content by

David Tallerman

Fiction and Excerpts [1]

Fiction and Excerpts [1]

Delivering the Impossible: Ian Sales’ All That Outer Space Allows

The best scenes are the ones that promise the impossible and deliver.

Be it books, films, comics, whatever, it’s a rare treat when something is built up beyond all reasonable expectations and then doesn’t turn out to be a great, sucking heap of disappointment. But let’s face it, it doesn’t happen very often. This places creators in a tough position: the more you promise, the more you have to deliver. Or to put it another way, the higher you jump the more likely you are to end up flat on your face.

As the fourth book in Ian Sales’s well-regarded Apollo Quartet, All That Outer Space Allows was already promising a fair bit.

[Read more]

Series: That Was Awesome! Writers on Writing


Fleeing the city on the TransContinental airship, Dran Florrian is traveling with the Palimpsest—the ultimate proof of a lifetime of scientific theorizing.

When a rogue organization attempts to steal the device, however, Dran takes drastic action. But his invention threatens to destroy the very fabric of this and all other possible universes, unless Dran—or someone very much like him—can shut down the machine and reverse the process.

David Tallerman’s sci-fi thriller Patchwerk is available January 19th from Publishing!

[Read an Excerpt]

Falling Down the Rabbit Hole of ‘90s Anime

In this ongoing series, we ask SF/F authors to describe a specialty in their lives that has nothing (or very little) to do with writing. Join us as we discover what draws authors to their various hobbies, how they fit into their daily lives, and how and they inform the author’s literary identity!

It’s shocking how easily perfectly innocent hobbies turn into rabbit holes.

So it was with me and anime. I’d been dabbling in it for years, watching the well-known classics, picking up anything that Studio Ghibli put out of course, keeping an eye open for any new Oshii movies. There’d been a time when I’d watched series, but eventually the effort of figuring out what was worth the effort had proven too great. In short, I’d become a casual fan, devoted to the medium in theory but in practice paddling around its edges.

[Then — I don’t entirely know what happened.]

Lies, Damn Lies, and Unreliable Narrators

It was Salman Rushdie’s Midnight’s Children that introduced me to the idea of unreliable narration.

Until then, I guess I’d more or less taken my narrators at face value. If they told me it was raining, I believed them. If they told me another character was mean, ugly, stupid, I took their word. Why wouldn’t I? They were the narrator. Wasn’t there some sacred trust between writers and their readers that said that everything the character telling the story said was, de facto, the truth? Unless they openly admitted they were lying, or at least gave me some good, clear reason to doubt them? Surely, anything else would be cheating.

I read — I suppose I should say, studied — Midnight’s Children at university, as part of a course titled “Post-Colonial Literature.” Now that it’s enshrined as a literary masterpiece, now that it’s a Booker of Bookers, it’s probably a book destined to be studied more than it’s read. It was a good course, and it probably wasn’t the tutor’s fault it had been lumbered with such an unfortunate title. While it was going on, we talked far more about Magical Realism; looking back, though, with writers like Rushdie and Márquez forming a good chunk of the syllabus, it could just as easily have been called something like non-Eurocentric Fantasy.

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