirty hunt for an element that will enable us to live even longer. 

Filled with political intrigue, undercover spies, a young scientist, and tangled emotions, The Blighted Stars is a fantastic other-world read!

I know, the second blurb was short. They’re both fantastic reads, I’m just running out of time. I need to catch a plane! And yes, I’ve packed two paperback books and have two queued up on my kindle….I hope I don’t run out of things to read! 

What are you reading this week?

Writing What I Read

This week at the SFF Seven, we're asking: "Do you read in the genre you write?"

What's funny is that my answer is absolutely yes - but that I didn't always write in the genre I read. Does that make sense?

I have always read Fantasy and Science Fiction, since I was a little kid, and I've been reading Romance since I was old enough to walk to the used bookstore to buy my own books, as my mom wouldn't let me read "that trash." (Because she thought Romance was low-brow and anti-feminist, not because of the sex.) But when I started out as a writer, I wrote Creative Nonfiction.

Some of this was timing and coincidence. When I decided I wanted to be a writer instead of a scientist, one of the first classes I took was "Essays on Self and Place," from a visiting writer at the university. I fell easily into writing essays and had success with them. My first book was an essay collection. And, sure, I read some essays. I read a lot of essay collections and memoir. But I was always reading them as research and reciprocity.

All that time, what I read for pure enjoyment? Anything with a paranormal/SFF element and plenty of Romance.

It was only after my first book came out that a friend - a bookseller who knew my tastes and sold me hardcover releases of JD Robb, Laurell K. Hamilton, Stephenie Meyer, and Jaqueline Carey - asked me why I wasn't writing in the genres I so clearly loved to read.

Funny that. It simply hadn't occurred to me. But then I started to, I wrote this Fantasy Romance* (not a genre then, but what did I know??) that was SO MUCH FREAKING FUN TO WRITE. I couldn't believe how much more fun I had writing my crazy tale about a scientist who falls into Faerie, becomes a sorceress, and ends up in a bargain with a fae lord to bear his child. I even got a really nice rejection on the book from Stephenie Meyer's agent! (Though it took a long time for me to sell it, which is another tale.)

The rest is history. ~ Waves at catalogue of Epic Fantasy Romances ~ I haven't looked back. Writing what I love to read has absolutely been a great decision.

*The book that became ROGUE'S PAWN

 

Read Broadly and Deeply

 This Week's Topic: Do I Read in the Genre I Write?

Absolutely. I like to keep abreast of evolving reader expectations, emerging storytelling styles, and exploratory concepts while evolving my skills. Of course, there's the blossoming of ideas and methods that come from studying what my peers are doing and what the "old masters" did that can be applied today. Naturally, some of what the old masters did needs to stay in the past as cautionary tales of the public mindset of their era. 

Do I also read genres other than what I write? Ayup, yup, yup. A story well-written is a story from which I can learn something. I can toss the takeaways into my bag of exponential holding and "fantasy it up" for my WiP. 

By and large, there are very few genres I avoid under the fiction umbrella. I won't read certain genres (or themes, or tropes) because of my innate biases. (Just thinking about them makes me angry.) Besides, there are too many books I really, really, really want to read so why would I force myself to suffer through something I don't want to read? College made me do enough of that.

To me, a great author reads broadly across many genres and deeply into the sub-genres.

Write a Map for Failure

Have you ever counted up all the euphemistic, pseudo-inspirational bullshit this society generates around failure? The only failure is never trying. If you don't fail, you aren't trying. Fall down seven, get up eight. I mean. The list is onerous.

No matter all the empty, pithy sayings, I assert that failure gets a bad rap. I know because I'm in the middle of it. It's been four years since I've published a book. It's been four years since I finished a book. A writer not writing. Does that not define failure? It feels like it does. But just because I'm standing in the middle of this vast creative desert, it doesn't mean I've given up. I won't give up until I'm dead. Granted, some days that feels closer than others. But in the meantime, I clock what matters about failure.

1.Failure is inevitable.
2. Failure teaches.
3. Failure is temporary if you want it to be.

To handle failure, you need to know what it is. Define it. What does it look like? What does it feel like? What does it say? What does it smell like? Taste like? Is it a bad review? Those are guaranteed. Is it writing and never being traditionally published? In this market, that is a very real risk. What's your back up plan? Also, why are you writing in the first place? If it's to get published, you've put your power and happiness into something you cannot control. 

Recognize that failure of some kind visits us all. If you define that hell before you catch sight of it, you can develop plans to help dodge it before you get stuck in it.

If and when failure comes knocking, look for what that failure has to teach. No one ever learned anything useful and long-lasting from success. Our mistakes are our teachers when we don't get bogged down in emotion about them. Maybe I took on  a story that exceeded my skill, and I failed to stick the landing. The critics hate me, and the book isn't selling. Yet i gained incredible new skills for having dared to try this hard thing. So it's not perfect. The next book will be the better for it, and I now have a set of skills no one can ever take from me.

Failure doesn't have to be a destination. It can be a place you pass through. It feels like you'll die there, trust me. Occasionally, I guarantee you'll wish you could, just so you can stop trying and just rest. The path through failure includes a lot of flailing, a lot of crying for help, and a lot of looking outside yourself for answers to the 'what's wrong with me' question. The hard truth, though, is that the only route out of failure starts inside you. It starts with determination and the refusal to wander off into the sunset never to be heard from again. It means adapting. Developing new ways to work when the old ways either aren't available or no longer work.

I don't mean to imply that help isn't available and shouldn't be sought. I will be the very first advocate for addressing mental health issues immediately.  That is, in fact, a prerequisite. But barring the need for medical diagnosis, you aren't likely to find one class or one guru or one quick trick that's going to rocket you out of failure. Classes can be valuable tools. Writing groups, too. They're good supports to lean upon along the way while you're clawing word by word out of a failure state. But they cannot take the place of the work required of you for you.

No one wants to fail. No one thinks it will happen to them. No one wants to have to sit down with their already over-active imagination and mentally play through worst-case scenarios and then come up with plans A and B to address those worst case scenarios. Trust someone who didn't and ended up mired in failsville for too long. Your stay in failure will be much, much shorter if you come into it with a roadmap for getting back out.

SOAR

Writing is hard. If you’ve tried it, are doing it, or have done it, you already know that. But we’re not talking directly about that this week. We’re talking about failure, which is also hard, and necessary, and what wise words do we have for our past selves.

I’m sure you’ve heard the saying failure means growth. That applies to writing as well. You write. You fail. You query. You fail. You publish on your own. You fail. You go on submission. You fail. You pay for marketing. You fail. 

The trick is to persist. 

Once upon a time I was a finalist in a national contest and found myself part of a group of talented, women writers. We called ourselves the Persisters. We celebrated, we toasted, and we had so many doors open. 

When you reach a high point—that first contract, that first sale, that first yellow badge—you think that’s it! I’ve made it. I’m a writer who belongs. And then, undoubtedly, something will unravel and you will fail. 

As a newbie writer you watch those overnight successes, which are never overnight successes, and you think that once you get there it’ll be smooth sailing. It looks like once you get there you’ll never hear a no, there will always be clamoring for your next books. 

Truth time. It’s not like that in real life. Even those best sellers have ideas that don’t get picked up or don’t sell. 

My wise words to my past self: Being at the top doesn’t mean the failures have ended, but persist. Because failure only means you’re growing and getting better. 

Contemplating Failure

Know what this is?? It's a teaser for the cover of TWISTED MAGIC, Book #3 in Renegades of Magic!!

Yes, I have the cover - and have had for a while - but I've been hanging onto it until I could set up a release date and preorder link. I'm a bit on tenterhooks at the moment, waiting on feedback from Agent Sarah on the book I wrote that fell on me from out of the sky and insisted on being written: ONEIRA. Once I know whether she wants to take it on submission to traditional publishing or if I'll self-publish it (in August!), then I'll be able to set a date for the TWISTED MAGIC release. Meanwhile, you can preorder the book via my website store!

This week at the SFF Seven, we're talking about failure. Ostensibly, the topic is reassuring ourselves that we are not failures and offering wise words to that effect. I say "ostensibly" because I don't think it's possible to say that we are not failures. We are all failures, at some point, in some way, on the large or small scale. Failing at something is a natural part of life. Everything, everywhere, fails to do something or another, usually multiple times, probably more often than they succeed.

I'm being persnickety about this because I think the concept of failure gets a bad rap. As if it's something we're supposed to avoid at all costs. I can't be honest and tell you you're not a failure. I can't be honest with myself and say that. I've failed at all kinds of things I've tried to do. I wrestle daily with facing that I've failed to reached certain goals. But the answer isn't some pep talk where I pat myself on the head and console myself with the comforting words that I haven't actually failed. That doesn't benefit me. Instead I have to look at why I haven't succeeded at what I set out to do. A lot of it may not be within my control. A great deal of publishing isn't. And it's good for me to look at that and cut away those things I can't control - and then focus on what I can control. What can I do better? How can I change my strategy? What can I learn from this failure?

Let me emphasize: failure is okay! We learn from failure.

I'm not going to tell you that you're not a failure because you are one, just like every other living creature. Life is about the attempt; failure and success are only metrics by which to measure the result. Learn, and live. 

 

Failure & Reasonable Expectations

This Week's Topic: You're not a failure
Wise words to your past self and those who are struggling

The Key to Success is Great Reasonable Expectations

We're told from the cradle to aim high and dream big. Nothing is unattainable if we put our heart into it. That's charming advice for inspiration and aspiration. It's not so great for implementation. Our big dreams tend to ignore the necessary micro steps. Thus, before we even begin, we've set ourselves up for frustration, disappointment, and...failure. When things don't unfold as we imagined, we deem ourselves incompetent and spiral into surrendering our lofty aspirations. We limp away, defeated, relegating ourselves to the status of a dreamless cog. 

How heartbreaking.

The major flaw in our Grand Plan wasn't that we were stupid. We simply made a mistake. We kept the view at 5,000ft when we had to take the footpath. We didn't plant for the weather, enemy, and terrain. We disregarded our physical and emotional limitations. We didn't acquire the necessary foundational knowledge in advance, so we didn't know what we didn't know. When we don't know better, we don't do better. We sabotaged ourselves from the get-go by setting unrealistic expectations. 

Failing to achieve a goal does not equal being a failure.

We are allowed to make mistakes. Mistakes are a measure of progress, even when we have to take a few steps back to modify our path. Our mistake taught us to take a different fork in the road. Sure, we suffered a loss or two, but time spent learning isn't time wasted. As long as we are willing to reflect on where and how we went wrong, we can revise our plan to correct what we can control. This is how we learn to create reasonable expectations for ourselves and others.

This is when we revise and resume.

We succeed when we do our best. It's fine to compare ourselves to others, but it's not okay to punish ourselves for not achieving their success. It's human nature to gauge our place in family, community, and career through comparisons. We use the experiences of others to identify the milestones on our chosen path, and we strive to achieve similar goals in order to keep ourselves motivated; in order to reward ourselves for the small accomplishments along with the big ones. However, learning, truly learning, means we take in information, analyze it, process it against all our other knowledge and experience, and then customize it before applying it to our circumstances and our individual quirks.

Author, Know Thy Self

In a creative field like ours, it is critical to understand ourselves. Only through recognizing our strengths and foibles, our motivations and distractions, our procrastination triggers and our manic gateways can we set reasonable expectations for ourselves. We are not Nora Roberts nor are we James Patterson. Their methods and their paths are not ours. We are our own delightful oddities and our paths to success are as unique as we are. We are accountable to ourselves. We define what success is for us. The success we define is attainable when we have reasonable expectations of ourselves.

We are not failures.
We are Works in Progress. 

Three essential traits of the non-AlphaHole hero

 

There has been a lot of talk in the romance writing community of late about dark heroes and whether they are ‘AlphaHoles’ (alpha male arseholes) that are setting a poor example. The conversation usually revolves around main male characters (MMCs) as they appear in F/M romances, but of course AlphaHoles can be gay, or they can be of any gender. In this article, I’ll be talking predominantly about MMCs in F/M romance, but the principles apply in other situations too. The popular examples I give at the end aren’t even from romances. Because of course, what we learn of character from romance can apply to other genres.

Personally, I prefer a gentle MMC. Think butler or scholar vibes. It’s what I write, and it’s what I prefer to read (though as a writer, I often read outside my comfort zone). But in gay romances, even when there is one gentle MMC, the other one is often not so gentle for contrast (think A Rake of His Own by AJ Lancaster).

Also, despite my own preferences, I have a policy to not ‘yuck someone’s yum’, so when I sat down to think of three traits of a non-AlphaHole hero, I thought of traits that could be applied equally to gentle and, er, more forceful heroes:

They are aware of the personhood of other people, particularly their romantic partner

A non-AlphaHole hero knows that everyone is a person with their own wants and needs. He knows it’s not all about him. He remembers his love interest’s likes and dislikes, and he respects their commitments to the other people in their life. If he is pushy, he checks first to see if it’s OK to apply that pushiness in new situations (e.g. the bedroom). This knowledge may be something he has a handle on from the beginning of the story, or it may be something that develops over time as part of his character development.

If the MMC is forging ahead with only his own plotline and other characters have to fit their own stories into the gaps around him, he might just be an AlphaHole.

They know how to use their power for the sake of others

A non-AlphaHole hero will, at some point in the story, put his own goals aside for a while to act on behalf of someone else. This may be something he is actively choosing to do if he is aware of how his power affects others, or it may be something he instinctively does, and then along the way he learns about his influence.

If the MMC continues to draw all the other characters into his own plotline and use them for his own ends throughout the story, he may just be an AlphaHole.

They reject toxic masculinity and decide for themselves how they will ‘be a man’

A non-AlphaHole hero may be masculine, but he’s not ‘toxic’. The exception may be for some toxicity to appear at the beginning of the story, but for the hero to learn how not to be toxic and to be a man on his own terms, in a way that doesn’t hurt those he cares for.

If the MMC acts even remotely like an internet incel after act 1, then he is an AlphaHole.

Put these three traits together, and you’ll see that you can have a very dark, very dangerous hero who is nonetheless not an AlphaHole.

There’s a reason that recently in SFF TV, the beloved ‘daddy’ of scifi is Pedro Pascal’s Din Djarin in The Mandalorian, and everyone’s favourite fantasy hero is Henry Cavill’s Geralt of Rivia in The Witcher. One is a masculine, arse-kicking man who has dedicated his life to looking after a lost infant, and one is a masculine, arse-kicking man who has dedicated his life to looking after an orphaned girl. Each one has made choices about how to live his life that take into consideration the needs of other characters and uses his own power for the sake of others in a way that is the opposite of toxic masculinity. It has been wonderful to see men in protective caregiving roles get so much love and attention. Their popularity as hardened warrior characters is because of their attentive care of these children, not despite it.

A non-AlphaHole doesn’t have to be looking after children, but he does need to look after someone, and let himself be looked after in turn. Because it’s that reciprocity that shows us he remembers that he’s still human, no matter what dark turns his fate has made.

Calanthe Colt (pen name) is a SFF romance author from Aotearoa New Zealand. She writes romantic books that balance exciting adventure or tense situations with the quieter moments of life. Her stories usually have magic, almost always have cooking or gardening, and definitely always have sweet romances that, no matter the heat level, are comforting, like a snuggly blanket and a mug of hot chocolate on a rainy day.

Her debut book Goddess Found, a standalone fantasy romance with cosy vibes, is out now. 

Find her at: www.calanthecolt.com

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