Monday, October 31, 2016


“Five Reasons Why You Should Judge a Book by its Cover”
In this post, I want to cover some reasons why book covers are so vital to selling books to readers, whether the books are print or ebook.  We all judge books by their covers…because we have to, for some very good reasons I’ll enumerate.

1.     A well-designed book cover represents the story in a condensed form.  It encapsulates and projects the essence of a story in a way that you can take in instantly.  Here’s a cover I used once for my horror story Root Magic (available at Smashwords.com, by the way)….
 
 

Not the greatest cover ever invented, to be sure, but remember, it’s a horror story.  The cover has a gloomy swamp, a skull, blood-red type and some odd voodoo talismans.  Probably too much detail but the elements are there.  It’s supposed to evoke a mood of menace and mystery.

2.     A good book cover appeals to your emotions or evokes a feeling.  The cover should talk to your readers through typography, imagery and metaphor.  Using my cover above, what feelings are evoked when you look at it?  If I had done my homework right, you would be feeling a sinister presence right about now.  Swamps are always scary places, where creepy things crawl out of the vines and grab you ankles.  Skulls evoke a sense of dread, even death.  Red type might make you think of blood and gore.

3.     A good book cover should grab your attention immediately, even subliminally. You’re intrigued.  Getting noticed in a crowded bazaar is a challenge for any author.  Whatever you can do to intrigue the browsing buyer is usually a good idea…it’ll make them take a look, maybe even a second look.  That’s what you want. 

4.     We’re already programmed by evolution to look for human faces and forms.  Not all covers have people on them, but many do, even most of them.  Why?  Because we instinctively respond to human faces and forms…even dead ones.

5.     The cover does something unexpected.  Like Salvador Dali.  I always think of Dali as the master of creepy art.  You look at one of his paintings and you find yourself saying, “No.  That just can’t be.”  We’re used to patterns and Dali was a master at taking a simple visual pattern, something we see all the time, and inserting some object or twist that immediately jars you.  You cock your head and rub your eyes, disbelieving.  A good book cover often has something of the same effect, hopefully not as creepy, but enough to make you look twice and study it. 

6.     A good book cover should also be visually pleasing.  Less is more.  Simple and minimal.  I have too many separate visual elements in my cover above, although I think your eye is naturally drawn to the skull.  Maybe just the swamp alone….

7.     Here are some more tips I found from Writer’s Digest…

10 Tips for Effective Book Covers

By: dmatriccino | February 17, 2011
 
As more authors opt for independent publishing routes, I’m getting more questions about secrets to good book design, production, and layout.

Here are the 10 biggest things I learned about book cover design.

Remember: Most people in book publishing believe that a cover is a book’s No. 1 marketing tool.

1.     The title should be big and easy to read. This is more important than ever. (Many people will first encounter your cover on a screen, not on a shelf.) This is such a well-worn cliche of cover design that I have a designer friend with a Facebook photo album called “Make the Title Bigger.”

2.     Don’t forget to review a thumbnail image of the cover. Is the cover compelling at a small size? More people are buying books on a Kindle or mobile device, so you want the cover to read clearly no matter where it appears. You should also anticipate what the cover looks like in grayscale.

3.     Do not use any of the following fonts (anywhere!): Comic Sans or Papyrus. These fonts are only acceptable if you are writing a humor book, or intentionally attempting to create a design that publishing professionals will laugh at.

4.     No font explosions! (And avoid special styling.) Usually a cover should not use more than 2 fonts. Avoid the temptation to put words in caps, italics caps, outlined caps, etc. Do not “shape” the type either.

5.     Do not use your own artwork, or your children’s artwork, on the cover. There are a few rare exceptions to this, but let’s assume you are NOT one of them. It’s almost always a terrible idea.

6.     Do not use cheap clip art on your cover. I’m talking about the stuff that comes free with Microsoft Word or other cheap layout programs. Quality stock photography is OK. (iStockPhoto is one reliable source for quality images.)

7.     Do not stick an image inside a box on the cover. I call this the “T-shirt” design. It looks extremely amateurish.

8.     Avoid gradients. It’s especially game-over if you have a cover with a rainbow gradient.

9.     Avoid garish color combinations. Sometimes such covers are meant to catch people’s attention. Usually, it just makes your book look freakish.

10.  Finally: Don’t design your own cover. The only people who should consider designing their own covers are professional graphic designers—and even then, it’s not advisable.
 

Bonus tip: No sunrise photos, no sunset photos, no ocean photos, no fluffy clouds.

So there you have it: some ideas on book covers.  The next to post to The Word Shed comes on November 7.  We look at where all my crazy ideas come from.
See you then.
Phil B.

 

 

Monday, October 24, 2016


“Why We Like Stories: the Neurochemistry of Narrative”

In October 2014, neurobiologist Paul Zak wrote these words in a journal devoted to brain research:

 
As social creatures, we depend on others for our survival and happiness. A decade ago, my lab discovered that a neurochemical called oxytocin is a key “it’s safe to approach others” signal in the brain. Oxytocin is produced when we are trusted or shown a kindness, and it motivates cooperation with others. It does this by enhancing the sense of empathy, our ability to experience others’ emotions. Empathy is important for social creatures because it allows us to understand how others are likely to react to a situation, including those with whom we work.”
 

The truth is that oxytocin is one key reason for why humans are hard-wired to love and respond to stories.   Much of what Dr. Zak has found in his lab supports what writers and editors and readers have known for generations.  Tell a rip-roaring story full of action, involving sympathetic and believable characters and you’ll hook your audience for the duration.

 
Dr. Zak goes to report on neurobiological evidence that supports what we’ve all know about telling good stories….

 
“More recently my lab wondered if we could “hack” the oxytocin system to motivate people to engage in cooperative behaviors. To do this, we tested if narratives shot on video, rather than face-to-face interactions, would cause the brain to make oxytocin. By taking blood draws before and after the narrative, we found that character-driven stories do consistently cause oxytocin synthesis. Further, the amount of oxytocin released by the brain predicted how much people were willing to help others; for example, donating money to a charity associated with the narrative.

In subsequent studies we have been able to deepen our understanding of why stories motivate voluntary cooperation. (This research was given a boost when, with funding from the U.S. Department of Defense, we developed ways to measure oxytocin release noninvasively at up to one thousand times per second.) We discovered that, in order to motivate a desire to help others, a story must first sustain attention – a scarce resource in the brain – by developing tension during the narrative. If the story is able to create that tension then it is likely that attentive viewers/listeners will come to share the emotions of the characters in it, and after it ends, likely to continue mimicking the feelings and behaviors of those characters. This explains the feeling of dominance you have after James Bond saves the world, and your motivation to work out after watching the Spartans fight in (the movie) 300.”

 
Why does our brain love stories so much?  In an article from the Greater Good Science Center (University of California, Berkeley) in December 2013, Zak says this:

The first part of the answer is that as social creatures who regularly affiliate with strangers, stories are an effective way to transmit important information and values from one individual or community to the next. Stories that are personal and emotionally compelling engage more of the brain, and thus are better remembered, than simply stating a set of facts.

Think of this as the “car accident effect.” You don’t really want to see injured people, but you just have to sneak a peek as you drive by. Brain mechanisms engage saying there might be something valuable for you to learn, since car accidents are rarely seen by most of us but involve an activity we do daily. That is why you feel compelled to rubberneck.

To understand how this works in the brain, we have intensively studied brain response that watching (compelling video) produces. We have used this to build a predictive model that explains why after watching the video, about half of viewers donate to a charity. We want to know why some people respond to a story while others do not, and how to create highly engaging stories.

We discovered that there are two key aspects to an effective story. First, it must capture and hold our attention. The second thing an effective story does is “transport” us into the characters’ world.”

Grabbing and maintaining attention and building empathy for your characters are thus two critically important jobs that any storyteller has to complete.  There is now strong neural evidence to support this.  Let’s look at how these could best be done to work with your reader’s brain. 

According to Zak, one good way of grabbing and maintaining the reader’s attention is to continually ratchet up the tension in the story.  Use James Bond as an example.  Imagine Bond fighting with a villain on top of a speeding train.  We don’t know what’s going to happen…things fly past our eyes in a blur…our heart rates elevate…our palms become sweaty…will he survive that tunnel coming around the turn?  Will Bond beat the bad guy?  Zak’s lab has shown that such physiological responses are consistent and can be predicted depending on whether certain responses are provoked.

Zak adds, “We attend to this story because we intuitively understand that we, too, may have to face difficult tasks and we need to learn how to develop our own deep resolve. In the brain, maintaining attention produces signs of arousal: the heart and breathing speed up, stress hormones are released, and our focus is high.

Once a story has sustained our attention long enough, we may begin to emotionally resonate with story’s characters. Narratologists call this “transportation,” and you experience this when your palms sweat as James Bond trades blows with a villain on top of (that) speeding train.

Transportation is an amazing neural feat. We watch a flickering image that we know is fictional, but evolutionarily old parts of our brain simulate the emotions we intuit James Bond must be feeling. And we begin to feel those emotions, too.”

Building empathy for your characters is the second key to telling a good story that will make your readers sweat and pant. 

Zak describes the neural basis for building empathy… “Emotional simulation is the foundation for empathy and is particularly powerful for social creatures like humans because it allows us to rapidly forecast if people around us are angry or kind, dangerous or safe, friend or foe.

Such a neural mechanism keeps us safe but also allows us to rapidly form relationships with a wider set of members of our species than any other animal does. The ability to quickly form relationships allows humans to engage in the kinds of large-scale cooperation that builds massive bridges and sends humans into space. By knowing someone’s story—where they came from, what they do, and who you might know in common—relationships with strangers are formed.

We have identified oxytocin as the neurochemical responsible for empathy and narrative transportation. My lab pioneered the behavioral study of oxytocin and has proven that when the brain synthesizes oxytocin, people are more trustworthy, generous, charitable, and compassionate. I have dubbed oxytocin the “moral molecule,” and others call it the love hormone. What we know is that oxytocin makes us more sensitive to social cues around us. In many situations, social cues motivate us to engage to help others, particularly if the other person seems to need our help.

When people watch (a story) in the lab—and they both maintain attention to the story and release oxytocin—nearly all of these individuals donate a portion of their earnings from the experiment. They do this even though they don’t have to.

This is surprising since this payment is to compensate them for an hour of their time and two needle sticks in their arms to obtain blood from which we measure chemical changes that come from their brains.”

Empathy and attention…two critical aspects that every story needs to have, even non-fictional ones. 

We’re neuro-biologically wired to love stories and we particularly love those stories that command our attention and involve characters we can empathize with.  Not exactly news to discerning writers and readers but it’s nice to know that current research in Science can support this age-old dictum of storytelling.

The next post to the Word Shed will come on October 31, 2016.   And watch out for that tunnel up ahead!

See you then.

Phil B.

 

 

 

Monday, October 17, 2016


“Why I Write”
This post is the 50th upload to The Word Shed so I thought I would take a step back and be a little more reflective than usual.  The question of the title is one I don’t normally spend a lot of time thinking about but it does go to the very heart of why I engage in this crazy business at all. 

So why do I write?  I can think of at least 5 reasons.

1.     To scratch an itch.  I’m not sure how common this but many writers (as well as artists and musicians) exercise their art because they can’t not do it.  It’s like breathing, or eating.  I’m this way.  If I don’t write words on paper or a screen fairly often, I feel wrong.  Not ill, just that something’s missing.  Reading is like that for me as well.  At breakfast, I’ll read the nutrition contents of the cereal box, again and again.  There’s just something about processing thoughts in my mind and having them shoot out of my fingers to a keypad that is satisfying.  Maybe it’s some kind of innate storytelling sense.  Human beings are story beings.  We have been from the beginning (that could a blog post for another time).  I think we’re hardwired for stories.  And some of us are hardwired to tell stories.

2.     To entertain myself (and others).  At some level, every writer wants to entertain.  I write stories at least as much to entertain myself as to entertain others.  Think of kids and how they play.  They concoct scenarios and make believe things and places.  They immerse themselves in their make-believe worlds.  That’s exactly what I do.  Somehow, as adults this faculty of making believe is beaten out of us as we grow older.  But the hardwiring is still there and for some of us, it’s alive and active.  When I have an idea for a story, I am literally consumed by a desire to see how it turns out.  I write the story to find out what happens.  If other people are also entertained, so much the better.  I think many writers would admit to having a child’s curiosity about the world and what happens “if I do this.”  So do scientists and engineers, anyone who tinkers, in fact.  This basic curiosity about what happens next drives a lot of what we humans achieve.  I just happen to put my thoughts and findings down in story form.

3.     For recognition.  I have to be honest about this one.  We all want to be appreciated and recognized for our talents.  For some, like actors, the drive for applause and recognition may well be the main drive.  For musicians, it’s the sound of a pleasant sequence of notes.  For writers, the well-turned phrase or a sentence that makes you think and wonder: “Hmmm, maybe it could happen that way.”  Recognition is just a form of validation.  It’s a way of saying you’re doing something good and we appreciate what you’re doing.   It’s a pat on the head.

4.     To leave something behind.  My wife and I have no children, just a frighteningly smart Keeshond dog.  It’s a basic human impulse to leave something behind, whether it be a brood of good kids or just some good works.  In nature, we call this evolutionary impulse procreation.  Since I don’t have any kids to continue my name and family line, I want to leave the world aware that I was here by writing and selling stories.  Let’s face it, when death comes, it’s a bit of a downer.  We wonder if we ever made a difference.  I want to be remembered as a teller of good stories. 

5.     To make a statement.  Every writer has a point of view and a peculiar and personal way of seeing the world.  Some writers have a proverbial axe to grind, or an agenda.  Writers have a natural stage on which to make statements about love and life, politics and sports, religion and culture or whatever tickles their fancy.  Especially in fiction, just by the art of writing (choosing how to describe a character and his or her motivation), you’re making a statement.  And you may find a lot of people agreeing with you and saying something like, “You know, by God, he’s right!”   You can’t not write without expressing an opinion.  Journalistic objectivity is as likely as finding a unicorn in your shower.  Your very act of choosing one word over another is a form of opinion…an opinion that this is a better way to say something.  Some of us are just a little more explicit about this than others.
 

So there you have my explanation of why I write.  There are surely more reasons than this but these are the ones I could come up with. 
 

If you write anything, even blog posts or Facebook entries, let me know what motivates you to put words down.  Anger, disgust, some primal urge to beat the drums, whatever it is, I’d like to hear it.
 

The next post to The Word Shed comes on October 24, 2016.  Just because I’m so curious, I’ve been doing a little research into why we all like stories so much.  I’ll share some of what I’ve found next post.
 

See you October 24th.

 
Phil B.

 

 

Monday, October 10, 2016


Writing to a Schedule”

Every writer’s writing schedule is personal.  There are as many different schedules as there are writers.  In this post, I want to go over some aspects of making up a schedule that may help other writers or budding writers get over blank page fears or writer’s block in the future.

 
Normally, I write my daily output by page count.  Many writers use a word count to measure what they’re accomplished at the end of the day.  There are even writers who write in marathon spurts, going at it like they’re possessed until they pass out.  Set up a schedule from the start, something that doesn’t kill you after two days and something you can sustain for the length of time to write your work, however long it may be.  I write mostly novels, so I know I’ll be at it for months at a time.  Writing a novel is like the 1500-meter event in swimming.  It’s an endurance event.  Save your energy for the long  haul, if that’s what you’re writing.

 
I also outline extensively, something I’ve covered in these posts before.  I like to know from day to day where I am in the story and what’s coming next.  My outline allows me to see the big picture at all times and helps me keep track of where I am in the story.

Other writers like to let the words flow and make it all work together later in editing.  Do whatever works. 

 
I write 2 pages a day now.  That’s because I also work a full time job for an employer.  I will be retiring to write full time in August 2017.  At that time, I expect to up my daily page count to 3-5 pages.  That should take me about 2 hours and I’m worn out after that and need a break.  I print my newly written pages, mainly because I like the satisfaction of seeing the pages physically pile up. 
 

A major factor in keeping to a writing schedule is personal motivation. Unless you have a contract and a deadline, motivation is something every writer has to figure out for themselves.  Here are my tips for staying motivated:

 
a.     Write at the same time every day.  Make it part of your routine.  I’ve worked for 22 years at my current job and I’ve trained myself to do pages early so as to make time for my actual job. Then I often return to those same pages during the day to massage them.

b.     Spend time the night before with your outline (if you have one).  Go over what you want your main characters to say and do.  Think up a starting sentence or two.  Let your unconscious work on it.  Blank page-itis can be overcome by knowing how to start.  Just tell yourself you can do one good page.  Any writer can write one good page.  Often, once you start writing, you’ll find the juices start flowing.

c.     Cut out or wall off all distractions.  Be firm, even ruthless, about this.

d.     Have references ready at hand.  Have a good Internet connection.  I use Google a lot.

 
After doing all my daily pages, I re-read and edit several times.  Then I put it away for the day, or most of the day.  I spend the rest of the day on marketing, editing other stuff, researching, daydreaming, etc.

 
I like to already have a book cover before I start.  I look at it every day and it helps me get in the mood.  Also, one advantage of sticking to a daily schedule is to keep your mind (especially your unconscious mind) ‘in the story,’ always percolating with ideas and snippets of words for the story.

 
There are plenty of other ways to get in the mood:

 
a.     Re-read your  last several pages right before starting

b.     Put yourself in the shoes of your characters (what would I do when faced with the same situation?)

c.     Thumb through your notebooks of research every now and then (something may pop up).

d.     Do what you have to do to live in the imaginary world you’re creating.
 

This last piece of advice is very important: When the grind becomes unbearable, give yourself permission to take a day off.  Go to the bookstore.  Go shopping or walking or driving.  Groom the dog. As for me, I swim and workout regularly.  A lot of my ideas come as I do laps in the pool.  Do those things that mentally and emotionally re-charge you. 
 

Then get back to work, you slug.   What, you think that book’s going to write itself?

 
The next post to The Word Shed comes on October 17.

 
See you then.

 
Phil B.

Monday, October 3, 2016


“Excerpt from Johnny Winger and the Battle at Caloris Basin

Okay, sports fans, here’s the excerpt you’ve been waiting for…
 

Prologue
 

To strive with difficulties, and to conquer them, is the highest human felicity.

Samuel Johnson

 

Ford’s Creek, Colorado

March 20, 2155

2345 hours U.T.
 

The problem with being a swarm being, Johnny Winger figured, was that you couldn’t taste  hot dogs being grilled on a campfire.  And that sucked. 

He really didn’t know how he had gotten here.  He had a memory—did swarm beings even have memories?—there had been an endless field of waving, undulating plants, like a corn field, only it wasn’t corn.  When he looked closer, he could see that the corn was actually composed of trillions of tiny bots, a whole field of bots.  A whole planet of bots.  When he walked through the field, the bot-plants parted like corn stalks, but little poofs of them drifted up and he soon saw he had a rooster tail of dust behind them, identifying the path he had taken through the field.

Then he had come to a small lake, barely a hundred meters across.  There was a small white wooden footbridge across the center of the lake.  And, not unexpectedly, he saw a small whirlpool churning alongside of the bridge piling, right in the middle of a lake.

What else was there to do but jump into the whirlpool?  If this was a dream, that was the logical thing to do, wasn’t it?  So he jumped…

And wound up here.  ‘Here’ was actually a place of strong, good-feeling memories.  ‘Here’ was one of the good places.

It was the old fishing camp and cabin at Ford’s Creek, Colorado.  It had to be ’35, maybe ’36.  His Dad, Jamison Winger, had often brought him here for long weekends in the summer and fall.  Trout and bass and all that cold running water that burbled down out of the Rockies made Ford’s Creek a special place.

He knew this place.

Now he was inside the cabin.  It was late, well after midnight.  He was supposed to be in bed, in the top bunk, of course, with his brother Brad and neighbor Archie below.  There were others in the bedroom too, but he didn’t know them and they were sound asleep anyway. 

Somehow, like a well-rehearsed routine, he knew what he was going to do before he even did it.  Trains ran on tracks and memories followed tracks too. 

Johnny shimmied quietly down the ladder from the top bunk and padded across the hard wooden floor to the bedroom door.  He cracked it open, crept out into a darkened hall and made his way toward the living room up front.  There were voices there and some laughing and chuckling.  Cards were being dealt.  It was the grownups and their poker game again.

Johnny stopped at the end of the hall and peered around the corner.

A fire guttered in the chimney, mostly smoke, but no one paid any attention.  A small rickety table was set up next to the fire.  Chairs had been pushed aside to make room for the table.  There were cans and paper sacks strewn across the floor.

Someone burped real loud and Johnny had to stifle his own laugh.

Grownups, really--

Five men were playing poker around the table.  One was his Dad, tall, fringe of gray hair around a mostly bald top, red flannel shirt not tucked in, his weathered, rough hands fanning out the cards to study his draw.  There were others too: Hugh, Roy and Todd.

The fifth man sat with his back to Johnny.  The low lights and the flickering flames of the fire cast deep shadows across a broad set of shoulders.  He never turned around, and Johnny took to calling him the Shadow Man.  He didn’t know the Shadow Man’s real name.

“Come on, Roy, you in or out?”

Roy was stocky, white-haired, ruddy-faced, in fact he had a pig’s face, Johnny had always thought.  His lips tightened and he slapped a few cards down on the table. 

“Yeah, I’m in.  I’ll see your five and raise you five.”

Todd tossed a few chips into a growing pile.  “I’ll call.”

Johnny’s Dad did the same, but added, with a mischievous wink, “I’ll see your five and raise you twenty.”  He tossed a handful of chips in the pile, which had now become a small hill.

The Shadow Man said nothing at first.  Then, with no words, he tossed his own chips in, all of them.  In a low, almost inaudible voice, he said, “See…and raise fifty.”

That raised eyebrows around the table.  It even gave Johnny a chill.  Not what the Shadow Man said but the way he said it…like a hiss, almost, like a snarl.  The Shadow Man talked like Johnny figured a talking grizzly bear would talk: guttural, menacing, hoarse and deep.

Who was this Shadow Man? Johnny wondered.

Then, almost as if he were answering Johnny’s question, the Shadow Man spoke again, just like a grizzly bear playing cards.

“I never bet less than the house.”  It was a kind of an explanation.  The Shadow Man must have had a winning hand; he’d bet everything on that hand.  More raised eyebrows.  

“Sure, whatever you say,” muttered Roy.  He didn’t look up, but continued fiddling with his own cards.

Johnny had about a million questions.  Was this fishing camp real?  Did I actually jump into a lake on a planet of bots?  Am I dreaming?

“You’re not dreaming,” the Shadow Man bent forward, toward Jamison Winger.  “I saw the look on your face.  You’re wondering how any hand could be that good.  My hand is that good.”

No one argued with the Shadow Man and the game went on.  As he hung by the corner of the hallway door, Johnny tried to take in everything he saw.  He knew it all had some kind of meaning. 

He’d been deconstructed, he remembered that.  Doc III had done the honors, disassembling him into atoms and molecules, just before the Keeper in that cave on Europa had consumed him…or what was left of him.  Now he was an angel, a para-human swarm being just like all those weirdos who followed the Assimilationists. 

And he remembered that Doc III had tried to maintain his original identity and memory in a small nondescript file called Configuration Buffer Status Check…a place the Central Entity would hopefully never think to look. 

Slowly, piece by piece, even as he watched his Dad play a poker game with Roy, Todd, Hugh and the Shadow Man, the memory of who he was and what he had to do came back. 

Thanks, Doc.  The little assembler had managed to save enough of his memory to figure all this out….

Johnny remembered being outside the Inuit village of Nanatuvik, in Alaska and seeing a man shuffling through the snow as he approached.  The man was short, dark-skinned, enveloped in a heavy qaspeq parka and hood, with bone necklaces rattling around his neck as he approached.  Another angel?  It was hard to tell.

The man spoke something, though Winger couldn’t hear over the whine of the wind.  He realized the man was Nanatuvik’s angakkuq, the shaman.  He was gesturing at something in the sky.

Winger looked back over his shoulder.  It was late afternoon, with the sun low, but already he could make out the shimmering veil of the aurora borealis hovering over the distant mountains. 

The angakkuq approached Winger and stopped, placing a hand on Winger’s shoulder.

“The peril of our existence lies in this fact: we eat souls.  Everything we eat has a soul.  All things have souls.  If we hunt and fail to show respect for the souls of our prey, the spirits will avenge themselves.  See in the sky…the Old Woman of the Sea is already disturbed.  In the days to come, we must be careful.”

With that, the shaman ambled off toward a nearby hill. 

Johnny Winger knew he had his work cut out for him.  Already he had enough intelligence about the Old Ones to make life difficult.  He just had to find a way to get it to UNIFORCE.

Mostly he hoped he could block the Central Entity from executing the Prime Key. 

Maybe, somehow, in ways he could now only dimly perceive, he could block the Prime Key himself.

That old shaman was right, he told himself.  He would have to be careful in the days and weeks ahead.

It was a new life he was living as an angel.  The rules were different here.  He’d have to watch his step.

He knew UNIFORCE needed every scrap he could give them if the Normals were to have any chance of resisting the Old Ones.  He hated himself for using that term but the truth was he was half angel, half-Normal himself, one foot in each world, pulled in two opposite directions at the same time.  He supposed that spies and saboteurs had always dealt with that.

But he had to remind himself of something his son Liam had once said.  “Being an angel is so cool.  You can be anything, you can go anywhere, you can’t die….”

Already he could feel the same pull Liam talked about.  But he had to resist.  He had to win this battle.  Not only was it a battle between Normals and angels, between humans and the Old Ones.

It was a battle with yourself.  That was the hardest part.  Somehow, he’d have to do what Liam and Dana and millions of others hadn’t been able to do.  Win that battle and save the small kernel of his own identity, his own memories that Doc III had managed to squirrel away in a small file somewhere in his config manager, to live another day.

The Normal part of him was just a few bytes at the end of that file.

But it was the only human part left.   And that was the part that had to survive. 

Now it had survived.  Doc III had seen to that.

Now it was time to get to work.   The Shadow Man had told him, in ways he couldn’t really explain, that he had an important mission to perform.
 

Chapter 1

 
Farside Observatory

Korolev Crater, the Moon

March 25, 2155

0100 hours U.T.

 

     Third-shift astronomers Nigel Course and Lilly Fong knew of no better word to describe what they were seeing than dread.  Pure, unaltered, rock-in-the-bottom-of-your-stomach dread.

Both were pulling late shift today…tonight…whatever the hell it was.  Tending the radars and telescopes of Farside Array, scanning sector after sector of the heavens for any little burp or fart worthy of an astronomer’s interest.   The High Freq array had just gone through a major tune-up last week and it was Course’s job to give her a complete shakedown for the next few days.

At the moment, she was boresighted to some distant gamma-ray sources somewhere in Pegasus…where exactly he’d forgotten.

While Fong peeled a banana and stifled a yawn, Course took one last look out the nearest porthole and begrudged the final wisps of daylight before Farside was fully enveloped in the nightfall.  At that same moment, he heard a beeping from his console and turned his attention back to the array controls.

What the hell…

Nigel Course looked over his boards, controlling the positioning of the great radars out on the crater floor and the optical and radio telescopes that accompanied them.  He quickly pinpointed the source of the beeping…Nodes 20 through 24…the south lateral array…was picking up some anomaly.

He massaged the controls and tried to focus the array better, get better resolution on the target.  SpaceGuard didn’t beep without reason. 

Only it wasn’t SpaceGuard.  It was Sentinel.  The outer solar system net.

A quick perusal made the hairs on the back of Nigel Course’s neck stand up.  The system displayed a list of likely targets, based on radar imaging and known ephemerides.  He scanned the list, mumbling the details to himself.

“ Hmmm….right ascension 22 degrees, 57 minutes, 28 seconds.  Declination 20 degrees, 46 minutes, 8 seconds---“  Just as he was about to consult the catalog, Sentinel threw up a starmap.

Lily Fong dropped her half-eaten banana.

“The Mother Swarm,” she murmured. 

Course’s fingers were flying around the keyboard.  “Lilly, we don’t know that.  We need to study this thing.  It’s an all-sector alarm, I’ve got returns on all bands.  Whatever the hell it is, it’s big.  Gi-normous, in fact.  A quarter of the sky, centered on 51 Pegasi, but not fifty light years away.  In fact, it’s right on our doorstep…or rather, Pluto’s doorstep.”

“Anything on Doppler?”

Course finagled with more buttons.  “Bearing…toward the inner system.  Margin of error puts in within a cone approximately two astronomical units, centered…” he tapped more keys, “…centered on us or near us.”

Fong shuddered.  “It’s here.  Billions of kilometers away but it’s here.  Can we get some resolution on the thing?”

“We can try.”  For the next few minutes, the two astronomers worked together, manipulating the instruments that comprised the Sentinel net, a vast detection grid orbiting the sun beyond Pluto, a grid designed and placed to alert UNISPACE to any threats coming from certain suspect bearings…like 51 Pegasi.  The design parameters never mentioned the Old Ones or little green men or extraterrestrial monsters from outer space by name, but no one was fooled. 

Sentinel was designed to do exactly what it seemed to have just done. 

After half an hour, Fong sat back in her chair.  Her face was pale, the blood had drained out when the Sentinel alarm had gone off.  A sheen of sweat beaded up on her forehead and drops fell to the keyboard.  She ignored them and looked wordlessly over at Course.

“You know what we have to do.”  It wasn’t a question.  “The protocol’s pretty clear when we get a Level One alert.”

Course ran down the results of the last scan, the one that made Fong so pale.  “I read the analysis this way, Lilly…just so we’re clear on the details in case questions come up.  After washing the raw data through ALBERT three times, do you concur that the detected anomaly…we’re calling it KB-1 for now…Kuiper Belt Object One…is a diffuse mass of small particle-sized objects with a thermal signature of a large swarm?”

Fong nodded silently, staring at the graphs and plots on her panel as if they were contaminated.  “I concur,” she whispered, weakly.  “It has to be the leading edge, Nigel.  That’s all it can be.  We studied and simulated this possibility for years, every which way we can.  Most of the runs converge on results very similar to, if not identical, to this.  ALBERT doesn’t lie.”

Course stood up and went over to a porthole, which gave onto a constricted view of the nearest arrays of the Submillimeter Interferometer, and a shadowy backdrop of Korolev crater’s steep craggy walls beyond.  A triangle of blazing sunlight still illuminated the upper rim, last gasp of the lunar day.

“I still don’t get it--“Course shook his head, turned back to the consoles.  “51 Pegasi’s been quiet for years…SpaceGuard’s never showed anything.  Now, all of a sudden, BLAM!  Energy spikes all over the place.  We should have seen something before…rising X-ray, rising gamma levels, something. Black holes don’t just appear out of nowhere.”

“ALBERT doesn’t say it’s a black hole, Nigel.  That’s just wishful thinking.”

Course shrugged, staring at the velocity scans superimposed on each other, silently willing the data to say something else, anything else.  “If it’s not a micro, then what is it?  What eats whole worlds?”

Fong pointed to the graphs on her display.  That does.  There’s your answer.  ALBERT doesn’t care whether we like it or not.  Best match with the data from Sentinel.  Really, the only match.”

Course took a deep breath.  “I know, I know.  I’m just trying to make sure what we have is airtight.  Everytime we’ve raised a flag, UNISPACE winds up hitting us over the head with it.  Gamma ray burster…dark matter cloud…Type II supernova…they’ve always got another explanation.  But this time—“

“I’m sending a NOTAP to Gateway.  The Watch Center needs to see this.  Maybe they’ll have some ideas.”

Course nodded.  “Do it.  I’ll set SenDef Three.  Sentinel Defense Condition Three.  That’ll wake everybody up at Station T and Station P…pretty much everybody from here to Saturn.”

The Notice of Astronomical Phenomena went out from Farside moments later.  It was like setting off a firecracker at a funeral.  In less than five minutes, the dense grid of comm links from Saturn to Mercury had erupted into a furor, buzzing and vibrating with questions, answers, expletives, exclamations, proclamations, bad jokes and nervous posts.

All Nigel Course and Lilly Fong could do now was wait…wait for the inevitable call from UNISPACE Headquarters in Paris.

 
Four hundred thousand kilometers from Farside, CINCSPACE General Mahmood Salaam had been attending an awards dinner on the fifty-first floor of the Quartier-General in Paris when his wristpad vibrated with an urgent message. 

It was the first Level One NOTAP he had seen in his whole five-year tenure as Commander-in-Chief of UNISPACE. 

Salaam studied the alert message:  KB-1…Sentinel tripped…SenDef Three…large formation moving toward the inner System…

The Bengali commander sniffed.  Somebody had Gateway probably flushed the trash compactor when they shouldn’t have.  Still, it had to be checked out.

He studied the ceremony program, calculating just when he could quietly exit the proceedings without causing an uproar…or a diplomatic incident.  Oscar Amirante…ten years as a cycler captain aboard the Kepler…K-Dog, the dockhands called it, Salaam chuckled softly at that…driving the old rattletrap on its never-ending bus route…Earth-Mars-Venus, Earth-Mars-Venus, again and again and again.  He figured Amirante was getting an award for just maintaining his sanity.

Salaam chose his moment and deftly slipped out of the auditorium.  He rode the lift to the seventieth floor.  CINCSPACE suite.  Also known as the Empire, to local wags.

At his desk, he called up the full NOTAP.  No, this was no mistake, he quickly realized.  As Salaam scanned the details, he realized Farside had latched onto something, something big, whatever it was.  You didn’t set SenDef Three and wake up half the solar system for no reason.

Whatever it was, Salaam knew, UNISPACE would be front and center.

CINCSPACE figured he needed somebody to bounce ideas off of.  Better get de Britt up and running, he decided.  His Chief of Staff, Ruyters de Britt, was pure angel, currently residing in containment in an ornate New Delhi pod that resembled Aladdin’s Lamp, a gift from his youngest daughter Miriam a year ago.  She’d always enjoyed watching her four-star father summon forth angels and swarms from containment.

Salaam waved his hand over a photoeye and the thing came alive instantly.  Lights blinked on and a faint mist began issuing from the spout of the lamp.

Five minutes later, Colonel de Britt stood at attention before Salaam’s desk, a near-perfect simulacrum of a mid-twentieth century Dutch naval officer.  That had been Miriam’s idea too.

This angel was good.  By now, ANAD tech was advanced enough so that there were no longer any edge effects.  The angel’s hands and feet were as solid as the rest of him.  No pixellating.  No motion tracking effects, with arms and hands blurring out as the angel moved about.  You couldn’t tell, even on close inspection, that de Britt was nothing but a para-human swarm entity.

We’ve come to this, Salaam realized.  Real and virtual all mashed together…you can’t tell one from another.  De Britt’s voice was deep and just slightly atonal, like was talking out of a barrel. 

***General Salaam, how may I be of assistance, sir?***

Salaam pressed a button on his wristpad, squirting the details of Farside’s NOTAP to his chief’s processor.  The angel brightened slightly as the data went out.

“Chief, this one’s big.  Farside doesn’t send NOTAPs without cause.”

De Britt’s face seemed frozen for a second, as its processor crunched the details.  Then its officious smirk came back…somebody’s idea of what a chief of staff should look like when awaiting orders.  Salaam could change the default setting; he just hadn’t gotten around to it, what with all the awards ceremonies and other busybody affairs he had to attend to.

***KB-1, sir…should I notify the rest of the staff…command protocol calls for a briefing within two hours of receiving said NOTAP.”

Salaam leaned back in his chair and swiveled around far enough to watch the night time spectacle of Paris out his windows.  The security screenbots dimmed slightly to avail a clearer view.  He watched tourist jetcabs circle the Eiffel Tower like so many moths drawn to a light. 

“Yes, Colonel, go ahead and set up a briefing.  Make it one hour from now…command briefing theater.  And get me the status of all our ships beyond Gateway, specifically Station P and T.  UNSAC will want to know what we’re doing about this.”

De Britt nodded slightly.  ***At once, sir…I am accessing UNISPACE general registry now…accessing…accessing…Station P, Phobos, reports frigate UNS Korolev is in dock, depot-level maintenance.  She is scheduled to be ready for duty in six weeks…plasma engines currently undergoing teardown and level three upgrades***

“What about Stations E and T?  Anything we can send out on twenty-four hours’ notice?”

De Britt continued accessing.  His face cycled between the normal smirk and something that reminded Salaam of a constipated salesman.  ***Yes, sir…accessing…Station E reporting frigate UNS Archimedes and corvette UNS Xerxes both at PSA…post-shakedown availability.  Both just returned from shakedown following Level One overhaul and mission refits. Station T, Titan, reporting frigate UNS Tycho within one week of full patrol readiness. Normal mission load onboard and Gold Crew finishing up their quals and training requirements in two days***

“Good, de Britt.  Good.  Thanks.”  Salaam continued watching heavy night time traffic circle the 5th Arrondisement below the Quartier-General.  The black of the Bois du Bologne lay off to his left, De Britt’s reflection hovering in the window glass above his view of the huge park.

Tycho and  Korolev.  Salaam pecked out a command on his wristpad, summoning the crew rosters for both ships.  Tycho was captained by one Jim Loudermilk, the old dog.  Korolev Gold Crew was Jeremy Lao’s boat and therein could be a problem.  Lao was a walking casualty, nearly killed after a scoopship accident at Jupiter and he should have been cashiered out of the service for the harebrained kamikaze stunt he had pulled in the upper atmosphere of that gasbag planet.  But Lao had friends in high places and now he was skippering the Gold Crew of a Frontier Corps patrol frigate out at Station T, the bleeding edge of UNISPACE authority.

Sure don’t want to send Lao to do a man’s job, Salaam thought.  He stroked his black moustache, turned back to de Britt.  But I might have no other choice.

“Colonel, I’ve got to send some eyes out to check out this ‘astronomical phenomena.’  But it’s ticklish.  Worse, it’s political.  Which means if I don’t send Lao and his Gold Crew on some kind of mission soon, UNSAC will jump down my ass with both feet.  I don’t know how much longer I can keep Lao bottled up at Station T with upgrades, new training requirements, wargames and sims and more upgrades.”

De Britt seemed sympathetic, but Salaam was reminded that any sympathy, indeed any response by the angel, was an artifact.  Programmed in.  A behavioral module called up. 

***Begging the General’s pardon, sir, but Captain Lao has shown excellent marks in all recent wargame exercises and training sims.  Perhaps an assignment of this magnitude, investigating a Level One NOTAP in the outer system, would allow the Captain to demonstrate just how far his command skills have come since his rehabilitation program concluded***

Salaam sniffed.  “Exactly.  Give me the man enough rope and see if he’ll hang himself, that’s what you’re saying.  Well, de Britt, you may just be right.  I’m following the book on this one.  Cut orders now for Korolev and Tycho to get underway in twenty-four hours.  Whatever this KB-1 thing is, we’ve got to get some eyes on it.  Farside can’t tell us much more than something’s approaching the Sentinel outer line, something big…like a swarm.  If it’s our long-awaited friends, I can’t think of any better welcoming party than Jim Loudermilk and Jeremy Lao.  ‘Loud I don’t worry about…he’ll follow orders and investigate before salvoing his big guns.  As for Lao…”  Salaam just shook his head, “…who knows what the man’ll do.”

De Britt said, ***Perhaps such unpredictability works to our advantage, sir, especially against an unknown adversary***

“How do you mean, Colonel?”

***Just this, sir…if Captain Lao is unpredictable to us in his tactical responses to an unknown adversary, he surely will be just as unpredictable to the adversary as well.  As Sun Tzu has stated: “…that general is skillful in attack whose opponent does not know what to defend, and he is skillful in defense whose opponent does not know what to attack.”***

Salaam said, “Well spoken, Colonel.  Just cut the orders.  And spit out an agenda for that briefing too.  I want to get the troops in here by 2100 hours.”

 

Thirty kilometers west of the Quartier-General, Solnet reporter Dana Polansky was arguing with her daughter Jana about attending yet another Assimilationist rally coming to Paris.

Not for the first time, Dana wanted to throttle her daughter around the neck.

“No, you absolutely cannot go to that rally.  And you’re not leaving this apartment dressed like that either, young lady.  Go put on something longer.  And cover up your chest…I’m not raising a hooker here.”

Jana protested, “Mom!  All the girls at the academy are wearing these—“ she stuck out her new leggings, the ones with holes in strategic places and threw back her hair.  ““Come on, Mom…come with me…it’ll be fun…we’ll have a great time…get to see Symborg…isn’t he just so riff…and watch all the freaks get vaporized…it’ll be a great day—“

Dana told her daughter to watch her mouth.  “That’s not funny.  And they’re not freaks…just terribly misguided.  This is a serious thing, Jana…you know that.   I’ve tried to explain what Assimilationists think and believe…the whole thing’s a serious threat and I don’t want you to encourage them by showing up.”

“I’ll be one person out of a million, Mom…nobody’ll notice.  Plus I’m going with friends.  Come on…I want to go see Symborg…in person.  I want to see if he can really change shape right in front of everybody—wouldn’t it be so cool to be deconstructed and become an angel?”

“No it most certainly would not be ‘cool.’  And don’t you have some homework?  I haven’t seen you spend two minutes studying this afternoon.”

Jana was almost in tears.  “You never let me spend any time with my friends.  This place is like jail. They’re all going…why can’t I go, huh?  What did I do wrong?”

Dana was growing exasperated with her daughter.  Raising a teenager was tough at any time but when you were a Solnet reporter and traveled most of the time, it was especially difficult.  She worked hard to find the right balance…giving Jana enough space to be herself and have a normal life but not enough to get into serious trouble.  It was a high-wire act and most of the time, Dana felt like she was already teetering off the wire.

“There’s nothing wrong with Symborg…or the Assimilationists,” Jana insisted.  She grabbed a light jacket from the front closet of their appartement along the Avenue Emile Zola—not two hundred meters from the Seine—and jerked open the front door.  “You just don’t like him ‘cause he’s popular…and he’s gorgeous too.”

“He’s a cloud of bots, Jana.  It’s an act.  Don’t be ridiculous.”

“I’m going.  I’m almost fourteen years old and I can decide for myself—“

“Jana—so help me, if you—“

But Jana Polansky had already slipped out the door.  She stalked off down the sidewalk, heading no doubt for the Metro stop a few blocks away.  The Assimilationist rally was set for 8:00 that night, at the Place de la Concorde.  The Metro would get her there in half an hour, tops.

For a long minute, Dana glared at her daughter’s back, noting with a combination of envy and worry Jana’s broad hips and long legs.  She’d certainly picked up the ‘walk’ in recent years and she knew how to get attention, which wasn’t hard for Jana.  Her long blond curls and easy smile did that.  No boy ever stood a chance.

Jeez, she looks like a hooker, Dana thought.  At least, she looks high-class…what the hell am I saying?

Dana slammed the door and bit her lip, wondering if she ought to call the police.  She tried out a few sentences: my daughter’s run off with a boy…she’s lost…she went to the big rally…she’s been kidnapped by a cloud of bugs…none of them worked.

Then she remembered.  The beige jacket.  It was Jana’s favorite, the one with the supple suede front, the fringe around the neck…almost elegant.

Even better, it was one of several jackets that Dana had planted spybots on.  No, she wasn’t proud of that.  She’d sweet-talked a contact at UNIFORCE into loaning her a pair of the things…they were the size of molecules, but contained within their hundred-nanometer casings enough smarts and power to keep an eye on any subject and send back visual and audio feeds over a distance of tens of kilometers.  And these were programmable bots as well.  One of them, the one planted on Jana’s beige jacket, could be commanded to replicate into a Mobility Obstruction Barrier, a MOBnet, that when fully expanded, would envelope the wearer in a makeshift cocoon and immobilize them on the spot.  With its locator beacon transmitting away, it would then be a simple matter for police to track down the recalcitrant subject and take them into custody.

Dana found the control pack in the back of her little black clutch and set it up on the nightstand beside her bed.  She turned the thing on, following the on-screen instructions and then fiddled with a few knobs to activate the bot and tune in to its transmission.  After some finagling with the imager, she studied the grainy image for a second…

Yep, that was Brie…Jana’s best friend, tapping out something on her wristpad.  And there was Louelle, beyond her, putting on some lipstick, eyeing her lips critically in a compact.  Dana realized they were on the Metro, on a train.  Others shuffled in and out of the picture.

Dana felt like a prying voyeur but she couldn’t tear herself away from the images.  She tweaked more knobs and got a tinny sort of audio for her efforts. 

The train must be stopping.  Passengers had begun standing, crowding around the doors.  The image shifted—Jana was now standing too—and Dana could see big sheepish grins of anticipation on Brie and Louelle’s faces.

“Come on…”Brie said.  The girls dove out the door, pushing and squeezing through the throng.  Dana strained to see better….

The whole affair was set to start at eight that night, in the Place de la Concorde, with stages and lighting set up around the great Obelisk at the center of the plaza.  Even as they exited the Metro station at Concorde, Jana, Brie and Louelle were crushed by the surging waves of the crowds, with hundreds of thousands moving up the Champs Elysees from Tuilerie Gardens en masse. 

News drones and aerial porters circled low overhead like black crows, and bright stage lighting had been erected all around the Place, focusing attention on the huge Obelisk at the center—a long ago gift from Egypt—and the theatrical stage built up around it.  A cordon of gendarmes formed a tight security perimeter around the stage and clustered in knots up and down the boulevard, trying to keep some kind of order.

The crowd pushed forward, a single organism with a single thought: get as close to Symborg as possible.  As they were carried along, Dana spotted a row of assimilator booths just this side of the stage.  Manned by uniformed technicians, draped with bunting, banners and flags from the Church of Assimilation, seeing the booths send a chill down her spine and automatically, she tried to will Jana away from them, back toward the center of the crowd.

Girl, no way you should be going anywhere near those death traps.

Near on to eight o’clock, the girls had parked themselves alongside the entrance to Rue Royale and the Hotel Crillon beyond.  Stage lighting started to strobe and the crowd surged forth in anticipation.  Music from somewhere blasted across the promenade, a fanfare fit for a king.  Dana half expected to see a horse-drawn carriage with imperial guards trotting alongside.  Instead, a single man mounted the platform and the lighting changed again, narrowing down to the single bright beam of a spotlight.

In spite of herself, Dana felt a lump in her throat.  Assimilationists knew how to put on a show.

It was Symborg.  And the crowd, which had been jostling and vibrating like a stirred pot, suddenly came alive. 

Symborg acknowledged the crowds with a wave and moved to the center microphone.  The angel was good, Dana could see that.  Very few edge effects…often, angels fuzzed out at their extremities, where the swarm didn’t have good config control.  This one was tight and dense over its entire surface…only an occasional pop or flash in the torso area, one or two in the face, gave away the fact that the angel was a para-human, a swarm of nanobots configged to look human.  In stature, he was a smallish man, dark of color but that could be easily enough changed.  In fact, Dana realized, it had changed.  Now Symborg had acquired a lighter skin tone.  Subtly lighter, to better blend in with the crowd. 

PEOPLE OF PARIS…THE TIME HAS COME FOR A CHANGE….  His voice boomed out across the plaza and the crowd grew more and more frenzied, pressing ever tighter against the police cordon. 

The angel worked the crowd like a practiced stage actor.

“PEOPLE OF PARIS…WHAT IS IT THAT ASSIMILATION BRINGS?”

The response roared up out of the crowd like a thing alive.

“PEJERU…PEJERU…PEJERU!!”

A radiant smile came to Symborg’s face, beamed by cameras to screens throughout the rally ground. 

“Peace.  Ecstasy.  Joy.  Enlightenment.  Rapture.  Unity with the Mother Swarm.  You are right!”

The crowd roiled and throbbed like a frenetic horde, as one, surging again and again against the stage and the police barricade.  Dana watched her daughter’s friends with growing alarm.  Brie and Louelle chanted in unison with the crowd…PEJERU!   PEJERU!    It was a nonsense phrase, an acronym, but it hypnotized both of them.  Dana could see it in their faces: the glazed eyes, the smiles frozen in place, their hands punching the air in syncopated rhythm. 

It gave her a chill.  Her own daughter was caught up in this madness. 

The rally went on, with Symborg calling for witnesses to come forth and soon long lines had formed at the assimilator booths, lines of people waiting to die, to be de-constructed and absorbed into the mother swarm.  Despite the jostling and shoving of the crowd, Dana’s eyes stayed with the image.  Right beside her, Brie squirmed and squealed like a teen-ager at a concert, bit by bit pushing her way ever forward toward the stage. Louelle and Jana tried to stay close.   Surrounding the plaza, giant screens, even 3-D renderings of Symborg’s face, lent an Olympian grandeur to the gathering. 

Dana paid little attention to Symborg’s words.  She was more concerned with the girls’ reactions.  In between following Solnet coverage of the rally on her pad, she studied her daughter’s surroundings with growing dread and alarm. 

“…TAKE…AND DRINK…AND YOU WILL KNOW THE LOVE OF THE MOTHER SWARM…”

For a moment, Dana wasn’t sure what Symborg was referring to but then she saw the drones circling overhead, aerial porters with trays of some kind of drink.  En masse, they swooped down to drop off paper cups to a sea of outstretched hands.

That’s when Dana decided to trigger the MOB feature on the control pack.  She stabbed the button and watched in growing horror as the image wobbled and careened, then collapsed to the ground, graying out as trillions of bots replicated into a mesh cocoon right in the middle of the crowd.

Oh my God, what have I done…she could be trampled in that riot. 

Checking her Solnet feed, she found a dronecam view of the rally on one channel.  As she panned the scene, she saw a commotion along one edge of the crowd.  She had no control of the dronecam…another reporter was covering the rally.  But as the drone zoomed in, she could see a small army of black-jacketed people carrying something that looked like a body bag…with a start and a chill down her back, Dana realized it was Jana they were carrying.  Jana encased in a MOBnet, writhing, thrashing, with the attendants forcing their way against the crowd like a ship nosing through water.

She tried to swallow but her mouth was dry.

Jana!

Dana Polansky watched for a moment as the emergency detail emerged from the thickest part of the crowd and made for a nearby church, along one edge of the plaza, along the Rue de Rivoli.  It was an ornate, almost gothic building in the shadow of the Hotel Crillon and Dana knew it had long ago been taken over by the Assimilationists. 

They were taking her daughter right toward it!

Dana Polansky shivered, sprang out of bed, grabbed a jacket from the closet, and dashed out the door of their apartment, practically running, gesturing frantically for a taxi, trying to get to that church as fast as she could, anyway she could…before something really terrible happened.

No way was she going to let Jana fall into the hands of those freaks.

 

So that’s the excerpt.  I expect the full story to be done sometime in the late spring of 2017.  Look for it.

 
The next post will be on October 10.
 

See you then.

 
Phil B.