REVIEW: “Full of utterly human stories of loss, fear, bravery and revenge.” —Shelf Awareness

Shelf Awareness review: “This collection of short stories presents a very modern take on the robots-gone-wrong theme … [and] is full of utterly human stories of loss, fear, bravery and revenge, set against an artificial and shiny future.” It also singles out Seanan McGuire’s and Alastair Reynolds’s stories as highlights in the book. [review]

REVIEW: “Topnotch … a great introduction to sci-fi for new readers.” —San Francisco Book Review

San Francisco Book Review on ROBOT UPRISINGS: “Nothing taps into the paranoia of modern-day life like the idea of sentient machines, [and] Robot Uprisings channels those all-too-human feelings into some topnotch stories. […] Under the guidance of a first-tier anthologist like Adams and one of sci-fi’s resident techhounds in Wilson, Robot Uprising has a more accessible feel than many science fiction collections, and the sheer breadth of storytelling styles included makes this a great introduction to sci-fi for new readers.” [review]

REVIEW: “A great read” —Seattle Geekly

Seattle Geekly reviews ROBOT UPRISINGS and says it’s “A great read” and “There are so many great authors in this anthology it’s hard to say anything, but ‘Get this book.'” It singles out Scott Sigler, Seanan McGuire, and Daniel H. Wilson as having the highlights of the anthology. Nice! [review]


This interview was conducted by Andrew Liptak.

Hi Anna, thank you for taking the time to answer a couple of questions for us! First off, what inspired this story, ‘Lullaby’?

I love ghost stories, especially stories about haunted houses, and so I wanted to tell the story of a house that’s “haunted” by robots. Everything else kind of flowed from that premise. Continue reading ›


This interview was conducted by Jude Griffin.

What was the seed for “Small Things”?

The idea for “Small Things” came about after I had reread Joseph Conrad’s “Heart of Darkness” and started thinking about the destructive nature of new technology. Every new advance we make replaces something that already exists, and this growth is often destructive. Conrad wrote about how civilization spreads and destroys existing societies while remaking them. I wanted to write a story built on a similar theme. Continue reading ›


This interview was conducted by Jude Griffin.

At the time of writing “Spider the Artist” you were dealing with some arachnid visitors in your home. Did writing the story change how you viewed your eight-legged guests?

No.  I was terrified of spiders before and I am still terrified of them now. Continue reading ›


This interview was conducted by Jude Griffin.

The name of the war is pretty genius—was that the spark for “Misfit Toys” or did it come later?

The spark was actually the idea of AI toys, toys where the Velveteen impulse was not only real, but uncontrolled and unstoppable. The name of the war itself followed pretty quickly after, and then I had the story. Continue reading ›

REVIEW: Drunken Dragon Reviews: “A great anthology.”

Drunken Dragon Reviews gives ROBOT UPRISINGS a nice review and provides detailed commentary on every story in the book. Here’s the overall money quote: “A great anthology that brings to life the most terrifying of all monsters to life, in so many different, brilliant ways by so many great new voices that you’re going to have trouble picking a favorite, like I do. Most definitely worth the time and money you’d invest in this.” [review]


This interview was conducted by Patrick Stephens.

What was the inception of “Of Dying Heroes and Deathless Deeds”? Were there any works that might have inspired your distinct twist on this theme?

I studied history in college and grad school, and studying history inevitably means studying war. But it was never the battlefield that interested me—it was the effects of battle, the way it reshaped the minds and souls of the people who endured it. I was particularly struck by the stories of the shell-shocked soldiers of World War I—probably because their torment was so beautifully expressed by writers like Siegfried Sassoon and Wilfred Owen, both of whom spent time convalescing from shell shock at the Craiglockhart War Hospital. Owen was in authentic neurasthenic distress, but Sassoon was there because he’d become a vocal conscientious objector to the war, and his superiors felt the diagnosis would be kinder (or perhaps more undermining of his cause) than a court-martial. I’m fascinated by the way the body rebels against things the mind convinces itself to tolerate, and it occurred to me that if robots gained sentience, they might not be immune to that kind of inner conflict—or poetic torment. Continue reading ›


This interview was conducted by Patrick Stephens.

How much anatomy and physiology did you understand, and how much did you need to learn, before starting “Nanonauts! In a Battle With Tiny Death-Subs!”?

I made myself wiki-wise. I used to work in television, in programme development. It’s the unglamorous coal-face of the small-screen—where ideas are devised, developed, formatted and pitched. The hit-ra eit soul-witheringly low: one in fifty ideas gets commissioned. One of the axioms of the development den is ‘expert in an afternoon’—learn enough to convincingly pitch your idea and stand up some question, with a minimum investment. It’s the same with stories: I become an ‘expert for a couple of weeks’.  Enough to bore in the bar. Continue reading ›

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