The shortlist for the Ditmar Awards has been released and I’m on it. Twice. Which means I’m double-decker chuffed, as my five year old son would say.
The Ditmars are voted on by the Australian spec fic community (where the …
Kazuo Ishiguro writes in the aftermath of the noir event. The tragedy has passed, the noir moment of betrayal now an unreliable memory.
Ishiguro is my favourite living author. I re-read one of his novels recently: An Artist of the …
I was fucking chuffed to have received my first (and shit, maybe last) Aurealis Award nomination a few days ago. For the uninitiated, the Aurealis Awards are the juried prize for best genre fiction in Australia. 
The short story – …
Let me pose this scenario: you’re a geek (shut up, you are). You’re marooned on Mars (shut up, just go with this). You’ve got enough food and water to last until the resupply mission arrives in eighteen months. You may …
Neil Clarke recently announced the table of contents for his ‘Best Science Fiction of the Year’. It’s an impressive line up. What the fuck I’m doing in it, I’m not sure, but hey, I’ll take it. Short fiction-wise this is …
This isn’t a review of the entire film. There are plenty of those around, written by better critics than I. All I’ll say is this: I enjoyed Rogue One. It was a flawed, but welcome addition to the franchise. …
Coming up for air after Conflux (the Canberra SF Writer’s Convention), I looked back on the first article I wrote on Conflux and Cons in general a couple of years back. Things have come along quite a bit for me …
A few years back when I’d first arrived in Vietnam, and was still very new to writing, I produced The Four Deaths of Taylor Ngo. Set in a jazz bar in Ha Noi (and, yes, based on a real …
I was recently interviewed by David McDonald for the 2016 Aussie Speculative Fiction Snapshot.
Undertaken every two to three years, the Snapshot is an informal census of the local genre scene. A tonne of cool authors and editors are …
The US culture industry wants the Chinese market. The only way is through the Chinese government, which restricts the number of foreign films allowed in the country each year – thirty-four only. To get one of those precious slots, Hollywood …
