Lizard Brain is a shared blog about Science Fiction and Fantasy from Daniel Abraham and Ty Franck.

For those who’re interested . . .

by Daniel Abraham

Upcoming4me just put up a little article about the story behind The Dagger & the Coin.

“For my first fantasy series – The Long Price Quartet – I wanted to do something really different, and so I did.  It had a structure I hadn’t seen anyone do before, a different setting than the usual, an idea for magic that I’m still kind of proud of.  And then I saw this ketchup bottle.”


The Wide World of Daniel Abraham Roundup Edition

by Daniel Abraham

So yeah.  There’s been a lot going on of late, professionally speaking.  So partly because I figured some folks might be interested and partly so I could see it all in one place, here’s the state of play right now:



"The harder I work, the luckier I get" -- Samuel Goldwyn

“The harder I work, the luckier I get” — Samuel Goldwyn

Graveyard Child by MLN Hanover came out last month. We’re in between contracts on that one, and I’ll share more news on it as it comes in.

The Tyrant’s Law by Daniel Abraham comes out in four days, and has already been spotted in the wild. The fourth book in that series (The Widow’s House) is nearing completion.

Abaddon’s Gate by James S A Corey comes out on June 4th. The fourth book in that series (Dave or possibly The Mysterious Fourth Book of Mystery, but probably something much better) is also within striking distance of done.

The as-yet-not-with-a-final-title Star Wars novel by James S A Corey will be out next year.

Balfour and Meriwether in the Incident of the Harrowmoor Dogs by Daniel Abraham will be published as a stand-along chapbook in October.



Apex Magazine reprinted Hurt Me last month.

The first two Balfour & Meriwether stories are available on Snackreads.

Tor has made the Wild Cards story When We Were Heroes available as an ebook.

Dogs (the final version of The Dogs Project) comes out in Unfettered shortly.

The High King Dreaming will appear in Jonathan Strahan’s Fearsome Journeys anthology.

The Meaning of Love will appear in George RR Martin and Gardner Dozois’ Rogues anthology.

Also, James SA Corey’s short story A Man Without Honor will appear in George and Gardner’s Old Mars anthology.


I’ve been doing a bi-monthly column for Clarkesworld for about a year, most recently talking about grimdark and noir.

My piece on historical accuracy and fantasy was reprinted in Speculative Fiction 2012.

I’m doing this comic book gig on the side, and wrote an essay about it in Beyond the Wall.

I’ll be appearing at the Denver ComicCon, the Locus Awards weekend, San Diego ComicCon, Bubonicon, the Western Colorado Writer’s Forum, and I’ll be running a one-day workshop about plot structure and information control in Seattle in September through Clarion West.

So.  Like that.


Tyrant’s Law in Review

by Daniel Abraham

Well, so far, it’s looking pretty nice out there.


The Book Formerly Known as The Poison Sword

The Book Formerly Known as The Poison Sword

“Banking and ancient races, these are two of the main forces driving the narrative of the characters of and world events in Daniel Abraham’s The Tyrant’s Law. The novel is the third book of his series The Dagger and the Coin, and is further proof that Daniel is crafting what is arguably one of the finest long form epic stories of the 21st Century.” —

“The third novel in the Dagger and the Coin quintet (after The King’s Blood) undermines expectations in the most satisfying ways. This smart, absorbing, fascinating military fantasy, exciting and genuinely suspenseful, will keep readers on their toes.” — Publisher’s Weekly



Locus Award Short List!

by Daniel Abraham

The Locus Award shortlist is out, and Caliban’s War is on it!  And it’s a pretty amazing slate all the way ’round.  Check it out.

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A Brief Thought on Cliffhangers

by Daniel Abraham

Ty and I were talking about the idea of closed vs. open cliffhangers.  The idea is that bad cliffhangers get their power from witholding information while good ones get their power from providing information. This isn’t an idea that’s original with us, but I don’t remember who we got it from.  So if you know, remind me.

Anyway, our best understanding is that it would go kind of like this:

Closed (bad) cliffhanger:

His telephone rang.  Cassie’s voice sounded thin and tense.

“Mike, we have a problem.”


Open (good) cliffhanger:

His telephone rang.  Cassie’s voice sounded thin and tense.

“Mike, we have a problem.”

He shifted the phone to his other ear.  “What’s up?”

“There are three dead bodies in my garage.”

The light went from red to green.  He sighed.  “I’ll be right there.”


This is not to say I’ve never used closed cliffhangers (or even haven’t used them recently — or often), just that my opinion on the issue is . . . ah . . . evolving.


Abaddon’s Gate Reviews

by Ty Franck

Publishers Weekly has the first big review of Abaddon’s Gate.  Seems like they liked it.

Daniel and I keep trying to do something new with each book in the series, and the hope is that this will keep the books from quickly growing stale.  But the fear is that by not doing the same thing you did last time, you can disappoint the fans of the earlier books.  We definitely went a new direction with at least some of what happens in Abaddon’s Gate, so it’s nice to hear that at least this reviewer didn’t think we went off the rails.

Now to keep from screwing that next one up . . .


Writing craft philosophical provocation of the day

by Daniel Abraham

“Inaccessibility in a work of art is either a failure of craft or a statement of contempt.”



Daniel’s Early April Roundup

by Daniel Abraham

Jaysus, but I appear to be everywhere right now.  Seriously.

I weigh in on Grimdark over at the once-again Hugo nominated Clarkesworld.

At A Dribble of Ink, I reflect fondly on Sean Stewart, even though he isn’t dead.

And at Apex Magazine, they’ve reprinted one of my favorite stories *and* interviewed me about it (and other things).

Also, some folks are apparently going to be seeing advance copies of Tyrant’s Law any minute now.

I think that’s about it for now.  Funny when it all hits at once, though, ennit?


Quick PSA

by Daniel Abraham

For folks looking to follow James SA Corey on Facebook, be aware that *isn’t* us, we don’t know who it *is* and they’ve apparently blocked the real Jimmy Corey facebook page so they probably don’t mean well.  We’re talking to the fine folks at Facebook about it, but in the meantime, try

Share and enjoy!


Pleasure and Unease: The Balfour & Meriwether Stories

by Daniel Abraham

So this all started a while back.  As I recall it, I was invited into a steampunk project.  Now I’m not a particularly steampunk sort of fella in general.  I admire the aesthetic, but as with almost all versions of style, it’s a little too much effort for me to really maintain.  Class me as an admirer.  But I’d read some steampunk, and read some criticism of steampunk, and come to the part of that particular project that was interesting to me.

Balfour & Meriwether

Balfour & Meriwether

Now I don’t claim to speak for steampunk.  I don’t know exactly what it is in a larger cultural sense or as a subgenre within fantasy or science fiction.  But what it chimed off of for me was a conversation I had with my father when he was in graduate school about Who Paid the Bills at Mansfield Park?, Michael Gorra’s review of Edward Said’s Culture and Imperialism.  For me, steampunk is a statement about the balance between discomfort and pleasure.

I, like many folks my age, grew up with a deep and unreflective joy in colonialist fiction.  By that, I mean Jane Austen, Arthur Conan Doyle, Charles Dickens, Frances Hodgson Burnett, Oscar Wilde, and on and on in that vein.  Folks for whom the ascendency of the British Empire was a given. I remember a particular Christmas when I was somewhere between 7 and 12, laying on my back, eating Tootsie Rolls, and reading a kid’s adaptation of The Hound of the Baskervilles.  Those kinds of formative pleasures are profound.  They shape who are and how we make sense of the world, probably to the grave.  Denying them is at best difficult, and at worst oppressive.  And yet.

The history of colonialism in reality (as falsely opposed to fiction for the purposes of this argument), is . . . well, shit.  Let’s call it ugly.  And its consequences and sequelae are quite alive right now.  Once you can see the connection between Mary Lennox’s parents dying of cholera in India at the beginning of The Secret Garden and the present version of American exceptionalism that permits drone strikes that kill children in Pakistan, it’s harder to take pleasure in the things we once did.  And by we, I mean I, right?  So here I was, invited to write steampunk.  To re-engage with the colonialist pleasures of my childhood but without the strictures of history.

Balfour & Meriwether in The Adventure of The Emperor’s Vengeance probably owes as much to Buckeroo Banzai as it does to Sherlock Holmes.  I wrote the story as if it were part of some much larger body of work telling the adventures of secret operatives of the crown in the 1870s and 1880s — so roughly contemporaneous with Sherlock.  I adopted the kind of old fashioned narrator’s voice that I remembered from reading Doyle, and I tried to tell a rollicking adventure story set there.  I addressed the anti-semitism of the time with, I hope, a light hand.  And — most important for me — I got to subvert the idea that our heroes were heroic.

It’s not obvious, I hope, in any of these stories that I’m questioning the nobility of my heroes.  I want them to read as light adventure, and I want to function as conceptual humor.  The second story — Balfour and Meriwether in The Vampire of Kabul — I tried to imply a backstory that Balfour and Meriwether almost entirely miss.  And if the reader misses it too, that’s cool.  The story still works.

Right now, my old friend and colleague at Snackreads has the first two stories available.  In not very long, the third Balfour and Meriwether story — Balfour and Meriwether in The Incident of the Harrowmoor Dogs — will be coming out as a chapbook from Subterranean Press (who are also the publishers of my only collection of short stories).  I don’t know whether there will be more after that, but there might.  And if there are, they will be the same basic joke told again: A bright, sweet, tart candy coating that tastes like what I loved in childhood around some little nugget of unease that leaves my adulthood just a touch more bitter. Because that’s what steampunk is to me.