Casual reminder:

Every Thursday, I run ten questions with an author regarding that author’s book.

I tend to run one or two per day. I don’t think I’ll do more than two.

How you get a slot: email me at terribleminds at gmail dot com.

Use the subject header: [Author] [Book Title] [Release Date] [10 Questions]

(Meaning, fill in those bracketed topics with relevant data, please.)

You can solicit me as early as you like, up to a month before your release date.

I will favor traditionally-published books. I know, this isn’t very nice or very fair but if I don’t say that, then I assure you, speaking from past experience, I will get a whole lot of Very Bad Self-Published Fiction Interview Requests.

I will not do 10-Qs for books that are already out. I prefer to keep them in and around the weeks surrounding the actual release. So: new upcoming releases only, please.

I do accept pitches for graphic novels or other forms of storytelling. Books, games, video games, comics, graphic novels, films, television, novellas — as long as it’s professionally produced, I’m happy to hear the pitch and consider the idea (though, again, no guarantees).

If you email me, I will try very hard to email you back.

Once I say yes, I will want your answers two weeks before your interview posts.

I like those answers in a separate file — .doc, .rtf, HTML, something that makes it easy for me to copy into WordPress without wonky formatting. Pulling it from the body of an email can be a Sisphyean task, and I’m totally lazy, so don’t make me do that.

In that file I also want:

Any and all relevant links to your book.

That means: your website, your Twitter, and any Buy Links you want included.

Please also give me or (preferably) link me to a full-sized graphic image of your cover.

Final request:

I get a copy of the book. Preferably physical (and I’ll give you my mailing address if that works). If that fails, a digital copy will do just fine. I prefer to have it before the interview posts.

(I don’t really do guest posts from people by request. Those are only from me soliciting authors who I consider friends or compadres of the website in some way.)

The questions are:

TELL US ABOUT YOURSELF: WHO THE HELL ARE YOU?

GIVE US THE 140-CHARACTER STORY PITCH:

WHERE DOES THIS STORY COME FROM?

HOW IS THIS A STORY ONLY YOU COULD’VE WRITTEN?

WHAT WAS THE HARDEST THING ABOUT WRITING [story name]?

WHAT DID YOU LEARN WRITING [story name]?

WHAT DO YOU LOVE ABOUT [story name]?

WHAT WOULD YOU DO DIFFERENTLY NEXT TIME?

GIVE US YOUR FAVORITE PARAGRAPH FROM THE STORY:

WHAT’S NEXT FOR YOU AS A STORYTELLER?

Last week’s challenge: “Choose Your Setting.”

See this article?

I love it. Totally bizarre. Utterly unexplained.

Probably something boring, but that’s not our area of expertise.

We are writers and storytellers. It is our job to explain. And more importantly, to make stuff totally awesome. So, your job is: write a ~1000 short story of any genre including and explaining this weird little web-towers. You’ve got till next week to get it done, due by Friday the 13th at noon EST. Write the story at your online space, link back here so we all can read it.

Include it. Explain it (to whatever degree you are comfortable). What is it? What made it? Where does it come from? What is its purpose? What madness is this?

Go forth and write.

See you on the other side.

School Library Journal Reviews Heartland, Book #1! (Note, mild spoilers within.)

In the Heartland, the corn has been genetically modified until it can be left to its own devices, leaving those who work the fields with few tasks but harvesting the crop that funds the flotillas, which hover high above the land and house the elite ruling class, the Empyrean. Cael and the others in the Heartland toil endlessly to keep the corn and the mysterious illnesses that accompany its growth from their lives. When Cael’s sister sneaks onto the flotilla, the consequences for her and her family on the ground are severe. And after Cael’s first love’s family wins the lottery to be relocated to the flotillas, he knows he has to go after her. Through all these trials, Cael realizes that the only way to save the Heartlanders is to challenge the idea that corn must be king. Wendig convincingly illustrates the kind of culture and environment that might be the result of today’s agricultural practices and genetically modified industrial crops. The dystopia that arises from this projection is believable and chilling, but it never overpowers the stories of the characters that live in this world.

SLJ reviews, Sept 2013 (reviewed by Anna Berger)

Under the Empyrean Sky is on sale now ($3.99 Kindle, $10.79 hardback, available in audio formats, too. B&N and Indiebound buy links below. Thanks!)

UNDER THE EMPYREAN SKY

Preorder: Amazon / B&N / Indiebound

I love Laura Anne Gilman not merely because she is an excellent writer but because she also delivers unto writers excellent writing advice — advice that is practical and wise and comes from a place of actual experience, not just, you know, from the peaks of Made-Shit-Up Mountain. Here she talks about her next two books:

Tell Us About Yourself: Who The Hell Are You?

Former book editor for various NY Publishers, who fled the 8-6 life nearly ten years ago (ten years this November!) for the relatively low-paying but blessedly meeting-less freelance life.  Which takes care of the resume portion of WTHAY.  Otherwise, I’m a Jersey Girl-turned-New Yorker who left half her heart in Seattle, a cat owner who loves dogs, an urban sophisticate who loves camping and hiking, a clotheshorse who spends most of her days in jeans and bare feet.  Hot temper but a blessedly long fuse, liberal but not a Democrat (politics, pheh), foodie and oenophile, and generally still having fucks to give but far more reserved about where and to whom I give them.

Also known for the past twenty years as “meerkat.”

Give Us The 140-Character Story Pitch:

I’m retelling the Tam Lin legend in post-Internet world. With geeks, elves, snark, an asthmatic heroine, and a classic Gilman-style ending.

Where Does This Story Come From?

The same place all my stories do: a very dark, slightly terrifying back room in my brain, where all the bits and bobs I magpie out of the daily world get shoved.  They sit there for years, rubbing shoulders with each other, talking in low voices, wondering when, if ever, they’ll see light of day again, getting paranoid and occasionally hallucinating, until a group of them achieve critical mass and explode out of my ear and onto the page.

I was thinking about my next project, trying to find a different ‘jumping off’ point from the mystery-built UF I’d been writing before, and thinking that it would be fun to write a straight-on save-the-world fantasy adventure, something very traditional, and then give it a technological twist.  And – as per my editor’s request – keeping love/romance as a prime mover in the plot.

*boom*  An epic somantic legend, some PTSD, a bit of scientific thingamajiggery, and a non-traditional ending that will piss some people off…

Along the way, I picked up the challenge to write a duology, where the story continues, and yet is not a “second half” or a sequel, but the next logical act in an ongoing play.  So that’s how “retell Tam Lin” became HEART OF BRIAR/SOUL OF FIRE.

How Is This A Story Only You Could’ve Written?

Individually, anyone else might have come up with the specifics – the legend to be rewritten, the idea of the protag as a woman who has trained herself to avoid conflict and physical activity, the snarky-and-unsexy werewolf advisor, the science behind the magic… it’s the putting them all together and giving them voices that was uniquely me.  Because that’s what proper storytelling is – the combination of elements anyone could think of, in a way that nobody’s thought of yet.  So the more you develop individual thinking and ways of seeing, the more likely you are to write something someone else says “dude, I did not see that coming.”  Or, as one of my beta readers signed, “only you, Gilman….”

What Was The Hardest Thing About Writing HEART OF BRIAR/SOUL OF FIRE?

Not letting the secondary characters take over.  Jan started out as a strong, full-throated chatacter, but barely a chapter in, and it was a little like watching the Wizard of Oz – you know that Dorothy is the quest-character, but everyone else is chewing the scenery so wonderfully, you want to spend more time with them, too.

Much to my surprise, Tyler – who was a bit of an intentional cypher to begin with, as the wayward boyfriend, really developed away from where I’d thought he would go.  The more page-time he got, the more he changed the story away from the original outline.  Thankfully my editor understood and approved the change, because trying to shove him back in the box would have been impossible, and (IMO) would have made for a less-satisfying story.

What Did You Learn Writing HEART OF BRIAR/SOUL OF FIRE?

Other than the fact that duologies are possibly even harder than trilogies?  The fine art of writing engaging “internal” scenes.  My previous novels were either caper-plots (very few pauses), or more traditional quest-plots, where each scene tends to favor physical movement over internal.  But this book often had scenes that needed to be more static, even when they were physically in motion, to focus on the emotional and mental changes occurring.  It requires a very different approach from the writer, to keep the voice consistent and not lose forward motion even while you’re pulling your reader inside rather than pushing them forward….

Suddenly, my habit of reading mainstream literary fiction came in handy! (both in knowing what I wanted, and what I didn’t want it to look like)

What Do You Love About HEART OF BRIAR/SOUL OF FIRE?

The characters, and the culture they come from.  I had so much fun discovering them, watching them develop under duress… especially, as I said, the secondary characters, and even the tertiary ones, who only appear in a scene or two – they all grew themselves out of their situations so wonderfully, I was tempted to go down some story-alleys and see what their journey might be…  (sadly: deadlines did not allow for story-alleys).

What Would You Do Differently Next Time?

I think I would start out with it being Tyler AND Jan’s story, rather than it being set up as Jan’s story alone.  I might have done them both a disservice – but I didn’t realize that until halfway through SOUL OF FIRE. The relationship between Jan and Tyler starts the action, and for Reasons we can’t see his take on things until later… but I’d like to – given the chance – find some way to bring him forward more, earlier, and give his side of the story more play.  Because in the end, he saves her as much as she saves him, even more than [character redacted for spoilers] does.  It’s just more subtle, and I think that will get overlooked, as I wrote it.But at the same time, every book you write, you write to the best of your ability at that time.  And every book written would be totally different, even a year later…

Give Us Your Favorite Paragraph From The Story:

Seriously?  Seriously?  One paragraph….

Okay, fine:

“We’re fucked, aren’t we?”

AJ laughed, the low chuckle still as disturbing a sound as the first time she’d heard it. “We’ve been fucked since day one,” he said.

(from SOUL OF FIRE)

What’s Next For You As A Storyteller?

Something completely different.  I’m working on a story set in the early 1800’s, a road trip adventure where the supernatural/magical elements are so integrated into the world they’re almost unnoticeable (nearly but not quite magical realism).  The narrative voice is closer to much of my short fiction than my UF novels – more lyrical and considered, rather than the terser, “modern” style I use here.   Maintaining that for nearly a hundred thousand words is keeping me on my toes…

Also, writing a teenager primary character.  God, the pathos!  The stress!  The whinging!  And that’s just from the adults who have to deal with her!  (I joke.  Mostly.)

Laura Anne Gilman: Website / Twitter

Heart of Briar: Amazon / B&N

Soul of Fire: Amazon / B&N

I don’t have any great thoughts here, but I wanted to introduce the discussion:

At Worldcon / LoneStarCon, the age felt… older. Youthful vigor was not on display like it seems to be every year at DragonCon. That’s worrisome because as a community, you don’t want to cleave so completely to an older generation because you can age out your genre work and your audience — right? I mean, one could argue that it serves as counterprogramming to DragonCon and PAX, but is that really the way you want to counterprogram? By hewing more (only?) to an older generation of fans and authors, though, I have to wonder if that’s healthy in terms of overall genre and industry. Don’t get me wrong, I had a blast at Worldcon, but for me it served as more of a professional connection and less so a fan connection, which is not necessarily ideal in terms of the monetary output I have to spend to get there. (Which is another issue: Worldcon ain’t cheap. DragonCon is cheaper. Younger fans have smaller income, so, there you go.)

Plus: YA Lit isn’t supported by the Hugos.

Which is sad and a little screwy.

Some of the best and bravest storytelling in the genre space is happening right now under our feet in Young Adult fiction. And it’s huge in terms of sales and audience. I met a great many writers at Worldcon who were YA writers or who were moving into that space. I met a lot of YA readers, too. And librarians. And booksellers. And our YA panel was packed. And yet, no YA on the Hugos. The argument against it is of course that YAs are not excluded from the Hugos and some YAs have won, so you don’t need a separate category, but for my mileage, the older audience of Worldcon will likely keep most YA held away from the competition for the most part. I say the Hugos already have a few curious redundancies and bringing YA to the table will open the accolades up to more books which means more book sales which means including younger fans. How can that be a bad thing? Is there something I’m missing?

(Gwenda Bond pointed out on Twitter that “Sexism’s in the mix, too — ‘not serious’ because it often contains romance, written/read by lots of women/girls.”)

@sblackmoore @andrhia @ChuckWendig Sexism's in the mix too–"not serious" b/c often contains romance, written/read by lots of women/girls.

— Gwenda Bond (is in the deadline cave) (@Gwenda) September 3, 2013

Don’t get me wrong — some of this is very much selfishly driven. My fans seem to skew younger. Some of my books are YA. But from a community standpoint it also pains me that there is a larger swath of fans — younger readers who have that great vigor and enthusiasm I’m talking about — who maybe aren’t being invited to the table. Or, at least, are being kept away from it with higher costs and a lack of recognition for what they love.

Worldcon is in London next year, which I’d love to attend to but I’m honestly not sure I can afford that kind of trip. As such, with DragonCon now disentangled from that heinous pedophile, I think I may have to try that, instead.

Happy to hear more thoughts on all this crazy stuff.

Did you go to Worldcon? Did you see the same things or am I just not looking hard enough? Did you dig on DragonCon (or PAX?) this year, instead?

I AM AWAKE.

Somehow, I shock-prodded my body to consciousness the way you shock-prod a cow into the cow processing chute, and so here I sit at the computer, weary-faced and bleary-eyed and yet still energized to the soul by peers and fans by the weird magic that was this year’s Worldcon.

And so, a recap.

(It bears noting that I may miss things and peeps from said recap because: weary, bleary.)

I’ll get some of the bad news out of the way early, as I don’t want to end on a negative note —

The con itself was maybe not the most well-organized I’d ever seen. I, of course, have never organized any kind of convention and have trouble organizing my underwear drawer, so please believe me when I say I could not do any better and would certainly do quite worse. Just the same, things sometimes had the vibe of being a hair clusterfucky, at least from the author side of things. I knew lots of authors who got no panels or who were put on panels where they had little expertise (they put me on a panel about fanzines at one point, featuring all dudes and no ladies). I told them I was leaving Monday and yet they gave me a late day signing and a panel, and they didn’t remove those from all the schedules (which means people still went to see me and get books signed). I didn’t get my Campbell pin initially and had to go hunt it down. They had the Campbell panel  at 5-6pm on Sunday and, of course, the Hugo reception began at (drum roll please) 6pm, giving us approximately zero minutes to get ready for an awards where we are expected to dress up — meaning we had to arrive late. So, at times, everything felt kinda slap-dashy, and in that way it felt like I had a harder time optimizing my experience.

Oh, also, to bury the lede a little, I did not win the Campbell Award for Best New Writer. I’m not gonna lie: I was and am a teensy-weensy widdle bit sad about that — I’ve worked my ass off in this space for the last two years. My keyboard is at times literally on fire. I thought maybe that would work in my favor but I saw quite a few blog posts and tweets that suggested some folks thought I shouldn’t have been eligible due to how much I have produced (on io9’s Hugo recap there’s a thread right now that starts with, “Chuck Wendig is a ‘new writer?’ WTF?”). That being said, at the same time, I was up against four other truly marvelous writers and people I now consider friends — further, Mur Lafferty, who did win, is all aces and has been a friend for some time. I edited her in the Don’t Read This Book anthology and think she’s a helluva writer and a heckuva pal and am very, very glad she took home the Campbell. Plus, hey, being a Campbell loser puts me in such company as Lauren Beukes, Scott Lynch, Saladin Ahmed, Tobias Buckell, Joe Abercrombie, and George R.R. Martin — you know, writers folks have never heard of. Hard not to be a little excited when you get to call those people your peers in some way.

(And hey, the Hugos gave my wife an excuse to flee the toddler for the first time and travel to San Antonio to see me there — it was kinda like a mini-vacation, our first in three years.)

Let’s see. So. What happened?

(Photos from the event: here.)

To jump right into the joy, I met two of my Authorial Idols this weekend. First, got to meet Robin Hobb, who seemed a little bewildered that I was excited to meet her and scanned me with fear-eyes reserved for approaching grizzly bears and clowns, but just the same, I was happy to say hello and tell her that she was a fundamental writer in terms of influence.

I also met Bradley Denton, an author I talk about a lot and who you should damn well be reading but who regrettably dropped off the map for a number of years. I had no idea he was going to be there and so Thursday at noon I saw he was giving a reading. I went. He read his new short story, “La Bamba Boulevard,” a pseudo-sequel to Buddy Holly Is Alive And Well On Ganymede, and afterward I went up and said I regretted having no books of his to sign but I wanted to tell him how important he was to me as a writer and so forth. And he was gracious (and seemed to know who I was, and congratulated me on the Campbell nom). And I went away maybe kinda sorta a bit misty-eyed about the whole thing. If my con had ended right there, Thursday at noon, it would’ve all been worth it. (Plus: he has a new novella collection coming out with Subterranean Press, which is news that warms the bundle of thatch I call a heart.)

I never met (nor did I even see) Joe Lansdale, another authorial idol. Well, shit.

The Reddit Fantasy fan table did wonderful things for authors — particularly those who may not have had as many panels or events as they wanted — and gave authors a place to sit and answer Pop AMAs live at the table and on the fantasy subReddit (mine is here, if you care to read the archive). Thanks to Steve Drew and David Wohlreich for hosting me as a body hosts a tapeworm. I dined on their kindness.

Also great for authors and hopefully fans was the Drinks With Authors event at Ernie’s Bar, organized by the mad minds of Myke Cole and Justin Landon. My favorite party of the event, hands-down. Got to meet lots of writers and lots of fans. Plus editors, agents, publicists, artists. Signed some books. Drank some drinky-dranks. It fucking ruled.

Was on a Fantasy-in-YA panel which was really engaged and energized. (Oh, and packed.) Emily Wagner, Emily Jiang, Martha Wells, Aurora Celeste. Great crew, thoughtful questions and answers. Great recommendations. (I recommended the very fine Twelve-Fingered Boy by John Hornor Jacobs, which I read on the plane and holy hell was that an amazing YA book.)

I ran a packed Kaffeeklatsch with people who actually have read my books and read this blog and that geeks me out and even still gives me a little boost. It was a blast. I gave out a few books as the result of a hurried “best profanity” contest. Contest entries included: “cuntsnickers” and “sparklecock.” Which should be the name of a fabulously vulgar detective duo.

The food in San Antonio was not as good as hoped. Bonus points go to: Las Canarias, Esquire Tavern, and Rosario’s, where the Taco Posse dined on LENGUA TACOS (tongue, mmm).

I witnessed a few creepery things (pro-tip, dudes: do not talk about how you got laid at last year’s Worldcon to women, it’s not a gold-star set to impress). But I didn’t witness as much as I maybe expected. Then again, I’m not a woman, and creepy dudes aren’t regularly hitting on me. (If you had anything happen, I hope you’ll speak up about it just so we can keep the conversation in order to remind our community to be on its best behavior.) It was nice at the Hugos when the very-funny Paul Cornell shouted out how we need to be more inclusive in our genre community and that we’ll hopefully one day look back on the sexism and racism and other prejudices within our world as being something we used to do, not something we still do.

On the plane home a guy recognized me, told me he loved Blackbirds. (Achievement unlocked.)

I got my annual opportunity to hang out with friend and all-around super-crazy-talented dude Adam Christopher — and here, for bonus points, got to meet his wife,  Sandra. (Adam and I have a few things cooking, so keep those grapes peeled.)

John Hornor Jacobs is a mensch and a great dude and probably the best author you’re not reading. I read that YA of his on the plane and then he was kind enough to give me a copy of the sequel, and I’m half-done. Seriously, I’m burning through these like a brush fire. He also gave me the first book of his demonpunk (think: “infernal combustion”) book, The Incorruptibles.

Kevin Hearne is my motherfucking taco brother, and I’m so glad to have met him. (Which is evident in most of my pictures from the con, which seem to contain Kevin’s puckish smirk in some fashion or another.) We hang. We did a ninja author signing. We ate tacos and drank tequila. We are kin. He’s a great author and a great dude and treats his fans with such respect and treats other authors with such awe. He’s the real deal.

Sam Sykes is basically a cuddly, deranged baboon in a human-flesh suit, which makes him a delight and a danger to be around. He will drink heavily and write “poop” or “butt” on your nametag or drink cup, because that’s just how he rolls. Find him wherever he is and demand selfies. DEMAND SELFIES. Lest he stealthily selfie you, first.

Delilah Dawson is a wonderful writer and great person AND SHE WASN’T AT WORLDCON SO BOO TO HER AND NEITHER WAS JAYE WELLS OR STEPHEN BLACKMOORE OR KIM CURRAN OR KARINA COOPER OR GWENDA BOND AND NOW I AM SAD *wails and punches a horse*

I had dinner with Hugh Howey, who did not murder me with a fire ax. He is in fact a really smart, nice guy who took some interesting risks with his career and it paid off in big ways. It was good to meet him and see him be as energized by talking to other writers as I was.

Andrea Phillips, transmedia priestess, is rad as all-get-out and I am excited to see what she comes up with next. She also brought fudge. Eight pounds of fudge. Cherry-chili fudge. And coconut curry fudge. And opera gloves, which are not fudge but are in fact opera gloves.

Myke Cole will bench-press your soul.

Justin Landon will bench-press Myke Cole.

Saladin Ahmed deserves all the Hugos.

C. Robert Cargill IS MY PEOPLE. And holy shit, what a writer. It’s nice to sit with other writers who are funny and have great industry stories and to whom you feel simpatico.

Robert J. Bennett looks like if Pip Boy from Fallout grew up. He’s tall and shiny and smiley. He is hilarious and may be a high-functioning sociopath. Probably also a genius.

Two words: Emma Newman. I need to say no more because, Emma Newman.

Seanan McGuire is an unstoppable force of nature — and, according to her mother, is also my “fuck-buddy,” because we like to say the word “fuck” at each other — and I’d like to thank her for letting me hop into her signing like a symbiotic parasite. Her signing line was suitably epic and she deserves all the kudos.

I finally got to meet Cat Valente, who is so talented I had to not like, tremble and geek out upon meeting her. BECAUSE CAT VALENTE, people. People.

Newly-minted bestseller Jason Hough is tall and talented, two things I hate so DESTROY HIM.

Mur Lafferty and I texted back and forth all con with wonderful profanity that sometimes included the adjective “glittery,” because that’s how we do.

Brian McClellan is my beard-brother and our beard cilia mingled.

John Scalzi is a very nice guy. This doesn’t surprise you, and it’s sadly not a qualification to being an author in this space, but it’s very helpful, and congrats to him on his Hugo.

Maurice Broaddus will pee on you if you piss him off. But you won’t want to piss him off because he’s drunk and stylish and will let you feel the texture of his shirt.

Speaking of shirts: Mike Martinez had a Stone Brewery Shirt on, so now we are kin.

Mike Underwood: Too smart and too nice about publishing to be allowed to live.

Lee Harris: Too drunk and untrustworthy not to be one of my editors.

Stephen Hood is soon gonna fuck your shit up with Storium.

Saw Ramez Naam give a talk about brain interface technology and it was funny and sharp and the guy is just nailing it — I’m really looking forward to his new book.

Got to do the Skiffy and Fanty show with Shaun Duke and Jen Zink, which was an absolute joy. Sat in for a shorter podcast of Speculate SF with Brad Beaulieu and Greg Wilson and it too was a joy. Love podcasts who ask engaging, interesting questions.

Stina Leicht, Max Gladstone, Mur Lafferty and I all formed the Tiara Club, where the first rule is: Tiara, Motherfuckers. Meaning, we were not going to be the type of Campbell nominees who balked at wearing a tiara and we would be proud to wear it. (So we went out and procured dime-store tiaras to wear at our Campbell panel to prove our tiara-willingness.) Also, can I just say that my fellow nominees were lovely people? Like, just great to hang out with. (I have little doubt Zen Cho also falls into this category, but she was regrettably not in attendance.)

I got to speak to Jay Lake, which was a real honor.

OH AND YAY FRAN WILDE /edited

I think this is getting long. So I’ll just barf up as many names of people I can remember seeing and meeting and then I’m going to try to actually do some proper writing for the day — it was nice to see and/or meet: Tobias Buckell, Elizabeth Bear, Scott Lynch, Brandon Sanderson, Tabitha the Pabkins, Wes Chu, Jeff McFee, Jesse Scoble, Miriam Rosenberg, Jennifer Udden, Jay Posey, Cassandra Clarke, Lou Anders, Betsy Dornbusch, John Joseph Adams, Doug Hulick, Josh Vogt, Martin Hodo (who I mistyped as Martin Hobo), Folly Blaine, Michele Shaw (who has an unintentional Miriam Black-esque Blackbirds tattoo that made my night), ML Brennan, Sunil Patel, Effie Seiberg, Cylia, Laura Burns, The Herald of Doglicker, Ian Everett (HARDEN UP, BOY), Patrick Hester (HUGO WOO), John DeNardo (HUGO YEEHAW), Kate Baker (HUGO WUT WUT), and more because I’m starting to fade out and send liquor and tacos HURRY —