I've hinted before at a few other projects after Fold, so here's an updated rundown. All titles are codenames, so don't expect to see them released under those names.
- Jahya: The "pan-Asian" story, as I call it, about a man of great gifts who must choose how best to put them to use in a muddled and turbulent world.
- Players: I'll recycle my earlier description: "The Four-Day Weekend was about anime / fandom subculture; this one is tentatively about RPGs, with roughly the same flavor of approach. Emphasis here is on how gaming enhances real life (or detracts from it) and vice versa, and also inclusivity/elitism."
- Laeta: A young-adult novel. No fantasy or SF aspects to this one; it's entirely real-world and here-and-now, and it's about the importance of (and problems with) the role models we have in our lives. What if someone you looked up to as a kid and did your best to emulate turned out to have been a bad example to follow in the real world?
- UF #1: Again, to quote myself: "My take on the very, very tired 'urban fantasy' concept, except that I plan to turn it upside down and shake it until the loot falls out of its pockets. If we really did have people running around in our world that were the embodiments of our sense of the fantastic, how good would that really be for us — to say nothing of how it might be for them?"
- Frontier: Another SF project, one that involves people's imaginations as a natural resource, with all of the ecological implications that might bring to mind.
- The Body: The idea of people tinkering with their own biology and becoming their own works of living art was something I touched on in Vajra but didn't really have time to explore, so I thought I'd come back to the subject in another standalone work.
Don't expect dates on any of these. I could end up working on them in any order. But isn't that half the fun?
I'm also considering reissues of at least two other, older books, which are not very good but which might be useful as progress markers. I wrote one in 1993-1994 and the other in 1996 or so, and their whiskers do show — not just in terms of their prose style, but their ideas. I don't think I could write stories like those any more, and what's more I'm not sure I would want to.
In someone else's eyes, they may well be good stories, even great ones. A few friends of mine have thrown around the idea, one I'm enamored of myself, that some artists did their best work when they didn't really know what they were doing.
It's a cute idea, but I've been forced to refine it thus: some artists do their best work when they are least constrained by their own inhibitions about either their expectations for themselves, or what others expect of them. The more you get bricked up inside such things, the harder it becomes to do anything truly new.