Tag Archives: genre fiction

Boomer Lit Three Years Later: What Next?

Lear and Cordelia 1849-54 Ford Madox Brown 1821-1893 Purchased with assistance from the Art Fund and subscribers 1916 http://www.tate.org.uk/art/work/N03065

Lear and Cordelia 1849-54 Ford Madox Brown 1821-1893 Phttp://www.tate.org.uk/art/work/N03065

In a way, Boomer Lit has been around for ever. Any book dealing with the challenges of “mature life” (meaning over 50) could be said to be “Boomer Lit”.

And now that some 78 million baby boomers in the US have reached 50 or are older – and that’s a big segment of the American population – the term Boomer Lit given to the kind of books they want to read has truly come into its own.

Why do I claim “Boomer Lit” was founded three years ago? Some people may say they’d heard the term before, that it was “floating in the air” and they could well be right.

But something specific happened three years ago that made it literally come out of its chrysalis and be born as a new genre –  a genre, I’m convinced, destined to become a great marketing success, given the sheer number of baby boomers. Not just in the US but around the world. And these are people who are rapidly reaching retirement age or are already retired…which means they’ve got plenty of time on their hands to read!

The Love Story stars, reunited today, see here

So what exactly happened three years ago to launch Boomer Lit? By chance, at this time of year (actually September 2012) I had just published a novel about a man facing a new phase in his life after retirement and the choices he makes threaten his marriage.

My problem was I didn’t know in which genre to place it. Romance since it dealt with a marriage relationship gone awry? Yes, but the man is over 60, and he has a love adventure with a woman in her 50s.

As we all know, “classic” romance is like Segal’s Love Story, all about young people. Also my book drilled in depth with how it feels like when you stop working and the rug is pulled out under your feet. Not the usual stuff of romance!

How to market such an odd book that didn’t fit anywhere?

That’s when I turned to a Kindle Forum thread for listing new books under specific genres and asked the moderator to allow the addition of a new genre aimed at Baby Boomers (I figured they were my audience). My request was granted and that boosted my confidence. I felt I was on the right road.

Happily armed with this new Amazon avenue that had opened up for marketing my book, I turned to Goodreads, looking for a group to discuss Baby Boomer novels and possibly get a chance to talk about my book and list it and reach out to more people.

Tough luck. I found no such group anywhere on Goodreads (and there are thousands of groups dealing with thousands of different themes!).

Determined to launch my book, I wasn’t discouraged. I’d been already fairly active on Goodreads for years and achieved the status of “librarian”, so it was a no-brainer to found a group to discuss Baby Boomer novels – or BB novels as I called them, I liked the humorous, facetious aspect of this term. If YA was for Young Adults, surely BB was for Baby Boomers?

I started the group in October 2012 with an explanatory pitch around this BB novel concept and put up a photo-shopped picture of my husband reading his Kindle ( washed over in blue color letting his hair show white – he actually has dark hair!).

By December 2012, the group had attracted over 50 extremely enthusiastic and active members and I started to write about in several online publications  and the Baby Boomer ball got rolling (for details on how it went, click my Boomer Lit tab above)…

In fact, today, three years later, the group has grown to nearly 600 – most of them, if not all, Boomer Lit authors.

That’s a lot of writers who claim to be writing Boomer Lit!  Writers who belong to the Group know that they also have at their disposal a Facebook page to announce their books or special events and a Twitter account (@boomerlit. To support Boomer Lit events, there is a dedicated hashtag: #boomerlit

To go to page, click here

In the spring of 2013, the Goodreads member of our BB novel group discussed the title of the group and there was a unanimous agreement that it should be called “Boomer Lit” because it didn’t cover just novels but also memoirs, poetry etc.

And there was a pointed discussion about the very nature of Boomer Lit: did it cover just challenges facing the “third age” or did it  also evoke the past, what it was like growing up in the 1960’s and 1970’s? I’ve always felt that the former was truly Boomer Lit while the latter was not. In my opinion, nostalgia pieces – whether a poem, a novel or a short story –  that deal with, say, a first love that happened some 40 years ago should still be classified as YA romance and not Boomer Lit. Why? Because it features, yes, a “young adult” (or maybe not so young, perhaps someone in their twenties) – but surely not anyone over 50!

At least that was my view and I fought for it, but not always winning that battle. Many Group members felt nostalgia was definitely part of Boomer Lit even if it dealt with a first love.

I believe this is the kind of intellectual “battle” only a Big Publisher could win.

That’s why Boomer Lit, to get truly established and go mainstream, needs to have a traditional publisher, preferably one of the Big Five, set up a Boomer Lit imprint. With a clear definition of what the term Boomer Lit covers and a clear outreach strategy to Baby Boomers.

I’m convinced such an imprint, correctly launched, would automatically access a huge market. Some authors have already made a splash with books that are clearly “Boomer Lit”, notably “The Best Exotic Marigold Hotel” that’s been turned into two films, and there’s no reason that many more Boomer Lit authors of quality cannot be found.

Source: click here

For a partial list of Boomer Lit books, check the Wikipedia entry, here. A publisher could also ask its editors to look among the members of the Goodreads Boomer Lit group. The group discussed a number of books and those discussions were very fruitful in helping to define what was and what was not quality Boomer Lit. And all those discussion threads are online, easy to access.

Furthermore, I’m pleased to report that the Goodreads Boomer Lit Group has started a particularly interesting thread about Boomer Lit, its challenges and potential as a major genre, to read it click here.

Yes, Boomer Lit has a future and in America, its future is 78 million strong! The first publisher who wakes up to this opportunity and establishes a Boomer Lit imprint is likely to be richly rewarded.

Your views? What do you think you can do to help put Boomer Lit on the map?

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Why Science Fiction is Important

This morning Amazon reminded me of what matters in Science Fiction and why it is not useless fantasy but a very serious literary genre that is able to raise deep existential issues and make us think

Here is what I got in my email box:

Amazon.com
Your Amazon.com Today’s Deals See All Departments
Customers who have shown an interest in classic sci-fi might want to know about this selection of popular Kindle books.
Ender's Game: 1 (The Ender Quintet)
Ender’s Game: 1 (The Ender Quintet)
Orson Scott Card
Price: $6.49
Learn more

Add to Wish List

1984
1984
George Orwell
Price: $8.46
Learn more

Add to Wish List

Animal Farm: A Fairy Story
Animal Farm: A Fairy Story
George Orwell, Ralph Steadman
Price: $7.97
Learn more

Add to Wish List

The Forever War
The Forever War
Joe Haldeman, John Scalzi
Price: $5.37

Just four book, two historical “classics”, Orwell’s Animal Farm and 1984, and two “moderns”, both winners of numerous awards, Joe Haldeman’s The Forever War and Orson Scott Card’s Ender’s Game

It so happens that two of those books are my all-time favorites (Orwell’s) and the other two are on my TBR list – I just had samples downloaded to my Kindle…which goes to show how effective Amazon’s marketing is.

Just to show you why these four books raise fundamental issues, here are excerpts of the book descriptions. Please note I’ve just retained the phrases that refer to the issues raised and italicized the high points:

Ender’s Game: “In order to develop a secure defense against a hostile alien race’s next attack, government agencies breed child geniuses and train them as soldiers. A brilliant young boy, Andrew “Ender” Wiggin lives with his kind but distant parents, his sadistic brother Peter, and the person he loves more than anyone else, his sister Valentine…Ender’s skills make him a leader in school and respected in the Battle Room, where children play at mock battles in zero gravity…Yet growing up in an artificial community of young soldiers Ender suffers greatly from isolation, rivalry from his peers, pressure from the adult teachers, and an unsettling fear of the alien invaders.” As the Amazon.com review put it: “Yet the reason it rings true for so many is that it is first and foremost a tale of humanity; a tale of a boy struggling to grow up into someone he can respect while living in an environment stripped of choices.” (italics added)

The Forever War: “… a science fiction classic that chronicles the life of William Mandella. Due to the time distortion associated with deep space travel, he is present during both the first and the last battle of a thousand year old conflict with the alien Taurans. A masterpiece of not just science fiction, The Forever War illustrates the futility of all wars and their effect on the human soul.” (Italics added) As Iain Banks put it, this is a war novel that happens to be science fiction.

Animal Farm: “…classic satire of the Russian Revolution is an intimate part of our contemporary culture. It is the account of the bold struggle, initiated by the animals, that transforms Mr. Jones’s Manor Farm into Animal Farm–a wholly democratic society built on the credo that All Animals Are Created Equal…The climax is the brutal betrayal of the faithful horse Boxer, when totalitarian rule is reestablished with the bloodstained postscript to the founding slogan: But some Animals Are More Equal Than Others.” (Italics added)

1984: “… a rare work that grows more haunting as its futuristic purgatory becomes more real. Published in 1949, the book offers political satirist George Orwell’s nightmare vision of a totalitarian, bureaucratic world and one poor stiff’s attempt to find individuality. The brilliance of the novel is Orwell’s prescience of modern life–the ubiquity of television, the distortion of the language–and his ability to construct such a thorough version of hell.”

It may come as a surprise that Animal Farm was included in this short-list of popular classic science fiction – it is more fantasy and satire than anything else, but it certainly uses the same Orwellian approach to novel-writing: logically extending to its extreme, violent version an observable current trend in human society, which is exactly what he did for 1984. And that is what makes Orwell’s writing so effective and frightening. You recognize the world he describes, and he forces you to think through all the implications of what is happening. 

The underlying message is this: if you don’t stop the trend, that is what will happen. Hell on earth.

That strong warning is at the heart of the other two books as well: the perennial futility and pointlessness of war (The Forever War), the challenge of growing up, of becoming a just person in a world ridden with small-minded jealousy and pettiness (Ender’s Game).

Yes, in my view, good science fiction, like good climate fiction, is all about alerting the readers to basic issues that threaten our continued existence on this planet. The debate is around political issues but also around bigger issues, like what is the meaning of civilization? What is at the heart of humanity?

These are very big questions normally associated with literary fiction. Yet science fiction addresses them too and does so with the additional dimension of unbridled imagination – no holds barred, everything is possible! And that makes good science fiction particularly suspenseful and fun to read…

Do you agree? Do you read science fiction and if so, why? What do you get out of it?

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Interview with the Father of Cli Fi: How this New Genre Was Born is Revealed

American climate activist Dan Bloom 
visiting a local university in Taiwan  to
do some research on climate change issues

My blog post about Climate Fiction, a “hot new genre” (here) led me to “virtually” meet  Dan Bloom, the journalist and “green” activist who coined the term “Cli Fi”. I was very happy to meet him, he’s a fascinating and somewhat explosive person, a Tufts graduate who’s worked in Alaska, Japan and Taiwan (where he now lives). And he’s agreed to answer a few of my questions here.

Claude: Dan, you coined the term Climate Fiction, cli-fi for short, back in 2008. When did the term start to catch on?
Dan: The term was modelled after sci-fi, of course, and at first it didn’t really catch on, not until 2013 when NPR did the first big media story on the cli-fi genre (see here ).
Claude: I took a look at that article, it has a great title “So Hot Right Now: Has Climate Change Created a New Literary genre?” and a striking introduction mentioning a best-selling cli-fi novel, as you can see on this screen shot:


Dan: Yes, and now the term is fast becoming a buzzword in the media, culminating in the recent article in the New York Times about using cli-fi in the classrooms to teach American students how to handle the challenge of global warming (see here ).
Claude: Yes, that’s how my attention was drawn to it, from reading it in the New York Times. I noticed the story was picked up by others as well, including Sadie Mason-Smith on the Melville House website (here). And now, according to the UN’s IPCC latest report on Climate Change, climate warming is fast getting worse because too many countries have dragged their feet for too many years (see here ) So there’s a definite need for Climate Change activism! I’d like to find out how the idea of “cli fi” ever occurred to you. Why did you coin the term?
Dan: I have been an independent deep-green climate activist since 2006 when the big earth-shaking IPCC report on climate came out and it was that IPCC report and the accompanying news media articles about the report that woke me up.
Claude: So your concern for global warming and its consequences is relatively new?
Dan: Yes. Before then, I was not thinking very much about climate issues. But I woke up in 2006. Not being a scientist, there was not much I could do to join the debate about climate change and global warming.
Claude: What was your “wake-up” moment?
Dan:  A 2008 blog post by New York Times science reporter Andrew C. Revkin on his “Dot Earth” sustainability blog. That’s what did it. He mentioned how artists and novelists can use “the arts” to communicate climate issues to a broad public. That made me think what I could do, if anything, to add to that concept of art and literature as tools of communication.
Claude: So, concretely, what was your next step?

Dan: One day while I was doing some PR for a climate-themed book by Jim Laughter, a Tulsa, Oklahoma author, for his novel titled Polar City Red set in Alaska in 2075 (the book came out in 2012, see here ) I hit on the cli fi term I had coined in 2008 to describe Hollywood movies focused on major environmental change like The Day After Tomorrow. I decided to inject the cli fi term as part of my press release about Jim Laughter’s Alaska novel. So I sent out some press releases to book reviewers and I called his novel a ”cli fi thriller” and slowly the term took on a life of its own. A few newspapers and blogs used the term in talking about Jim’s novel, but nothing more, although one newspaper in North America reviewed it.
Claude: Yes, a major newspaper too! I noticed that the New York Times has described his book as “a thought experiment that might prod people out of their comfort zone on climate.”
Dan: Right. And, in spite of relatively slow sales for that book, I didn’t give up and tried to keep the cli fi term alive with many blog posts and by leaving a large digital footprint on the internet, so that if any reporter googled the cli fi term, hundreds of items would show up in the Google search list.
Claude: And on Wikipedia. You can read about it here. But what was the turning point?
Dan: It came in late 2012, when a climate scientist in Atlanta, Georgia named Judith Curry got interested. She is not only a dedicated scientist with a keen interest in the science of climate change but also a woman with a deep appreciation of the humanities and the arts. So she did a big post on her ”CLIMATE  ETC” blog; it’s a very popular blog and she gets 300 to 500 comments on each post – the post about cli-fi novels she titled simply “Cli fi” (see here)

Dr. Judith Curry

Claude: She opens her post by noting that cli-fi is a “fledgling new genre in literature”. Then she immediately mentions Michael Crichton’s blockbuster State of Fear, a 2004 techno thriller against the backdrop of global warming. However it got panned  apparently because of gross scientific errors. She argues that a climate scientist could however pen such a techno thriller without losing his reputation and she cites Rex Fleming .
Dan:  Cli fi as a genre was certainly ‘fledgling’ back in December 2012. But Dr Curry herself changed that. She makes a list of about 20 or so cli fi novels, including big names like Clive Cussler, Ian McEwan and Barbara Kingsolver. And she included Jim Laughter’s Polar City Red and used my press release term of calling it a “cli fi thriller”. That led four months later to NPR interviewing Dr Curry for its CLI FI radio program announcing that a new literary genre had arrived. I had sent dozens of press releases to the NPR book department email address about the cli fi concept, but the station never replied to any of my appeals for an interview or a radio show about the new genre.
Claude: Par for the course, I suppose that was rather discouraging…Of course, Dr. Curry is a big shot at the Georgia Institute of Technology.
Dan: She heads the School of Earth and Atmospheric Sciences since 2002.
Claude: Isn’t she also a rather controversial figure? There is this interesting article in the Scientific American that calls her a “climate heretic” who has “turned on her colleagues”. But that article was written in 2010 and is now probably reflecting an outdated position in the American scientific community. I rather like her position on the latest Climate Change report from the UN: she welcomes the idea of putting the Climate Change discussion behind us and focusing on the needed survival strategies rather than pursue mitigation or curbing measures… What is your take on this?
Dan: I read Dr Curry’s blog posts regularly and keep in touch with her by email from time to time, too. I deeply respect and admire the kind of scientist (and humanist) she is. She’s one of my teachers now, too.The world needs more scientists like her, who are not afraid to speak their minds and even join the debate from different sides of the table. And I am so glad she blogged about cli fi novels back in December 2012. Her post led to all this today.
Claude: You mean the interest shown by NPR?
Dan: Yes. So imagine my surprise one day in April 2013 when I see via my daily Google search for cli fi news that NPR did the story! I immediately set about doing all I could as a PR operative and a climate activist and a literary theorist to push the cli fi meme uphill, using the NPR link as the wake-up alarm. I wrote to the Guardian and asked if they could do a cli fi story for British readers. They did. I wrote to the Financial Times in the UK and asked my contacts there if they could do a cli fi story, and they did. Alison Flood, the Guardian’s book critic, did a blog post on “why cli-fi is here to stay”.
Claude: Wow, I’m impressed!
Dan: At first most media never responded to me, or even answered my email pitches. But they did line up, one by one, to add to the ”cli fi genre is rising” chorus, from Britain to Australia. I kept up the PR blitz, contacting every media outlet I could.  The New Yorker magazine followed the Brits, as did Dissent magazine last summer. There was something in the air I think, but my PR campaign was crucial. I then spent time lobbying the New York Times to report the cli fi news, and I contacted 12 reporters and met up with 6 months of rejections and emails that read “sorry not interested.” But in January 2014 I found one Times reporter I knew from earlier contacts ten years ago and I emailed him. And three months later his New York Times article came out worldwide not just in the U.S print edition and on the newspaper’s popular website, but also via the New York Times News Service which syndicated the article to over 400 newspapers worldwide, from Italy to France to Japan to Sweden.
Claude: So the New York Times article, the one I noticed, was a major turning point.
Dan: It was. Now I am focusing my media contacts on the Associated Press and Reuters News Service for wire stories about the cli-fi genre. And Nicholas Kristof, the New York Times columnist who has a keen interest in climate change issues, told me he will write a Sunday column soon about his take on the power of cli-fi literature to serve as a wake-up call. So things are happening.

Nicholas Kristof

Claude: They sure are! I’m looking forward to Kristof’s piece, I think he’s a remarkable columnist and I totally agree with the concept that climate fiction can serve as a much needed wake-up call. We need to go beyond sterile discussions about who or what is responsible for global warming and do something about it because one thing’s certain: it’s happening! Is that why the idea of cli-fi occurred to you?
Dan: Yes, as a climate activist but also as a literary activist…My major at Tufts University in the 1960s was French literature and I spent a year in Paris in 1969 absorbing the culture and drinking the coffee — I felt that a new literary term for climate-themed novels might help serve as a wake-up call for the future humankind faces now. Besides, I’ve always loved words and word games and crossword puzzles and sci-fi. I grew up with sci-fi novels in the 1950s and 1960s. I am a big sci-fi fan. So one day, my imagination just jumped over the fence and told to make a new word and call it cli-fi and see what happens. I like to see what happens. So I did it.
Claude: So are you a writer in pectore?
Dan: No, I am not a novelist or a short story writer or a screenplay scriptwriter. I don’t have those kind of writerly skills. I am just a climate activist, first, and a lifelong reader of novels, second.
Claude: I gather that Margaret Atwood was an early supporter, though she calls her own novels “speculative fiction” rather than cli-fi — while at the same time fully supporting your creation of the cli fi genre for whoever wants to work in it.

Margaret Atwood (Author page on Amazon)

Dan:  Exactly. Margaret Atwood has written three op-eds applauding the creation of the new genre that has been dubbed cli fi, one was published in the Canada Living magazine, one was published in the Huffington Post and another was published in the Financial Times recently in London. And she has often tweeted and retweeted cli fi news links to her 450,000 followers!
Claude: That’s a lot of followers on Twitter!
Dan: So yes, Ms Atwood has been instrumental in helping to popularize the cli-fi genre, come what may. I consider her my teacher, although we have never met. My other two teachers in the cli fi project are James Lovelock, whose ideas about the Earth being a kind of Gaia goddess that needs to be respected and protected or it’s curtains for the human race, and Andrew Revkin who runs the Dot Earth blog at the New York Times and which I have followed since its inception.
Claude: Okay, now let’s get down to the nitty-gritty. What is your definition of Climate Fiction?
Dan: First of all, I want to make it clear: the term I created is “cli-fi” which stands for climate fiction, of course, CLImate FIction with caps and lowercase letters, and I never use the term “climate fiction.” My PR work is not about “climate fiction” but about “cli-fi.”
Claude: I hyphenate the term by analogy with sci-fi, but I notice you don’t…
Dan:  So I want to use the term “cli fi” only in this interview and I also only use cli fi in my press releases. Why? As a lifelong journalist and PR guy, I know the power of headline buzzwords to serve as signposts along the road. So cli fi is a signpost and a wake-up call. The term “climate fiction” has been used for a long time, and I never coined that term. I just took it and tried to transform the longer version into a kind of code word and I thought of calling it “cli fi.” So let’s just talk about cli fi and leave “climate fiction” for scholars and professors to discuss. The New York Times article about cli fi just mentioned the term once in the entire 1000-word story, and not in the headline at all. 
Claude: I put it in the title of my blog!
Dan: Good! I was hoping for a headline mention of cli fi in the NYT, but in the PR business one cannot control how headlines are written or even how news articles are written. But the Times article was very important and for one special reason: cli fi has now been mentioned in the newspaper of record, The New York Times. That’s a first. This is the beginning. There is no stopping the rise of cli fi novels now.
Claude: What hopes do you have for the genre? What do you expect to achieve through it?
Dan: My hope is that cli fi will serve to bring together novelists and editors and literary agents and publishers — and readers! — as we explore the role of novelists in the ongoing debates over climate change and global warming. My hope is that the news media will start reviewing cli fi novels as cli fi novels, and stop calling them science fiction novels.
Claude: You don’t consider cli-fi as a subgenre of science fiction?
Dan: As I see things now, after several years of working on this project and getting a lot of feedback from readers and writers in both the sci-fi community and the growing cli fi community, cli fi is not a subgenre of sci-fi but a genre of its own. And sci-fi novels can also focus on climate change and still be classified as sci-fi novels, if that is how the novelists themselves want it and how literary critics see it. But at the same time, I now see cli fi as a separate genre that has attracted its own community of writers and readers worldwide. And sci-fi and cli fi are not competing genres at all; they complement each other, and they are, in a way, sister genres. I love sci-fi, and always have. 
Claude: Me too. I consider Aldous Huxley and Orwell among the greatest writers of the 20th century…
Dan: Now I am trying to popularize cli fi, too. I believe we are on the same page, sci-fi writers and cli fi writers. But one thing needs to be pointed out: While cli fi is usually filled with the moral implications of climate change issues, sci-fi is usually filled with the intention of exploring the possibilities of science and its relationship to humankind. So that is where cli fi and sci-fi go in different directions, and both genres are valid and useful.
Claude: Yes, both are useful and I love both! But what sort of future do you see for cli fi?

Dan: My hope is that a modern Nevil Shute will arise, male or female, in any country in any language, to write and publish a climate-themed cli fi novel with the same power as Shute’s 1957 novel On The Beach which served as a wake-up call about nuclear war and nuclear winter. And the movie was important, too.
Claude: The Next Big Novel that will shake society should be in “cli fi”!
Dan: Right! So I am looking for the Nevil Shute of cli fi. And to do this, I am quietly setting up what I call the international Nevil Shute Climate-Themed Novel Award to be first awarded in 2020 for the best cli fi novel in the previous ten years and to repeat the award every ten years internationally and awarding a prize of $1 million to the winner.
Claude: Hey, I’m going to candidate my soon-to-be published Forever Young! Though I must admit that cli fi is only one element, there are other things in it like the demographic explosion and growing income inequality…
Dan: Why not? You and many more writers, that’s what I’d like to see. I am now in the fundraising process of this new project, an offshoot of my cli fi PR work. I am looking for sponsors and a committee of judges to honor these kinds of cli fi novels. And I hope to see the “Nevils” — as I am dubbing the awards — keep going for 100 years, awarded every ten years for a total of ten times. And if the awards committee in 2120 wants to keep the awards going for another 100 years, I will nod yes from the grave. Literature matters. Words matter. Novels and movies made from novels can wake people up. The world is still asleep. We are facing the potential end of the human race. Wake up, world!
Claude: An impressive project! What else have you got up your sleeve?
Dan: Another thing I am working on is this: I am trying to find a reporter in New York or London who covers the book industry to find out if they can do a print newspaper or online story about how literary agents and everyone in the publishing industry view the rise of cli fi as a new genre and if they plan to use the term in future book titles or book covers. Raising the media profile worldwide of the cli fi genre is now my life’s work. And then I die. This is my way of giving back to a world that has given me so much. I go out every day to my PR office not to make money but to make a difference. I was educated to think of life this way, and now in my mid-60s, I have found a way to express myself on my own terms. I am not doing this cli fi work for myself or to benefit from it in any way. I do not want money or fame. I like to work quietly in the background and I find the internet a very pleasant place to hang my sign: “Dan Bloom, climate activist – no fees charged.”
Claude: Dan, that’s wonderful and I wish you every possible success in this most worthwhile cause. Thank you so much for joining me here and telling us about your dreams and your plans. 

I look forward to comments from my blog readers: has anyone read a cli fi novel recently? If you have, or know something about the genre that has not been covered here, please share!


Dan Bloom BIO:

Dan Bloom grew up in the Boston area, attended Tufts University where he majored in modern literature and minored in French, and has spent his adult life working as a newspaper reporter, editor and blogger in Alaska, Japan and Taiwan. He is now dedicating his life to promoting the new
literary genre of cli fi and working on it 24/7 from his “office” in a small internet cafe in southern Taiwan (as Dan does not own a computer and never has, describing himself as a Neo-Luddite.)

For readers or media people worldwide who want to contact him, his email at the internet cafe is danbloom@gmail.com and he welcomes all inquiries and in all languages. For more information, visit Dan Bloom’s bog, CLI FI CENTRAL, click here

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