As I was leaving Wasagaming last night, the sun was setting.
Part-time prevaricator
TL;DR: They loved it.
A while back, I backed a Kickstarter for Augur Magazine, a Canadian SF/F zine. I selected the level that would get me an editorial review of a 5,000-word story.
When contacted, I realized I’d like a review of one of my current WiPs, a probably-novella-length piece titled “The Slow Apocalypse”. I asked if it would be acceptable to send the first 5,000 words of a longer piece, and was told that would be fine. So I polished it up as best I could and sent it off.
Last night I got the review, and…phew. I mean, I’m pretty proud of the story so far—though it’s still in about the 1½th draft—but I wasn’t expecting the rave reviews I got from the editor.
I’ve asked permission to include some of their comments here, and they said “Sure!” as long as I didn’t name names. So here’s some of what you can expect once I finally finish this piece and start sending it around for those of you that pre-read my work.
I think the characterization is excellent here. It is what I loved the most. I got strong senses of who each of the people were…
Another aspect I loved was the language. I’m a poet as well as a fiction writer, so I like to pay attention to diction in the pieces I read—the images and the tones that are invited in and revealed. I highlighted a few instances of phrases and words that I felt stood out to me in a very arresting and reflective way. This is one of the reasons I felt this excerpt was very polished.
The worldbuilding here was excellent, too, both of New York, and of the magical elements. The information was woven seamlessly into the lives, dialogue, and priorities of the characters, and none of it felt stilted. Of course, I do have questions[, but n]othing of what you revealed here made me frustrated, or like you were hiding something from me.
Every time I read The Slow Apocalypse, I smiled.
Every time I read these notes on my story, I smile.
I went out around midnight to get some photos of the galaxy. My spot about 15 minutes south of town was dark and quiet, except the occasional lowing of cattle and the buzzing of mosquitoes. I saw a couple fireflies too.



Both photos: 20 second exposures, 11mm, f/2.8, ISO 1600. Edited using GIMP.
About midnight to 12:30 or so.
66 light exposures, 30 seconds each, 12mm, f/2.8, ISO 100, and 2 dark frames (same settings but taken with the lens cap on). The light on the tree came from my neighbour’s house lights.
We’ve been watching episodes of a PBS show called My Grandparents’ War, where celebs like Helena Bonham Carter and Kristin Scott Thomas trace the histories of their grandparents’ experience in WWII. Tonight we saw one featuring Mark Rylance, and there were a couple quotes that stuck out to me. I wanted to record them before I forget them.
Mark Rylance, walking in a cemetery for war dead in Hong Kong (where, but for the grace of God / random chance, his grandfather might well have ended up), mused that he keeps hearing people talking dispassionately about war, as though it’s some kind of natural event. But, he pointed out, war is fought by people. Just people, like you and me.
Later, he met with a Japanese historian who has studied the POW camps that the Japanese ran in Hong Kong. He asked her why she chose to study the camps—a heavy question, considering some of the atrocities that had been explored earlier in the episode. She responded, “History doesn’t repeat itself. People repeat it.”
Just people, like you and me. Let’s be careful, OK?
Top image: 19-image Brenizer panorama, because apparently I like making my computer fan earn its keep.
Below: near, or far?


Top image: 19-image Brenizer panorama. Images were 55mm f/4, giving an effective final shot at 35mm f/2.5.
Sighted on my bike ride. (In fairness it didn’t look quite that dramatic in real life.)
The sky was that weird evening colour that could be perfectly clear or could be a solid wall of cloud. But the moon showed me it wasn’t cloud.
The 1st Street bridge, specifically.
20-image panorama, each 24mm f/2.8 1/250 sec., assembled in Hugin.
Also, there’s a slightly different crop on Instagram.