I’m All Aglow About my New Globes

Did you know you can order a custom globe—one with your own map printed on a spherical surface? You can. I did.

Your Own Little World

If you’ve ever enjoyed sketching your own planet with continents, islands, mountain ranges, oceans, seas, bays, and rivers, you can hire a service to convert your map into a globe.

Or if you’ve loved novels with world maps, such as J.R.R. Tolkien’s The Hobbit, George R.R. Martin’s A Song of Ice and Fire, Brandon Sanderson’s The Way of Kings, Ursula K. LeGuin’s Earthsea, Leigh Bardugo’s Grishaverse series, or H.P. Lovecraft’s Dream Cycle series, you could have any of those made into globe form.

Perhaps you accomplished a trip around the world—by ship or plane. Or you relished the idea of tracing someone else’s circumnavigation—say, Magellan’s or Phileas Fogg’s—on a globe. Put away the Sharpie. Get a globe to order.

The three inch and seven inch globes

Seasteading World

For my book, The Seastead Chronicles, I drew a map of our world’s oceans, with all international waters carved up into countries. (I call those countries aquastates.) My stories span a future history of many decades from humble beginnings to a world full of aquastates. As the concept of seasteading spread, I assumed countries would form based on seabed resources (mineral nodules, petroleum deposits, etc.), and bottom features (hydrothermal vents, deep trenches, etc.).

In time, competition for resources would result in conflicts over borders—diplomacy, and even war. Each aquastate would take on specific characteristics based on who settled there, the country’s main economic income, and its type of government. Over a period of decades, perhaps, they’d reach a point of relative stability, and that’s what I depicted on my map.

Globe-building Experience

I wondered If somebody could construct a globe based on my map—a globe worthy of displaying at science fiction conventions and other book-selling events. I hoped the model of my seastead world would attract potential readers.

After searching for custom globe companies, I settled on SnapSpheres. They proved easy to work with and answered all my questions. They seemed just as enthused about my weird idea as I was.

For my map, I used a rare projection that looked like an orange cut into unequal slices and flattened. However, with mine, the slices cut through continents to emphasize the oceans. Cartographers call it an Interrupted Goode Homolosine Oceanic View projection. I sent that map to SnapSpheres and the rarity of it didn’t bother them at all.

Goode Homolosine Oceanic View projection – before adding aquastates

Matt, at SnapSpheres, sent me pictorial depictions of what the finished globe would look like. I loved it. After I approved the design and paid the invoice, the product arrived in short order.

Resulting Globes

I received two globes, one three inches in diameter and one seven inches. The small one is all pentagons, and the larger one includes pentagons and hexagons. The pieces attach with magnets and snap into place. Assembly and disassembly are easy, and I can store all the pieces of both globes in small boxes for convenient transport.

When I put a puck light inside the larger globe, it shows through the translucent pieces in an attractive way. I bought a stand that rotates the larger globe for a more enticing display.

The larger globe shows off the aquastates better, but some book-selling events limit my table space. For those, I’ll put out the smaller globe.

They say writers live in their own little worlds. That’s true, now, for—

Poseidon’s Scribe

Bringing My Seastead Pyramid into the 3rd Dimension

When I appear at conventions or other events, I like to display 3D printed models depicting vehicles or other objects from my stories. These help, I hope, attract potential readers’ eyes.

I’m pleased to announce the addition of a new item to my collection.

Behold the pyramidal seastead from the cover of The Seastead Chronicles! My publisher, Pole to Pole Publishing, used a cover image designed by an artist known as 3000ad.

I engaged the services of a 3D-printing designer named Duane Corpe to create a 3D version of that pyramid. Not only did he produce a wonderful model, but he made it big enough that I can put a puck light inside and make the pyramid glow.

The odd shapes on the outside of the pyramid proved a difficult challenge. Much of 3D printing design involves combining existing shapes first developed by others. For the sinuous, over- and under-lapping features you see on the pyramid’s outer surface, no previous models existed. I don’t know how Duane did it, but he created a fantastic display piece!

In previous blogposts, I’ve shown off the other models in my collection. See this submarine, this Martian tripod fighting machine, this replica of Plato’s Ring of Gyges, this Ottoman spacecraft, this clockwork lion, and this airship.

Almost forgot. When you’re done gawking at the 3D pyramid, consider buying and reading the book The Seastead Chronicles, written by—

Poseidon’s Scribe

Time for the Dreaded Annual Performance Review

My boss gets on my nerves. In fact, he shares my nerves. He’s me.

The Scoreboard

How did I perform as a writer in 2025? To find out, I used The Writer’s Performance Review scorecard by book coach Jennie Nash.

To use this scorecard, you rank each attribute from one to five. One = below expectations. Two = partially meets expectations. Three = meets expectations. Four = exceeds expectations. Five = far exceeds expectations.

You’re comparing actual performance during the year to expected performance. If you performed as expected, you’d give yourself a three. If you scored three in all twenty attributes, you’d get 60.

My 2025 Performance and Plan for Improving in 2026

I did a little better this year than last, earning 70 out of 100. However, I earned a 1 in one category and a 2 in two others.

That dismal 1 rating applied to “goal orientation” (just like last year)—a tough area for me. I don’t like counting words written or hours spent, so instead I’ll set goals for chapters written and chapters edited.

I earned ratings of 2 in “organization and planning” and “strategic thinking.” I’d gotten 2s in these areas last year as well. For organization and planning, I’ll measure my progress toward meeting the chapter goals I’ve set. For strategic thinking, I’ll see if I can connect with readers with a newsletter I plan to start in 2026.

Writing Accomplishments in 2025

This year, I:

  • got my first short story collection, The Seastead Chronicles, published;
  • got my short story, “Its Tender Metal Hand” published in the anthology Spring into Scifi 2025;
  • got Extraordinary Visions: Stories Inspired by Jules Verne published in audiobook format;
  • wrote and published 53 blogposts (so far);
  • got interviewed on a podcast;
  • held four appearances and signings at bookstores;
  • did a signing at a scifi convention;
  • got my short story, “Infinity in Your Hand” accepted for publication in Tamarind Literary Magazine;
  • got my short story, “The Ballad of Joan Henry” accepted for publication in Fiction on the Web, where it’s slated to appear on February 2, 2026;
  • wrote seven poems for personal enjoyment;
  • made good progress on a final draft of novel number one (working title: The Hydronaut);
  • completed a second draft of novel number two (working title: Pressurized); and
  • completed a second draft of a humor travel book (working title: 48-State Odyssey).

Most employers and employees keep annual performance reviews private. My employer insists I display mine to the world as a service to other writers. May all of us who create written universes have a prolific and successful 2026. That’s the New Year’s wish of—

Poseidon’s Scribe

Signing Event at Park Books

For those who attended my book signing at Park Books in Severna Park, Maryland last Saturday, I offer a profound thank you. Also, I express unbounded gratitude for the assistance of the bookstore staff in scheduling, setting up, and checking on me during the event.

As a beginning author, most of my previous book signing events consisted of watching people, trying to lure them over to my table, getting disappointed while they turned and walked away, and then waiting and watching again.

Not this one. I signed and talked with people the whole two hours. At some points, a short line formed. Yes, people lined up to have me sign books!

Some circumstances worked in my favor. My college had a reunion that weekend and I invited classmates to the signing. I also know other friends, as well as neighbors and relatives in the area, and I invited them. Thanks to all of you for supporting me.

My featured book, The Seastead Chronicles, sold well, but I offered several other titles too.

Again, thanks to Park Books and to the many people who visited that day to get books signed by—

Poseidon’s Scribe

You’ll Never Sell Books in a Bakery, They Said

Thank you to Challyn Hartogh and her staff at Leaves Bakery and Tea Shop in Fort Worth, Texas. My book signing event there last Sunday went well.

The author at Leaves Bakery and Tea Shop

Located in an eclectic neighborhood of old buildings redone as trendy shops, Leaves Bakery and Tea Shop emphasizes muffins and tea, but caters to authors as well. After all, once you buy your scone and hot drink, you feel the urge to read a book, right?

And, yes, we all get the clever pun—leaves…books and tea. Nice.

Paired with Galen Steele, an up-and-coming poet, I set up my table and greeted everyone that came in. Accepting my prior invitation, some friends dropped by and chatted with me.

My new book, The Seastead Chronicles, received a prime spot near the center of my table, but I brought others to sell also.

As you can see by visiting the Appearances tab on this website, I’ll return to Leaves Bakery and Tea Shop later this month to conduct a Writers Workshop. I’ve titled it “Writing Drunk – Imbibing Passion for More Creative Binging.” If you’re in the area that day, please stop by.

Thanks to my appearance last Sunday, we now know the answer to how an author stays and Leaves at the same time! Thanks again to the staff there, from—

Poseidon’s Scribe

September 14, 2025Permalink

Did You See Me at Half Price Books?

Thank you to Michaela Huff and the rest of the staff at the Half Price Books store near Ridgmar Mall in Fort Worth, Texas. I enjoyed a wonderful book signing event there on Saturday.

Staff member Jesse set up my table and chair in a commanding position just inside the front door. Incoming customers couldn’t help seeing me there. I focused on my new book, The Seastead Chronicles, but also offered several others, too.

I enjoyed talking to all the patrons who came in and stopped to chat. Friends I’d invited also arrived and kept me company.

If you missed that signing and wish to attend one, please click the Appearances tab on my site for a list of future events.

Again, a big thank-you to the staff at Half Price Books for the delightful book signing event last Saturday. They’ve earned the sincere gratitude of—

Poseidon’s Scribe

Music of the Seasteading World

What comes after Rock? In my book The Seastead Chronicles, you’ll find a story about the next sound, the coming musical wave.

The world of The Seastead Chronicles shows much of humanity abandoning the land to live in cities on and under the sea. That new environment shapes them and gives rise to new art, new jargon, a new religion. And new music.

Liquisic

They call it liquid music, or liquisic. I introduce it in my story, “Deep Currents.” Like rock, liquisic employs syncopation. Unlike rock’s typical 4/4 rhythm, liquisic uses 6/8. This gives songs a rolling, undulating feel, like waves at sea.

Where rock often features a strong melody and background harmony, liquisic intertwines several equal melodies. This mimics the overlapping nature of ocean waves. No single melody predominates, and all blend harmoniously. Music theory experts might call it counterpoint, or contrapuntal.

Instruments

Liquisic instruments use water to achieve an ethereal, fluid sound. Some of the instruments exist now, and one awaits invention.

The hydraulophone sounds and works like a pipe organ, but uses water rather than air.

The glass armonica takes the sound you make when rubbing a wet finger around a wine glass, and expands the idea to a full “keyboard.” You get haunting, mysterious tones.

As for the fluidrum, I made up the name, but water-based drums exist in Africa, Asia, and among Native American tribes. Germans gave it a different name, the wassertrommel. In India, they play the Jal Tarang. Whatever fluidrums are, they provide rhythm for the liquisic group.

Water drums, photo by Smalltown Boy on Wikipedia

The aquatar might serve as the star of the group, but I have no idea what it looks like, how it works, or what it sounds like. I leave that for readers to imagine. Perhaps the strings stretch within flexible, water-filled membranes. A player would strum them with fingers, not picks. Maybe you could see through the aquatar’s transparent body to the colored water sloshing around inside, with lights illuminating it.

Your Turn

There. I’ve done the hard work—naming the music genre, coming up with its characteristics, and proposing the instruments. All you have to do is get a band together, practice, do some concerts, and make your fortune. My story “Deep Currents” in The Seastead Chronicles offers a name for your band and several ideas for song titles.

One more thing. After you hit it big with liquisic, show a little love to—

Poseidon’s Scribe

Seasteads—Not Just for Billionaires or Libertarians

Search on the internet for “seasteads” and you’ll soon see mentions of billionaires and libertarians. Why is that? Are seasteads only for people in those small groups? Let’s explore the question.

Billionaires

Propeller Island, by Jules Verne

I believe billionaires get mentioned with seasteads for two reasons: (1) Seasteads cost much more to build than houses on land, and (2) Billionaires often chafe at paying high taxes in their home country and long to escape to a low-tax country, of which few exist.

Among the earliest fictional examples of seasteads was Standard Island, a floating, mobile seastead in Propeller Island (or L’Île à hélice) by Jules Verne (1895). American millionaires built it.  

In real life, seasteads might not require billionaires at all. Settlers might construct a small one without spending vast sums. They might build on an existing, abandoned platform, as with the Principality of Sealand. Crowdfunding might present another way to pay for a seastead’s construction, with perks of citizenship offered in exchange for contributions.

Libertarians

Seasteading often gets associated with libertarianism because adherents to that political philosophy see few, if any, land nations living up to libertarian principles. Their efforts to influence one or more existing countries to adopt libertarianism have failed. Some now believe the only way to live in a libertarian country is to create a new one.

However, nothing about the seastead concept requires a libertarian governing philosophy. If you build a seastead, declare it a country, and somehow get it recognized as such, you could set up any form of government you please.

The Seastead Chronicles

In my book, The Seastead Chronicles, a brash billionaire builds a seastead and declares ownership of a sector of the ocean. I don’t state the type of government on that seastead, so readers may imagine what they wish.

The fate of that seastead initiates a “gold rush” for oceanic oil and minerals, boom, and other seasteads get established. Most of these locate near known ocean bottom resources to take advantage of seabed mining. They divide the oceans into nations, called aquastates, which other nations and the U.N. recognize. As with land nations, territorial disputes arise, some leading to war. A few aquastates go bankrupt and get absorbed.

Only one story in The Seastead Chronicles mentions the building of a seastead and I gloss over its funding. My stories depict seasteads as existing structures, since my aim is to imagine the effect on people of living at sea. Billionaires might have been involved in funding some of the seasteads, but others might have been built by corporations or crowdfunding.

As for governing systems, they run the gamut. I assumed people would flee their home countries and establish the government they dreamed of at sea. Given a fresh start, they’d set up their own planned utopias. A few might lean libertarian, or start off that way, but I imagined others as solarpunk, anarchic, monarchic, military oligarchic, cooperatively leaderless self-governing, etc.

Up to You

If seastead cities and their aquastates got established in real life, how do you think it would happen? Would only the super-wealthy fund their construction? Would libertarianism dominate their governing philosophies? You might enjoy letting your imagination conjure cities and countries at sea. You could come up with ideas even more outlandish (pun intended) than those of—

Poseidon’s Scribe

The Other Ink—Tattoos in Fiction

Do one or more tattoos adorn your skin? About a third of Americans can say yes. How many tattooed fictional characters can you name? Today, I’ll discuss the use of tattoos in fiction, and mention how and where I’ve used tattoos in my own writing.  

Examples

I remembered only two tattooed characters in the books I’ve read. Queequeg, in Moby-Dick by Herman Melville, bore tattoos of mystical symbols theorizing about heaven and earth.

Mr. Dark, in The Illustrated Man by Ray Bradbury, sported tattoos over most of his body. They seemed to move, and to depict stories—tales which form the book. Disney used that notion of moving, story-telling tattoos in the movie Moana.

I need to read more. My memory of tattooed characters ended there and didn’t scratch the skin’s surface. This post by Dan Sheehan and this one by Marjorie M. Liu cited many more interesting examples.

Uses

As they do with real people, tattoos reveal aspects about fictional characters. The placement and art of the tattoo tell the reader facts about the character in an immediate and visual way. You may also infer things by clothing, but people change their clothes, not their tattoos. Tattoos make a permanent statement. This post by June Gervais provides great advice for writers regarding the uses and correct terminology of tattooing.

Seastead Tattoos

In my book, The Seastead Chronicles, tattoos play a role, and appear in three varieties—bioluminescent, full-body skin dyeing, and forehead tattoos.

Bioluminescent Tattoos

In the story “A Green Isle in the Sea,” I show minor characters possessing tattoos that glow. Moreover, characters can turn them on and off like flashlights or, more appropriately, like some deep-sea creatures. A handy feature if power fails and the seastead loses all lighting.

I know a type of bioluminescent tattoo exists today, but it requires black light (ultraviolet) to see, doesn’t glow in the dark, and can’t be turned on and off.

Full-Body Skin Dyeing

Starting with “First Flow of the Tide” and continuing in later stories, I make use of full-body skin dyeing. Adherents of the Oceanism religion may undergo a practice called Immersion, as a way of affirming devotion. During Immersion, skin over the entire body gets permanently dyed in some water-related color like blue or green or a mix. Not only does this demonstrate fealty to Oceanism, it also hides the character’s born race, at least regarding the trait of skin color.

Forehead Tattoos

Another aspect of Oceanism’s Immersion ceremony involves tattooing the image of a sea creature on the forehead. Many choose the five-armed starfish, a symbol of Oceanism itself. However, believers may opt for any sea creature, and that choice often tells something about the character.

What Now?

Did I put you in the mood to get a tattoo? If so, let me know what you get. Did I inspire you to write about a tattooed character? If so, tell me about that. As for me, I’ll never reveal where my tattoo is, the one bearing the title—

Poseidon’s Scribe

How do the Two Chronicles Compare?

Seventy-five years ago, Doubleday published Ray Bradbury’s The Martian Chronicles (TMC). One month ago, Pole to Pole Publishing released my book, The Seastead Chronicles (TSC). A comparison of similarities and differences follow.

Similarities

Both books (1) contain the word “Chronicles” in their titles, (2) concern colonization, (3) belong in the science fiction genre, and (4) could be classified as fix-ups. I’m hard pressed to think of more similarities. On to the differences.

Creative Intent

Bradbury wrote all the short stories for TMC separately, with no intent of combining them. A publisher suggested the Chronicles idea to him. Bradbury then revised the stories to fit better, and added bridging narratives to form a consistent overall story.

I wrote a seastead short story with no initial plan to write more. After that, my muse suggested other stories and the notion of combining them took over. For that reason, TSC stories required no revision, and no bridging material to get them to mesh. Rather than calling it a fix-up novel, you could call TSC a “short story cycle.”

Plot Structure

Bradbury ordered his stories in a logical sequence and divided them into three sections, each occurring over specific designated years. Stories in the first part concerned exploration and initial contact with Martians, the second part with colonization and war, and the third part with the aftermath of what’s happened to humans on Earth and to Martians on Mars.

Although stories in The Seastead Chronicles appear in sequential order, I didn’t group them into parts, nor mention any specific years. The early stories depict initial seasteads and the search for seabed resources. The middle stories show the spread of aquastates and war between them as colonization proceeds. Later stories portray the blossoming of a new, oceanic culture.

Themes

Any discussion of story themes becomes subjective, since readers interpret tales in individual ways. Bradbury explored many deep themes in TMC, but overall I believe he intended a comparison of the colonization of Mars to the 19th Century conquest of indigenous people in the American West. The stories promote living in harmony with nature and suggest that those who don’t do so end up destroying nature and themselves.

For TSC, readers can draw their own conclusions. However, I intended to focus on humanity’s creative impulses, rather than its destructive ones. Though moving to a new environment introduces dangers, it also promotes new ways of thinking. From those, new cultures can arise, including fresh art, music, language, and religious beliefs. If you’re looking for real-life parallels, consider that all historical colonization efforts have changed the colonizers as they adapted to their new home.

Style

Bradbury wrote in a poetic, lyrical style, rich in imagery and metaphor. You can tell he loved the sound and rhythm of words. Few science fiction authors of his time wrote that way, so his prose stands out. By contrast, I’d characterize mine as plain and unadorned. I strive to make my sentences descriptive and easy to read.

Influences

The Wikipedia article on TMC lists several people whose works inspired Bradbury, including Edgar Rice Burroughs, Sherwood Anderson, and John Steinbeck. Editor Walter Bradbury (no relation) at Doubleday gave him the idea of combining his Martian-themed short stories into a single book.

For TSC, my influences start with Andrew Gudgel, who heard about seasteads and mentioned them to me. As general science fiction influences, I’d cite Jules Verne, Isaac Asimov, Robert Heinlein, Arthur C. Clarke, and Ray Bradbury.

Final Thoughts

In this brief blogpost, I’ve missed some similarities and differences. To perform your own comparison, you’ll have to read both books and decide for yourself. Don’t take the word of—

Poseidon’s Scribe