Upcoming SF Movies in 2019 by Jacey Bedford

My friend, H, and I go to the movies most weeks because have the Meerkat Movies two-for-one offer. It means we ‘risk’ far more movies that we would otherwise see at full price. We try to see most SF or fantasy movies that come out (though I confess, we usually avoid horror). I’m always interested to see what’s coming up. I’ve included some animation, kids’ movies or not, as long as they have a fantasy element. If you are a fan of super hero movies and/or comic adaptations this is going to be a good year for you. Please note, the release dates have been gleaned from various internet sources, and may not be completely accurate, especially if UK and USA release dates are different. If there are any upcoming movies I’ve missed please let me know in the comments.

Happy New Year to one and all.

Still in the cinemas as the year turns from 2018 to 2019 are: Aquaman, Mortal Engines, Mary Poppins Returns, Wreck-it Ralph: Ralph Breaks the Internet, Smallfoot, Spider Man: Into the Spiderverse, Bumblebee, Fantastic Beasts: The Crimes of Grindlewald, and The Grinch.

New HellboyHELLBOY
11TH January 2019
(Update – May now be scheduled for 15th April.)
A reboot, not a continuation of the previous two Guillermo Del Toro Hellboy movies. This one stars David Harbour in the former Ron Perlman role.

11th January 2019
Engineer Roy McBride embarks on a galaxy wide mission to find his father who disappeared 20 years ago and who has now become a threat to humanity. With Brad Pitt, Donald Sutherland and Tommy Lee Jones.

11th January 2019
A brilliant neuroscientist who is working on re-creating the human brain for Alzheimer’s research uses his work to replicate his family members after they’re killed in a car accident.

Iron Sky - The Coming RaceIRON SKY: THE COMING RACE
16th January 2019
Post apocalyptic science fantasy. The remnants of mankind are trapped on the disintegrating moon. Salvation lies in sending a small team to the centre of the earth to retrieve the holy grail.

18th January 2019
M. Night Shyamalan brings together the narratives of two of his standout originals—2000’s Unbreakable, from Touchstone, and 2016’s Split, from Universal—in one explosive, all-new comic-book thriller: Glass.

25th January 2019
Grange Hill meets Knights of the Round Table.

2nd February 2019
The third (and final?) movie featuring Hiccup and his dragon, Toothless.

5th February 2019
Sequel to X-Men Apocalypse, starring Game of Thrones’ Sophie Turner as Phoenix

14th February 2019
Based on Battle Angel Alita by Yukito Kishiro

27th February 2019
A dystopian world devoid of women where all living creatures can hear each others’ thoughts. From Carnegie Award-winning author Patrick Ness. A young man living in a colony on another planet believes all women have been killed by a virus until he meets a mysterious girl who may hold the key to the planet’s secrets. Tom Holland and Daisy Ridley star.

1st March 2019
A sequel

6th March 2019
Captain Marvel establishes herself before Infinity War 2. She becomes Marvel’s first female superhero to get her own solo movie.

28th March 2019
A live action musical remake of Disney’s flying elephant story.

29th March 2019
Set in Chicago, a decade after an extra-terrestrial occupation. Directed by Rupert Wyatt and starring John Goodman. It explores the lives of a Chicago neighbourhood from both sides of the conflict.

5th April 2019
With Robert Downey Junior in the title role.

5th April 2019
With one magic word a 14 year old kid can turn into an adult superhero. Like the kid that he really is he sets out to have fun, but there’s a villain on the horizon (played by Mark Strong) so Shazam will need to master his powers quickly. Starring Asher Angel as Billy Batson whose adult counterpart is played by Zachary Levi.

3rd May 2019
The second Infinity War movie. Thanos is the big bad once again, and the plot will revolve around the gauntlet. Starring: Robert Downey Jr., Chris Evans, Chris Hemsworth, Brie Larson, Mark Ruffalo, Jeremy Renner, Scarlett Johansson, Paul Bettany, Anthony Mackie, Paul Rudd, Elizabeth Olsen, Tom Holland, Benedict Cumberbatch, Chadwick Boseman, Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Karen Gillan, Evangeline Lilly and Josh Brolin.

24th May 2019
A live action movie of the fairy take with Will Smith, Naomi Scott, Nasim Pedrad, Mena Massoud

24th May 2019
What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister? Superhero/horror.

31st May 2019
Godzilla pops up again to restore balance after a new threat surfaces

6th June 2019
Another X-Men spinoff featuring superhero, Gambit.

MIB posterMIB
14th June 2019
A London-based ‘Men in Black’ spinoff with Chris Hemsworth, Tessa Thompson, Liam Neeson. Action comedy.

14th June 2019
A sequel directed by Zack Snyder featuring Batman, Superman, Wonder Woman, Cyborg, Aquaman, Green Lantern and Flash. Starring Gal Gadot and Ben Affleck

21ST June 2019
Another entry in the popular Pixar franchise

26th June 2019
Yet another entry to the Franchise.

5th July 2019
Sequel to the recent reboot with Tom Holland in the title role. Peter parker and friends go on a summer holiday to Europe. Tom Holland’s Spidey faces off against Jake Gyllenhaal’s Mysterio.

12th July 2019
A Marvel Movie. Inhumans are unique genetic specimens introduced in the second season of Agents of S.H.I.E.L.D.

1st August 2019
A standalone spinoff from the X-Men universe. The New Mutants’ dark path is riddled with horrors as they discover their abilities while imprisoned in a secret facility. Starring: Anya Taylor-Joy, Maisie Williams, Charlie Heaton, Alice Braga

9th August 2019
An adaptation of the popular fantasy book series that centres on a young criminal mastermind who kidnaps a fairy in hopes of ransoming her to an evil pixie in exchange for his father. Kenneth Brannagh directs. Judi Dench and Josh gad star.

4th October 2019
Action thriller with Will Smith playing both an aging hit man and a younger clone of himself.

4th October 2019
Joaquin Phoenix stars as the nameless man who will become the Joker in this origin story as the Joker becomes the Clown Prince of Crime.

1ST November 2019
Patty Jenkins directs, Gal Gadot and Chris Pine star. Diana’s adventures in the Cold War of the 1980s. Somehow Chris Pine somehow returns from the dead as Steve Trevor.

22nd November 2019
You knew there would be a sequel, didn’t you?

1st November 2019 in the US or 13th November in the UK
A James Cameron production that will follow the events in his sequel, Terminator 2, Arnold Schwarzenegger and Linda Hamilton reunite.

28th November 2019
Remake. Buton, an American trucker faces off against the forces of evil

13th December 2019
Another outing for Dwayne (The Rock) Johnson, Karen Gillan, Jack Black, Kevin Hart

20th December 2019
The sequel to The Force Awakens and The Last Jedi. Directed by J.J. Abrams and starring Daisy Ridley, Adam Driver, Oscar Isaac, John Boyega, Lupita Nyong’o

20th December 2019
Movie version of the musical prequel to The Wizard of Oz focusing on Elphaba, the Wicked Witch of the West (to be), and her high school struggles (and blossoming friendship) with popular mean girl, Glinda, the Good Witch.

31st December 2019
Yet another adaptation of Frank Herbert’s classic book



Based on Andy Weir’s book and featuring Jazz, a smuggler, who lives in Artemis, the only city on the moon.

A remake of the 80s movie.

Remake of the remake of the classic horror film

Starring Natalie Portman and supposedly based on true events, about an astronaut losing grip on reality after a long space mission.


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Last Train – a short story by Jacey Bedford

Stitched PanoramaIt’s a freezing cold station on Christmas Eve. The platform is deserted, the ticket hall closed, the waiting room padlocked. My breath puffs clouds into the air in the flickering glare from the overhead light.

I glance at the clock. Ten-fifteen. The last train is due at any moment.

Tick. Ten sixteen.

I stamp my feet, but they’re numb. All of me is numb.

Tick. Ten seventeen.

I shove my hands into my pockets. All I want is to get home to you.

Pop. The farthest light dies at the north end of the platform.

Tick. Ten eighteen.

Can I smell cinnamon? My insides ache for a hot drink, but the Costa closed hours ago. Damn.

The cinnamon lingers. I imagine my fingers wrapped around a glass of mulled wine, spicy and warm. In my mind I see you sip yours and smile. Your hair is haloed briefly in candle light.

I miss you so much.

Tick. Ten nineteen.

Pop. Another overhead flickers and dies.

Pop. Another.

Cascade failure. The darkness creeps towards me light by light.

Pop. Pop. Pop.

The overheads on the opposite platform succumb. How long before they all go?

Tick. Ten twenty.

I wish I was home already, my arms round your waist, breathing in the scent of your hair.

Tick. Ten twenty-one.

A boot sole scuffs on concrete. I turn. A stooped figure shuffles on to the platform from the car park gate and stands, leaning on a cane, wheezing.

“Train’s late.” My attempt at conversation falls flat.

Pop. The overhead at the south end of the platform fails.

Pop. The next one.


Now I’m standing in the last pool of light.

Tick. Ten twenty-two.

“Do you think we’ve missed it?” I ask.

The stranger laughs. It sounds like a death rattle.

Far along the track I see a pinpoint of light. I grin, flushed with relief. I’ll be home soon.


I can’t wait.

The light grows bigger.

And bigger.

In a billow of steam the train pulls into the station. It makes no sound. A single door in front of me opens and a sickly yellow light spills out. I step forward at the same time as the old man.

He turns. I see his face. His skin is parchment over bone, his eyes empty sockets. A single maggot wriggles from the cavity that was his nose.

I gulp and step back. “After you, sir.”

He hobbles aboard and beckons.

I don’t think so.

Another desiccated face stares out from the carriage window. It’s you. A tear rolls down your cheek.

A whistle blows. I hear a faint, “All aboard.”

Heart pounding, I hesitate for too long. The door slams in my face and the silent train pulls away. The overhead lights bloom again, yellow as chrysanthemums.

It’s a freezing cold station on Christmas Eve. The platform is deserted, the ticket hall closed, the waiting room padlocked. My breath puffs clouds into the air in the flickering glare from the overhead light.

Stations are all the same. I feel as though I’ve been here a thousand times before.

I glance at the clock. Ten-fifteen. The last train is due at any moment.

AA Steam train night 2


Copyright: Jacey Bedford
First printed in Grievous Angel, 2015.

jacey-novacon-2012-300pxsquJacey Bedford is a British writer, published by DAW in the USA. She writes science fiction and fantasy. Her Psi-Tech space opera trilogy consists of Empire of Dust, Crossways, and Nimbus. Her historical fantasy trilogy comprises Winterwood and Silverwolf, and Rowankind. Her short stories have appeared in anthologies and magazines on both sides of the Atlantic, and have been translated into an odd assortment of languages including Estonian, Galician and Polish. She’s been a folk singer with vocal trio, Artisan, and her claim to fame is singing live on BBC Radio4 accompanied by the Doctor (Who?) playing spoons.

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Riding (and Writing) the Frontier by Laura Anne Gilman

Research – good, solid, grounding research -is essential for any book, but doubly so for a historical fantasy – and thrice that when you’re using extant and still in-use locations for your setting!

Silver-comp-1j-264x400The Devil’s West books are set in the American West, the land that in our timeline was the Louisiana Purchase.  I’d taken a major on American social and political history in college, so the bones of What If were already set: what if our exploration into the West had gone differently?  What if, instead of a Gold Rush and a Land Rush, instead of Manifest Destiny, we’d been forced to slow down, to consider the territory west of the Mississippi a sovereign land, to be wooed and negotiated with rather than colonized?  What if magic resisted “civilization?”

But writing about the Territory brought up a significant problem:  North America is vast.  The continental US alone is nearly 2 million acres, over 4,500 kilometers from one coast to the other, and wildly varied in geology, geography, flora and fauna.

But the magic of the Territory is entirely tied into the land, the adventures Isobel and Gabriel face intrinsically tied to the geography they are riding.  To create a new mythology, one believable to people who lived there, Known History and facts wouldn’t be enough, and neither would imagination. I had to get it right.

And that meant a Research Road Trip.


I’ve done these before – normally this involves visiting a lot of museums and old buildings, adding texture to the readings I’d done beforehand.  Visceral, but also very methodical, done with a specific goal in mind.  But in 1801 – the time period of these books – humans rested lightly here, and very little remains for the public to see, and its appearance now, tamed to agriculture and urban living, wasn’t what I was looking for.

But while America-the-nation is young, the land itself is not, and it remembers.  I avoided cities entirely, staying in small towns that were barely dots on the map, taking older roads where occasionally we were the only car visible for miles.  And I looked, and I listened.

My research took me through Kansas, finding the restored grasslands and high plains, an undulating landscape that looks plain at first, but hide secrets in its soil, stories in the stones that protrude out of the ground, and were left reaching into the sky millennia after ancient oceans receded.

It took me through Wyoming, where hot springs and steam geysers rumbled underfoot, and the roads zig-zag through towering mountains and dangerous late-spring snows.  Seeing bison (buffalo) at a distressingly-close range, and grizzlies at a far greater but still unnerving distance. Watching as an elk doe watched me, aware that if she decided to charge me, I was toast.

And it took me to Louisiana, and the banks of the Mississippi, snake and croc-hosting marshes and swamps, under trees far older than the buildings around them, fertile soil that was flooding at the time, and soul-sucking humidity.

(okay, my personal bias may be showing with that last bit).

I put my hands in the soil, breathed the air, saw what the sky looked like when a storm blew in, and the sun set.  What the night sounded like, and how the rain smelled.  And I didn’t touch the manuscript, drafted and waiting, but let it sink into my skin.  It was a purely emotional experience, not an intellectual one.

And when I came home again, I poured all of that into the structures I’d already written.

Were the scenes I wrote after that different from the ones I’d drafted beforehand?  Emphatically, yes.  Having that emotional resonance pulled the landscape from world-building into character-development.

Road trips are physically exhausting, and even staying in cheap motels and eating PB&J by the side of the road, the costs add up.  But I think the payoff was well worth it.  10/10, would totally do again.


Laura Anne Gilman photoLaura Anne Gilman’s work has been hailed as “a true American myth being found” by NPR,  and praised for her “deft plotting and first-class characters” by Publishers Weekly.  She has won the Endeavor Award for THE COLD EYE, and been shortlisted for the Nebula Award, the Endeavor Award, and the Washington State Book Awards.   Her novels include the Locus-bestselling weird western series The Devil’s West, (SILVER ON THE ROAD, THE COLD EYE, and RED WATERS RISING), the long-running Cosa Nostradamus urban fantasy series, and the “Vineart War”  trilogy, as well as the story collections WEST WINDS’ FOOL and DARKLY HUMAN.   Her short fiction has recently appeared in Daily Science Fiction and THE UNDERWATER BALLROOM SOCIETY.  A former New Yorker, she currently lives outside of Seattle with two cats and many deadlines.  More information and updates can be found at www.lauraannegilman.net

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Book Recommendations

Just in time for Christmas here are some book recommendations from Milford committee members past and present. They are books that we’ve read this year (not necessarily books published this year). Contributors: Karen Brenchley, Jacey Bedford, David Gullen, Jim Anderson, and Sue Thomason.



Red Waters RisingLaura Anne Gilman : The Devil’s West trilogy: Silver on the Road, The Cold Eye, Red Waters Rising.
In this Old West tale, the Spanish Protectorate spreads up from the south and covers the land to the east of the Pacific, the United States holds the land west of the Atlantic, and in the middle is the Territory, known as the Devil’s West. In a saloon in the Territory, the Devil will give you what you ask for and take what you offer for trade, so be very careful what you ask for. Izzy, newly sixteen and released from her indenture, is ready for a change. Gabriel, a traveler interested in testing himself in the casino, has a problem he wants to solve. They each ask the Devil for what they want, and Isobel and Gabriel find themselves traveling the Road through the Territory on the Devil’s business. As they face challenges both physical and magical, for protection they have each other, silver, and the power of the Devil’s Hand to protect them.

I’m a bit of a snob about Weird West tales, since I grew up in the American West and have lived most of my adult life here, but Laura Anne Gilman gets it right. She has clearly done extensive research, including traveling through the areas where the story takes place. A refreshing and original trilogy, and recommend it for those looking for a different kind of magic.



Argumentation of HistoriansJodi Taylor: An Argumentation of Historians – Chronicles of St Mary’s #9
By implication I recommend the whole Chronicles of St Mary’s series. Does time travel make them science fiction, or are they pure fantasy? I don’t know and I don’t care, I love them. They are funny and serious at the same time. Quirky is probably the best descriptor. The staff of St Mary’s observe and record historical incidents as they happen thanks to their time travel pods. In one of the early novels Ms Taylor introduces the arch villain who attacks St. Marys historians up and down the timeline, in particular Max and by association, her loved ones. An Argumentation of Historians is an attention-grabbing read. There’s a quick trip to see Henry VIII fall off his horse in a tournament, and a trip to Persepolis, but Clive Ronan is still causing chaos, so Max and the time police set a trap for him. Well, it seems like a good idea, but when have Max’s good ideas ever worked? As a result, Max is dumped in the Medieval period and no one knows where she is. She knows where she is – in St Mary’s but about 600 years in the past. She has to learn to live there and to make a new life for herself because she doubts she’ll ever get home again. She’s desperately missing Leon, but there’s someone in 1399 who can offer her protection. She knows Leon would be the first to tell her to find a way to survive, even if that means marrying. We’ve known for a while that there was a traitor at St Mary’s feeding Ronan information. At last we find out who. Jodi Taylor is on my buy-on-sight list, so this is a must-read for me. Highly recommended.

Green Man's HeirJuliet McKenna: The Green Man’s Heir
One of my favourite books so far this year, this is a modern fantasy, rural rather than urban. Dan works with wood, moving from place to place so he doesn’t get too close to anyone. A century ago, a person with a secret could simply move to the other end of the country and take up a new identity, but nowadays with CCTV and social media, it’s not so easy. Dan has a big secret. His mother is a Dryad and that makes Dan… different. When a young woman is murdered and left in Derbyshire woodland, Dan realises that the culprit is from his world. She’s not the first. The police are never going to find the serial killer, so it’s up to Dan. Dan is a great character, always trying to avoid that attention of the local police, but rarely managing it. He’s a big lad with powerful fists and usually at the top of the list when the Law comes around asking questions. There’s a wealth of British folklore in here, and a damn good story. This book is getting a lot of attention, so I do hope Juliet McKenna makes this the first in a series. I’d love to read more.

MarkedBenedict Jacka: Marked – Alex Verus #9
Another installment in a long-running (ongoing) series. I have every respect for Mr Jacka. Sustaining this length of series is a marvelous achievement, especially to keep characters developing. This time Alex is sitting on the Junior Council (as a Dark Mage) in Morden’s place while Morden is in jail awaiting trial/punishment for magical crimes committed in the previous book. No one quite knows what Morden is up to. It’s certainly not like him to sit back and wait to be executed, but whatever it is has left Alex once more in the deep brown stuff. It seems that half the council wants him dead and the others are only keeping him around because he’s being useful, reclaiming some of the missing imbued items that were stolen in Book #8. Assassination attempts are a regular occurrence. Alex is beginning to realise that if he’s going to protect his friends he needs to a) play the council game and b) acquire more power. Is he beginning to want power for power’s sake? Are there elements of Dark Magery he’s gravitating towards? Dark is not necessarily evil… but there’s a fine line between the two. Alex is also finally admitting to himself what we’ve known for several books… his feelings for Anne. About time Mr. Verus. These books are a buy on sight for me. My only problem is that now I’ve caught up with the latest, I have to wait for #10. Highly recommended, but start at the beginning with Book #1.

FoundrysideRobert Jackson Bennett: Foundryside – Founders #1
Sancia Grado is a young thief who escaped slavery and now scratches a living in the Commons of Foundryside, the squalid shanty town that’s grown up in Tevanne between and around the campos where the four leading merchant houses exist in their own comfortable enclaves, thanks to their wealth and their magic/technology – scriving. Scrived objects are created with industrialised magical inscriptions. They power everything: carriages that move without horses, ambient flying rigs, and weapons that are powerful enough to shoot a bolt through metal. Sancia has a talent. She can hear the chattering and murmuring of scrived objects and by touch can learn the nature of whatever she touches. She saves this for inert objects. Touching another human is frequently too painful. When her usual fence offers her a job that will pay a small fortune, the fee is simply too tempting to apply her normal caution. She steals an ancient artefact, which has some very peculiar properties, but before she can deliver it and get paid, people start to die. From then on she’s trying to get out of the resulting scrape, but she can’t do it alone. The pace is lively, the characters interesting and the magic system complex (and occasionally boggling). This is the first in a new series.



Hannah SmithMichael Marshall Smith : Hannah Green and Her Unfeasibly Mundane Existence
I loved MMS’s early work and his ‘Straw Dogs’ series, then lost contact with his work. This turned out to be a great place to resume. Hannah Green is a clever, funny, supernatural adventure about time, the Devil, and bad people doing bad things. Laugh out loud moments, an easy style, and strange and dangerous encounters. A perfect winter night read.



Nine Lives

William Dalrymple : Nine Lives
Dalrymple is my favourite travel writer/historian at the moment, and this is one of his best books. Subtitled ‘In Search of the Sacred in Modern India’, WD helps us understand what it is to be a Jain nun, a Budhist monk, a story-teller, A Sufi, and more. Some of these ways of life endure, some, like a 25th generation statue-maker and last in his line, he catches at the very end of their times. Dalrymple writes with a transparent style, filled with warmth. Not many travel writers can make you cry.



Kingdoms of ElfinSylvia Townsend Warner: Kingdoms of Elfin
Back in print after forty years, this fine collection of stories from the courts of Elfindom are lyrical, witty, cruel, and charming. As anyone who truly understand the fey knows, they might not be nice, but they can be funny. Essential and pleasurable reading for anyone who enjoys gently grotesque stories.






Embers of WarGareth Powell: Embers of War
I’ve not done a lot of reading this year. Day job and life and the complications thereof, and yes despite it all, I do love the day job. But even with all this, there is a recommendation I would love to make. This book. This is the book. If you read one book, then this is the book to read I would love to make that recommendation about Moby Dick, and I’d be happy to write that about Moby Dick. As much as I love the book, I’m aware that it’s not to everyone’s taste (though it should be). But more importantly, it’s not a book I’ve read it 2018. Though it is on the list for 2019, because the cycle has turned and it’s time.

As it turns out, I have read a book for which I would be happy to make that recommendation. Embers of War by Gareth Powell. It’s hard to recommend one book among all the books, because there are so many great books. But more than once, I scared the cats by how I reacted to the exploits of Trouble Dog, though decorum demands that I say nothing more than that.  I don’t want to give hints and I don’t want to give spoilers. All I want to say is, go out. Read this book. Enjoy this book. Delight in this book. Go.



ProvenanceAnne Leckie: Provenance
Ingray Aughskold is a young woman of good family, inexperienced, bright, terrified of being found incompetent, and with a tendency to burst into tears when things go unexpectedly wrong. Which they do. I liked her the moment I met her, and the more I found out about her, the more my liking grew. Her society values “vestiges”, artefacts that have been the dumb witness to great events; this is a story about how our Stuff tells us who we are, how we make and experience Value and Tradition, and what “authenticity” means. A bitingly perceptive story told with empathy and warmth.


China Mountain ZhangMaureen F. McHugh: China Mountain Zhang
Favourite Missed Classic of 2018; how did I miss this one first time round? Zhang, the eponymous protagonist, is a young engineer, in a socialist-republic USA which is economically and culturally subordinate to China. Zhang is both gay (officially disapproved of) and genetically modified (also officially disapproved of), and he’s trying to have a life – a nice, happy, fulfilled life, that doesn’t come at too great a cost to himself or his friends… I love this one because Zhang is an engaging character, the setting is audacious and well-realised, and because the story is witty and imaginative while insisting that actions have consequences – seen and unforeseen.

Watchmaker Filigree StNatasha Pulley: The Watchmaker of Filigree Street
I think this is probably steampunk. Main characters are Keita Mori, a Japanese master-craftsman in clockwork who is able to see probabilities (and is therefore able to act, sometimes, to nudge particular futures into being); Thaniel Steepleton, a pianist who sees sound in colour, working as a telegraph operator to support his widowed mother and her two younger children; Grace Carrow, inheritor of upper-class privilege and social restriction, a physicist who is on the track of a fundamental discovery about the nature of the luminiferous ether (which in this world evidently exists), and Katsu, a clockwork octopus who steals socks. A constantly, charmingly imaginative romance.

ArtemisAndy Weir: Artemis
The plot can be summed up by deploying words like “heist” and “caper”, it’s set on the Moon, there is engaging nerdy stuff about how to smelt aluminium in lunar conditions, but also has the best economic justification for a lunar colony I have ever come across. The protagonist, Jazz Bashara, is instantly likeable, and the plot, characters and setting all pay a certain homage to Heinlein.




Sea of RustRobert Cargill: Sea of Rust
Set on a future-Earth where AI has wiped out humanity, this is the first-person narrative of Brittle, a Caregiver bot searching the deserts of the American Midwest for spare parts to prolong her existence. Starts out like a classic Western, but the struggle to prolong existence turns into a search for meaning, with side orders of speculation on the nature of freedom and personal identity. So, good for both shoot-‘em-up lovers and philosophers.



Rise & fall of DODONeal Stephenson and Nicole Galland: The Rise and Fall of D.O.D.O.
This is… like Charles Stross, but kinder and funnier. The Department Of Diachronic Operations is a shadowy government entity whose mission is to use quantum science to go back in time and prevent the extinction of magic (said extinction having been caused by photographing a total eclipse of the sun). In other words, the plot is totally mad, but it works because there’s a lot of very good worldbuilding and logical extrapolation from the original premise. The characters are interesting and sympathetic, and the use of language is brilliant (apart from someone’s attempt at the Anglo-Irish of 1601). Tremendous fun.

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The Unexpected Sequel by Ben Jeapes

Originally posted on October 26, 2018 on Ben’s own blog http://www.benjeapes.com/index.php/2018/10/the-unexpected-sequel/

The short version: my novel The Xenocide Mission is re-released in print and on Kindle.

The longer bit: I am aware of the financial realities of publishing; I know that publishers like to know an author has more than one novel inside them, and that very often said novel will be a sequel. I am not averse to sequels or serieses (they are overlapping circles on a publishing Venn diagram). Without moving my head very far from where I sit, I can get the entirety of Lois McMaster Bujold’s Barrayar series staring back at me, and my life is richer for it.

But I have never set out to write a novel with the intention from the start of following it up. A very helpful early bit of writing advice was that a novel should be about the most exciting thing that has ever happened to the hero. I still stand by it, though I would add “up to that point of their life”. This doesn’t preclude writing a sequel, but it should certainly make you pause a little. Bujold managed it, by and large; Miles’s life gets more and more interesting as it goes on, and when she’s got as far as she can go, she shifts attention to other characters. Other writers’ heroes have followed a distinct bell curve of being interesting, but I couldn’t possibly name Orson Scott Card or any other offenders.

His Majesty's StarshipFor the 1994 Milford I took chapters of my space opera in progress, His Majesty’s Starship, which was very definitely planned as a standalone novel. I wrote it with an aim; that aim was achieved. Feedback was positive, helpful … and unexpected, in that when I explained the background plot (alien race wants help from the humans) an immediate reaction was: the aliens want us? With our history? Why? Can’t they do better? Milford does that – if you’ve got a blind spot, someone will spot it, never fear.

So, by the end of that crit session I had spontaneously generated a race of warlike aliens who had, for reasons no one including me quite understood, wiped out the native life on the next planet in their own solar system. Sooner or later they would discover faster-than-light travel and emerge into the galaxy as an active menace – so, for my friendly aliens, time was short.

That fixed the plot point, but what was I going to do with these aliens? They didn’t fit into the novel and I couldn’t possibly leave that point open. Fortunately, the same session made the criticism that my hero was a bit bland. He needed more background. He needed a family! An eighteen-year-old son Joel also generated spontaneously from the ether.

And these two things together, son + warlike aliens (with a smattering of inspiration from New Scientist), gave me enough material to write The Xenocide Mission, in which we learn exactly why the aliens did what they did. And yes, they did have their reasons.

I plotted a large chunk of The Xenocide Mission whilst staffing the company stand at the Frankfurt Book Fair, 1998. This had the advantage of looking a lot like actual work, and people who came up to me with work-based queries actually apologised for interrupting. Well, quite, art was happening. But I graciously answered their queries.

The Xenocide Mission did okay; it made it into Waterstones, which is more than His Majesty’s Starship ever managed. It paid off its advance, so, royalties. Early in the new century I got the chance to feel very futuristic and science fictiony when I was asked if I would like to include it in Random House’s fledgling ebook programme. I gaily signed away the rights, not noticing in those days of electronic infancy that there was no kind of reversion clause …

As of 2017 it was still in print, occasionally sending a trickle of pennies my way in royalties, more usually holding payment over until next time for not crossing the royalty threshold. Eventually I decided enough was enough and asked my agent to see if he could get the rights back. Random House promptly responded that it wasn’t out of print because it was available electronically and always would be … I pointed out that we knew it wasn’t OOP and were asking them to make it so, given that royalties were negligible and surely costing them more to administer than they got back. I also prepared a host of arguments exploiting ambiguities in the original contract and addendum, prepared to try and wear them down until they just gave in … And then, lo and behold, my superior logic worked and the rights reverted. Just like that.

So, here we are: The Xenocide Mission, lightly edited (but only lightly; by and large I take the Pontius Pilate approach to standing by what I have written) and available in print and Kindle.

Footnote 1: Two versions meant sending Amazon two copies of the rights reversion letter from Random House, proving that I was allowed to do this. In fact, for the print version it meant sending off several copies: I had to make changes to the typeset content and it seems that at every stage of the printing process, something triggers the Amazon protocol droids to ask again and yet again whether I have the rights.

Footnote 2: When I tried to launch Amazon advertising campaigns for both versions, they were declined as I was using a very generous quote provided by Al Reynolds for the original edition. This was not a verified customer review … I know the limits of my patience and I know how far anyone gets when arguing with the protocol droids, so I de-Reynoldsed the ads and they seem to have gone through. But here it is anyway:

“Anyone who missed Ben Jeapes’ first novel, His Majesty’s Starship, missed one of the best first contact books in a long while – a gripping, logical, original and fundamentally optimistic retake on one of SF’s richest themes. Brimming with humour and tension, The Xenocide Mission amply fulfils the promise of its predecessor.” – Alastair Reynolds.



Ben Jeapes took up writing in the mistaken belief that it would be easier than a real job (it isn’t). Hence, as well as being the author of 7 novels and co-author of many more, he has also been a journal editor, book publisher, and technical writer. His first Milford was at Margate in 1991, which shows (a) how far Milford has come in the past 26 years and (b) qualifies him as a Great Old One, in Milford terms at least. www.benjeapes.com

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Happy Book Day to Me by Jacey Bedford

Rowankind’s publication date has been shunted forward to 27th November which means it’s out NOW. Today, in fact! Happy Book Day to me.

You can buy it from that big store named after a South American river, or (depending on which side of the Atlantic you are on) from Barnes and Noble, or (in the UK) from specialist SF bookstores like Forbidden Planet. Due to contracts etc., it’s only available in electronic formats in North American territories, but the rest of the world can get the paperback as an American import.

Yes, I know, confusing isn’t it? I’m a Brit, living in Britain, but published by DAW, an American company. I can’t even buy a Kindle copy for myself. (Hey, six books published now, and I’m still learning about the publishing world as I stumble along its twisty pathways.)

Rowankind is the third and final book in the Rowankind trilogy which began with Winterwood and continued with Silverwolf.


Rowankind’s cover copy says:

The third book of the swashbuckling Rowankind trilogy follows privateer and witch Ross Tremayne as she navigates the magical world of alternate 19th-century Britain.

 What do you do with a feral wolf shapechanger who won’t face up to his responsibilities? How do you contain magical creatures accidentally loosed into Britain’s countryside? How do you convince a crew of barely-reformed pirates to go straight when there’s smuggling to be done? How do you find a lost notebook full of deadly spells while keeping out of the clutches of its former owner? How do you mediate between a mad king and the seven lords of the Fae?

 Ross and Corwen, she a witch and he a shapechanger, have several problems to solve but they all add up to the same thing. How do you make Britain safe for magic users?

I’ve really enjoyed writing the Rowankind trilogy. Ross and Corwen have become personal friends. It seems such a long time since I wrote the first draft of the opening chapter of Winterwood, which was then called (provisionally) The Elf Oak Box. Thankfully, my Milford critiquers talked me out of the original title. (I’m nototiously bad at titles.)

As edits and rewrites progress, books tend to morph from what’s in the first draft, but strangely enough, the opening chapter of Winterwood, changed very little from the opening that popped into my head. You can read the opening chapter of the trilogy here.

I checked back. It’s a decade ago since I first put Ross on the page and took her to Milford for the first time. I didn’t have a publisher then, so I wrote the first book as a stand-alone with the idea that I could write a sequel or sequels if I ever got the opportunity. At the end of Winterwood Ross and Corwen rode off into the sunset for their happy-ever-after, but I had an idea for the second book if I ever got the chance to write it. Sheila Gilbert, my editor at DAW, gave me that opportunity. (Thanks, Sheila!) So I followed the happy couple to their cosy cottage and stomped all over their happy-ever-after by giving them wider problems. I gave them the task of making Britain safe (or safer, at least) for all magic users. Though told from Ross’ point of view, Silverwolf was largely Corwen’s book. We got to meet his family and learned about his unhappy twin brother, Freddie, and his delightful sister, Lily. Rowankind brings the whole story together and answers the big questions. Hopefully it delivers a satisfactory conclusion.

So that’s another trilogy completed, so I’d better get on with the next book—apply my backside to the office chair and my fingers to the keyboard. Ready… steady… go!

6books 800 px

jacey-novacon-2012-300pxsquJacey Bedford is a British author published by DAW in the USA, and agented by Donald Maass of the Donald Maass Literary Agency. She writes science fiction and fantasy. Her Psi-Tech  SF trilogy  began with Empire of Dust and Crossways and concluded with Nimbus. You can find out more from her website at http://www.jaceybedford.co.uk, or her blog, Tales from the Typeface.

In another life she sang with a cappella trio Artisan from 1985 to 2005, playing gigs and festivals all over the UK, Canada, the USA (thirty-one North American tours) parts of Europe, Australia and even (once, briefly) Hong Kong. Along with her song-mates, Hilary Spencer and Brian Bedford, she’s made twelve CDs and a DVD, done reunion tours in 2010 and 2015/16. She keeps her connections to the music world by running a booking agency for folk and ‘world’ musicians.

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Everything You Didn’t Know to Ask About Milford by Anthony Francis

Are you interested in the Milford SF Writer’s Conference? A year ago, I definitely was! I was in the middle of the Taos Toolbox Writer’s Workshop and couldn’t get enough of its “Milford-Style Critique” – a collaborative process in which a dozen or so writers critique each other’s stories in a circle of peers. For each story, every attendee offers 2-3 minutes of commentary (timed) to which the writer listens (quietly), at which point they may respond, followed by open discussion.

VLUU P1200  / Samsung P1200

Milford Group 2018

Taos Toolbox tweaks this a little bit by having two experienced authors – Walter Jon Williams and Nancy Kress – moderate the critiques. They follow student critiques with free-form critiques of their own, giving the students a role model to follow. But I still wanted to be prepared, so I looked up what Milford-Style Critique was and how to do it constructively – and while I was doing my research, I was pleased to find that the Milford SF Writer’s Conference was still going after six decades!

It seemed everyone who was anyone had been through Milford – and not just the big names, but people that I in particular admired – Neil Gaiman, Harlan Ellison, Samuel Delany, Anne McCaffrey, and more. Milford is open to published science fiction and fantasy authors, and it turned out that there were slots open for 2018 – so I applied. And got in. But I was still intimidated. I mean, all these BIG NAMES had been there. It was a BIG DEAL! I knew I was taking writing workshops to improve my craft, but what kind of game did I need to bring to Milford to effectively contribute?

I was so intimidated I didn’t know what to ask. Now that I’ve been to Milford, I know what to ask, or can at least attempt to pretend that I do for the length of a blogpost. So, without further ado, here’s what I wished I’d known about Milford.

Believe in yourself. If you are a published science fiction author, there’s no better time than the present to sign up for a workshop like Taos or Milford. If you’re not yet published, there are many other workshops like Clarion or Viable Paradise which can help you up your game.  The longer you wait, the longer it will take you to get the feedback you need to become a better author than you already are. All you really need to bring to Milford is a completed story and a constructive attitude.

Relax. Yes, your favorite authors may have been to Milford, and it’s been running for more than half a century, but each year is new, and each year is a gathering of peers. Of course, Milford has a committee that guides it, and a staff that prepares for it, and a moderator that keeps everything running – but ultimately, the workshop succeeds because every author there is there not just to improve their work, but to help their fellow authors improve their work as well. You’ll see stories from first finished draft to hashtag #shipit, and your story will just add to the mix.

Prepare. If at all possible, attempt to not have any major work, academic or personal deadlines fall on you immediately prior to the conference. Milford involves reading approximately ~150,000 words of fiction from fourteen or so other authors. The sooner you get your story to them, the sooner they can critique it; the sooner that you read and critique all the other stories, the sooner you can take long walks in the countryside and/or join your fellow authors for drinks in the library.


On critiquing. Personally, I read a story once to gauge its impact, and then read it a second time to mark it up for critique. If I don’t ‘get it’, I read it a third time. Then I fill out a page or two of summary notes.  Writing is an exercise in ego – you’re creating a pocket universe, after all – so I always start my critique with something positive about a story. I guarantee you, even in the story you like the least, the author did SOMETHING right! Then I list the issues I found – with the story, not the author. I try when I remember to say “the story didn’t do X” rather than “you didn’t do X” because critique is about improving the text, not insulting the author – and who knows, you may be mistaken. Even if you think the story is awesome as is, try to list the best parts of the story so the author will know what you liked – you don’t want them to accidentally change those things based on other feedback! Finally, many people send out detailed critique documents after the conference. Hopefully, I’ll get to that soon – after my twelfth anniversary vacation is over.

The moment of. Unlike Taos, which has instructions and critique mixed with each other, Milford has free mornings; the actual critique starts at 2, after lunch. The running order for critique is sent out before the conference, and there are roughly four each day, depending on how many stories everyone submitted. Each critique session goes roughly for an hour, starting with (as much as possible) someone who hasn’t started yet. Remember: breathe, be constructive in your comments, let everyone speak first if you’re the one being critiqued, and, if you feel the critique of your story was particularly harsh, chocolates are always provided.

Learn from all of it! The best part of Milford is not the critique of your story, but the chance to hear many different critiques of other stories you’ve read – stories you are not personally invested in. You’ll agree with some critiques and disagree with others, but more importantly, people will see things that you did not and suggest modes of improvement you’ve never tried. Pay close attention to that, and, if you can, take some of it with you as tools and principles to use in the future.

Milford is both English and global. Well, English-Welsh-Scottish-Irish, but, since Milford is in the UK, there’s a strong contingent of authors who come to Milford again and again, or who know each other from UK conferences during the year. That means that there’s no shortage of people who know the ropes to lend a helping hand – but never fear, there will be a lot of writers from all over the world there as well, so you will get exposure to a lot of stories and a lot of different perspectives.

Nantlle Valley smWales is far. The site of the conference is Trigonos, a beautiful educational center near Mount Snowdon in Wales. Trigonos has fields and streams and paths and sits on the shore of a lake, but while it is awesome, it is not really a hotel: there’s no room service and no real on-site laundry. (Awesome meals are served promptly on the clock – breakfast at eight, tea at eleven, lunch at one, cake-o-clock at four, and dinner at seven; be sure to alert them to your dietary requirements). Plan ahead: Trigonos is also a four-hour train ride from London, with multiple hops and a taxi required to complete the journey. Stock up: while your fellow authors with cars will be willing to take you, the nearest big-box grocery stores are 20-30 minutes away. Oh, and the weather is variable, so bring layers and an umbrella. Even if it’s nice and sunny at Trigonos during the week, layers and an umbrella will be useful on the last “free” day when groups of writers go visit castles or the countryside – because that’s when Wales likes to “reassert itself.”

That’s about it! There’s more to tell about Milford, but you can figure it out on your own. Just write your stories, get them published, and once you have – or if you have already – call the friendly people at Milford up and apply. You’ll learn a lot, make great friends, and have wonderful experiences; you definitely won’t regret it!

Anthony FrancisAnthony Francis studies human and other minds to help design intelligent machines and emotional robots. By day, he works at the Search Engine That Starts With A G, and by night he writes science fiction and draws comic books. He has very kindly offered to subsidise two places at Milford for the Writers of Colour bursary scheme. Thank you, Anthony.

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