I know, I know, I don’t want to be talking about this shit either.

I’d rather be talking about literally anything else.

Puppies. Sunshine. Empanadas. Butt plugs.

(Not coincidentally, those are also the nuclear launch codes.)

Anyway, short post, but here it is:

If you’re a person out there who supported this president and who supported the political party to which he supposedly belongs, here’s your chance to get off the ride. Well, first, fuck you, because you should’ve known better. Smarter people told you this was bad, that he was a mean, evil dope. He told you that he was a mean evil dope when he called Mexicans rapists and he copped to sexual assaulting women and making fun of a disabled reporter and pushing the Obama birther conspiracy for miles past its already ludicrous inception point. We all knew he was the human embodiment of two rats fucking inside an old clown shoe. That pantsuit lady with the emails also told us all who we were dealing with. She warned us about Russia. She warned us about a guy you can bait with a tweet. She told us who he was even as he also told us who he was. The newspapers told us. The experts told us. Little children told us. We knew.

We totally knew. You knew, too.

But hey, let’s pretend you didn’t know.

Let’s say this is your period of amnesty.

This period of amnesty — and this goes toward voters, politicians, businessfolk — is a very small window. Like, so small the window is closing as we speak. So small you’re going to have to leap through it like Indiana Jones grabbing his hat before the catacomb door comes slamming down on his hand. (Indiana Jones, by the way, is one of many pop culture heroes of ours who punched Nazis. Just in case you were confused about what we once believed was good and just.)

We know who is in the Oval Office.

We know he’s a kiss-ass quisling who wants to sell us to Russia.

We know he’s a guy who can’t get anything done except tweet.

We know he’s a hypocrite who does everything he has ever criticized.

We know he’s a mean evil dope.

And now we know that he is a white supremacist who stands with white supremacists. He will not condemn them. He will condemn everyone but them, just as he won’t condemn Russia. He is compromised politically, morally, emotionally. He stands up for Nazis more than he stands up for the common man. He stands for two of our past enemies, and not for our present allies.

He is a danger. He is a craven cur. He is a con-man. He is a grease-slick turd. He’s King Midas with poopy shit-fingers instead of a gold touch.

It is time to get off the train.

Because right now, it’s up over the hill. It’s on the downward slope. It’s gaining speed as it roars down the tracks. You can jump out now, maybe sprain a wrist, maybe scuff your knees, but you’ll live. Our democracy will live. But you stay on this train? It’s going to crash hard into a wall. Just as we told you who you were electing, we’re also warning you know that the wall is swiftly rushing up to greet us — oh no, not his wall, not the wall across the border, but the wall that will end his presidency and, if our luck does not hold, our democracy. This is real. It’s happening. Get off now or you’ll be onboard when it crashes, too.

If you’re not one of those people, you probably know some who are. Friends or family. People on Facebook. The media you watch, the writers you read. Even the politicians who represent you. Confront them. Condemn them. Let them know that you will not stand by them if they choose to stand by this administration. If they continue to stand by it, then they need to go. They must get gone. Because either they’re mean, or they’re evil, or they’re dopes, too.

This is it, folks.

Up over the hill, rickety-clack down the tracks we go.

(P.S. — above image is Photoshopped.)

(P.P.S. — if you have not seen the Vice documentary out of Charlottesville — well, go watch it. It’s not an easy thing to watch, but if you can stomach it, I suggest you try.)

(P.P.S.S. — if your response to this is some kind of LESS POLITICS MORE FUNNY BOOK STUFF rebuke, trust me, I wish that’s where my head was at right now, but it’s not. I’m going to talk about this stuff because it’s real and because it matters and because it matters a lot more than where you put a comma or whether or not write what you know is a thing or whether or not that character on Game of Thrones is faking her pregnancy. You can read the blog or not, you can buy my books or not. You can engage with what’s going on around you or not.)

And now, a vital guest post from Michael Damian Thomas, co-editor of Uncanny Magazine along with Lynne M. Thomas, who wants to talk about their daughter, the political state of America, and the mission behind the new Disabled People Destroy Science-Fiction series — you will find the Kickstarter for that right here, so go click and go give.

* * *

The above picture is of my daughter, Caitlin, at her appointment to pick up her ankle-foot orthotics on November 8, 2016. Earlier that day, Caitlin voted with me. As we waited for her orthotist to finish grinding the orthotics to fit her, I told her our candidate, Hillary Rodham Clinton, was about to become the first woman president.

That was her smile about HRC—a smile so magical I had to take a photo to share with the other HRC supporters in our lives who were about to experience this historic moment together.

Twelve hours later Caitlin was in bed, and we were all in tears.

Not because history was missed, but because we knew what this could mean for Caitlin’s life, and the lives of so many other people. A corrupt, treasonous, hateful, asshole conman was now going to be our president, with a Republican-controlled legislature. A man who made it very clear when he mocked reporter Serge Kovaleski how he felt about disabled people. A man who had no problem cutting off his own nephew’s 18-month-old child from medical insurance—a child with infantile spasms.

Caitlin had infantile spasms. It’s a main marker of her Aicardi syndrome. They’re violent, rare seizures that made her infant body fold repeatedly in half, causing brain damage with each spasm. They would happen over and over again (the worst series went for 45 minutes before the paramedics got Caitlin to the ER). The medicines which finally controlled her infantile spasms cost our health insurance $18,000 per month. Thankfully, we had insurance without lifetime caps and access to a Medicaid program, which was codified through the Affordable Care Act. This kept us from going bankrupt.

We have walked that fine edge of financial disaster for her entire life. Caitlin’s 2014 alone cost a million dollars, thanks in part to a spinal fusion surgery that vastly improved her quality of life. And now, because of the election, these hateful GOP assholes who wanted to destroy the Affordable Care Act, Medicaid, the Individuals with Disabilities Education Act (IDEA), the Americans with Disabilities Act (ADA), and so many other laws and programs for disabled people have the power to do so. Without these protections and programs, Caitlin wouldn’t have been able to live with us and thrive. Others, too, saw their lives in peril. They fought. National ADAPT claimed this summer, waging civil disobedience war against the GOP. Rooted in Rights published articles about the political struggles disabled Americans like Caitlin found themselves in.

What would happen to Caitlin if we lost? What could we do?

This was just our story as the year started. So many different groups of people were suddenly scared and in trouble: women, immigrants, POC, Muslims, Jews, queers, women, disabled people, and so many more. (My wife and I are both queer, and I’m also disabled.) As fascist white supremacists moved into power, we did Tweetstorms. We called our legislators constantly. We fought and tried not to collapse in discouragement. Often Lynne and I felt frustrated that we couldn’t do more.

Then a dear friend reminded us that we have a magazine. Uncanny Magazine, to be exact.

The Thomases have a history of pissing off the alt-right. Wired named two things Lynne edited in “The Books and Stories That Sparked a Culture War” for their Sad/Rabid Puppies’ article. Milo attacked these works and Lynne’s Hugo Awards on Breitbart. Some of our more political stories, like Brooke Bolander’s “Our Talons Can Crush Galaxies,” have gone viral and been nominated for numerous awards.

This is what we do. We help create and publish art that pisses hateful people off.

We decided it was time to get even louder.

Uncanny Magazine first started with a community coming together, which we named the Space Unicorn Ranger Corps after our Space Unicorn mascot, during our initial Kickstarter. Now, this community is getting politically active together, which is glorious.

We made an open call for Uncanny Resistance essays. People flooded us with pitches. We published essays that taught civil disobedience methods, how to run for office, how to lobby, and personal stories about how merely existing when you’re marginalized is a form of Resistance to this regime. Science Fiction and Fantasy fans and writers came together as a community in our pages, sharing information and support for the fight.

As part of this mission, we also took Lightspeed Magazine up on their offer to continue the Destroy series with Disabled People Destroy Science Fiction. We brought together an amazing team of disabled guest editors:

• Editor-in-Chief/Fiction Editor: Dominik Parisien
• Editor-in-Chief/Nonfiction Editor: Elsa Sjunneson-Henry
• Reprint Editor: Judith Tarr
• Poetry Editor: S. Qiouyi Lu
• Personal Essays Editor: Nicolette Barischoff

As Co-Editor-in-Chief/Nonfiction Editor Elsa Sjunneson-Henry said:

Disabled People Destroy Science Fiction is a continuation of the Destroy series (now brought to people by Uncanny Magazine) in which we, disabled members of the science fiction community, will put ourselves where we belong: at the center of the story. Often, disabled people are an afterthought, a punchline, or simply forgotten in the face of new horizons, scientific discovery, or magical invention. We intend to destroy ableism and bring forth voices, narratives, and truths most important to disabled writers, editors, and creators with this special issue.

We are currently running the Kickstarter for Disabled People Destroy Science Fiction/Uncanny Magazine Year 4. (Above art by Galen Dara.) We will continue running essays, stories, and poems by people who Resist this regime. People who fight hate with art. People who come together as a community of artists and thinkers and find ways to push back, create the world we want to live in, and inspire others to do so, too.

For Caitlin. For everybody.

Please consider backing us if you have the means.

Fight on, Space Unicorns.

I’ve seen that phrase a lot over the last couple days — this isn’t us, as if what happened in Charlottesville happened somewhere else, to someone else, in another country, on another planet.

But it didn’t. It happened here.

It didn’t happen here in a vacuum. It did not appear here, as if by random, as if by some Satanic intervention. It wasn’t a comet we didn’t see coming, it wasn’t a disease making a sudden zoonotic jump. This is in our, to borrow and subvert the phrase of those Nazi fucks, blood and soil. This is a nation whose land was stolen brutally and violently from its inhabitants. This is a nation whose backbone was built and straightened by black slaves brought here in chains. We spilled a lot of blood to get here. Blood in the dirt, blood and soil — not as the Nazi fuckos mean it, no, because they mean it to do with pride in their heritage and their white skin and their relationship to the rural land. Theirs is an idealized, beatific version where they’re simultaneously both the heroes and the victims of their own narrative. I mean it that we spilled a lot of blood — not ours — to make this nation, and that blood has soaked the soil, it’s been baked into who we are and where we came from. I mean that at times we have not been the heroes or the victims but rather, the villains in this narrative.

And no, no, I know, before someone out there says it, bite your tongue: please no NOT ME, NOT ALL OF US, I’M NOT LIKE THAT. Maybe you are, maybe you aren’t, but this is the land on which you stand. We are as a nation at our best when we recognize this, when we see the cruelty and viciousness that birthed this country and we work against it. When we struggle to repair what we broke, when we seek to salve the trauma we have brought, when we aim to rebalance the scales of privilege away from those who have it — as I said elsewhere, the greatest trick the devil ever pulled was convincing cisgendered non-disabled straight-ass white dudes that they could be victims of oppression. We are at our best not when we say this isn’t us, but rather, this is us, but we don’t want it to be. We are at our best when we are truthful to ourselves and our children as to how we got here and to the cost we made others pay — and the cost we continue to make them pay today.

White supremacy is here.

It’s not just the South.

It’s not just the margins, the fringe.

It isn’t new.

It’s the mortar holding together our bricks. What’s new(ish) is the overtness with which these weak, wormy people display their hate-fueled fake-ass victimization. The hoods are off. But it’s been here all along. More covert. More hidden. Hidden not just under white hoods but in business suits and in arrest records and in bank loans and in the secret language of privilege we speak. It’s been here, stoked by the rich and the powerful, used as a tool — a hack, really — to control the middle and working classes, to convince them that they are the victims of Outsiders, Others, Foreigners, instead of what they really are: dupes, rubes, marks for the con-men.

This is us. This is who we are.

But it’s never too late to change.

And change we must. We must rebuke the Nazis. We must recognize that hate speech is not free speech. We must chase down white supremacy not just as a tool of the emboldened fringe but as a benefit we have all inadvertently claimed by climbing the ladder of privilege built by those who came before us. Some of you may not see it. You may say, But I don’t feel privileged. And maybe, individually, you’re not. But as a group, we are. And even you, the Unprivileged, should ask yourself — if you put on a polo shirt and a red hat and joined a Neo-Nazi rally, what would happen to you? Would the cops beat you? Or would they shield you? If you lifted your hand in a Hitler salute, would the system rebuke you, or support you? Would you end up in jail? Would you get a beating and disappear, or a firm talking-to? Now, what if your skin color were different? Then what? Does that change your calculus? It should. It would. You’d be bloodied. You’d be in jail. Even if all you were doing was standing there with a phone, taking video.

Call it out. Shut it down. It’s trickle-down racism, from the White House down. We have to rip it out by the roots and (metaphorically) burn it.

And we also have to own it.

This is us.

This is America.

It was America 200 years ago.

It was America in the 1930s.

It’s America, today.

We can only fight it if we see it.

* * *

I feel like I’m supposed to do a call to action here — something to do instead of just something to read and to say. First, as a writer, my default call to action is to support marginalized creators. Go the extra distance. Buy and share their work. Don’t be blind to our differences, but celebrate them and elevate them. If you’re an SFF fan, and you’re looking for somewhere to start, I’d ask you to look up these authors and buy from them: Daniel Jose Older, N.K. Jemisin, Nnedi Okorafor, Malka Older, Sarah Kuhn, Silvia Moreno-Garcia, Saladin Ahmed, Ken Liu, Tananarive Due, Maurice Broaddus, Marjorie Liu, Alyssa Wong, Cassandra Khaw — the list goes on and on, and I’m barely just scratching the surface here. These are incredible storytellers whose work demands to be read.

[Like a ding-dong, I originally recommended you leave suggestions for authors in the comments below, and then helpfully closed comments to stave off Internet fuckwits. D’oh. Still keeping comments closed but will solicit new reading suggestions this week or next, apologies. That list above should get you started!]

You can also put money to the cause:

Southern Poverty Law Center. Also check out their list of flags and hate symbols used in Charlottesville.

Hell, Sara Benincasa already did a lot of the work on this one, putting together a fantastic list of where to donate in the wake of recent events.

I’m torn on recommending the ACLU at this point — on the one hand, I recognize that their support for freedom of speech has to by necessity cut both ways, and having principles means sticking to them even when they’re inconvenient. On the other hand, I can’t emotionally get behind cheerleading them for protecting Nazi speech, because you ask me, Nazi speech is hate speech, and hate speech isn’t free.

Also author Celeste Ng talks about contacting your reps, talk to the police, talk to your family, your kids, your friends, everyone.

Be good to each other.

Be better than who we are.

Be better, even more, than who we were and how we got here.

Comments closed, because c’mon.

Your task this week is simple:

I want you to come up with a single sentence.

Just one.

No more than thirteen words long.

This sentence is meant to be the end of a story. The last sentence.

You can deposit this sentence in the comments below.

Again: just one, please.

Not a whole story.

Just one sentence — the end to an as-yet-incomplete story.

Do this by next Friday, the 18th, noon EST.

Begin.

Here is a thing that sometimes happens to me and other authors who feature a not-insignificant footprint online or in the “industry,” as it were:

Some rando writer randos into my social media feed and tries to pick a fight. Or shits on fellow authors, or drums up some kind of fake-ass anti-me campaign or — you know, basically, the equivalent to reaching into the overfull diaper that sags around their hips and hurling a glob of whatever feces their body produces on any given day. The behavior of a shit-flinging gibbon.

Now, a shit-flinging gibbon hopes to accomplish attention for itself. It throws shit because it knows no other way to get that attention. The gibbon’s most valuable asset, ahem, is its foul colonic matter, so that’s the resource it has at hand.

Thing is, you’re not a shit-flinging gibbon.

You’re a writer.

Your most valuable asset is, ideally, your writing.

If it’s not, that’s a problem. A problem with you, to be clear, and not a problem with the rest of the world. It rests squarely upon your shoulders.

If your best way to get attention for yourself is to throw shit instead of write a damn good book, you are a troll, not a professional writer.

Your best advertising for yourself as a writer is to write the best book you can write.

Your best advertising for the last book you wrote is the next book.

Your best boost to your career is to be the best version of yourself. Online, in-person, all-around — summon the ideal version of yourself and present that face to the world, to your potential audience. That is how you earn your audience. You don’t build them. Your audience isn’t a fucking chair. They are a group of people who you can, in part, earn as readers and as fans. (I say in part because you can never please everybody, nor should you try.)

If the best version of yourself is a shit-flinging gibbon, you’re in trouble.

And certainly someone here is saying, But you just said you can’t please everybody, so why can’t I just be a shit-flinging gibbon? Well, you can be. It’s an option. It’s a tactic. It’s just a bad one. It’s one that leads with a broken foot. You’re saying, “I’m a writer,” and yet, you’re not leading with your work. You’re leading with antics. You’re leading with a toddler tantrum. No book will earn the love of a whole audience, but the book is still the point. And shit-flinging gibbons are not excellent sellers of, or writers of, books.

Now, most of you, I assume, are not shit-flinging gibbons. Your judgment is dubious — after all, you come here to read whatever hot piffle comes belching up out of my thought-hole — but at the very least, I safely assume few of you are monkeys who fling poo. And despite this, the overarching lesson is still true: most writing problems are solved by writing.

Having a problem getting traction in the book you’re working on? Write your way through it. Put words on paper. Agitate the writing with writing.

Having a problem even still? Rewrite it.

Having a problem marketing this book? Write the next book.

Having a problem with author drama or publishing nonsense? Distract yourself by, yep, you guessed it, writing something.

Can’t sell this book? Write another book.

Writing is a key to a door. It is a finely-crafted, articulate key. It is the best and shiniest artifact in your arsenal. Yes, you can try to kick the door down. Yes, you can try to bash it open with another author’s head. But your own writing is the best key you have, so use it.

No, it’s not a skeleton key. It doesn’t open all doors. Sometimes the act of writing is also about not writing — about waiting, ruminating, outlining, reading, living, about punching frozen beef, about drinking gin-and-tonics, about hunting whales and ingesting whole hummingbirds and okay you know what, I think I lost the narrative thread here a little. Point being, writing isn’t always about writing.

But the career, overall, is.

This is true however you publish, whatever you write.

Writing begets writing. Writing sells writing.

Writing is an act of doing. It is an act of making.

It is also an act of persevering.

And surviving.

A lot of writers simply can’t hack it, so they quit. The road ahead and behind you is littered with the corpses of writers who just couldn’t hack it. (And spoiler alert, some of them are the desiccated carcasses of shit-flinging gibbons.) They couldn’t deal, so they gave up and gave in.

Writing is you not quitting. It’s you taking a bite and digging your teeth deeper like a cranky-ass bulldog who refuses to let go. It isn’t you being a crap-tossing primate.

Be the best version of yourself.

Let your writing be the guide.

Write the greatest damn book you can write.

And don’t be a shitty monkey.

The end.

Once upon a time I had a vision in my head of what being an author was like.

I imagined that I would wake up at the crack of noon, and I would roll out of bed and then ruminate on the complexities of the past, the present, the future. I would Think Very Hard about Big Ideas, and then I would go to the fertile garden of my word processor and gaze upon the word-seeds I had left the day before, and there, they would bloom, carrying forth the fruit of my Big Ideas — fruit that whose skin would rupture and it would leak the sweet juices of my Pure Nourishing Genius across the page.

Then I wrote a story longer than 2,000 words and became immediately divested of this bullshit notion. To clarify, I don’t mean that writing is not about big ideas, or that storytelling is not a conveyance and mechanism for those ideas, but rather, that in the day-to-day, this isn’t what writing or storytelling is about.

No, it’s about resource management.

Like, we’ve all had jobs. Regular, normal-ass jobs. (Or normal ass-jobs? Hm.) Jobs where you juggle tasks and complete them on time. Jobs where you have to keep track of random shit and make sure some kind of process or production stays orderly. Maybe you put things into a spreadsheet or you arrange widgets and dongles or you make sandwiches as a sandwich artisan.

All good. All normal. No shame in dongle-sandwich management.

Life, too, is this way — my adult life is constantly about managing things. Am I wearing pants? Am I where I’m supposed to be? Have I put food in my body? Where are my pants again? Having a child only increased this, because suddenly I’m worry about a tinier, less-responsible version of me. Is he eating food? Is he eating the right kind of food? Am I committing to his physical, emotional and intellectual nourishment? Where is he? Right now, seriously, where is he? Is he under the couch? He might be under the couch. He might be in the ducts, like John McClane. Did he poop today? This is legitimately a thing you have to think about with kids. Their poop. Did they do it? Did it look okay? Are you feeding them the right amount of poop fuel and is it resulting in proper poopification? You just don’t know. But you always have to check.

Job, life, it’s all resource management. Hell, even video games are like this. Wandering around Mass Effect is a constant act of, “Well, I found another pair of space pants, what do I do with these? I found seven Krogan whatchamafuckits, will I use them to upgrade my sniper rifle or will I spend them for research points in order to build space toilets on this disreputable planet I found, or maybe I’ll just sell them for space drugs.”

Storytelling, I had hoped was different.

Spoiler warning: it ain’t that different.

Writing a story is often just an act of resource management.

What I mean is this:

I am often forced to be focused on basic logistics for a story. My questions are ceaselessly dull. Where are the characters? Can they have gotten there in that time frame? Wait, have they slept? What are they holding? Could they have that? Wait, does that character know enough about that thing to accurately speak about it? What’s today’s date? When is it? Where am I? Where are the characters’ pants? Are they space pants? Do they need seven whatchamafuckits to defeat the seller of space drugs? Did the characters poop today?

Worse, the writing itself is subject to resource management: did I use that word too many times? Should this chapter follow that chapter? Is there a jump in time that will help? Am I establishing a good rhythm, with differently-sized sentences and paragraphs nestled up against one another? Am I breaking this chapter up, or leaving it long, or what? Do I need more space drugs? ARE MY WORDS TOTAL POOP TODAY?

Storytelling has its own abstract resources, too. You want tension, but you don’t want too much of it — overuse it, and it becomes overwrought, listless, expected. Conflict can’t just be one thing, it needs to come in a rainbow of fucking flavors. You never want just one plot, you need multiple plots, driven by stories, circumstances, conflicts creating conflicts, scenes creating scenes. It all has to flow together. It has to have a narrative rhythm just as your words need a rhythm of language. More resources, more management, and more poop, probably, I dunno.

I note this for a few reasons.

First, because it was on my mind and what’s on my mind often gets frothily reduced, like a fine sauce, on this here blog.

Second, because I think it’s important to hold minimal illusions about what the day-to-day job entails, and sometimes this job entails not merely herding cats but rather, WRESTLING MANY HERDS OF THE AFOREMENTIONED CATS, meaning, it requires juggling lots of internal narrative data. We often see writing and story spoken of in this high-minded and occasionally impractical way, but that’s rarely what really goes into the nitty-gritty of it.

Third, because I think maybe a lot of big Hollywood films have actively lost sight of this kind of important resource management, and they treat the narrative resources cheaply to score a lazy impact — so sad when I watch big movies and find a hundred different plotholes or worse, aren’t sure how a thing is actually happening, all because I think the storytellers forgot to track the narrative data. They become so consumed with spectacle that they fail to remember how things need to actually make sense at the most basic level. Storytelling can be about pomp and circumstance, but the moment we stop believing in the basic reality of it is the moment all the pomp and circumstance deflate like a sad erection.

Fourth and finally because you do still need to transcend this — you’re managing resources but at the end of the day, a story isn’t a spreadsheet, it isn’t logistics, it’s something grander, greater, squirmier, stranger. You must get the data and details right, you must force it to make sense, and then you go beyond it. Only when your ducks are in their proverbial row do you transcend those details and find a way to arrange everything for maximum emotional or thematic impact.

But it’s okay that in the trenches, it’s about crude logic and basic arrangement.

Let that be okay.

Don’t sweat it.

Get it right, then go bigger.

Now if you’ll excuse me, I have to find my pants and go buy more space drugs.

* * *

Coming soon:

DAMN FINE STORY: Mastering the Tools of a Powerful Narrative

by Chuck Wendig, from Writer’s Digest, October 17th

A new writing/storytelling book by yours truly! All about the fiddly bits of storytelling — creating great characters, growing narrative organically, identifying and creating theme. Hope you dig it.

Pre-order now:

Indiebound

Amazon

B&N

(Come see me launch the book on October 17th at Borderlands in San Francisco with Kevin Hearne launching the amazing Plague of Giants and Fran Wilde supporting her sublime Bone Universe books! 6pm!)