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Guest Post: Food and Politics by Juliet Kemp

I’m a city person (despite the occasional dream of country solitude), and a crucial part of the worldbuilding for my Marek series of fantasy novels has been the city of Marek itself. It’s been a lot of fun to create. As well as having its own unique form of magic through its cityangel, it’s a port city and the only outlet to the Oval Sea for Teren, the country to which Marek notionally belongs (in practice it’s largely independent, which becomes an issue in the latest book, The Rising Flood). Marek’s trade is lucrative, especially for those belonging to its founding Houses, who act as middlemen between the craft Guilds and the ships from the islands of Salina who monopolise sea transport. Marek grows little of its own food and relies heavily on imports””basics from Teren shipped along the river, more expensive options from elsewhere around the Oval Sea.

At one point in The Rising Flood, Marcia, Heir of House Fereno, is seeking votes in the ruling Council to block a bid to censor some political newspapers. She asks Andreas, Head of House Tigero, the father of her forthcoming baby and also her co-parent-to-be (two slightly different things in Marek) to host a political dinner. As well as providing an opportunity for political debate and canvassing, the menu for dinner gives Andreas an opportunity to demonstrate the strength and prosperity of House Tigero”¦

Dreaming up the menu for this was a lot of fun!

To drink: Exurian wine or fruit juice

Fertile Exuria grows many of Marek’s fruit and vegetables; they have grape terraces around the base of the mountains between Exuria and Teren. The Vintners’ Guild imports wine from Exuria and from the grape-growing regions inland of the Crescent Cities east of the Oval Sea, as well as making more complicated beverages of their own.

First course: salted rice dumplings, pickled vegetable rolls, honeyed goat’s cheese with rosemary crackers

Andreas is terribly on trend: this Salinas-style course, with several dishes on the table from which guests help themselves, is a current fad. The Salinas eat this way because it’s practical on board ship, and their cuisine is heavy on finger food. Andreas’ version wouldn’t all be at home on a Salinas ship; the Salinas grow rice but don’t trade it, so these are Crescent-style rice dumplings. Pickled vegetables are eaten on Salinas ships, but would be wrapped in flatbread rather than thin pastry as here; the goat’s cheese comes from the herds on the precipitous far side of Marekhill.

Second course: barley stew with whole new beets and broad beans, spiced with cumin

Balancing the modern first course, the soup course is very traditional. The barley and vegetables are Teren (and thus Marek) staples. There’s a twist, though: cumin is a brand new spice from beyond the Oval Sea. The Salinas have only recently begun to bring it in, and the Spicers charge through the roof for it. Andreas is showing off.

Third course: hot-pepper lamb skewer, summer squash and peppers fried with wild mustard, wheat rolls

Teren soft wheat rolls, tasty if predictable, with new Exurian lamb (born early spring, best eaten at the start of summer) and summer vegetables, brought by a fast Salinas ship. (In another month there’ll be a glut of summer vegetables in all the markets, but right now, they’re expensive.) Wild mustard is another popular Exurian herb, which has recently come down in price after Marcia sent a team to find a new route over the mountains to Exuria. The route is too narrow and challenging for anything large, but will work for some mountain herbs and spices (culinary and medicinal), and for other small luxury goods. Andreas is giving a subtle reminder of Marcia’s competence.

Final course: preserved berry pastries

Pastries are sold from carts on every street corner, and even the Houses love them (though theirs come from their kitchens, not the carts). These are sweeter than the street versions at this time of year (they’ll be selling goats’ cheese pastries instead), as the berries are preserved from last year’s Exurian crops. A popular note to end on with a touch of luxury; then apple brandy or hot infusions afterwards.

Even the place settings have something to say: Teren porcelain (from the clay deposits in parts of the river basin upstream of Marek); cutlery of Crescent silver; the pastry-platter from the Woodworkers’ Guild, of Exurian wood with silver inlay; and Marek glassware with its unique blue tinge and inlaid copper wires. Andreas is keen to demonstrate his House’s links with both Guilds and foreign traders””the cutlery was a gift from one of their Crescent trading partners, though unfortunately he doesn’t get a chance to mention that.

So, does it all work? Do Andreas and Marcia get the support they need? And how does Marcia handle Andreas having invited his friend Daril Leandra-Heir, wielder of no small political power, and long Marcia’s nemesis (not to mention her ex)?

Well, you’ll have to read the book and find out.


BIO: Juliet Kemp is a queer, non-binary, writer. They live in London by the river, with their partners, kid, and dog. The first book of their Marek fantasy series, The Deep and Shining Dark, was on the Locus 2018 Recommended Reads list. Their short fiction has appeared in venues including Cast of Wonders, Analog, and Translunar Travelers Lounge, and they were short-listed for the WSPA Small Press Award 2020. They can be found online at julietkemp.com. The Rising Flood is available now from your preferred e-book retailer or in paperback from December.


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Guest Post: Thoughts on How and Why to Write Non-Human Protagonists by S. R. Algernon

As a writer, sometimes I find myself inspired to write by seeing other writers use a particular device and wondering what I can do with it. Having grown up with Star Trek and the Twilight Zone, and having encountered Babylon 5 in my teenage years, I felt confined by the typically anthropomorphic aliens, particularly the ones that were obvious stand-ins for Russians or Romans or other human cultures. The aliens were usually in supporting roles, and their biology, worldview and motivations were usually within human norms, not counting special abilities. I appreciated these characters and their stories, but I wondered how far writers could push the envelope in adopting an alien perspective. The Star Trek episode “Devil in the Dark” gave agency and purpose to a non-humanoid life form, and works like Lem’s Solaris, showed aliens that can be beyond alien understanding, but I wondered what stories could be told from non-human perspectives and how they could contribute to the genre.

Footfall by Larry Niven and Jerry Pournelle gave me a more expansive sense of what could be accomplished by setting a story within a non-human perspective. The Left Hand of Darkness by Ursula K. LeGuin and “Story of Your Life” by Ted Chiang inspired me to consider reproduction and language that departed from the human norm. They drew me to non-human stories and came to enjoy stories that normalize aliens and de-normalize human experience,

It is important to distinguish between stories that aim primarily to tell an alien story and those that use the alien as a prop in an allegory about human society. While the latter trope is common (“Eye of the Beholder” in Twilight Zone, “Let This Be Your Last Battlefield” in Star Trek, etc.), they can be too neatly prepackaged, so that the audience merely interprets the message, as explained by the human characters, rather than engaging in an alien experience.

Humans, at heart, are pattern detectors; the patterns of our daily lives inevitably become biases and prejudices. We can sometimes erode those prejudices by stepping outside of our usual experience and our usual metaphors for understanding the world (even the phrase “stepping outside” is grounded in human biology). Naturally, an alien world created by a human author will draw from human experience, but the characters’ thoughts and actions should be tangibly grounded in their own environment.

Like Plato leading prisoners out of his eponymous cave, a truly alien story, told within its own worldview, for its own sake, can expand the reader’s experience without framing or explaining the story in terms of a human cultural narrative.

I find that immersing myself in an alien culture without an easy allegory or a human narrative to explain the story can push me as a reader to be cognitively flexible and to understand others without necessarily expecting the experience to translate readily into their own.

So, what would I like to see more of from non-human characters in science fiction, and why? Here are a few ideas (for me, and for any other writers out there looking for a challenge). To show that I’m trying to practice what I preach, I’ll raise a few examples from my recently-completed #NaNoWriMo novel, Elevation, which is told in part from the perspective of an insectoid race.

Sensory systems: Non-humans in sci-fi almost invariably have the same senses as humans. If there is a sensory difference, it usually comes across as a one-off special ability. Other animals on Earth have sensory systems that differ multidimensionally across the senses. There are different color palettes, different ways of perceiving sound, and so on. Once an animal perceives something, it is classified and responded to in the context of its evolutionary history. One needs only consider the diversity of ways in which insects and birds, for instance, use sound and color, to appreciate what we will face when encountering extraterrestrial life. Even trained scientists can fail to appreciate ultraviolet light, infrared radiation, ultrasound, magnetic fields and other sensory cues. It also bears noting that different animals (and different humans) can perceive the same sensory information in different ways.

In my most recent novel project, Elevation, my characters communicate mainly through sound and smell. The use of smell means that ““ particularly in the cities ““ their social world is literally part of the atmosphere, shaping individual character interactions and cultural landscapes.

Communication: How many times do first contacts start with a simple message delivered through a straightforward audio message (such as “Take me to your leader”) without much thought into how the aliens perceive and use human language and how those words relate to their own concepts of the world. A Far Side comic strip parodies this by showing aliens with hand-shaped heads who – as it turns out – do not take kindly to a human attempt at a handshake. “Story of Your Life” explored non-linear communication (expressed well visually) in the movie Arrival), and it raises the question of how else alien communication could differ from our assumptions. How would an intelligent species use smell or touch to communicate?

In Elevation, the characters use their sense of smell to identify individuals socially. As a result, they do not, strictly speaking, have auditory or visual “names’ for each other, which poses a problem for humans trying to keep them straight. This has been a challenge for me when writing dialog and narration, but it compels me to think about the characters’ identities in new ways.

Agency and autonomy: It is important to me that the non-humans are more than talking points for the human characters’ debates. The characters should act in accordance with their own drives, in the contexts of their own worldview. This can be challenging as a writer because human readers will have moral expectations even of non-human characters. However, it is unreasonable to think that characters will act the way humans expect them to or strive toward human morality (which is hardly a monolithic construct anyway) unless led to do so by interaction with humans.

For example, the protagonist in Elevation has had children in the past, but ““ like some Earth insects ““ left the eggs behind after laying them and expresses no parental feeling toward them. Tending to young is driven by pheromones and is seen as a civic duty to the colony rather than a social bond. This is not framed as a statement on human parenting, but as an expression of the character’s drives in cultural context.

Reproduction: One of the primary drives (or the primary drive, depending on who you talk to) is reproduction. Whether or not we as individuals reproduce, our drives and our behavior are a product of the behaviors that led our ancestors to successfully reproduce (or else we would not be here). These behaviors, as they often are in humans, could be shrouded in social norms and mechanisms of social control, but these would be different from human norms.

For instance, in Elevation, the non-human characters reproduce parthenogenetically (through virgin birth) unless the eggs are fertilized by the King, the city’s sole male. Care for the fertilized eggs is done at hatcheries and nurseries near the Royal Palace, so care of larvae by individuals outside the city is seen either as putting on airs or as a desire to create a rival colony with a new king. These forces create social injustice and conflict, but in a way that differs from human conflicts.

In short, I like to explore non-human societies not to understand the human condition better, per se, but as a way of exploring the wider, underlying conditions that are a foundation not only for humanity but for intelligent life in a more general sense. It could be argued that science fiction and fantasy are meant for humans and, as such, that even the non-human characters will be seen through a human lens. I think there is truth to that, but I believe that the more clearly that an author can establish the worldview of all characters, the less vulnerable we are to literary solipsism, where are characters are simply preaching our own worldview back to us.

As we get into the habit ““ as readers and writers ““ of fleshing out alien characters in their own terms, perhaps we will be more vigilant in expecting the same from our human characters. Our concepts of normality, having been stretched by science fiction, might find themselves more capable of accepting the ways that we humans are alien to one another. It will encourage us, particularly in these tumultuous times, to move beyond simple allegories to examine the deeper underpinnings of our differences. I can’t say myself whether my work rises to that lofty ambition, but it is a goal well worth aiming for.

Works Cited
Chiang, T. (1998). “Story of your life.” Stories of your life and others,
117-78.
Larson, G. (2003).The Complete Far Side: 1980-1994. Andrews McMeel Pub.
Le Guin, U. K. (2012).The Left Hand of Darkness. Hachette UK.
Lem, S. (1970) Solaris. Walker & Co (US).
Niven, L., & Pournelle, J. (1985).Footfall. Del Rey.
Roddenberry, G. (1966). Star Trek. Desilu/Paramount
“Devil in the Dark” (1967) by Gene Coon and Gene Roddenberry.
“Let This Be Your Last Battlefield” (1969) by Oliver Crawford and Gene
Roddenberry.
Serling, S. Twilight Zone. (1956) CBS Productions.
“Eye of the Beholder” (1960) by Rod Serling.
Straczynski (1994). Babylon 5. Warner Brothers.

Author Bio: S. R. Algernon studied creative writing at the University of North Carolina at Chapel Hill. He has been published in Nature and Daily Science Fiction, and is the author of two short story anthologies, Walls and Wonders and Souls and Hallows. Both can be found at: https://sralgernon.wordpress.com/anthologies/. He currently resides in Michigan.

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(Guest Post) R.J. Theodore on Secondary Worlds Without Monocultures: POV, Cultural Perspective, and Worldbuilding

I cut my SFF teeth on Star Trek, and I credit The Next Generation as setting me on the path to becoming an SFF author. But I lament the monocultures encountered on those Starfleet missions as a missed opportunity. Monocultures may catch attention as a hook, but the believability crumbles when the reader has a lengthy stay and finds that they lack real depth.

My favorite part of writing SFF is inviting the reader to explore new worlds with unearthly mechanics, magic systems, or zoology that entrance the imagination. But what imprints a story on the reader’s soul is the ability to relate to the experience. The real world contains multitudinous experiences, cultures, and viewpoints. It’s important to reflect that in our stories, even if we are zooming in on a more intimate story.

Avoiding monoculture by creating characters who have different experiences makes a story feel vibrant, more faithful, and realistic. When those characters interact, it adds conflict, tension, and opportunities to create real magic.

Building this kind of depth is not hard! It just takes more of the thoughtful and intentional world-building the author is already engaged in. It doesn’t limit the author’s imagination, it gives it more opportunity.

The first book in my Peridot Shift series is told via my airship captain and ne’er-do-well, Talis. While choosing one POV tightened up the story considerably from earlier drafts where multiple characters took center stage, it was incredibly frustrating to describe the entirety of Peridot through the lens of Talis’s biases. Even as her worldview expands through the events of the story, there’s so much she still doesn’t know she doesn’t know. I was mindful of knocking her down a notch every so often, clearing the viewport of her fog so the reader could get a better view beyond it, but still, there was so much work to be done.

When it came time to write the sequel, SALVAGE’s editor, Ryan Kelley, immediately identified that there were other crucial stories here to tell. I approached a massive revision with giddy excitement. My editor had said those magic words every author dreams of hearing: More story. Here was the chance to expand the depth of my world by featuring the other denizens of Peridot!

Talis and her crew are still central to the story, but they begin in a subterranean Rakkar city where their plot to make a triumphant return to the life they knew leaves them far from bigger machinations that are turning. Machinations that threaten consequences for more than just a rag-tag crew of smugglers.

Additional POV characters let me open the map on the world I’d created. To show more cultures, and more viewpoints, including differing positions within a single culture.

Instead of waiting for book three to shatter the stereotype Talis presented of the Vein as a race of blind seers from book one, I got to give a person, Zeela, center stage moments in book two. She observes diabolical happenings and the path to become part of Talis’s crew is clarified, but Zeela also gets to smash the mystique of her people’s uncanny observations by revealing their use of secret, high-tech assistive devices. To normalize and personalize what seems strange and unnatural to someone who doesn’t share that viewpoint.

At the opposite end of the Cutter social spectrum, we follow the twisted thoughts of Hankirk, as well as the selfless aspirations of a young empress. Both people are the same race as Talis, but they live entirely different experiences and show us different ways of seeing the subtler moments of a grand story.

SALVAGE also puts the spotlight on High Priestess Illiya, a Bone priestess struggling to comfort and protect her congregation after their goddess is made mortal. In FLOTSAM, Talis introduces Illiya as more cutthroat and sinister than a pirate. Don’t get me wrong, she is! But in SALVAGE, we also get to learn of her pride, her empathy, and her anxiety.

Every character lives their own life, and each life builds more volume into what it means to be a part of Peridot.

Filling our secondary worlds with multiple cultures and viewpoints reminds us to look outside of our own experiences in the real world, to look past our first impressions so we can understand more about each other. Maybe as we go on a grand adventure to impossible realms, we also learn to see each other, here on Earth, as characters each in our own story whose viewpoints are as worthy as our own.

About the Author
R J THEODORE (website) is hellbent on keeping herself busy. No, really, if she has two minutes to rub together at the end of the day, she invents a new project with which to occupy them.

She enjoys reading, design, illustration, video games (she will take you down in Super Puzzle Fighter II Turbo), binging on movies and streaming series, napping with her cats, and cooking. She is passionate about art and coffee.

R J Theodore lives in New England with her family. With Kaelyn Considine of Parvus Press, she co-hosts bi-weekly episodes of the We Make Books Podcast (wmbcast.com).

In 2018, Theodore made her publishing debut with her self-published novella THE BANTAM, and her novel FLOTSAM, Book One of the Peridot Shift series, published by Parvus Press. Book Two of the Peridot Shift series (Parvus Press), SALVAGE is now available in print and digital.

Follow Theodore’s writing process, find her on social media, and subscribe to her newsletter at rjtheodore.com.

Enjoy this writing advice and want more content like it? Check out the online classes from the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

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