International Translation Day: a project I’m working on

Depiction of the siege of Numantia by Alejo Vera y Estaca, 1881.

Today, September 30, is International Translation Day. I’ve been working for a while on a translation project: a play by Miguel de Cervantes called Numancia (Numantia in English). It has never been performed in English, so you may not have heard about it, although it’s considered a masterpiece in Spain.

Along with some theater-wise partners, I’m trying to get the play staged here in Chicago.

Cervantes’ play is based on a real historical event. A city in north-central Spain called Numantia was conquered by the Roman general Scipio Aemilianus Africanus in 133 BCE. The Celtiberian city had long been a rebel stronghold, resisting successive attempts over decades. Scipio conquered it only after a long siege that reduced its inhabitants to starvation. However, the people of Numantia committed mass suicide rather than surrender and be taken as slaves, depriving him of his triumph.

This excerpt from my translation comes from the first scene of the play, in which the Numantines seek peace.

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NUMANTINE AMBASSADOR: As a citizen of Numantia, I have been sent to you, great general, the most mighty captain of Rome ever hidden by night’s darkness or beheld in daylight, to extend a hand in friendship, sir, as a sign to end this cruel and stubborn war that has lasted for so many years and caused much harm to ourselves and to you.

Numantia pledges to obey all laws and codes of the Roman Senate as long as it will not suffer further outrages and affronts from any of Rome’s consuls and governors. Their harsh rule and excessive greed in the past placed such a great yoke on our necks that we were forced to rebel against them and their law.

Throughout this long dispute between both our sides, we have never found any general with whom we could forge an accord. However, now fate has brought our ship to this fine port, and we will lower our sails and prepare to seek whatever agreement we may reach.

Do not think we come out of fear to insist on peace, for long experience has tested the worthy power of Numantia. Your virtue and valor have caused us to declare that peace would be a greater gain than war, and that we would wish to have you, sir, as friend and lord.

This is why we have come. We await whatever you may be pleased to reply.

SCIPIO: You are late to show repentance! Your friendship would give me little satisfaction. Show your strength at arms again, because I wish to see what my weapons can do. Perhaps fate will bring us glory and you a tomb. All your insolence, for so many years, cannot be repaid by asking for peace. War will continue, its danger renewed. Troops will again be on the move.

NUMANTINE AMBASSADOR: False confidence brings upon itself all kinds of mistakes. Be careful what you do, sir, for your arrogance will be repaid by our strength at arms. By refusing peace, which we sought with good intentions, you give us just cause, and the heavens shall be the final judge over who is right. Before you set foot in Numantia, you will taste the angry might of those who wished to be your vassal and faithful friend but must be your enemy.

SCIPIO: Have you anything more to say?

NUMANTINE AMBASSADOR: No, but we have more to do, since you, sir, wish it so. You do not accept the friendship we offer, which reflects poorly on who you are. But you will see what we can do when you show us what you can do. It is one thing to negotiate for peace, and another to break through the lines of armed soldiers.

SCIPIO: You speak the truth, and I can speak of both peace and war, but I do not wish you as friends. This will never happen here. And with that, you may go.

How to find the perfect title for your story or novel

A title should not merely identify a story or novel, it should make readers eager to find out more. Sometimes writers have the title before they start — in fact, a perfect title can be the prompt for the story, like The Door Into Summer by Robert A. Heinlein. A few writers depend on agents, publishers, or critiquers to supply the title. This is how my novel Interference got its title. But most writers do it themselves, so here are some ways to create a good title.

1. Steal it

Take it from public-domain poetry, quotations, lullabies, songs, famous prose, clichés, jargon related to your story’s milieu, catch phrases, or slang (new or old). You may want to reverse or play with these phrases.

Examples: All’s Well That Ends Well by William Shakespeare, The Grapes of Wrath by John Steinbeck, The Cradle will Fall by Mary Higgins Clark, or “A Dog and His Boy” by Harlan Ellison.

But beware of “pushbutton” words that are too cliché. For example, “The Shadow War of the Night Dragons: Book One: The Dead City: Prologue” by John Scalzi.

2. Take it from inside the story itself

A phrase or concept used in the story might be catchy enough for a title.

For example: “A Clean, Well-Lighted Place” by Ernest Hemingway, “A Good Man Is Hard to Find” by Flannery O’Connor, or “But the One on the Right” by Dorothy Parker.

3. Use significant words from the story

Make a list of the important words from your work: names, settings, theme, times, action, characters, or information. Then start to play with them in different patterns.

• Noun and Noun: Pride and Prejudice by Jane Austen

• Noun for Noun: “Flowers for Algernon” by Daniel Keyes

• Noun of Noun: “The Iliad of Sandy Bar” by Bret Harte

• The Noun Who: The Man Who Came to Dinner by Kaufman and Hart

• Possessive Noun: “Sonny’s Blues” by James Baldwin

• Prepositional Phrase: In the Heat of the Night by John Ball

• Adjective(s) Noun: “Too Early Spring” by Stephen Vincent Benét

• Noun + Prepositional Phrase: “A Novel in Nine Letters” by Fyodor Dostoyevsky

• Adverbial Phrase: “After the Procession” by Jorge Edwards

• Prominent Verbs: “May Angels Lead You Home” by Sharon Sheehee Stark

• Significant Word(s): “The Metamorphosis” by Franz Kafka

Beware of confusing titles, such as a name that might be mistaken for the author’s name, or an ambiguous title like Scorpion Kisses by León Arsenal, which is speculative fiction but has been repeatedly shelved in romance.

Exercises

• We all know Hamlet, The Handmaid’s Tale, Game of Thrones, etc. Think of five possible alternative titles for a well-known work — and to help spark your imagination, make one of them the worst possible title.

• Think about a work of your own that needs a title, and write five possibilities. Share them with friends or fellow writers. What invokes the best reaction?

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Download a PDF of this post here.

Don’t look

With your eyes closed, where are you?

The uneven rocking and bumping offers a big clue: a train. The familiar ding-dong and announcement,” with diamond-sharp enunciation, provides the rest. This is the ‘L,’ the elevated train system in Chicago.

What else can you notice without looking? Steel wheels rumble and screech. Passengers chat. The hard seat vibrates. Fresh, cool air blows in from the ventilation system. Standing up in a moving train car challenges another sensory perception, the vestibular system, your sense of balance. That leads to proprioception, the sense of your body and its location, the means to remain upright and walk as your train sways.

But there are more senses: Are you hungry? Thirsty? In any pain? Tired?

Bigger questions: Where are you going? Who are you?

Here and now, where you actually are, with your eyes closed, what are the answers to those same questions?

My schedule at LAcon, the 2026 World Science Fiction Convention

I will be attending the 84th World Science Fiction Convention. This year it’s being held in Los Angeles, California (actually in Anaheim), from August 27 to 31. It’s called LAcon V because this is the fifth time it’s been held in greater LA.

For most of the panels on my schedule, I volunteered to be on them, especially as moderator, because the topics have something to do with projects I’m working on. Moderators get to ask the questions — a sneaky research technique! If you’re not attending but you’re interested in my workshop on first paragraphs, you can find more information and the handout here.

All times PDT:

Virtual Table Talk with Sue Burke, Online 6 | Thursday, August 27, 9 p.m. — Do your houseplants hate you? No. Do they want to take over the world? Yes. Do our machines want to take over the world? Maybe, and what could stop them? Do you want to save the galaxy, or are you tired of trying? Let’s talk about all this.

Beyond the Pantsers and Plotters Spectrum virtual webinar, Online 2 | Friday, August 28, 10:30 a.m. — The writing process isn’t a binary, it’s a wide open universe. Panelists discuss different ways they approach story creation and the many metaphorical descriptions that people may find useful, including gardening, exploration, architecture, musical structures, outlining, “night driving,” and more. Participants: Ada Palmer, moderator; Dr. Phyllis Eide, Sarah Pinsker, Susie Williamson, Sue Burke.

Translation Tightrope, Redondo | Friday, August 28, Noon — Taking literature in one language and transforming it into a new work in another language is an art with plenty of tension and high stakes in terms of transmitted meaning. Come hear the translators and the translated bemoan and celebrate the pitfalls and powers of translation. Participants: S. Qiouyi Lu, moderator; Alex Shvartsman, Andy Dudak, John Chu, Sue Burke.

Interstellar Life: Trade in a Sublight Universe, 261 B | Friday, August 28, 3 p.m. — Humanity will eventually spread to the stars, but travel between these systems will take years if not decades. Is there anything that will be worth physically transporting from one star system to another? Will trade be exclusively in information transmitted at light speed? How will prices be negotiated, given the years-long delays? Will systems simply send information out there and trust that others will do the same? Participants: Sue Burke, moderator; Debora Godfrey, Geoffrey A. Landis, Humphrey Price, Mat Kaplan, WA Thomasson.

Do Extraterrestrials Really Need Water? 253 B | Saturday, August 29, 3 p.m. — Does extra-terrestrial life really need water? From the building blocks of galaxies and stars to the known environments of planets in our Solar System and beyond, we can seek clues about the nature of potential life. This panel will discuss these connections including elements in the universe, cells as factories, and extra-terrestrial habitats to see what life needs to survive: in science or in fiction. Participants: Sue Burke, moderator; Angela Horner, David Tucker, Ph.D., Joanna Rivers, Sam Scheiner.

Clarion Presents: It’s a Start: A Workshop On Your First Paragraph, Avila B | Sunday, August 30, 9 a.m. — A good opening paragraph for a story or novel will carry the work to success. In this hands-on workshop, we will consider seventeen different ways to start a work of fiction, such as action, philosophy, frame, or setting. We’ll explore how each one will affect the reader and evaluate the promise it sets for the story. Come ready to write and try out some new approaches. You’ll leave with a handout to use these in your work! Presented by Sue Burke.

Dark Skies: What Changes As The Stars Disappear? 256 B | Sunday, August 30, Noon, — With the majority of the population living in light-polluted cities, it is becoming harder to look up and see constellations in the night sky. Ideas like beaming light to places on Earth from orbit, or orbital billboards are being seriously explored. How does losing access to the stars affect our sense of wonder and our understanding of our place in a vast universe? Participants: R-Laurraine Tutihasi, moderator; Howard V. Hendrix, Logan Uber, Norman Sperling, Sue Burke.

Is Interplanetary War Possible? 258 AB | Sunday, August 30, 4:30 p.m. — Interplanetary warfare is a staple of SF, but the realities of the technology required to survive and travel in space might render warfare moot. Come explore the physics and economics of interplanetary war — are the distances too vast for offensive operations to succeed? Might there be a point in time when the spread of technological civilization renders all forms of conflict that force an unwanted government on others effectively impossible? Participants: Sue Burke, moderator; G. David Nordley, Mark Roth-Whitworth, RM Ambrose, WA Thomasson.

My thoughts on the Hugo Award for Best Novelette

I’ve read all the Hugo-finalist short fiction: novellas, novelettes, and short stories. I was underwhelmed by the novellas, which were fun to read but nostalgic and predictable. I’m more excited by the novelettes, so I’ll share my thoughts about them.

This year’s Hugo Awards will be presented at this year’s World Science Fiction Convention, LAcon V in Anaheim, California, USA, on August 30, 2026.

Here is my ranking:

6. “Rapport: Friendship, Solidarity, Communion, Empathy” by Martha Wells (Reactor, July 10, 2025) — Delightful, but the story is only meaningful if you’ve been following the Murderbot series. I love Murderbot, and you might not, and that’s okay.

5. “The Girl That My Mother Is Leaving Me For” by Cameron Reed (Reactor, April 2, 2025) — In a world ruled by savage corporations, a human body and life holds little worth, and daughters struggle as they must. Horrific and mostly believable; however, it feels like the first chapter of a novel.

4. “When He Calls Your Name” by Catherynne M. Valente (Uncanny Magazine, Issue 65) — A woman has a heart-to-heart talk with a vampire preying on her husband. Outstanding voice, although vampire stories are nothing new.

3. “Never Eaten Vegetables” by H.H. Pak (Clarkesworld, Issue 220) — A ship carrying embryos to populate a new colony has a near disaster, and there are other terrifying problems with the mission. The ending holds a surprise. I wouldn’t mind if this won.

2. “Kaiju Agonistes” by Scott Lynch (Uncanny Magazine, Issue 62) — A monster tries to convince Earthlings to stop doing suicidal things like exploding atomic bombs. Humanity does not listen. Great voice and humor.

1. “The Millay Illusion” by Sarah Pinsker (Uncanny Magazine, Issue 67) — Magicians compete. A thoughtful story about truth, illusion, and identity.