Rachel Neumeier

Fantasy and Young Adult Fantasy Author

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Unexamined beliefs

I found this post interesting. It’s by Anne R Allen, link via Passive Voice blog: What Keeps You From Writing Success? Are you a Prisoner of Unexamined Beliefs?

that 4th Grade teacher who told you if you kept reading comic books, you’d never amount to anything. Shamers like the anti-comic book teacher are dangerous because you usually don’t remember them. You may have forgotten your 4th Grade teacher’s name. All you know is you feel guilty when you read things you enjoy—plus you have a secret, persistent fear that you’re never going to amount to anything.You’ve never questioned this “information” because it was the first information you got on a subject. Plus it was probably delivered in a emotionally memorable way.

It’s interesting to think of possibly remembering nothing at all about an incident, but nevertheless taking away from that incident some persistent belief. Also, probably true. I like this bit —

So maybe there was a schoolmarmish know-it-all in your first critique group who told you in a withering tone that only terrible writers use the word “was.” She may have trapped you into the mindset that “was” is a taboo word.

— because wow are there a lot of this kind of pseudo-rules that get propagated as though spawning on their own, independent of any kind of reason for existence.

Just for fun, how many pseudo-rules can be packed into one piece of advice? At least three: “Only terrible writers use “was” because “was” means the sentence is in the passive voice and passive voice is always bad.” How about that for cramming a lot of awful advice into one declarative statement?

I’ve always disregarded bad writing advice and proscriptive writing rules. I had a lot of encouraging teachers as a tot, I guess. But this tidbit strikes me as true:

This is why NaNoWriMo works for a lot of new writers. It forces them to put the stuff on paper in a playful way, joining in a national game. So those perfectionist pre-programmed beliefs are overridden.

I think this is true. I would say “encourages” rather than “forces,” but it seems to me that NaNoWriMo is presented in a playful way, generally, and that may well help people take it less seriously and thus get more words on paper. I’ve never taken part in NaNoWriMo because I’m usually winding down from a project in November. But this year I kinda took September and October off, so who knows, maybe in 2019, I will actually pick up a project November 1st and see how it goes.

Anne R Allen’s post is also relevant to the idea of what you’re “meant” to write, a concept I mentioned in a recent post. I had trouble with that “meant to write” idea, and I know some commenters here did as well, but Allen says,

My parents were both literature professors, so I had unexamined beliefs about literary fiction being superior to genre fiction. This kept me writing and rewriting the same unpublishable literary novel for years. Finally a friend I trusted pointed out that I was always reading mystery novels and funny women’s fiction. Why didn’t I write books like that? Bam. I had to examine why I believed I had to write literary fiction. And realized I didn’t. When I finally let myself write a funny mystery, my writing flowed easily.

I can’t imagine deliberately setting out to write The Great American Novel, but of course a lot of people do seem to have that ambition. I imagine it would be quite a relief to stop trying to Achieve The Great Novel and just relax and write — though funny mysteries would probably be as hard for me personally as literary fiction!

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The supernatural in detective fiction

So, I happened across this post at CrimeReads: IN DEFENSE OF THE SUPERNATURAL IN DETECTIVE FICTION, by John Connolly.

Connolly says: My second error, [my friend] believed, was to have mixed the mystery genre with the supernatural. Whatever its benefits or disadvantages to me, either commercially or creatively, he believed that this simply should not have been done. For him, the supernatural had no place in the mystery novel

Connolly then refers to the “Ten Commandments of Detective Fiction,” promulgated by Ronald Knox in 1929. I’m not sure I’d heard of them, so I looked them up. Here they are, with commentary at the link that I’m removing for the sake of brevity, but those comments are worth reading if you have time to click through.

1.   The criminal must be someone mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to follow.

2.     All supernatural or preternatural agencies are ruled out as a matter of course.

3.     Not more than one secret room or passage is allowable.

4.   No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end.

.5.     No Chinaman must figure in the story.

6.     No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right.

7.     The detective must not himself commit the crime.

8.    The detective must not light on any clues which are not instantly produced for the inspection of the reader.

9.   The stupid friend of the detective, the Watson, must not conceal any thoughts which pass through his mind; his intelligence must be slightly, but very slightly, below that of the average reader.

10.  Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them.

My basic responses:

Although the murderer is always mentioned at some point, I’m sure I’ve read many mysteries where he or she was not mentioned “early” by any definition of the term that seems reasonable. Only one secret passage? That’s kind of chintzy. After reading The Moonstone, I agree about the Chinaman; I’d forgotten what a go-to stereotype the “Chinaman” was in literature of the period. Hidden clues are not rare, but are indeed annoying and authors should perhaps follow Rule 8 more closely. I hate stupid sidekicks and prefer Watson-type characters to be more intelligent, not less, than the average reader. Yes, the author had better foreshadow evil twins.

But let’s talk about the supposed exclusion of supernatural elements.

I guess the belief among authors of contemporary detective fiction, or acquiring editors of that subgenre, that “real” detective fiction should not include those elements, is probably one major factor in the rise of Urban Fantasy that is also detective fiction. This is, I’m pretty sure, the majority of all UF. Jim Butcher’s Dresden Files, say. Mike Carey’s The Devil You Know. Liz William’s Detective Inspector Chen novels. Lots of examples.

So when Ronald Knox ruled out supernatural influences, he was evidently completely wrong about what readers will accept in detective fiction, as obviously lots of readers are happy to read detective fiction that includes the supernatural. And when the post by Connolly at CrimeReads defends the use of supernatural elements, his defense appears unnecessary.

Not only that, but in fact I can think of several other mystery subgenres where supernatural elements are important. There’s an important ghost in the Wisteria Tearoom mysteries by Patrice Greenwood, which is a cozy mystery series, and it’s hard to imagine readers objecting.

Basically I think that it depends on the setting and the mood and the style of the novel, but that if they fit, then supernatural influences are fine in any mystery subgenre. For example, certain elements that smack of deus ex machina don’t ring true in Beverly Connor’s forensic anthropology mysteries, and overt supernatural influences would be way out of tune with the series, but ghosts are really quite common in cozies and fit into those quite well.

And if the author wants to throw in multiple labyrinths of secret passages, that’s fine with me too.

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Blog / The Craft of Writing

Is it possible to mechanically construct lyrical prose?

Here’s a recent post at Well Storied: Three Tips for Crafting Lyrical Prose

Tips are all very well, but this gave me pause. Can you teach someone to write serviceable prose? Sure. Can you actually teach someone to write lyrical prose? Um. Can you provide three tips that make an actual difference? Um …

Well, I am skeptical, but let me see.

Tip 1: Use different types of repetition. The author is talking about alliteration, consonance, and assonance.

Hmm. The first thing that sprang to my mind was none of the above. I thought first of repetition of words, and the book that sprang to mind was The Silver Chair by CS Lewis. In that one, Lewis might have gone a little overboard with repetition of certain words, such as “moonlight” and “silver.” He might not agree that he overdid it; I read in Planet Narnia that Lewis specifically liked repetition of words as a way of achieving lyricism in prose.

CS Lewis also used plenty of other techniques, including alliteration, as here in The Screwtape Letters : “Was he not unmistakably a little man? A creature of the petty rake-off, pocketed with a petty joke in private and denied with the stainless platitudes in his public utterances.”

Tip 2: Set your syllabic style. The post appears to mean, stick either to shorter words or longer ones.

That seems weird to me. Though the author of the post does say, “Now, this doesn’t mean you have to use the same syllable count throughout your entire short story; instead, you just have to keep some syllabic consistencies within certain sections of your prose.”

… No, that still seems weird to me. I guess I would think of this as part of the style, but only part, and not necessarily worth focusing on especially. Word choice is surely at least as important as number of syllables.

Two syllable words that anybody would use:

Christmas, special, garden, midnight, happy, future, Monday, water.

Two syllable words that not just anybody would use:

adjure, ersatz, verdant, feckless, ribald, inure, nuance.

Number of syllables actually has little to do with style. I mean, I guess it’s a contributing factor to style, but pulling it out as one of three factors on which to focus seems, yes, weird. It seems to me that it would have been better to say Set your style and discuss that, as opposed to focusing on number of syllables.

Tip 3: Consider sentence structure.

The author of the post says: “A short, punchy sentence conveys abrupt truth, sureness, and practicality. A long, flowing sentence, however, can usher in a lyrical feel and a sense of elasticity.”

Here I agree. However, I’d roll that into “style,” and I’d add that it’s important to note that a short sentence only has maximum punch if it’s surrounded by longer sentences. Let me see . . . no, nothing here about how varying your sentence length could be important.

Pretty sure that three fairly simplistic tips are not going to guide anyone from serviceable prose to lyrical prose. Pretty sure that ten tips won’t do it either. I think what might is reading a bunch of novels written with lyrical prose. After reading ten or so, maybe that would be the right time to ask yourself what the authors are actually doing and begin to dissect sentences.

So, fine —

Ten authors who write lyrical SFF, in no particular order

1.Patricia McKillip

2. Guy Gavriel Kay

3. Ursula K LeGuin

4. Jane Yolen

5. Catherynne Valente

6. Peter S Beagle

7. Gene Wolfe

8. Joy Chant

9. Rachel Neumeier

10. ____________________________

Who else? Pick someone to fill in the blank.

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How do you know what you are meant to write?

Another good Q&A at Janet Reid’s blog

A question offered for perusal:

But does a good writer always KNOW what they are MEANT to write? What if the awards and cash prizes for my sci-fi/horror writing are just a testament to my ABILITY to write well, and not for my true calling for WHAT to write? I LIKE to write sci-fi/horror, but is it possible for another genre, such as humor, to be a better fit – a better fit that if I were to explore it could finally be the break I need (getting an agent, getting a pub deal, etc.) ?? Maybe LIKING a genre isn’t enough to justify writing in it. 

My instant response: you’re not meant to write anything. Write what you want and hopefully that genre will work for you.

Let’s see what Janet says:

I have always believed that the way to know you are fulfilling your purpose here is to measure your joy. If writing in one particular category or genre brings you joy, that’s a good thing.


If you try out something else, and give it a chance, not the one minute “I told you I don’t like lima beans” test, and it too brings you joy, even better.

That seems reasonable to me.

Also, Janet declared everyone needs more perfection in their lives and linked Torville and Dean’s famous ice dancing performance to “Bolero. ” I remember watching that when they first performed it, and she’s right, it’s an example of perfection. If you’ve never seen it, click through and watch the video.

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Discouraged? Here you go —

Just happened across a fun and possibly useful page of Factoids To Boost Your Confidence as a Writer:

Writers have bad days. We get negative book reviews, we take too long to finish a story, and we get rejected—sometimes all in the same week.

But writers are also resilient. When you need a kick-in-the-pants, read this post for instant encouragement and motivation.

I’ll give you a sampling:

When It’s Taking “Too Long”:

Gillian Flynn: 3 years to write Gone Girl

When You Feel Too Old/Too Young:

Mark Twain: 41

When You Experience Self-Doubt:

“Self-doubt is just part of the creative process. It doesn’t go away. It sits there. It’s part of the process. So we need to learn to live with that and go forward. Finish your manuscript, publish your book, and get your words out into the world anyway. Self-doubt is just part of the job of being a writer.” — Joanna Penn

When Another Agent Rejects You:

“120+ query rejections on my first (shelved) books. I sent my first query for One of Us Is Lying to my dream agent, and she signed & sold it a couple of months later. Then I got another query rejection after it hit the NYT bestseller list.” — Karen M. McManus, @writerkmc

When Someone Mocks Self-Publishing:

Andy Weir (The Martian) — Matt Damon starred in the movie version, which won an Academy Award.

When You Get Negative Reviews:

Where The Wild Things Are by Maurice Sendak

“The plan and technique of the illustrations are superb… …but they may well prove frightening, accompanied as they are by a pointless and confusing story.” —Publisher’s Weekly, 1963

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I picked a good time to drop in on Janet Reid’s blog

Because I met a very familiar Good Dog there.

I sent that photo to Janet when her blog was on hiatus earlier this year. She wasn’t on hiatus long enough to use the photo at the time, but here it is now: one of the very, very best photos I have ever taken of one of my dogs.

The one with the literary name, too, as it happens: his registered name is Anara Call Me Ishmael RN RA RE.

That was very eye-catching, but Janet also has a recent post about backstory that I noticed because of the recent Archon panel about that, followed by my post here.

Your recent critique on Query Shark mentioned cutting set up and backstory to keep a query lean and effective. My question is … when does set up / backstory become necessary to avoid confusion (the great query sin)? ….


I guess my real question is this. If we do attempt to include set up / backstory, is it better to just be blunt with it and get it out of the way (avoid confusion) or try to “say as much as you can without saying it” (avoid it looking like set up / backstory)???

You say surprise like it’s a bad thing.

I love twists and turns. I LOVE it when writing surprises me…in a good way.

But my guess is you mean that the agent won’t understand the story without some set up.

And that’s the answer to your question. You need set up if the reader won’t understand the plot without the key element.

But often times writer fail to understand that your reader isn’t looking for problems. We’re looking for a great story. And we’ll buy in to what you tell us if we can.

And then Janet goes on, with examples. As always, it’s a great look at a concise explanation of when and how much to explain backstory.

And it’s quite true about buying in, if you can. Janet adds, “Overexplaining is one of the biggest problems I see in queries.” I can believe it! I think this is exactly like saying, “Prologues that read like history textbooks are THE WORST!”

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Twenty top mysteries —

Via a Book Riot post, but generated by looking at the most popular mysteries on Goodreads.

Okay, I’m mildly interested. Given this is a popularity contest, I’ll start by guessing that at least five titles will be by Agatha Christie. First, everyone has heard of her. Second, bookstores always carry some of her titles. Third, some of her books got made into well-known movies. Given all that, her name has to come up a bunch when you just look at most popular mysteries.

I have to admit that I have never been a Christie fan, though of course I’ve read a couple of hers and I saw Ten Little Indians once, I think.

Besides Christie, I don’t know whom I expect. I know what some of my favorites are — Gaudy Night, obviously — and I know who I think was a great mystery author — Rex Stout — but I don’t know who I expect to find on a Goodreads list.

Let’s take a look:

1 and 2: Agatha Christie, as expected. Murder at the Vicarage and The Mysterious Affair at Styles, neither of which I’ve read.

3: Oh ho, the third entry is a Sookie Stackhouse novel! Well, that is not a mystery. I mean, of course it’s a mystery, but it’s a paranormal. Most paranormals are also mysteries, but I think it’s kind of cheating to include paranormals and UF and other things on a list of top mysteries.

4: Here’s one I’ve read: The Sweetness at the Bottom of the Pie by Alan Bradley. Actually, I listened to it in audio form.

This time set in 1950, our heroine is an aspiring chemist with an inquisitive mind who is intrigued by a series of seemingly unconnected events (a dead bird, a postage stamp, and a dead man in a cucumber patch). While I would probably back away from the bizarre turn of events, young Flavia de Luce is appalled and delighted. If you’re looking for a bit of history mixed with a plucky female protagonist then this series may be right up your alley.

Yes, well. I liked this book, but not that much. I liked Flavia, but not that much. I never did go on to the next book in the series.

5: Still Life by Louise Penny. I’ve read this one and liked it quite a bit. Setting is very important to me in mysteries. Penny delivers a wonderful setting, lyrically drawn. Her Chief Inspector Armand Gamache is just okay for me though. I’ve read several of Penny’s books and might well go back to the series.

Okay, that’s the top five. Let me see how many of the others I’ve read . . . The Girl with the Dragon Tattoo, I read that one and liked it a lot. Gone Girl, no, ugh, I read a review of this one at The Book Smugglers and it turned me right off the book. Definitely don’t ever plan to read it. Rebecca by DuMaurier, wow, that’s a classic. Sure, I’ve read that one and seen the movie both.

Oh, here’s a true crime section. Yes, I’ve read In Cold Blood. That’s actually my favorite one on this list. The slow reconstruction of the crime was so interesting.

Okay, that’s it. I’ve read five of the books listed here. That’s 25%, more than I would have expected. Missing:

Dorothy Sayers, Rex Stout. Gosh, look, Arthur Conan Doyle is missing, that’s actually shocking now that I think of it. PD James! She’s far from my favorite, given a tendency to create a sympathetic character and then make that person the murderer, but she’s so well known and popular, I’m a little surprised. Lots of really popular authors are missing from this list. Sue Grafton.

Let me see, who would I pick for a personal top twenty? Well, a personal top five, just off the top of my head

Dorothy Sayers — Gaudy Night

Rex Stout — overall list of titles

Ellis Peters — the Brother Cadfael stories, which for a change I liked better on the BBC than as novels

Dorothy Dunnett — the Dolly mysteries

Beverly Connor — both her series of forensic anthropology mysteries. I freely acknowledge these are not as well written on the sentence level as any of the above, but I love them.

Who are your favorite mystery authors? Did the Book Riot list pick any?

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Adequate keto bread

It’s not like I’ve tried every kind of keto bread substitute ever developed, but I’ve finally found one that’s really not bad — as long as you don’t mind steamed rather than baked bread. And after all, who doesn’t like Chinese bao, right?

Not that this bread is too similar to bao because it’s not a yeast bread. But it is not wholly dissimilar, because it’s made in the microwave, which does mean it’s more like steamed bread than baked bread.

Anyway, it’s super easy, so definitely give it a try if you like. This is Ninety Second Keto Bread, for which there are a million recipes on the internet. Here is Rachel’s Slightly Streamlined Version:

1 T butter, oil, or melted bacon grease (if, like me, you have a lot of bacon grease around)

3 Tbsp almond flour

1/2 tsp baking powder

Pinch salt

1 egg

The recipes all say to grease a ramekin or mug. I’m sure that would be a good idea. If you prefer, you can skip that, melt the bacon grease in the ramekin via the microwave, stir together the almond flour and baking powder and stir that into the grease or butter or oil, add the egg and stir briskly to both scramble and incorporate the egg. There, one bowl. Microwave, covered, for ninety seconds. Turn out onto a rack.

Serve like an English muffin, with eggs and whatever, for breakfast. Or split and use as you would sandwich bread. I’m not going to just rave about how great this bread is, unlike this blog post, or this one, but I will say this: it is a perfectly decent bread substitute that has decent texture.

It’s also flexible. Want to add a handful of grated cheese? That will work. Want to add a tablespoon of low-sugar truvia and a handful of chopped pecans? That will also work (use butter or oil, of course, nothing bacon flavored, if you’re making a sweeter bread). Want to use coconut flour instead of almond flour? That will work too.

This version here recommends adding 1/2 tsp psyllium husk powder. It’s supposed to give the bread a texture more like baked wheat bread. Well, I haven’t tried that, but sure, maybe eventually. Right now I’m okay just making this bread without that addition.

Lots of posts recommend toasting to improve the texture and “reduce the eggy flavor.” I don’t find this too eggy and I actually like a very moist, steamed texture, but I expect that would be fine.

Whatever version you make, this is definitely my favorite keto bread so far.

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Recent Reading: Raven’s Shadow and Raven’s Strike by Patricia Briggs

Okay, I read this duology some time ago, but this was like reading it for the first time because it turns out I barely remembered anything at all about the story. I knew the Raven duology is used as an example of a story with an older female protagonist. It is indeed a good example once the reader gets past the first section and we jump ahead twenty years, although actually there’s very much an ensemble cast here.

So, the story. Tier rescues Seraph, who is a Traveler (like a gypsy or a Lakewalker, distinct from the general population of settled people) and also a Raven (a natural wizard who works magic freestyle, by intuition, rather than with rituals from books). There is a brief low-key romance. They get married, at least partly out of convenience. We jump forward twenty years or so and the actual story begins. That whole introductory section was a bit generic and boring for me, but when we shift forward in time, the story really picks up and I got a lot more interested.

The opening problem is that Tier has not returned from a trip when expected and is presumed to be dead. Seraph and her three children – Jes and Lehr, who are young adults, and Rinnie, who is ten years old – deal with this loss, discover he probably isn’t dead but has been kidnapped, and the story unrolls from there, with the viewpoint dividing mainly between Seraph and Tier. That problem resolves in the first book, and then they deal with their real enemy in the second book, where the viewpoint divides a lot more.

What makes the story work:

Once the story really begins, both main viewpoints – Tier’s and Seraph’s – become compelling. Tier’s situation is especially engaging. I have a particular fondness for the sort of situation where someone competent is tossed into a crowd, begins to recruit allies, and essentially takes over. We saw that when Miles Vorkosigan took over that Cetagandan prison, and when Torin Kerr took over her prison, and in the Honor Harrington series where Honor has to get a new crew to work together properly, and in a whole bunch of other stories. I always like that trope.

The secondary characters add interest, especially Jes, whose character is the most complex. There are similarities between Jes in this duology and Charles in the Alpha and Omega series; the sharing-your-body-with-a-monster thing is right there in both stories. The Raven duology may be where Patricia Briggs did this first and then she wanted to make that element more central when she started the werewolf series. Anyway, that’s also a trope I like.

Not just Jes, but all three of Seraph and Tier’s children have inherited magic, each one a different kind (there are six inborn types of magic). Plus Seraph is a Raven and Tier, it turns out, is a Bard, so every member of the family is gifted with a type of inborn magic. This is not entirely a coincidence. Briggs has used a method to deal with helpful coincidences that I actually used myself in Winter of Ice and Iron she’s set a force for order into the world, so that helpful coincidences have a reason to occur. Why did Tier and Seraph encounter each other in the first place? Why has every child been born with some kind of magic? Well, this is why.

I think that’s quite helpful. If the author needs helpful coincidences and those begin to strain reader credibility, introducing the appropriate metaphysics can be a great way to rescue the situation. Of course once you introduce a metaphysical force for order, you probably have also introduced a force for chaos, and then that may well give overall shape to the plot as those two forces are opposed to each other. Or in this case, not exactly. Patricia Briggs went for a more subtle situation than that.

But the pov cast is actually bigger than this one family. The Emperor, Phoran, is a neat character in his own right. He would have made a good protagonist for a different story. Hennea is not as interesting to me, though her role is pretty important. And so on. Lots of secondary characters get a little bit of point-of-view time. That’s a somewhat unusual way to tell a story these days, as first person has become so much more common. Briggs does a good job with it.

Overall a fine fantasy duology, well worth picking up, especially if you like ensemble casts and very definitely if you appreciate older protagonists who are in settled relationships and stories that include positive family dynamics.

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We live in a science fiction world

Mind-controlled ‘exoskeleton’ restores movement to totally paralyzed man

“For the first time, a quadriplegic patient was able to walk and control both arms using this neuro-prosthetic, which records, transmits and decodes brain signals in real time to control an exoskeleton,” said project chief Guillaume Charvet. The experiment was launched by the biomedical research center Clinatec in Grenoble, France.

So impressive! Hopefully developments of this kind will move ahead at a brisk pace.

Here’s another one:

Grand Rapids man one of the first to receive ‘bionic ear’

The vestibular implant is a device similar to the cochlear implant, which is used for people who have hearing loss. But it serves a different purpose — to restore balance when people have the lost the function of their inner ears.

Another really nice development.

A third noteworthy medical advance:

Boston Children’s Hospital researchers seem to have pinpointed the cause of multiple sclerosis

Researchers at Boston Children’s Hospital have now pinpointed the specific helper T cells that cause MS, as well as a protein on their surface that marks them. As reported this week in PNAS, an antibody targeting this protein, CXCR6, both prevented and reversed MS in a mouse model.

Animal models can be iffy for many reasons, but if you click through you’ll see this looks quite promising.

And more more, the most science-fictiony of all:

After 5 Years Of Trials, Doctors Create Human Liver From Scratch

“It’s not like ‘wahoo’ and the next morning you think, ‘ah, I’m gonna make a human liver,’” says Dr. Alejandro Soto-Gutiérrez of the Pittsburgh Liver Research Center.

It took five years of trial and error but using stem cells, genetic and tissue engineering, organ cultures and a team of experts in these areas, the researchers have come up with this.

This isn’t a viable, long-term organ suitable for, say, a liver transplant. Yet. But it’s hard not to see this as a pretty good step in that direction.

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