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Internet history is being made at www.craphound.com
where Cory Doctorow and Charlie
Stross are blogging their collaboration on a short story for ReVisions,
an alternate science fiction history anthology from DAW
books, edited by Isaac
Szpindel and Julie Czerneda.
For those unfamiliar with a blog, it's basically a series of posts in
sequence on a website. To share the adventure, go to www.craphound.com/unwirer/
MiC Official author Robert Charles Wilson has a
featured interview in the April 2003 issue of Locus Magazine. Excerpts
from the interview are available at Locus
Online. Robert
J. Sawyer has an essay entitled "Science & Salvation"
rebutting the bleak view of the future in Margaret Atwood's new novel
Oryx and Crake in the April 28, 2003, issue of Maclean's. The text of the essay is online here.
The print version features a one-third page color photo of Sawyer.
The Leacock Museum in
Orillia Ont. is hosting a Book Launch for Julie
E. Czerneda and her newest
work Hidden in Sight, the third title in her Web Shifter
series. Julie will be introduced by Nebula Award winner and Hugo
Award finalist Robert
J. Sawyer. The event takes place on Sunday,
April 27 from 2 - 4 pm at the Leacock Museum,
50 Museum Drive, Orillia Ont. Canada. If you would like driving
directions, please email me at mic-newsletter@rogers.com
Matt Hughes has
delivered the ms of a new Archonate fantasy to David Hartwell at Tor.
The working title is Black Brillion, and it will be out in
hardcover in the summer of 2004. Warner Aspect plans to re-release
Matt's two earlier paperbacks -- Fools Errant and Fool
Me Twice -- at the same time. Black Brillion takes
place in the same milieu as the first two books but with new characters.
It's also less comical.
A.M. Dellamonica
has two new stories out: "The Riverboy" in Candas Jane
Dorsey's Land/Space: an anthology of prairie
speculative fiction, and "Cooking Creole" in Nalo
Hopkinson's anthology, Mojo: Conjure Stories. Both
titles are now available.
On April 14, the Canadian government's Canadian
Television Fund awarded Cdn$2,300,000 to help fund production of Charlie
Jade, an hour-long science-fiction film-noir detective series.
Executive Producers are Robert Wertheimer, formerly of the series Due
South, and SF novelist Robert
J. Sawyer; Sawyer will also serve as head writer. The series
is in pre-production for Canada's Space:
The Imagination Station, with a September 2004 target air date.
R.
Scott Bakker will be reading from his new book, The Darkness
that Comes Before at Bakka-Phoenix (formerly Bakka Books) on Friday April 25th, at 7pm.
Bakka-Phoenix is located in Toronto at 598 Yonge St., just north of
Wellesley.
Award News
The
nominations for the 2003 Hugo Awards have been announced. Four Canadians made the ballot this year; Robert J. Sawyer's novel Hominids
is a finalist for best novel, Pat Forde's story "In Spirit"
is a finalist for best novella, Judith Merril & Emily Pohl-Weary's
book Better to Have Loved: The Life of Judith Merril is a
finalist for best related book, and Karin Lowachee
is a finalist for the John W Campbell Award for Best New Writer. The
Torcon website has a web
page with links to many of the nominee's works and websites. (what a
great idea ;-).
ITS
PRIX AURORA NOMINATION TIME! The deadline for mailing in nominations is April 30,
2003. The 2003 Prix
Aurora Award nomination form, is now available at the Prix
Aurora web site in both html
and .pdf
format. If you don't yet know who you want to nominate, check out the 2003 Eligibility lists
also at the Prix Aurora
web site.
The Made in Canada
Newsletter is eligible for a Prix Aurora Award in the Fan Achievement:
Fanzine category. Please consider nominating the MiC Newsletter for an
Aurora Award.
For more Canadian SF News and upcoming
events, visit SF
Canada's news page and Mici
Gold's SF Calendar.
Con News
APRIL 26 - 7th ANNUAL FANTASTIC PULPS SHOW & SALE,
Lilian H. Smith branch of Toronto Public Library, Toronto, ON. Pulps show.
Admission: $2. For more information, www.girasolcollectables.com
, and click on "Events and Shows".
MAY 16-18 - ANIMÉ NORTH 2003, Regal Constellation Hotel, Toronto, ON. Animé
convention. Guests and memberships: Mark Hildreth, Scott McNeil, Kirby
Morrow, Brad Swaile, Ted Cole, David Kaye, Brian Drummond, Stan Sakai; Jem
Project. For more information, www.animenorth.org.
JULY 11-13
- TORONTO TREK 17, Regal Constellation Hotel, Toronto, ON. SF media
convention. Guests: James Marsters, Julie Caitlin Brown, Erin Gray, Gil
Gerard. Memberships: See website. For more information, www.tcon.icomm.ca.
AUGUST 28 – SEPTEMBER 1 -
TORCON 3 / WORLDCON 61, Metro Toronto Convention Centre, Royal York
Hotel, Crowne Plaza Hotel, Renaissance Toronto Hotel at Skydome, Toronto,
ON. World SF convention. Guests: George R.R. Martin, Frank Kelly Freas, Mike
Glyer, Spider Robinson, Robert Bloch as GoHst of Honour. Memberships: see
website for breakdown. For more information, www.torcon3.on.ca
.
Visit Lloyd Penney's Cancon list for a
much more detailed list of Canadian and close-to-the-border U.S.
conventions.
Note to publishers, authors and
editors: Please send your news, press releases and updates to
mic-newsletter@rogers.com
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Media Watch
Media Happenings
Opening May 2 is X-Men
2, filmed in Vancouver.
Opening May 15 is The
Matrix Reloaded, starring Vancouver's own Carrie-Anne Moss as
well as Keanu Reeves, Laurence Fishburne, and thousands of special
effects. A word of warning: the movie ends abruptly in a cliffhanger, as
Reloaded and its sequel, The Matrix Revolutions (opening
in the fall), were shot as a four-hour movie and then chopped into two
movies.
Opening May 23 is Bruce
Almighty, a fantasy comedy starring Jim Carrey as a man who's
allowed (by Morgan Freeman) to play God for a week.
Director David Cronenberg says
his next film, Painkillers, will have an SF theme about
"performance artists in the near future."
Out now on DVD: Who Framed Roger Rabbit?;
Ringu, the original Japanese horror film about a haunted
videotape; Ghost Ship; Red Dwarf, season 1; Futurama,
season 1; Star Trek: DS9, season 2; Gene Roddenberry's
Andromeda, season 2; Harry Potter and the Chamber of Secrets;
and Relic
Hunter, season 1 (orders accepted from and shipped to Canada and
the US only). Out April 29 are Babylon 5, season 2, and Xena:
Warrior Princess, season 1; out May 13, Star Trek Nemesis;
out May 20, A Bug's Life.
The world premiere of A Wrinkle in Time,
based on Madeleine L'Engle's book of the same name, will kick off the
sixth annual Sprockets
Toronto International Film Festival for Children, April 25–May 4. Wrinkle
is about children on a quest to rescue a physicist whose experiment with
time travel has gone wrong.
Director James Cameron says
he has put plans on hold for a fictionalized film about a manned
expedition to Mars until NASA gears up space exploration again. In other
news, Arnold Schwarzenegger will present Cinescape magazine's Dr.
Donald A. Reed Award to James Cameron in recognition of his
contributions to SF filmmaking at the Academy of Sci Fi, Horror and
Fantasy's 29th Saturn
Awards, May 18 at the Renaissance Hollywood Hotel.
Production begins June 9 in Vancouver for the
SF film The
Chronicles of Riddick, which continues the adventures of actor
Vin Diesel's character, Richard Riddick, from Pitch Black (2000).
Also in the cast are Karl Urban, Judi Dench and Colm Feore. Radar
Pictures and One Race Productions are producing the film for Universal
Pictures.
Author Robert Sawyer's weekly radio column
"Science FACTion: The Cutting Edge of Science" has been picked
up as a regular weekly feature by CBC Radio after an eight-week test
run, Locus
Online reported on April 8th. The three-minute commentaries will be
heard on local CBC morning shows across Canada, starting July 1. In
other Sawyer news, on April 14 the Canadian government's Canadian
Television Fund awarded Can$2.3 million (US$1.58 million) to help fund
production of Charlie
Jade, an hour-long SF film-noir detective series. Executive
producers are Robert Wertheimer (Due South) and Robert Sawyer.
Sawyer will also serve as head writer. The series is in preproduction
for Space: The Imagination Station, with a September 2004 target air
date.
Directors, actors and writers are
demanding that the federal government immediately restore
$25-million to the aforementioned Canadian Television Fund, warning that
government cutbacks are placing the domestic television industry in a
position of "catastrophic collapse" and "freefall."
Among the pile of Oscars won by the musical Chicago
in March was the best-picture award, thus making Chicago the
first film shot in Toronto to win the Oscar for best picture. When the
movie was nominated in February, the mayor of the real Chicago, Richard
Daley, had a few things to say about runaway productions that receive
generous incentives from various governments in Canada, especially the
federal government. "We do the creative work," said Daley.
"We do the financial work. Why should we send the production work
overseas?" A spokesperson for Mr. Daley later said the mayor was
certainly aware that Canada is not in fact overseas.
American studio executives frequently praise
Toronto and Vancouver for their high-quality film crews and for a
citizenry who tolerate the logistical difficulties of hosting large film
productions. Some American cities, notably New York, are famous for the
drastic measures residents take to obstruct filming, such as honking
their car horns. [Source for this and the preceding item: The Toronto Globe
and Mail, February 14, 2003, pp. A1, A16.]
On the Box
-
Renewed shows so far include Smallville
and Charmed. Al Gough and Miles Millar, Smallville's
co-creators, have signed
a two-year deal with Warner Brothers Television to continue running
the show. Gough and Millar also agreed to work exclusively for WBTV in
development, but plan to focus their small-screen work on Smallville
while continuing to write feature-film screenplays such as the
comic-book adaptation Iron Man for New Line. The season finale
of Smallville, entitled "Exodus," airs on The WB on
May 20. (There's an official
Smallville site, but unofficial fansites such as Kryptonsite
and Tvtome
are much more useful for cast info, spoilers, episode guides, etc.)
-
Although Gene
Roddenberry's Andromeda has been renewed for a fourth season,
apparently there will be little or no sign of Tyr Anasazi (Keith
Hamilton Cobb) on it: Cobb says
he's leaving.
-
Cancelled this season by ABC were genre
shows Veritas: The Quest and Miracles.
Both were mid-season replacements.
-
Tremors: The Series debuted in Canada
on the CHUM network in late March. (There's no Canadian involvement in
the show that I can discern, but hey, Canadians can watch the series,
so I'm reporting it.) On Space, Tremors airs Wednesdays at 9
p.m. ET. The series description on Space
says Tremors: The Series "examines the struggles of the
eccentric townsfolk of Perfection Valley, a town with a world-renowned
monster hunter and an albino male 'Graboid' who's protected by the
government because he's considered an endangered species." The Sci
Fi Channel is airing it Fridays at 9 p.m.
-
Parts 2 and 3 of the six-hour mini-series Children
of Dune, based on the second and third novels of the Dune
saga by Frank Herbert, will air on April 20 and 27 on Space,
starting at 9 p.m. ET/6 p.m. PT. The Sci Fi Channel page on the
mini-series is here.
-
The
Dead Zone star Anthony Michael Hall is being sued
by the show's insurer, which says he failed to disclose a mental
illness. Chubb Insurance of Canada claims production of the series in
Vancouver was disrupted when Hall was admitted to St. Paul's Hospital
in May 2001 following an episode of "bipolar affective disorder
depression with psychotic features."
-
The Sci Fi Channel has released
a list of new programming to be broadcast in the 2004–05 year, and
it includes eight ongoing series, two new mini-series and a host of
special programs. Of the ongoing series, at least three—The
Divide, Suture Girl, and Stargate SG-1 spinoff Stargate:
Atlantis—have Canadian involvement on the production side.
-
A new CBS series entitled Century
City, about a law firm in the year 2053, is now filming in
Vancouver. It stars Welsh actor Ioan
Gruffudd, best known for playing Horatio Hornblower in a recent
series of TV-movies. My thanks for this tip go to Warchild
author Karin
Lowachee, who says that "Ioan Gruffudd...would be my PERFECT
Captain Azarcon (from Warchild)."
-
Rick Berman, producer of Enterprise,
has offered spoilers
for the second-season finale, saying it will set the show on a new
course. "For the first time on a Star Trek series, we're
going to be dealing with a mission to save Earth," Berman said.
The finale, entitled "The Expanse," airs May 21 on UPN and
May 25 on Space. Linda Park, who plays Ens. Hoshi Sato on Enterprise,
will be the Trek guest at the Toronto
Trek 17 convention in July.
-
Spoilers on the season finales of Alias
and Angel, and of the series finale of Buffy the Vampire
Slayer, are available at Eonline.
There will not
be a Buffy spinoff in the fall. The WB won't make a
decision on Angel's fate (renewal or cancellation?) until May.
-
The April 30th (on UPN) airing of
Vancouver-produced The
Twilight Zone will include a remake of another classic
episode: "Eye
of the Beholder", about a woman who has plastic surgery for
the 11th time. (A remake of the classic "It's a Good Life,"
entitled "It's Still a Good Life," aired on February 19.)
NEWS WANTED!
Please send your Canadian media news clips, tips and rumours to
canadian-sf@rogers.com.
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"REACHING
CRITICAL MASS"
a Velvet Delorey Review
 Pattern
Recognition
by William Gibson
Putnam Hardcover, Feb 2003
ISBN 0-399-14986-4
So, it’s like this. In these times of the Chinese curse, there have been
diatribes aplenty, tirades in plethora, and many many manifestos as to
what, exactly, the State of The Future of Science Fiction actually is.
Upon reading a representative sampling of these declamations, whether they
appear in what few slightly-paying markets still exist, or they are the
mad utterances of the self-styled "revolutionaries" that hold
forth to all and sundry with much gnashing of teeth that they are
"storming the Internet on behalf of the SFF field", it becomes
painfully apparent that when it comes to Science Fiction and its ersatz
Future, there’s just No Such Thing, no matter how many capital letters
and exclamation points the false prophets try and use to dress up whatever
it is they are doing as being the Next Best Thing.
Upon closer examination of a cross section of these disputations, they
seem to be split evenly between two camps. Those who grew up reading the
"New Wave" authors are desperately seeking "the Next
Wave" authors, supposedly given a kick-start in the pants by Al
Sarrontonio’s anthology Redshift. The nightmarish
demonspawn who grew up reading cyberpunk (I count myself as one, I add, so
put that flamethrower down before you hurt yourself) are calling every
innovative comic book that comes along the "post-cyberpunk",
which to be brutally honest with you, isn’t very. Both camps, regardless
of their political affiliations and marketing theologies, seem to be
coming up empty-handed when it comes to saying exactly what SFF literature
in the world today represents the Next Best Thing.
Science fiction fans and interested bystanders alike, may I present
Exhibit A: Pattern Recognition, by William Gibson.
Unless you’ve been living as a castaway since 1983, it does not need
to be said that Pattern Recognition is a good book, product
of the mind of a very good writer. With solid, documentary-like narrative,
this book is as believable as if the events within had actually happened.
It reads like a science fiction novel, but the events of the story took
place in the very present past of the year 2002. What needs to be said,
loudly, is that Gibson achieves a mainstream novel that reads like science
fiction. Or a science fiction novel that reads like "straight"
fiction. At least according to the marketing hype which, in an
irony-imitating-art maneuver, is not to be believed. Better to trust what
Gibson appears to be doing, which is write bleeding-edge mainstream
literature utilizing the tropes of science fiction. What results is the
creation of a novel that is unlike any other.
Understand me, please: This is not a grown-up version of that battered,
tattered, dog-eared and well-weathered, nicotine- and coffee-stained copy
of Neuromancer that still gets dragged off your bookshelf
every couple of years and reread. You certainly wouldn’t want the
hardcover copy of Pattern Recognition to be subjected to
such abuses, because it is a beautiful book, in every sense of the word.
The typeface and the colour choices make it an incredibly easy book to
read, or more properly, easier to imprint the ideas contained therein
directly onto the brainstem. Similarly, the content bears little or no
relation to the Sprawl or Bridge trilogies, unless you want to shoehorn it
in as being on the same timeline. Do whatever you want, just buy the book
and read it. You will not be disappointed.
Remember those dialectic testimonies I mentioned above that concern
themselves about the state of the future of science fiction? Most of them
end on a sour note, bemoaning the fact that science fiction writers can’t
write "traditional" science fiction anymore because present-day
society is living science fiction in the moment that it occurs, and the
"future is now" syndrome is all around us. What exactly the
traditional science fiction writer can write, however, is never clearly
elucidated by those who moan and wail about the overwhelming dearth of
media tie-ins and serial retreads. The answer is a book that clearly scans
like science fiction, but is so obviously set in the present, it can’t
be marketed as anything other than a mainstream novel. Pattern
Recognition meets that criteria as neatly as if the place for the
book in the timeline of literature was just waiting to be filled. As with Neuromancer,
Gibson is in the right place, at the right time, with the most appropriate
words.
Oh, what words they are. Long-gone are the "eyeball kicks" of
the cyberpunk heyday, to be replaced by a crisp view of our current
reality, brought into focus with a migraine-inducing intensity. Gibson’s
flair for description has always been notable, but it is a talent that has
been lovingly cultivated in the two decades since Neuromancer,
and has borne some very impressive fruit indeed.
As with any Gibson novel or story, the layers-within-layers of context
and meaning and plot ensure that Pattern Recognition is as
likely to be reread by its proud owners as many times as Neuromancer,
and still remain as compelling, engaging, and intelligent as it did on the
first pass. To attempt to describe the plot, or any of the characters,
will of course defeat the purpose, since the book contains enough subtext
that it is virtually guaranteed no two readers will have read the same
book when they are through. Ironically, this is similar to the footage the
protagonist Cayce Pollard chases after through the bulk of the plot, where
every "follower of the footage" brings their own experience and
background to the mysterious Flash segments released randomly around the
Internet.
The Internet is the ubiquitous access point for the present-day
setting, and even drives the plot, in a way. The Internet of the present
is not the cyberspace of the past, however, and Gibson demonstrates this
clearly. Instead of multinational dataspheres, consensual hallucination,
and a deck-riding cowboy, we have a thirty-something protagonist who has
perpetual contact with the Internet, no matter where she is, whether it’s
through her cellphone, her iBook, or an internet café, but still doesn’t
talk to her mother.
That is only a small portion of the rich tapestry that makes up the
book, however, which courses from marketing trends, and the industry
behind them, to the sale and purchase of post-WWII mechanical calculators,
to the future of the fossil fuels industry as powered by Baltic oil
instead of the Middle Eastern oil fields, to the artifacts of the Cold War
that lie just beneath our forgotten histories, to a documentary being shot
in a forest of Siberian mud where WWII artifacts, including a
completely-preserved WWII-era plane, are being unearthed, to the vagaries
of post-traumatic stress disorder relating to 9/11, to the Internet as a
means of facilitating human connection and even human destiny, to the
recessive trait of "apophenia", seeing meaning wherever you want
it to appear, and many other points in between, which would take a book of
its own to list in entirety. All of these things are delivered up to the
reader as micron-thick slices of the world we actually occupy in the here
and now.
Pattern Recognition. It’s the Next Best Thing.
Want another Gibson review? Check out Neuromancer
Redux: Twenty Years Later. Velvet Delorey examines the impact of
Neuromancer over the last twenty years. (ed)
Velvet Delorey is
the MiC Newsletter's first regular
review
columnist. This is her first "Reaching Critical Mass" review.
For more information on Velvet, visit her contributors
page. For review requests please email mic-newsletter@rogers.com
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MiCro Editorial
I am pleased to introduce this issues guest editorial by Edo van
Belkom. Edo is principally a horror writer. His first novel, Wyrm Wolf, was nominated for
The Bram Stoker Award for superior achievement in a first novel.
His short story "Rat Food" (with co-author David Nickle) won the Bram Stoker Award for
best short story.
Edo's other works include Lord Soth, Mr. Magick, Martyrs,
Teeth and the non-fiction Northern Dreamers, which
proved to be a valuable resource for the creation of Made
in Canada. Edo has two short fiction collections, Death Drives a
Semi and Six Inch Spikes, and has edited four
anthologies, Aurora Awards, Northern Horror, Be Afraid
and Be Very Afraid. For further information about
Edo, visit his MiC entry and his
Website.
 I
Scream You Scream We All Scream For Scream Queen
by Edo van Belkom
April 2003 marks a milestone in my career as a writer. It is the month in
which my first mass-market novel, Scream Queen, will be
published by Kensington Books of New York City. (If you're not familiar
with the name Kensington, just think Zebra/Pinnacle. The book will have
the Pinnacle Horror imprint on the spine.)
First mass-market novel? you say. Didn't he do Wyrm Wolf and
Lord Soth and Martyrs and Teeth?
Yes I did. Wyrm Wolf was a mass-market release by Harper
Collins (via White Wolf) and Lord Soth was a TSR (now
Wizards of the Coast) publication. But those novels were based on
role-playing games -- Wyrm Wolf on "Werewolf: The
Apocalypse", and Lord Soth on "Dragonlance"
-- and no matter how I try to reason it out they will never be considered
wholly my own novels. In fact, Locus always refers to gaming novels as
novelizations whether they are based on an existing gaming scenario or are
an original creation by the author. Locus aside, even I consider my gaming
novels to be shared endeavors. Bits and pieces of Lord Soth's
history can be found in almost all Dragonlance material, and I wrote the
novel based on Soth's existing life story. But even though I created all
the characters and the situations in Wyrm Wolf it will
always be like I've been playing in someone else's sandbox.
And while both Teeth and Martyrs were original
novels with some nice cover design, they were trade paperbacks, not
mass-market paperbacks. As a result, they didn't have very good
distribution. As trade paperbacks published by small US companies, their
appearance in American chainstores was hit and miss, and their presence in
Canadian stores was almost non-existent. This was especially sad, or
frustrating, when both novels were set in Canada. I couldn't even get Teeth
into the big bookstore in my hometown of Brampton (where the novel
is set) because ordering the book was a special task so difficult that
neither the bookstore, nor the publisher of the book, was very interested
in making it happen.
So, Lord Soth was a success because of its Dragonlance
setting and Teeth and Martyrs went out into
the world with one hand tied their back, so to speak.
None of those obstacles will be present for Scream Queen. As
a mass-market paperback, the novel will be available in every Chapters,
Indigo and Coles store in Canada, and in good quantities. Word is that
Kensington even put up some placement money to make sure the book gets
some primo display space. What's more, the salepeople tell me that jobbers
and distributors have taken good numbers and the book should be available
in grocery stores, drug stores and airports across the country. As one
sales rep said, "Everyone did what they were supposed to do in
supporting a Canadian writer."
So, after 10 years of working as a writer, this is it. My first solo
mass-market novel, totally my own creation, easily available to the
book-buying public, and priced reasonably enough for anyone to take a
chance on it -- $5.99 US and $7.99 in Canada. Not only is this a milestone
in my career, it could also quite possibly be the make or break point.
If you think I'm overstating the significance of Scream Queen's
publication, here's a portion of Hank Wagner's recent review of Martyrs
in Cemetery Dance magazine, one of the top horror magazines in the
world.
'Recent novels such as Martyrs and Teeth seem
to indicate that van Belkom is flirting with producing a truly original,
"break-out" type book; that he is just one good idea from
standing as an equal with some of the best writers in the field. He
certainly has the talent, but so far has been limited by the subject
matter he's chosen to explore for his longer work, which just doesn't
display the energy and inventiveness he's known for in his shorter
fiction. Here's hoping his next effort proves to be "the one."'
Whew! Talk about pressure.
Luckily, Scream Queen is -- I think -- my very best book.
The idea is a timely mix of high concept and pop culture: A reality
television show set in a haunted house where things go terribly wrong. And
I had more fun writing it than I've ever had writing anything else. And
encouragingly, reviewers have already written to tell me they loved the
book, going as far as hoping I enjoy their review as much as they enjoyed
my book. There was even a bit of movie interest in the novel a full six
months before the book was scheduled for publication.
So, will this one be "the one?"
Who knows.
I thought Teeth-- being a trade paperback aside -- was going
to be "the one" what with its subject matter and the image on
the book's cover... but few seemed to notice. And Martyrs was
written and published without expectation, but received dozens of rave
reviews... except few people could find it in the stores.
These days I leave such things as which book is "the one" up to
other people. All I know is that I've written the very best book of my
career, I'm promoting it with as much energy as I have all my other books,
and people will be able to find it in the bookstores, even stumbling
across it as they're walking down the aisles. At last.
After that, whatever happens to the book is in the hands of fate.
If the book's a success, great.
If not... well, I've just turned in another novel to Kensington called Blood
Road which will be published in April 2004. One fellow writer and
very good friend has already declared it THE BEST BOOK I'VE WRITTEN.
So, maybe that one will be the one.
If not, I've just done a couple of outlines for two new books, one called Demon
Lover and the other a sequel to Scream Queen called Scream
Test
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On
an unhappy note, I am sad to report that 
