How I Would Vote Now: 1980 Hugo Awards (Best Novel)

The Nominees

The Fountains of Paradise by Arthur C. Clarke

On Wings of Song by Thomas M. Disch

Harpist in the Wind by Patricia A. McKillip

Jem by Frederik Pohl

Titan by John Varley

The Actual Results

  1. The Fountains of Paradise by Arthur C. Clarke
  2. Titan by John Varley
  3. Jem by Frederik Pohl
  4. Harpist in the Wind by Patricia A. McKillip
  5. On Wings of Song by Thomas M. Disch

How I Would Have Voted

(Abstain)

Explanation

I didn’t like any of the books this year, though none of them were particularly objectionable or bad (at least, not of the ones I read). The Fountains of Paradise just didn’t hold my interest, and I got bored and put it down. As for Harpist in the Wind, I never got to it because I ended up DNFing the first book in the trilogy, The Quest of the Riddle-Master. I wanted to like it, but I was just totally lost, especially when some of the characters were dead… maybe? Or maybe it was a dream? McKillip is clearly a beautiful writer, but writing a clear and engaging plot is clearly not her strength.

As for the other three, I screened them for objectionable content with AI, and based on that, I chose not to read them. I’ve found that I have to do this with all the Hugo Award nominees because some of the books are just way beyond the pale. On Wings of Song is apparently about a 14 year old child’s supernatural sexual awakening. Titan is apparently about a bunch of libertine, pansexual astronauts on a starship making first contact (in more ways than one) and spreading free love across the galaxy. Jem is apparently about the evils of colonialism and capitalism in a world where Malthus was right and Thomas Sowell is wrong (and you thought Ayn Rand’s preaching was bad).

1980 was the tail end of the New Wave, when science fiction went totally woke before “woke” was even a thing. But by this point, the movement was already starting to feel tired. It wasn’t until the mid-80s that a lot of these toxic ideologies were in full retreat, making room for some truly great books like Ender’s Game and Hyperion. At the same time, because the movement was already starting to burn itself out, none of these New Wave books is particularly terrible. Just more of the same tired thing.

April Reading Recap

Books That I Finished

Trouble Shooter by Louis L’Amour

The Irrational Decision by Benjamin Recht

On Writing & Failure by Stephen Marche

The Coming Wave by Mustafa Suleyman

The Fellowship of the Rings by J.R.R. Tolkien

The Seven Mountains Mandate by Matthew Boedy

Rivers West by Louis L’Amour

Anna Karenina by Leo Tolstoy

Moroni’s America by Jonathan Neville

The AI-Driven Leader by Geoff Woods

The Lost Gems of Genesis by Jonah R. Barnes

Twelve Months by Jim Butcher

The Man From the Broken Hills by Louis L’Amour

Books That I DNFed

  • The Riddle-Master of Hed by Patricia A. McKillip
  • The Anatomy of Genres by John Truby
  • Boneshaker by Cherie Priest
  • Strata by Laura Poppick
  • Salt Lakes by Caroline Tracey
  • Blindsight by Peter Watts

Captive of the Falconstar is complete!

I just finished it this morning. The final draft clocks in at twelve chapters, 63 scenes, and 64,372 words (or approximately 220 pages, though I still need to typeset it). I’ll send it off to my editor later today.

Next WIP(s): The Soulbond and the Sling and The Soulbond and the Lady.

Tim Pool destroys libertarianism

It’s been a while, but this discussion really blew me away when I first listened to it. The guest (and kudos to him for having a fair and honest debate) basically brought up all the typical libertarian talking points, and Tim Pool shredded all of them in a way that made my jaw hit the floor. The debate gets really interesting around 1:01:40.

Ruthless Female Competence in Queen of the Falconstar

What does it take for a woman to survive when every safe, familiar, and comfortable part of her life is stripped away? In Queen of the Falconstar, Zlata is not the strongest person in the room, the most powerful, or the most protected—but she is often the quickest to see the truth of a situation and adapt to it. Her story is about ruthless female competence: the kind of intelligence, self-control, ambition, and strategic courage that can turn captivity into opportunity.

Where the Idea Came From

The part of this story that excited me most from the beginning was Zlata herself. I wanted to write a heroine who was crafty, pragmatic, resourceful, slightly pessimistic, and above all realistic—someone who accepts the world as it is, even when that world is ugly, and prepares herself to deal with it accordingly. She is ruthless when she needs to be, but not because she enjoys cruelty. Her ruthlessness comes from clarity: she sees what is happening, measures the danger, and does what she believes must be done. That made her a fascinating character to follow into a story full of slavery, sex, power, polygamy, captivity, and survival—dark material that I struggled for years to handle tastefully, but couldn’t quite let go.

How Ruthless Female Competence Shapes the Story

At the beginning of Queen of the Falconstar, Zlata is trapped in a small, stagnant world where competence is useful but unrewarded. On Graznav Station, she works under people who are lazy, complacent, or protected by patronage. She understands how fragile the station really is. She knows how to solve problems that other people ignore. But she has no real authority, no path upward, and no way to become the woman she knows she could be. Her frustration is not simply that she wants adventure; it is that she wants a life where competence matters.

That changes when the Valdamar star clan raids her home and carries her away captive. On the Falconstar, Zlata enters a brutal hierarchy where weakness can destroy you, but usefulness can raise you. She studies the ship, the clan, the customs, the politics, and the people around her. She learns when to submit, when to resist, when to speak, when to remain silent, and when to strike. Her rise from Zlata to Zenoba is not a simple empowerment fantasy. It is a dangerous transformation. She survives by making herself indispensable, but every step upward requires her to become harder, sharper, and more willing to play by the rules of a ruthless world.

That is why her relationship with Sonya is so important. Sonya reminds us what captivity costs emotionally, while Zlata shows what it takes to survive strategically. Zlata protects Sonya, but she also frightens her. She becomes powerful enough to save her friend, but also powerful enough to command her. By the end, Zlata has not merely escaped victimhood—she has become Lady Zenoba, Queen of the Falconstar. The victory is real, but it is not innocent. Her competence saves her life, earns her a place, and gives her power, but it also changes the way she sees herself and everyone around her.

What This Theme Says About Us

Ruthless female competence speaks to a deep human question: what do we do when the world does not reward goodness, innocence, or fairness? Some people break. Some people retreat into fantasy. Some people become cruel. But others learn to see clearly, act decisively, and carve out a place for themselves without waiting for permission. Zlata’s story does not pretend that power is clean or survival is simple. It asks whether a woman can become strong enough to rule without losing the part of herself that first made her worth following.

Why This Theme Matters to Me

Zlata mattered to me because she would not leave me alone. Even when I had doubts about the story, even when I trunked the project, even when the darker material made me question whether I could handle it the right way, I kept coming back to her. I loved the challenge of writing a woman who is not soft, sentimental, or conventionally heroic, but who is still deeply compelling because she sees reality and refuses to be crushed by it. In many ways, Queen of the Falconstar exists because I wanted to know what would happen if a woman like Zlata were thrown into one of the harshest societies I could imagine—and whether she would survive it, escape it, or learn how to rule it.

Where to Get the Book

Related Posts and Pages

Explore the series index for the Falconstar Trilogy.

Return to the book page for Queen of the Falconstar.

How I Would Vote Now: 2013 Hugo Awards (Best Novel)

The Nominees

Throne of the Crescent Moon by Saladin Ahmed

Captain Vorpatril’s Alliance by Lois McMaster Bujold

Blackout by Mira Grant

2312 by Kim Stanley Robinson

Redshirts by John Scalzi

The Actual Results

  1. Redshirts by John Scalzi
  2. Captain Vorpatril’s Alliance by Lois McMaster Bujold
  3. 2312 by Kim Stanley Robinson
  4. Throne of the Crescent Moon by Saladin Ahmed
  5. Blackout by Mira Grant

How I Would Have Voted

  1. Throne of the Crescent Moon by Saladin Ahmed

Explanation

None of the books this year were super woke or objectionable to me, so I wouldn’t put any of them below No Award. But the only one that I actually finished was Throne of the Crescent Moon, which I found to be an enjoyable debut fantasy novel. It’s got some flaws, but it makes up for that with heart, just like many good debut novels. It’s also got a real Islamic / Middle Eastern flair to it, which made it fun and unique. And while these days, there’s an association between Islamism and the Left (the “red-green alliance”), Throne of the Crescent Moon isn’t woke at all—which I suspect was one of the reasons it didn’t win.

I hope Saladin Ahmed writes a sequel to this book. The world is interesting, the characters are good people, and the first book is clearly setting things up for other books. But I’ve heard rumors that the reason Saladin hasn’t written the next book yet is because the whole Hugo Awards process was such an emotional rollercoaster that it burned him out and killed his desire to go through all that again. Plus, when you experience a surprising degree of success too early in your career, there’s a danger that the pressure to perform will kill your subsequent efforts. Which is too bad, because I definitely want to read the next book!

As for the other books this year, none of them were all that great. I DNFed Mira Grant’s Newsflesh series with the first book, so I didn’t bother reading Blackout. Redshirts is basically a space opera retelling of Rosencrantz and Guildenstern are Dead, which I thoroughly hated (not to mention, I haven’t liked anything Scalzi has written since Old Man’s War, for reasons I’ve explained previously). And 2312 was more of a hard SF slice-of-life novel about all the wonderful things Kim Stanley Robinson would like us to build as we expand humanity’s presence across the Solar System—all with the correct neoliberal politics, of course. A little too heavy on the vision, and a little too weak on the plot.

I wanted to like Captain Vorpatril’s Alliance, and I’ve enjoyed most (if not all) of the other Vorkosigan novels by Bujold… but after the first few chapters, I just started to feel as if the series has run too long for me. One of the biggest obstacles to reading the Vorkosigan Saga has been figuring out a proper reading order, since the chronologically first few books have virtually none of the important recurring characters, and every other book seems to refer to the events of half a dozen other previous books, sometimes including books that haven’t been written yet. And trying to read them in publication order doesn’t help either, since Bujold tends to jump all over the place in her own timeline. But in general, I think all the best books are the ones she wrote earlier, because the later-written books are mostly just about the feelings and relationships of the side characters in the series.

When I was a younger writer, I thought it would be wonderful to have a career like Bujolds, with a popular long-running, open-ended series that I could add new books to as the muse tended to strike me. But now, I tend to think that every good series has a definitive arc, with a beginning and an end. I might end up eating these words, of course, especially if one of my series becomes popular enough that that’s all my readers want to read more of. But I would rather have multiple popular series, each with a distinct arc, than one never-ending series where the later books just don’t quite measure up to the first ones.

Is Queen of the Falconstar for You?

Queen of the Falconstar is a character-driven space opera about captivity, survival, ambition, and the dangerous opportunities that can open when your old life is stripped away. If you like science fiction that combines starships and interstellar raiders with sharp psychological conflict, high-stakes power struggles, and a heroine who refuses to stay powerless, this book may be for you.

What Kind of Reader Will Love This Book?

If you love…

  • space opera with frontier-colony danger, raiders, and starfaring clan politics
  • character-driven science fiction about survival, adaptation, and rising through a hostile system
  • intelligent, pragmatic heroines who think their way through impossible situations
  • morally complicated stories where safety, loyalty, love, and ambition collide
  • tense emotional dynamics involving captivity, power imbalance, and hard choices

…then Queen of the Falconstar is probably your kind of story.

What You’ll Find Inside

At the center of the story is Zlata, a restless young woman trapped in a dead-end life on an isolated mining station, who is suddenly carried away captive when raiders attack her home. What follows is a tense emotional journey through fear, culture shock, survival, and ruthless self-reinvention, as she realizes that if she wants any future at all, she will have to make herself indispensable. The tone is intense, intimate, and often morally thorny, with a style that is fast-moving, psychologically focused, and grounded more in strategy, character tension, and social maneuvering than in large-scale battlefield spectacle.

What Makes It Different

Fans of space opera will recognize the appeal of starships, frontier colonies, and interstellar conflict, but Queen of the Falconstar takes those elements in a more intimate and socially dangerous direction. Where many science fiction adventure stories focus on external missions or military campaigns, this one leans into captivity, hierarchy, cultural assimilation, and the question of how much of yourself you can surrender without losing your soul. It also stands apart through Zlata herself: she is not a conventional idealist or rebel, but a pragmatic realist whose strength comes from clear-eyed adaptation. The result is a space opera that feels personal, volatile, and psychologically charged.

What You Won’t Find

You won’t find a lighthearted or clean-edged adventure here. This book deals with slavery, sexual threat, coercive power structures, and polygamy-adjacent marriage politics, though it aims to handle those elements seriously rather than gratuitously. You also won’t find a simple good-versus-evil story, since much of the tension comes from navigating a brutal world where survival often depends on morally compromised choices.

Why I Think You Might Love It

This story mattered to me because I could never quite let it go. Zlata especially stayed with me: she’s crafty, pragmatic, resourceful, slightly pessimistic, and ruthless when she needs to be, but she’s also trying to face reality as it is and survive it on purpose. I think this book will connect most strongly with readers who are drawn to stories about what a person becomes under pressure, and about the strange, dangerous line between being conquered and choosing to rise.

Where to Get the Book

Related Posts and Pages

Explore the series index for the Falconstar Trilogy.

Return to the book page for Queen of the Falconstar.

Sorry

Wow, it’s been a while since I posted to this blog. I was just about to get back in the saddle, after finishing the rough human draft of Captive of the Falconstar, but then things got a little crazy and I dropped the ball.

What happened? Well, I got into a minor accident where I bent the family car’s door out of shape, and that took about a week and $1500ish to solve. Our 6 month-old also came down with croup (again) and an ear infection, so that wasn’t fun—he’s much better now, though, fortunately. Classes ended for my wife, and now she has to grade a bazillion papers. And finally, we had taxes, which were so complicated this year that we found the limit of what Free Fillable Forms can and can’t do. So that was crazy.

On the writing end of things, I tried and failed to juggle four different projects at the same time, so that threw things off a ton. So instead of trying to keep that up, I decided to focus on Captive of the Falconstar and all the prewriting/outlining for The People of the Last Harvest. Both of those projects went really well, actually, and I’m back at a place where I think I can start doing some token work on the other two WIPs as well.

Basically, the plan is to cut the daily workload for Captive in half, and put off Last Harvest until Captive is done and off to the editor. At that point, I’ll turn my focus to The Soulbond and the Sling and The Soulbond and the Lady. Until then, I’ll just do token work on those two—just the minimum amount to keep my writing skills warm enough that I can hit the ground running once Captive is well and truly done.

I guess I just thought I could do all the revisions and polishing work for Captive of the Falconstar in two short weeks. I’ve done it before, for some of the Sea Mage Cycle books, but those were super short and I also didn’t have nearly as much family stuff going on at the time.

So yeah, underestimating the workload was probably what led to crashing out. But I’ve got a much better handle on it now, and I think I can finish Captive before the end of the month, even while doing token work on the other WIPs. And I also need to catch up on some publishing things, like writing and sending out another author newsletter, but that shouldn’t be too difficult. Just an hour a day should catch up with that in about a week.

As a side note, I am SUPER excited to work on The People of the Last Harvest. I’ve got all the Sudowrite fields filled out (except the outline, which won’t take long), so now all I have to do is go through and write the scene prompts to generate each chapter. Once I’ve got a rough AI draft, I plan to run it through a bunch of the Author Media Patrol Toolbox tools, like the Zeitgeist Vibe Checker, the Not A Developmental Editor, and the Roast Engine to figure out which changes to make. With that, I’ll go through and make the necessary changes to generate a better AI draft, and go from there.

Also, I should probably mention that I’m planning to attend the 2027 Novel Marketing Conference in Austin this coming January. Just bought the tickets for that. And of course, I’ll be at Writers Cantina in July, as a panelist.

The kids are screaming, so I’d better go check on that and make sure my wife isn’t too overwhelmed. Take care! I’ll start posting regularly again next week, probably.