My vote already went for Aidan Doyle’s Reading By Numbers (yay, number theory!). The full list of stories up for the vote:

Leningrad by D. Elizabeth Wasden
The Moon, a Roman Token by Darren Speegle
The Gnomes are Coast Guards by Chantel Tattoli
Teaching a Pink Elephant How to Ski by Rochita Loenen-Ruiz
The Men Burned All the Boats by Patricia Russo
The Adventures of Petal by Paul Jessup
Chemical Magic by Katherine Sparrow
White Stone by Genevieve Valentine
Birds by Jean-Claude Dunyach
Jane by Nicole Kornher-Stace
The Most Dangerous Profession by Sergey Gerasimov
Shades of White and Road by Camille Alexa
Early Winter, Near Jenli Village by J. Kathleen Cheney
Garkain by Samantha Henderson
Voice like a Cello by Catherine Cheek
Revisionist History by Alison Campbell-Wise
Oh He Is by Karen Heuler
Timepiece by Gay Terry
People of Leaf and Branch by Jay Lake
Superhero Girl by Jessica Lee
Woman in Abaya with Onion by Ruth Nestvold
Lake Tahoe’s Lover by Nadia Bulkin
Trench Foot by Cate Gardner
The Water Tower by John Mantooth
The Integrity of the Chain by Lavie Tidhar
Playing with Spades by Mari Ness
Golden Lilies by Aliette de Bodard
The Vigilant by Dirk Strasser
Offerings by Stephanie Burgis
The Moon Over Tokyo Through Leaves in the Fall by Jerome Stueart
Images of Anna by Nancy Kress
The Girl in the Green Sequined Dress by Berrien Henderson
Tending the Mori Birds by Caroline Yoachim
The Good Window by Lisa Hannett
The White Part of the Apple by Emily Yersoff
Clockatrice by Tanith Lee
La Mer by Simon Logan
Jews in Antarctica by Lavie Tidhar
Undocumented by Rachel Swirksy
Light on the Water by Genevieve Valentine
In Dreams Tangible by Su-Yee Lin
A Song to Greet the Sun by Alaya Dawn Johnson
Cesare by Meghan Arkenberg
The Confessions of Prince Charming by Kelly Barnhill
My Best Friend’s Girl by Ari Goelman
Medusa Complex by Christie Skipper Richotte
Into the Monsoon by A. M. Muffaz
Reading by Numbers by Aidan Doyle
The Chrysanthemum Bride by Angela Slatter
The Raccoon’s Daughter by Nicole Kornher-Stace
The Tongue of Bees by Claire Humphrey
Choke Point by Sarah Totton

Voting closes January 25th.

First chapter of John Scalzi’s The God Engines.

Excerpt from Jasper Fforde’s linguistic acid trip that formally calls itself Shades of Gray.

I read the Fforde excerpt shortly before I fell asleep and dreamt the hues in my house were gathering up to attack me.

“59 Beads” (4300) by Rochita Loenen-Ruiz
“Overclocking” (2600) by James L. Sutter
“After the Fire” (2900) by Aliette De Bodard
“Benjamin Schneider’s Little Greys” (2100) by Nir Yaniv
“A Poor Man’s Roses” (2400) by Alethea Kontis
“To Dream of Stars: An Astronomer’s Lament” (5500) by Peter M. Ball
“Fungal Gardens” (6100) by Ekaterina Sedia
“Advertising at the End of the World” (4100) by Keffy R.M. Kehrli
“Kenny 149″ (2700) by Brad Becraft
“Pimp My Airship” (6000) by Maurice Broaddus
“She Called Me Sweetie” (4500) by Glenn Lewis Gillette
“…That Has Such People in It” (2300) by Jennifer Pelland
“Hideki and the Gnomes” (500) by Mark Lee Pearson
“Clockwork, Patchwork and Ravens” (7500) by Peter M. Ball
“Waiting for Jakie” (3000) by Barbara Krasnoff
“Hindsight, in Neon” (2400) by Jamie Todd Rubin
“The Mind of a Pig” (3000) by Ekaterina Sedia
“The Puma” (6700) by Theodora Goss
“Dark Planet” (4300) by Lavie Tidhar
“Cai and Her Ten Thousand Husbands” (4500) by Gord Sellar
“On the Shadow Side of the Beast” (3900) by Ruth Nestvold
“Starter House” (5000) by Jason Palmer

Vote here. My vote went for Peter M. Ball’s brilliantly steampunk “Clockwork, Patchwork and Ravens”.

I bought the book based on a recommendation in Booklife and expected it to be a somewhat slim checklist of sorts. It is actually quite meaty, providing the “185 practical techniques for improving your story or novel” promised on the cover and some revision samples. The advice is divided into sections concerning point of view, style, characters, narrative, dialog, devices, and general considerations. The techniques are presented as questions a writer should ask him or herself about the story/novel.

Here is an excerpt from the book, pulled from the appropriately economical section devoted to the question “Does your style lack economy?”

The answers to all these questions of style depend upon the context for each sentence you are considering. Generally, less, given the content, is more. Hemingway was exceedingly conscious of the function of economy, as the second version of this paragraph from A Farewell to Arms shows:

There was a whistling that changed to an in rushing scream of air and then a flash and crash outside in the brick yard. Then a bump and a sustained incoming shriek of air that exploded with a roar, the crash of high explosive tearing steel apart on contact and vomiting earth and brick.

A big shell came in and burst outside in the brick yard. Another burst and in the noise you could hear the smaller noise of brick and dirt raining down.

For demonstrations of economy, compression, and compactness, see most of Hemingway’s stories, especially “The Killers” and “A Clean, Well-Lighted Place”; James M. Cain’s The Postman Always Rings Twice; Albert Camus’s The Stranger; and the stories of Raymond Carver. Compare Joyce’s Stephen Hero with A Portrait of the Artist as a Young Man. Compare the two versions of Eudora Welty’s “Where Is the Voice Coming From?” in John Keuhl’s Creative Writing and Rewriting.

That is one of the shortest sections in the book (the reason I chose it for transcription) and most of the others have more direct advice along with the examples.

The book was published in the 1980s so you can get it used through Amazon for very cheap. Used book smell comes free.

Editor-in-chief Jason Sizemore is asking those willing to donate $10 (or more) a year to keep Apex running to email him at jason at apexbookcompany dot com. No need to send money now. He wants to see how many people would be willing to do it before officially opening up for donations.

if you blog/tweet, pass along this information to your readers/followers.

Update: If you’d like to contribute some cash to Apex, go here and become a “subscriber”. Donations of $25 or more will receive a free copy of Descended from Darkness: Apex Magazine Vol. 1 .

On the Booklife Now blog, VanderMeer excerpts himself on the subject of finding your strenghts and weaknesses and learning how to operate with or around them:

How can you work on problem areas without being overwhelmed? Make a list of your strengths, your weaknesses, and those gray areas in between—things you’re not terrible at but not great at, either. Even though you’ve presumably had others help you evaluate your strengths and weaknesses to get to this stage, take this list and give it to a couple of friends or colleagues you didn’t include in your original analysis. Ask them if your list is accurate. After you’ve included their feedback, and been totally honest with yourself, do the following:

—Break the Strengths list down into subcategories, rating yourself in each, so you have a better idea of what those strengths mean. Stay aware of your strengths even as you work on your weaknesses and make sure shoring up weaknesses doesn’t negatively affect your strengths.

—Select two items from the Gray Areas list that you think you can easily improve and that would help your writing career. Make sure your short-term and long-term goals include ways to better yourself in these areas.

—Select one item from the Weaknesses list, even if it’s something that also scares you. Add elements to your short-term and long-term goals that give you opportunities to make this weakness a strength, or at least something you’re not bad at anymore.

—Select one item from the Weaknesses list that you don’t want to work on improving. This advice especially applies if something on your list scares you too much. Setting it off to the side is about preserving your mental health. You can always revisit it in the context of success with some other weakness.

I am not a fan of advice books in general because I tend to find them less than useful. But I decided to purchase Booklife because it had a section devoted to one of my weaknesses: online networking.

I suffer from a curious weakness of being much more shy online than I am in person. My communication style, offline, is rather dependent on being able to hear the other person (though hearing and seeing is preferred). Tone of voice, body language… those things say a lot. And they are absent from casual forms of communciation on the internet.

While I would have no problem whatsoever approaching a musician who had just played in a small club to say that I loved his or her music, I become paralyzed when faced with the prospect of emailing an artist whose illustrations I have become a fan of online. How do I smile and extend a hand for a shake online?

I am making baby steps of progress: commenting on blogs, chatting with a couple of people through email. But it is still an area I need to work on for both my professional career and personal life.