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Like many professions, writing is something one learns on the job.Over the years I’ve published five print anthologies of my stories: The 57th Franz Kafka (Ace Books, 1983) Transreal! (Four Walls Eight Windows, 2000) Mad Professor (Thunder’s Mouth Press, 2007). Initially I thought it would be futuristic to abandon print and to have my story anthology take on the form of an ebook, published by my own Transreal Press.In practice, it’s intractably difficult to visualize the side effects of new technological developments.

But if absolutely anything can happen, a story becomes as unengaging as someone else’s dream.

The gnarly zone is lies at the interface between logic and fantasy.

I see my tales as simulated worlds in which the characters and tropes and social situations bounce off each other like eddies in a turbulent wake, like gliders in a cellular automaton graphic, like vines twisting around each other in a jungle. (4) My early mentor Robert Sheckley was a supremely witty writer.

Over the years I got to spend a few golden hours in Sheckley’s presence.

If I want to imagine, for instance, what our world would be like if ordinary objects were conscious, then the best way to make progress is to fictionally simulate a person discovering this.

The kinds of thought experiments I enjoy are different in intent and in execution from merely futurological investigations.

But always the stories have their own wild humor and logic.

I can characterize my fiction with in terms of six concepts: (1) Thought experiments, (2) Power-chords, (3) Gnarliness, (4) Wit, (5) Transrealism, and (6) Collaboration.

And I think it’s safe to say that wit, rather than mere humor, was his primary goal.

Wit involves describing the world as it actually is.

I like it when my material takes on a life of its own. (3) In short, a gnarly process is complex and unpredictable without being random.

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