<![CDATA[NALO HOPKINSON, AUTHOR - A very occasional blog]]>Sun, 25 Jun 2017 11:08:52 -0700Weebly<![CDATA[Daughter of the rewrite of the revision of Blackheart Man]]>Thu, 18 May 2017 19:47:51 GMThttp://nalohopkinson.com/a-very-occasional-blog/daughter-of-the-rewrite-of-the-revision-of-blackheart-manMy agent got back to me with his feedback on the Blackheart Man manuscript. He had a lot of useful feedback, which will inform another rewrite of the novel so that I can make it submission-worthy.

But the most important thing? He says he likes it! I'm still floating on that news. Don is not one for mincing words. He knows that when he shops a manuscript around for me, his level of enthusiasm for it will probably help. So if he says he likes it, he does.

Now to find time to do the dang rewrite. I may have to wait until the summer. Spring quarter at UCR is kicking my behind. Not so much the teaching -- for once, I feel fairly well prepped for that. It's the other stuff. The committees, the events, the I-don't-know-what-all. This is the first time it's been this heavy a workload. Keeping up with it and bringing my friable focus to bear on it is not being easy on my mind or body.

...and now my website isn't working, and no-one can tell me why not. Sigh.
<![CDATA[Finally finished Blackheart Man]]>Sat, 21 Jan 2017 01:57:03 GMThttp://nalohopkinson.com/a-very-occasional-blog/finally-finished-blackheart-manI was on sabbatical in the fall -- my first ever -- with the intention of completing this novel that's been on my plate for the better part of a decade now.

Then life got very intense in a number of ways I won't go into here, but I was convinced I wouldn't be able to get to the end of Blackheart Man. But somehow, on December 30, 2016, I did.

I emailed it to my agent, treated myself to a movie (Fantastical Beasts and Where to Find Them), then realized as I was falling asleep at 1 a.m. that I'd forgotten to write one scene.  Turned on the laptop, wrote the scene, sent my agent the updated manuscript.

Now I wait. I haven't had a publisher since about 2013, so Blackheart Man was written entirely on spec.

Actually, I don't wait. Now I continue work on the next project. That's the script for Nancy Jack, the graphic novel for which John Jennings is my collaborator. (By the way, John and his collaborator Damian Duffy have just released the graphic novel adaptation of Octavia Butler's Kindred, and it's topped the New York Times Bestseller list in its category!

Did I mention that I finished a novel?
<![CDATA[To Anthology Editors]]>Mon, 09 Jan 2017 01:33:23 GMThttp://nalohopkinson.com/a-very-occasional-blog/to-anthology-editorsI originally published this on my previous website, either on January 5, 2015, or May 1, 2015 (numerical dates confuse me). I've edited it a little to repost it here:

On Twitter today, I said I would lay out my suggestions for how editors can go about creating anthologies that contain a diversity of voices. Here they are. I realize that some of the terms I use are overgeneralized and imperfect; diversity, non/marginalized, etc. Mea culpa.

So: The minute you start talking about bringing diversity to an anthology, you'll be besieged by stentorian voices damning the effort, claiming that it's going to negatively affect the quality of the work. It's bullshit, tantamount to saying that the only good writing comes from non-marginalized writers. Gathering a wide range of voices, styles, aesthetics, experiences and perspectives in an anthology is a recipe for a good anthology, not a bad one.

But here's where those voices have a point: if you wait till after you've put out your call for submissions to run around trying to fill in diversity slots for your anthology -- you know, the “one of each so long as there aren't too many of them” approach -- you will more likely than not end up with a dog's breakfast of a volume in which it's clear that you selected writers for their optics, not their writing. That's tokenism, not sound editorial practice. The time to be trying to make your anthology a diverse one is before submissions come in, not during or after.

On the other hand, if you just put your call for fiction out there and cross your fingers, you'll end up with mostly the usual suspects. It's not enough to simply open the door. Why? Because after centuries of exclusion and telling us we're not good enough, an unlocked door is doing jack shit to let us know that anything's changed. Most of us will continue to duck around it and keep moving, thank you very much. We'll go where we know there are more people like us, or where there are editors who get what we're doing.

So make up your mind that you're going to have to do a bit of work, some outreach. It's fun work, and the results are rewarding.

Make a list of names of writers from whom you'd like to see submissions. You probably know that your list needs to be way longer than the number of stories you can publish. Fitness clubs have been getting rich on this principle for decades; they sell far more memberships than their facilities can hold, because they know that at most, only about 20 percent of those who pay for memberships ever enter the building a second time. Your list should include the non- (or not as) marginalized writers, but make sure you have 2-5 times more marginalized writers. Because of all the current and historical barriers to our participation, it's going to take at least that many to get a representative sample of submissions.

Don't know the names of that many writers from traditionally marginalized communities? Don't stop at the well-known go-to names from those communities. By all means invite them. Just realize that inviting only them is another facet of tokenism. When you contact them, ask them to recommend other writers to you. Ask around. Ask readers, other writers, editors, listserves, educators, Twitter, Facebook. People will be happy to clue you in. Get contact information for the writers they name. While you're at it, ask them where you should be putting your call for submissions (if you're doing a public one) in order to have a better chance of it being seen by writers from a diversity of communities. Because if you only publicize it in the usual places, you'll only get -- say it with me -- the usual suspects.

Write your call for submissions. Put the payment terms up front, even if there's no payment. This is a good practice for inviting any kind of artist or freelancer to submit their work to you. Making art takes time, and especially when you're a freelancer, time is money, which pays for the roof over your head and the food on your table. Also, be explicit about wanting to see submissions from writers from a diversity of communities. I would go so far as to suggest you be explicit about which communities you mean. Now, a weird thing will sometimes happen when you do this; the minute you say that you want to hear from everybody, some (usually) straight, (usually) white writers will decide you're saying that you don't want stories from white people. To them, “inclusivity” means “We hate (straight) white people.” It's un-freaking-believable. I frankly don't go out of my way to reassure those folks. There'll be plenty straight, white writers who don't have that chip on their shoulders. There'll be another group of non/less-marginalized writers who will tell you they don't want to submit stories to you because they don't want to take up a slot that could go to someone whose voice mightn't otherwise be heard. Those people's hearts are in the right place, but the zero sum game is exactly the kind of thing you're trying to change. Remind those folks that you're the editor, and they should leave the editorial decisions up to you. Some of them may still wig out and opt out, but not all of them will.

Contact the writers on your list; marginalized writers first, non-marginalized writers next. Personally invite them to submit stories. I always like to remind everyone that an invitation to submit is an invitation to have their work considered, not a guarantee of publication. Writers who've been doing this in the mainstream forever will probably know that. Writers who haven't been part of the mainstream may not. If I'm doing a closed call, I ask the writers I'm inviting to let me know about any writers they think I may have missed. When I've done this, recommendations have sometimes netted me great submissions from writers I'd never have heard of otherwise (yes, white writers, too), or who wouldn't have thought to submit to the kind of anthology I edit. Everybody wins.

If you're doing an open call for submissions, post the call now, in all the expected places as well as the ones that have been recommended to you.

By the way: if you want stories from marginalized writers, invite them early. Hell, invite everyone early. But particularly the writers who will be more familiar with being tokenized. Can't tell you how many times I've received an invitation because an editor has decided last minute that they need to show willing. You can practically hear them hoping that I won't have the time to produce a story with only days/hours/seconds to the deadline, because then they can say, well, they did invite me, but you know how it is; for some reason, “those people” don't submit their stories, even though the door's wide open. N.K. Jemisin talks here about what that experience is like. Sometimes when we say we don't have the time, what we mean is, we see your tokenism, and we ain't your freaking diversity poster child.

Now wait for the submissions to come in. When they do, I try to ignore the names of the writers until after I've read all the stories, assessed them against the others, shaped the anthology, and made my decisions. This is the time when you can do that, not at the point where you're soliciting submissions.

Realize that even if you've done everything I suggest and you've done your best to be unbiased at the selection stage, you may still end up with an anthology that's not as balanced as you'd like. This is a blessedly inexact process. It won't have the same results every time. But in the aggregate, you should be able to see a positive trend.

Implied in all this is the possibility that you'll end up with an anthology in which "minority" writers predominate. The horror! If this bothers you, take comfort in the fact that all those readers who claim not to pay attention to the identities of authors won't even notice.

<![CDATA[My schedule for Nerdcon: Stories this weekend]]>Thu, 13 Oct 2016 00:47:10 GMThttp://nalohopkinson.com/a-very-occasional-blog/my-schedule-for-nerdcon-stories-this-weekendNerdcon is happening this weekend in Minneapolis, and there are still tickets available. If last year's Nerdcon is anything to go by, it's gonna be a blast.

Here's my schedule:

Juvenilia ​(​part of Friday Morning Variety Show)
Friday 09:34 AM - 09:49 AM, Auditorium
Participants: Cindy Pon, Nalo Hopkinson, Paul DeGeorge

Why Do I Feel Like the Rules Keep Changing? ​[Panel]
Friday 11:00 AM - 12:00 PM, Room 101 BC
Participants: Julián Gómez (Moderator), Daniel José Older, Nalo Hopkinson, Cindy Pon, Mikki Kendall

How to Write Straight Characters ​[Panel]
Friday 12:30 PM - 01:30 PM, Room 101 BC
Participants: Alyssa Wong(Moderator), Nalo Hopkinson, Blue Delliquanti, Amanda Neumann

Kaffeeklatsch - Nalo Hopkinson ​[Kaffeeklatsch]
Friday 05:00 PM - 06:00 PM, Room M100 E

Signing - Nalo Hopkinson ​[Signing]
Saturday 12:30 PM - 01:30 PM, Exhibit Hall B

A Whole New World ​[Panel]
Saturday 02:00 PM - 03:00 PM, Room 101 BC
Participants: Paolo Bacigalupi(Moderator), Nalo Hopkinson, Ben Acker, Daniel José Older, Katrina Ostrander, M.T. Anderson

Rapid Fire Q&A ​(​part of Saturday Afternoon Variety Show)
Saturday 03:34 PM - 03:49 PM, Auditorium
Participants: Chris Rathjen, Eileen Cook, Joe DeGeorge, Jonathan Ying, Karen Hallion, Kevin MacLeod, Nalo Hopkinson, Paolo Bacigalupi

1 on 1 Conversation ​(​part of Saturday Afternoon Variety Show)
Saturday 03:59 PM - 04:14 PM, Auditorium
Daniel José Older, Nalo Hopkinson

<![CDATA[I'm about to become Dr. Hopkinson!]]>Sat, 08 Oct 2016 03:12:19 GMThttp://nalohopkinson.com/a-very-occasional-blog/im-about-to-become-dr-hopkinsonI can finally make the news public; Anglia Ruskin University has offered me an honorary Doctor of Letters, and I've accepted. I'm flying there in a few days to graduate. I've known for ages, but they said I had to keep it secret until now.

<![CDATA[Happy Bi Visibility Day!]]>Fri, 23 Sep 2016 13:15:23 GMThttp://nalohopkinson.com/a-very-occasional-blog/happy-bi-visibility-dayPicture
<![CDATA[In honour of the 50th anniversary of Star Trek]]>Sat, 17 Sep 2016 20:12:42 GMThttp://nalohopkinson.com/a-very-occasional-blog/in-honour-of-the-50th-anniversary-of-star-trek1Picture
That's a photo of me dressed as Lt. Uhura at the very first science fiction convention I ever attended. I think the year was 1977 or 1978, which would put me around 18 years old. I remember trying to figure out what the hell to dress up as, since at the time, none of the commonly recognized characters or creatures in popular science fiction and fantasy reflected me or my culture. None that I could think of, anyway. Except Ororo Munroe and Lt. Uhura. This was half a decade before Tina Turner as Aunty Entity in Mad Max Beyond Thunderdome (and God, do I still ever want that chainmail dress!) Years before Grace Jones as Zula in Conan the Destroyer, May Day in the Bond movie A View to a Kill, and Katrina, the 2000 yr-old vampire in Vamp. It was about 22 years before the uncomfortable portrayal of Sineya, the first Slayer, in Buffy the Vampire Slayer, and 18 years before the equally uncomfortable portrayal of Kendra Young, the Jamaican? (What was that accent they gave the actress supposed to be, exactly?) Slayer. It was decades before Zoë Alleyne Washburne in Firefly and Serenity, and even Patience Phillips in the ill-fated Halle Berry version of Catwoman. Are you getting the word picture I'm painting here? I could have gone as a creature from Caribbean folklore, but I was almost certain to be the only one at GVSTAcon with any knowledge of Caribbean folklore, and I didn't want to have to explain what I was depicting.

I couldn't pull off cosplay as Storm. The cost of the haircut and hair-bleaching alone was way beyond my budget at the time, never mind the contact lenses. (Were contact lenses even a thing back then? I can't remember.) But Uhura? She was pretty close to perfect for what I wanted.

You can't tell in the picture, but I wore my hair straightened in those years, so that part of the look was covered. I sewed the costume myself, based on a book of Star Trek paraphernalia descriptions I saw in Toronto's Bakka Books. I remember scouring the fabric stories for cheap fabric with the right colour, weight and hand.

The costume is fairly accurate, except I couldn't bring myself to make the bloomers they supposedly wore under those skimpy dresses. So I made the dress a tad bit longer and wore regular tights.

Nichelle Nichols, you were there when I needed you, and not just in terms of taking part in a costume parade. Because you were and are visible where you are visible, you make it possible for other Black women to be seen, too. Thank you.

<![CDATA[Story & interview in Cicada, Sept-Oct 2016]]>Wed, 31 Aug 2016 03:12:55 GMThttp://nalohopkinson.com/a-very-occasional-blog/story-interview-in-cicada-sept-oct-2016Picture
Cicada is a lit/art/comix magazine for teens and young adults. My short story "The Easthound" has been reprinted in the Sept-Oct 2016 issue, and they also did an interview with me. Just got my contributor's copies. It looks like a great magazine.

<![CDATA[My Wiscon 2016 speech]]>Wed, 24 Aug 2016 14:47:57 GMThttp://nalohopkinson.com/a-very-occasional-blog/my-wiscon-2016-speechWiscon is an annual gathering of the feminist science fiction community. This year, the Guests of Honour were Sofia Samatar and Justine Larbalestier. I was a returning Guest of Honour (Nina Kiriki Hoffman and I were Guests of Honour in 2002). Justine, Sofia and I each gave speeches, and we are making them available to the public today, August 24, 2016, in honour of the birthday of Alice Sheldon, aka James R. Tiptree Jr. Justine's speech is here. Sofia's is here.

And here's mine:

I'm so glad to be back at Wiscon again. Thank you so much to Tanya, my guest of honour liaison, for taking such good care of me. I'm impressed by how well the new concom is handling this huge event, and I'm thrilled to also see beloved members of the old guard here, such as Debbie Notkin, Pat Murphy, Jeanne Gomoll, Victor Raymond, and others.

Such wonderful words, too, from Justine and Sofia. You guys are a tough act to follow.

I was startled to realize a few months ago that it's been 14 years since I last attended a Wiscon! I have no idea how that happened. If you'd asked me, I'd have said it was at most seven. Maybe I have reached that age in my life at which time speeds up.

I arrived in Madison on Wednesday evening, because I need a little extra time to recover from the hell that is North American airline travel. I woke up early on Thursday morning and went for a walk.

I use music to keep me motivated when I exercise, and for some reason on Thursday morning, even though I had my speech roughed out, certain lines from the songs in my walking playlist seemed particularly relevant to what I'd come here to do.

So I decided to re-structure this talk as lessons from my walking playlist.

And I'll tell you right now; many of them are songs you might think a feminist wouldn't enjoy. But it's my playlist, and I'll dance to it if I wanna.

I've slightly altered some of the lines to suit. Let me start with a Beyoncé-inspired:

Look so good
Godddamn goddamn godDAMN!

A lot has happened in the 14 years since I was last at Wiscon. For one thing, Beyoncé came out with the song “Girls (Who Run the World?)," and for awhile I was angry with her, because women and girls, be they cis or trans, so very patently do not run the world. So very obviously are still at risk every day because of our gender.

But I got over being angry with Lady Bey. I mean, I also write fantasies of the world the way I'd like to see it, not necessarily the way it currently is. So why shouldn't she do the same? Making stories is one of the ways in which human beings make reality. It's one of the engines that sways public opinion. A few years ago, man-on-man makeout scenes were a no-no on television. Shows like True Blood are helping to change that. Entertainment is powerful. Stories are how we empathize with each other.

At one point during my walk, I had to wait at a stop light. On the opposite corner was a tiny dog being taken for a walk by its person. The dog kept growling and charging at passing cars, and Nikki Minaj was saying in my headphones:

That's why yuh mad, thass why yuh why yuh mad-mad.

And I thought, “It's a good thing that someone with sense has leashed that mad, bad, sad and hopefully not rabid puppy, because it clearly doesn't recognize that some movements are bigger than it is and will keep trucking forward.”

And then I thought, “I'd better write that down.”

So yeah; something else that has been happening is the ravings of the various bands of ill-behaved soi-disant Puppies who keep trying to hijack the Hugo Awards, apparently in the name of making the field whiter, maler, straighter, and more conservative. I try to balance that against the yearning the genre is increasingly demonstrating for adding more voices and experiences into the mix; not for subtracting the straight, white, male voices and all the value they can and do bring, but for adding more value, more perspectives, more stories. I don't know about you, but I want more science fiction and fantasy stories, not fewer. I believe that as Cupid says, we can:

Shake a hater off.

Speaking of hate and what it does or does not require (yes, I'm gonna go there): The recent wave of identity-based hatred directed against creators and fans in this field dismays me. It was especially disheartening to realize that some of the more vicious assaults were being led by a fellow queer woman writer of colour, under the personae of Winterfox, Requires Hate, and others. Worse yet, most of her targets were emerging queer women writers of colour. Not all of them; there was equal horridness directed at certain straight, white people. The person responsible has made her apologies. Time will tell whether the atrocious behaviour has actually been discontinued for good, but I am here to make my own apologies. To my fellow creators and fans who experienced and in some cases still experience the wrath of her and her followers: I am sorry that it took me so long to realize the extent of the harm being done to you. I am sorry that I didn't stand up for you sooner. I am sorry to see some of you continuing to struggle with PTSD, with damaged emotional health, with suicidal ideation, with gaslighting, with fear. I want you to know that even if people conspire to convince that you've been completely ostracized from your particular niche of science fiction community, you will still find allies there, and beyond. You don't have to be silent about what you're experiencing.

To people who are angry – as I am -- about continued ignoring and marginalization of queer people, trans people, women, people of colour, disabled people, and so on in this genre, please continue to be outspoken about it. Please continue to fight to improve the situation. As I gathered my courage to stand up here and speak to you, I remembered that Beyoncé said:

My daddy taught me to love my haters
My sisters taught me how to speak my mind

But please, as we fight, let's consider the outcome we want, and try to work towards that. I reject the narrative that says we should be unfailingly softspoken and gentle when we point these things out; doing so patently doesn't work. Yet in battling bullies, let us not become bullies ourselves. I never, ever again want to fear that a fellow author, artist, ally, or member of this community might kill him or herself because they've been harrassed, abused, and generally terrorized into not knowing how to continue. I realize I'm asking something complicated, in part because it's all too easy for someone to decide that their hurt feelings at being criticized by us amount to trauma at our hands. But in your heart of hearts, you know that that's not what I'm talking about. At least, I really hope you do. I hope you realize the difference between someone who'd rather blame us than deal with their shit versus a true ally. I hope you can realize the difference between demanding justice versus ruling through harrassment and intimidation.

While I'm on the topic of justice: the very first time I heard the phrase “social justice warrior” was from Will Shetterly. I finally researched the term and discovered that he hadn't invented it. But he and others sure have been turning it into a brand with which to burn people working for positive social change. Nikki Minaj got me thinking:

Man a-bitter, but weh dat bout?

And now there are more and more people rallying behind that brandished “anti-SJW” slogan. I find that alarming. It's at best unproductive and at worst dangerous to cede leadership to those whose strength is in dishonest sloganeering, undermining alliances, shouting down unbelievers and manufactured strawmen, and fostering a fear-based harrassment and snitch culture that institutes puppy pile-ons to enforce compliance. Whatever corner it's coming from, that's behaviour it's useful to be able to recognize, so that you don't buy into it. So that you aren't discrediting its victims.

There are many reasons to be angry. But if the flashpoint of your hatred centres around groups who continue to be socio-economically disadvantaged – maybe with the exception of one member of that group that you decide is appropriately inoffensive -- take a long, hard, honest look at your hatred. Because so often it relies on homogenizing, “those people” thinking that resents inclusion. “Those people” hate all white men. “Those people” will bring about the destruction of civilization as we know it. There are names for that kind of monolithic thinking, including sexism, transphobia, racism, homophobia.

I am not asking you to police your very thoughts and try to make them nothing but “pure” and “good.” That's not helping anyone. I've heard from white people who feel profound shame every time they catch themselves having a racist thought or fear. But why? People are socialized to be prejudiced. It's no crime if your first thought is a deeply problematic one. It's possible to gaze calmly upon that thought, recognize it for what it is, let it waft on by, and follow it up with a different thought, or a positive action. It's possible to check yourself without wrecking yourself. It's even possible, when someone else calls you on your shit, to recognize when they're right, to acknowledge that you were wrong, and to thank them for the corrective.

Listen: If I've learned anything in this past little while, it's that there are people who will warp one's message, in violation of one's principles. I know that soon after this speech goes public, there will be those who will either mock it, or appropriate its language for their own ends. They're going to say that I'm modelling the very things against which I'm advocating. That kind of flipping the script has become a popular tactic. I've begun to take it as a measure of success, in part because said appropriation is reactionary, not originary. They envy a particular sound bite or concept, so they try to make it their own, or, failing that, to make fun of it.

I don't know what to do about that, but I do know that snark is easy, maybe too easy. It's easy to ridicule others, for good or for ill. It's easy to encourage others to join your dogpile, to create an atmosphere of fear, anguish and self-doubt in your preferred victims. Yet it's not a bad thing to urge people to question their own beliefs and behaviours. Anger and conflict have their uses. But what are we doing on the other side of the ledger? I'm hearing from far too many people who would love to be part of science fiction, but who are terrified of the bullying. So what are we doing to foster joy and welcome to this community? What are we doing to cultivate its health and vibrancy? What are we doing to create an environment in which imperfect people (as all people are) who are trying to be good people can feel encouraged and supported to take the risk of a misstep, perhaps learn from it, and come back refocussed and re-energized, eager to try again?

As I mulled it over, my song rotation brought up Cupid, whose lyrics I'll paraphrase as:

Colder than a freezer,
Cooler than a fan,
Woman on a mission, with a sizeable plan

I have a plan.

There are many people who do good in this field, who perform small and large actions of kindness and welcome every day. I'd like to encourage more of that.

I'm taking a page from Pat Murphy and Karen Joy Fowler when they started the Tiptree Award at Wiscon, lo these many years ago. I'm starting an award, an annual kindness award to recognize people and groups who in the previous year have done something that makes positive change in the science fiction community. It's still in the planning stages, and my instinct is to keep it low-key. The award might take the form of printed certificates, awarded and announced with little pomp or ceremony; perhaps via a press release. Though there need not be a monetary sum, it would be nice to give the recipients a tangible token of our recognition. Should enough people commit to donating a few dollars every year, such that there is an annual pot of $2,000, that would be enough for five monetary awards of $300 each, with $500 left over for administration. $3,000 per year would be enough for each recipient to receive in addition a physical award. I spotted a perfect award object this past Thursday in the window of the Museum Store on State Street here in Madison. See the image at the bottom of this post. It looks like the perfect science fiction award, doesn't it? It's designed by Philippe Starck, and it's actually a lemon juicer. When life gives you lemons, you make lemonade, right? I'm calling the award the Lemonade Award, not because of Beyoncé's excellent recent album (though the playlist reference is an opportune one for this speech), but as a reminder what the spirit of the award is.

People will be able to nominate others for the Lemonade Award, but the final decisions will not be based on numbers, but will be up to a jury that changes every year.

There are many details to be worked out over the next year. Sherryl Vint, my colleague in the Cultures of Science and Science Fiction program at the University of California Riverside, has volunteered to manage the nomination/adjudication process. I'll be doing fundraising, because even a non-monetary award has some costs. I figure I have enough energy to keep my part of it up for two years. If it takes off, I'll be looking for someone else to take on that aspect of it, while I remain involved in the capacity of keeping the award to its original spirit. If you're so moved and so able, please help in any way you can. You can email us. I think that we can infuse this community even more with something juicy and nourishing.

I finished my walk just as Busta Rhymes was chanting:

Walk like a champion,
Swing like a stallion,
With the two big medallion,

Two medallions is nice, but let's start with five.

Good? Allyou perfect.

Thank you.

Here's the Alessi "Juicy Salif" citrus juicer. I'm also looking into another option for the award object. More news as/if I have it.

<![CDATA[Blackheart Man, update]]>Wed, 24 Aug 2016 04:40:30 GMThttp://nalohopkinson.com/a-very-occasional-blog/blackheart-man-updateFinally finished a very rough draft of the last scene of Chapter Seven! Now to tackle the remaining two chapters, then give the whole thing one more going-over.]]>