Sunday, July 05, 2015

Sunday Snippets



Rather than posting from works in progress, today is a quick look back:


Most of the lights in the house were off, but Kit found the gloom more comfortable than the gingerbread warmth of normal light. She made her way down the front hall by feel.

“Hey, Terri?” she called. She found the wood handrail into the living room, trying to shake off a weird sense of tension, as if someone were looking over her shoulder. “I want you to meet…”

The sensation deepened as the shadows gained color, a blur of muted hues that closed in and hit her hard. A fist smacked her chest and her body went awry in response, arms flying, spine cracking into the rail. She howled; her second muscles coiled in readiness, all wild animation and adrenaline poisoning. Instinctively, she tried to place where her attacker stood. Something slammed into her left leg.

She twisted with it, trying to roll over the blow, but a flare of pain sent her mind screaming – not the tendon, not when it had taken so long, not when another pull could damage it permanently – and she surrendered, collapsing in a puddle on the steps. A long white-gloved hand caught her chin and knocked her head back against the rail. Hooded grey eyes played over Kit’s face, neutral, assessing. She saw a flash of metal out of the corner of her eye and flinched. The point of a knife replaced the hand.

“I know what you can do,” the woman said. “The first false move will be your last.”

Flow, Chapter Three 


 

From Taming The Weald, after Keryn has discovered a mysterious girl in the Weald, a small woodland maintained on her space station:

On the walk to her quarters, Keryn talked about her community in the station, the school, the beautiful views of the void—she didn’t have the heart to tell Verdant there was nothing else out there. The station was the only remnant of civilization in a galaxy shattered long ago.

Halfway home, she wondered aloud, “How do you know our language, if you’ve never been out of the Weald?”
“I hear people talking when they walk past,” Verdant said, “and the trees talk to me, too. They teach me words you no longer use.”

Keryn shook her head, deciding not to correct the girl. Obviously, living in the Weald had confused her understanding of what was real and what was imaginary. Most children grew out of that at a younger age than Verdant's. 



In a ruined fortress in Stone Unturned (Unburied Treasures anthology), our narrator uses her powers to divine its past:

I knelt on the dividing line between cracked, mossy tiles.  “Givesan, Hawk of the Heavens, Father of Humanity, open my ears … open my heart.”  I sang the prayer, letting the melody shape itself.  It was new with each Sounding.  “Carry me under your wings as you carried our mother, through islands and nations of time.”

The ruined hall began to shrink, transcended by music that was more than sound.  I continued my prayer.

“Tilasta, Wolf of the Deeps, Mother of Monsters, be merciful.  Leash your fury.  Grant me passage through the unknown.  Keep close to your breast the evils you bore, more potent than those of humankind …”

Harmony and light.  My senses filled with memories of a blazing hearth and a thousand candles, fur rugs sprawling across the polished white stone to trap the heat …  the press of hundreds of ghostly bodies, most of them elegant and erudite, but also the scampering of servants whose lives history would never remember.

The theme of the strongest memory carried above the bustle.  I focused on it.

Friday, July 03, 2015

GoodReads Review: Black Unicorn by Tanith Lee

Black UnicornBlack Unicorn by Tanith Lee
My rating: 4 of 5 stars

"Found it. Found a *bone.*"

This book was an often-reread part of my childhood, a cherished favorite. When I heard the sad news that Tanith Lee had died, I knew I had to return to it and read it again.

The Black Unicorn is a delight, swift reading despite its poetic turns. (Look back at most of the descriptions, and you'll find that there is little concrete detail: instead, Lee uses words to create an emotion that compels the reader to fill in the blanks. It's gifted wordsmithing.) The book has a deep magical sensibility that permeates the story without ever feeling overblown. It is witty, wry and tongue-in-cheek in the way that only reality can be. The characters are sometimes odd and almost absurd in exactly the way people are. And I love the peeve - a perfect companion animal with all the mischief it causes.

The only reason this book doesn't get full stars from me is that it still does read as a childhood book; it is perhaps ideally suited for those a little younger than the main character (fifteen or so). There a few places where things seem odd, implausible or young to an adult reader, but I still very much enjoyed my return to it.

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Wednesday, July 01, 2015

Wednesday Wanderings

Like many women, I've always been self-conscious about my weight.  (This is going somewhere writing related, I promise:  bear with me.)  Even at my thinnest, I knew I would never be down to slender - there's a point at which bone structure intervenes, and I have healthy doses of Italian and German in my genetic background.

So when I started writing, if I ever considered my characters' weight and bone structure, they tended to be slender, thin ... and in a few cases, even borderline unhealthy.  I was even uncomfortable writing a heavier character.  I was pretty rocked when I read Pigs Don't Fly, and the main character Summer suddenly breaks down about her sizable weight.  Wait (no pun intended), what?

Fairly obvious this was wish fulfillment for me, but how many wishes does one need?  I started working on recognizing this tendency and varying it ... when it comes up in the story.  My RPG characters tend to still follow this mode, because gaming - especially MU* gaming, which is more immersive - is more of a lark, more an opportunity to "be" exactly who you want, rather than telling a specific story.

I had a similar pattern with the height of my characters.  When I was little, I was told that I would probably end up around 5'11".  Having maxed out at 5'6.5", I was for a long time irrationally furious at the world.  Oh, the angst!  It's no coincidence that (again, particularly in RPGs) my ladies tended to be very tall ... or, because I was intrigued by the logistics of it, very short.

Recognizing the pattern is the first step to changing it, of course, but I still indulge in it now and again.  It's a bit like having a bowl of fictitious ice cream.  And isn't all fiction wish fulfillment, in the end, even if it's for something shallow and superficial?

Wednesday, June 24, 2015

Wednesday Wanderings

I think I'm going to return to Wednesdays for my (almost) weekly post, since Tuesday has been prep day at work, and a couple long ones have knocked me backwards.

Ironically, this week's post is also all about the food:  still ruminating between two novel ideas, the more traditionally high fantasy setting seems to offer plenty of opportunity for feasts and signature dishes.  I pondered the idea of - separate from the book - putting together either the actual recipes or finding sources for inspiration.  They would be used on my blog for promo.

Now, of course, for the savory side of things, it is well within my capability to actually come up with a fully original "cookbook" to go along with the novel.  The pastry side is a bit more dicey; to claim a recipe as one's own, you have to build it from the ground up, and the ratios and chemistry are very precise.  On the other hand, this wouldn't be for sale no matter how I packaged it, so perhaps a bit of (fully credited!) leeway is allowable.

I suppose the reason I'm posting this is a temperature check:  does anyone think this is a good idea?  Would seeing "recipes from the world of X" pique your interest to read a novel?  Or learn more about the author?  No, wait, that would be a negative ... I don't want people prying into me, aaah!

Of course, all this is academic (for now) if I decide to go with the other concept - not only does the setting not lend itself to the same kind of food, the presence of dishes and taste wouldn't be as important to the book.  Believe me, I wish I were a good enough harp composer to embed music ...

Wednesday, June 17, 2015

GoodReads Review: Classics Mutilated

Classics MutilatedClassics Mutilated by Jeff Conner
My rating: 3 of 5 stars

This is an anthology of mash-up fiction: where two works of literature meet, or a historical figure meets a mythological one, or ... it's a great concept, rife with ideas even with the restrictions of the public domain. Unfortunately, it also gets three stars from me solely for three stories, each of which were excellent: Anne-Droid of Green Gables (Lezli Robyn), Death Stopped For Miss Dickinson (Kristine Kathryn Rusch) and Twilight of the Gods (Chris Ryall). The rest of the stories, for me, ranged from mildly amusing to forgettable to poorly executed.

Many of the stories seem to be simply bizarre for the sake of it. Maybe that was because they were drawing on aspects of their respective classics that I'm not familiar with, but I think that even in an anthology of mash-up, the heart of the story shouldn't depend on this familiarity. For instance, Twilight of the Gods invokes a specific modern tale, but even if you missed that reference, it is still rollicking good fun. I also thought it was odd that an anthology with such broad possibilities would have two stories involving a drug-addled rock star battling dark magic. Neither of them, to me, were so compelling that both had to be included.

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Tuesday, June 16, 2015

Tuesday Thoughts

The novel project debate rages on upon the battleground of my innermost thoughts, but I'm starting to trend towards one of two ideas (#2 and #3, for those who might have read the list).  It has occurred to me to try the solution of writing them both at the same time, which has actually worked well for me in the past - particularly when the two projects are of different mindset / tone / setting - with the downfall that when I finish, I suddenly have two books to edit, and that's a lot more hairy.

But my indecision isn't the topic of this blog post.  (Aren't you relieved?  Don't answer that.)  Instead, as I've pondered the elements of one idea (#2), I've realized that one of the downsides is that I have to deal with an aspect of technological advancement that has always puzzled and irritated me:  social media and portable data access.  Though I finally got "Baby's First Smartphone" right before I started school (September of 2013), I still lag behind in a lot of ways.  I adore my desktop setup and can't imagine ever trading it in.  I have limited interest in owning a tablet:  the main upside would seem to be to for portable, annotated recipes.

So it's hard for me to sympathize and sometimes even visualize where this technology might lead.  In Scylla and Charybdis, I indulged in a little wish-fulfillment:  constant connectivity reached a critical mass, until there was a social backlash against it.  People started to consider being unavailable a sign of importance / status.  Of course, access to information remained almost ubiquitous.  The accuracy of that information, on the other hand ... well, it did all start with the internet, didn't it?

Much of this technology - especially when it is fast-forwarded into future possibilities - makes it difficult to come up with a plot where missing persons or fugitives are involved.  Obviously, people have been coming up with ways around surveillance since before the first pair of binoculars, but that's yet another layer of speculation, with the added pressure that the novel may hinge upon whether or not it convinces the reader.  It's the same problem that occurs when you add seers and telepathy to a fantasy story:  how do you create a mystery?  That working with this magically is easier for me is probably telling as to where my mind lies as a storyteller.

Another interesting dimension to all this is how much, in the modern era, we've become accustomed to - even addicted to - the ability to reach anyone, anywhere.  In old movies and stories, one of the first events isolates the characters from the rest of the world.  In practical terms, this serves the purpose of cutting them off, making them rely on themselves and each other ... but nowadays, I think, there's another level of fear and anxiety.

Regardless, the inciting need remains:  cut the characters off from easy answers.  How do you do that when the answers aren't just in the palm of their head, but in an implant in their head?  There are a lot of intriguing options there, but it's a route I have yet to much explore ...

Sunday, June 14, 2015

Word Association

My beloved car (with its vanity plate, HRP BEAT) is a 2003 Subaru Forester.  It long pre-dates the capacity we now take for granted of being able to hook up your phone, iPod, whatever, and play your entire glorious selection of personal music.  The closest it comes is a 6-disc CD changer.

Now, I need music for driving:  it occupies the hyper parts of my brain so I can focus.  I've made something of a game of coming up with themed CDs, everything from Where In The World (songs referencing some geographical location(s)) to Tis A Puzzlement, which was my polite umbrella for songs where I had no idea what in the world was going on in them ...

I've done this so much I've gotten bored of it - of course! - so this time around, I decided to play word association to come up with a sequence.  Here's the first:

I'm Going Out With An Eighty Year Old Millionaire - Kirsty MacColl
Gold Digger - Glee Cast version
Pot of Gold - Dian Diaz
(Chorus contains a reference to "Cinderella on a midnight run" so ...)
On the Steps of the Palace - Into The Woods soundtrack
(Both this song and the next discuss hiding / revealing your identity ...)
Carrier of a Secret - Sissel
(Chorus:  "How many mountains must you climb, how many tears must you cry ...")
River Deep, Mountain High - Celine Dion
Move This Mountain - Sophie Ellis-Bextor
(Chorus:  "Take this chance, I won't repeat this.")
No Second Chance - Blackmore's Night
A Chance With You - Alana Davis
(Chorus:  "But I'm gonna let you fly ...")
I'm Gonna Fly - Sydney Forest
I Heard An Owl - Carrie Newcomer
(Thematically:  "The only peace this world will know can only come from love.")
What About The Love - Amy Grant
(Chorus:  "Angels to the left and the right ...")
Angel - Leona Lewis
Seven Devils - Florence + the Machine
The Seven Deadly Virtues - Camelot soundtrack
(Next song talks a lot about flaws / frailties, so ...)
Don't You Remember - Adele
I'll Remember - Madonna
I Remember L.A. - Celine Dion
The Stars Fell On California - Helen Reddy

I took another starting point and produced:

Fire - Paulina Rubio
Set Fire to the Rain - Adele
It's Raining Men - Geri Halliwell
Alleluias - Solar Twins (... do I really have to explain that segue?)
(Line:  "It's much too late to reinvent the storybook lines anyway ...")
Fairytale - Sara Bareilles
Agony (Reprise) - Into The Woods soundtrack (... and we're back to ITW.  Hush!  But this song also thematically ties into the previous one and "the next best thing.")
(Line:  "All 'round the tower a thick of briar a hundred feet deep ...")
The Path of Thorns (Terms of Endearment) - Sarah McLachlan
Honey - Mariah Carey
Sugar - Heather Nova
(Connection:  both songs start with bus trips)
One of These Days - Michelle Branch
Days - Kirsty MacColl
Ten Days - Celine Dion
(Chorus:  "And all I've gotta do is pray and pray ...")
I Say A Little Prayer - Dionne Warwick
(Chorus:  "Forever and ever ...")
Forever and For Always - Shania Twain
Now and Forever - Anne Murray
Who Wants to Live Forever - Sarah Brightman
(To be honest, I've kind of lost the connection here ... I think it was because this is the opposite of forever)
One - Faith Hill
1-2-3 - Gloria Estefan
One After 909 - Helen Reddy

I'm sort of tempted, for when I get tired of my current selections, of trying to do a six-CD string in sequence ... madness!

Tuesday, June 09, 2015

Tuesday Thoughts

Confession time:  I've always had trouble killing characters.  In my early projects, it was a personal running joke.  When I finally managed to kill off a narrator's significant other, I was pleased with myself ... until the story took a turn and I realized it made perfect sense to bring him back to life.  So much for that.

I've gotten better, if you want to call it that, over the intervening years - at least, with novels.  In short fiction, all bets are off.  Killing off a novel character is still a rarity for me.

On the other hand, death, the afterlife and those who have passed on play a role in a lot of my novels.  Journal of the Dead is set in a world where souls jump into the minds of their murderers.  One of the plot threads in Butterfly's Poison involves the ghost of the dead king.  There's even some patter in Who Wants To Be A Hero? involving death, taxes and afterlife.  And even after her death in Unnatural Causes (this is not a spoiler, as it is part of the ten-second pitch), Cailys continues to influence the story.  Vil and Iluenn cope in part through their differing visions of the afterlife.

I suppose that what it boils down to is, for me, death is transient and neutral, so its main consequence is all of sudden, I have a character / toy I can't play with any more.  That's no fun!  Ahem.  Instead, as a writer, I always keep in mind that there are worse things than death ...

So don't let your guard down when reading my works, thinking the characters will get off unscathed.  I have plans in the works.

Tuesday, June 02, 2015

Tuesday Thoughts

If you're a science fiction and fantasy writer - and possibly even if you're not; I've heard that it was discussed in a story in the Wall Street Journal - you probably know something about the tumult over the Hugo awards:  Sad Puppies, Rabid Puppies, Dancing Aardvarks ... wait, not the last one?  It's hard to keep track.

For those of you utterly burned out on the topic, I want to assure you that I'm not going to talk about the events themselves.  For one thing, with my last quarter of school devouring me whole, I couldn't devote the mental energy to untangling it.  You may know more about it than I do.  Secondly, I was more intrigued by the questions around the issues, the squishy, subjective uncertainties that make it possible (alas!) to have controversy in the first place.

For those of you not familiar with the issue, let me explain briefly:  the Sad Puppies campaign was created a few years ago because a group felt that more traditional, adventure-style SF was being pushed out of the Hugo awards in favor of more liberal (in the US political meaning of the term) viewpoints.  It completed exploded this year when Rabid Puppies decided to hijack it for their own purposes.  (Please forgive if my summary is inaccurate:  I did say I didn't follow it too closely.)

Behind all this kerfluffle is a tension between the idea that the quality of fiction, like all art, is subjective; and the action of presenting an award, which gives the veneer of some objective quality.  Let's add one more statement to the narrative:  diversity is a good thing and necessary in a genre that builds upon possibilities, but we don't want to set up a forced, artificial diversity.  (Already, you can see the questions bubbling up.)  What am I thinking of when I say "artificial" diversity?  It's when a work rises to the top not because of merit, but because its author or subject matter checks a particular box.  It would be like saying that every novel awards slate has to include one urban fantasy, two epic fantasies, one hard science fiction novel and one soft science fiction novel ... even if there were three amazing soft SF books that year.

But this all circles right back around to the subjectivity of art.  Who gets to say those three SF books were more worthy, anyway?  Can you cry foul, point to an agenda, on an intrinsically subjective choice?  On the other hand, can you expect anyone to make a subjective choice without bias, whether intentional or not?  In critique groups, writers often learn to distinguish between "not my taste" and "bad" when reviewing stories, but that separation of self only goes so far.

Clearly there is some objective quality to fiction:  grammar, style, clear sentence structure, avoidance of cliches.  From there, though, the slippery slope resumes.  It was once the fashion for the writer to address the reader directly in the narrative; this was part of good writing.  This fell out of favor and became a big no-no.  And nowadays?  I haven't seen one recently, but I'm sure you can find stories that include or even hinge on the writer talking to the reader.  (Then there's Simon Hawke's books where the villain confronts the author directly, but that's another story.)  Much of what is "good writing" is part of evolving cultural standards.

So what about popularity as our objective standard?  I think most of us would agree that some of the most popular books - the Twilight series; Eragon - are not in any way good literature.  This isn't even pure snobbery:  when I read The DaVinci Code, I kept thinking, "This is bad writing.  Why am I still reading this?"  Even if it isn't a "quality" book, the pacing in The DaVinci Code pulls you on, and it's easy to see the source of its addictive spread.

At this point, I think I have successfully concluded that I know nothing.

Back to the idea of cultural framework, in a larger sense.  Through fiction, television and other storytelling mediums, we are conditioned practically from birth with specific expectations of how a story will progress.  Goodness knows, these have changed:  again, in earlier periods, writers (and readers) had no problems with characters spontaneously discovering they had rich parents; Greek plays had literally deus ex machina, where a god would be lowered / brought in by machine to fix plot problems.  Writers walk a fine line between satisfying expectations - but boring the reader, who (even subconsciously) knows what is going to happen - and changing things up - stray too far from the conventions, and the reader is unsettled, angry, rejects the story.  (Oh, and everyone's tolerance is a little different, too.  What, you thought it would be easy?)

Even within western society, however, we don't all absorb the same narrative sensibilities.  Our personal experience and upbringing influences what we take from the stories we encounter.  Imagine a child raised on a space station.  (Hey, this IS a post about SF/F.)  She probably would have a different reaction to the setting of the movie Alien, just to start.  If she were a writer, how would she use the quiet of space as a metaphor?

Back to the problem and the question:  if a work doesn't jive with our narrative sensibilities, does that make it poorly written?  Is it an author's job to be universal?  Or does quality mean decoding?

Now we run into the old problem that literature has always had, and SF/F has more recently acquired:  we're afraid to admit that we don't understand, to say that we don't like something because we don't "get" it, for fear of being labeled dim or unimaginative.  That little voice in the back of our head murmurs:  if I don't understand it, it must be deep.

You'll notice a lot of questions here and not a lot of answers.  I don't have answers; I'm still looking for them.  One thing I do know for sure:  the paradox of quality being both subjective and objective means that controversy, accusations of favoritism, conspiracy and collusion, are always only a breath away ... but hopefully, before we react in anger, it gets us thinking.

Friday, May 29, 2015

The Great Novel Pondering of 2015



With the first draft of Unnatural Causes down, I’m trying to decide on my next novel project.  At one point, I had eight ideas that I was pondering; over the past week or so, I’ve narrowed it down to five.  The remaining ideas go onto the backburner:  I’m still interested in them, just not right now.

I’m still torn between the five, however, and I thought that one way to make my brain work faster (I am a notorious incubator) would be to blog about the pros and cons of each project.  So ye few who read my blog, you are my guinea pigs!  I would also welcome any thoughts, concerns, angles I might not have thought of … unless it makes my final decision harder, of course!

1.

The first novel concept is an extensive rewrite of storylines that originally played out in fandom – that is, a roleplaying environment based on another author’s work.  Obviously, the worldbuilding challenge is to come up with something where the same general outlines work, without creating a world that is too derivative.  Put simply:  it needs to be wholly my own.

Basic Premise:  Story centers a group of warriors defending the world from supernatural threats.  A community leader that was paying them for support withdraws, threatening their livelihood.  Our heroes are delighted when she gains a rival from within, but soon discover that the enemy of their enemy is far from their friend.

Pros:  I am really excited about the idea of redefining familiar characters and plot in the context of a new world and different relationships to each other.  The way small (and sometimes large) changes have consequences and create new dynamics sounds like a lot of fun.  It is a strong storyline, I think, with some unusual facets.  And perhaps most telling, I spend a lot of my spare time fooling around with this one in my head.

Cons:  This is still a rewrite, and I’m leery of treading the same ground, nervous that I should be stretching myself, trying new things, instead of trying to recapture nostalgia.  The number of characters and subplots is also huge and potentially unwieldy.  I’m also a trifle worried that I have too many reactive (as opposed to proactive) chars.

2.

The second novel concept is an abandoned journal story I started a long time ago – so this would entail starting again, and probably going in a different direction.

Basic Premise:  Post-apocalyptic world where the destruction was caused by an overload of magic dispersed via the internet, leaving a chaotic, fantastic world in its wake.  Our narrator is a magic-afflicted individual in one of the larger new nations.  She was part of a rebellion, but betrayed them to save their lives.  The plan is to write a dual storyline, both explaining how she got to the “now” point (not necessarily in chronological order) and unfurling a new plot.

Pros:  This is far and away one of the most original settings I’ve come up with.  It’s wacky in what I hope are all the right ways.  There’s also a strong protagonist, and I’m drawn to the idea of doing a parallel storyline.

Cons:  I will need to do some pre-planning / plotting to make the parallel storylines cohesive, and this plot needs to be more or less started from scratch, because … the one significant problem with the setting is I didn’t come up with any coheisve idea of how surveillance and record-keeping works.  Which, in a story where “I’m labeled and monitored” is a plot point … is a problem.

3.

The third novel concept takes a couple of my old characters from other places (both roleplaying campaigns, in this instance), introduces them to each other, adds a dash of conflict and … well, it would be fun.

Basic Premise:  Chiria is the adoptive daughter / servant of a villainous sorceress, trained as an assassin / enforcer but mostly raised by the sorceress’ animal constructs.  Her intended targets convince her to defect and run away.  Aforesaid target(s) take her to Pirelle, a high society lady, illusionist and spy, for training in how to live in the real world.  And that’s before one of Pirelle’s close friends loses his betrothed …

Pros:  These are chars with whom I am intimately familiar and engaged.  There are great opportunities for interplay and conflict between them / with the rest of the world.  Potentially, I’m also writing a fantasy-mystery, which is a goal of mine.

Cons:  There really is no firm plot yet.  I’m also concerned that Chiria is too similar to Vil, who was my POV char for Unnatural Causes, though Chiria is much less intellectual.

4.

The fourth novel concept also takes old characters, though in this case, they both exist in the same universe and, in fact, they’ve had a published story:  Pazia and Vanchen of Fatecraft.  (I have one more story in submissions about Pazia, another Pazia / Vanchen story on the backburner, and a third story about Pazia’s less-than-wise brother, Mathory – this last connects with the novel plot.)

Basic Premise:  Pazia, dicemaker, and Vanchen, clockwork inventor, have settled comfortably in a city when their lives are interrupted by her brother, Mathory, and an old acquaintance of his – a veiled mage who has been falsely accused of a crime.  It is left to the trio to unravel what really happened, tripped up by old rivals along the way.

Pros:  These are established characters I’m comfortable with, and I like their interactions.  The storyline also has the advantage that, again, it plays to my ambitions of writing fantasy-mysteries.

Cons:  But does this setup run the risk of being too similar to Unnatural Causes?   And, of course, to build this world, I have to comb the prior stories for details I’ve referenced, though that isn’t a huge deal.

5.

Fifth and last!  This story is set in the same world and with one of the same sets of toys as a short story series I’ve written:  my Ishene and Kemel stories, which are about a time mage and her bodyguard.  I’ve decided I could take another time mage and bodyguard and send them careening through time on their own research project …

Basic Premise:  There is an island on this world that quite literally “dropped in” from another.  It was forcibly conquered and colonized, with the natives held as second-class citizens … and expressly forbidden certain types of magic.  This began to change when a young man stole books of time magic and brought them to our heroine, who studied them, figured out their workings, and is now ready to make journeys of her own.

Pros:  I think the idea of time traveling in a magic realm is a great one and has a wealth of opportunities for exploring, as does a dynamic duo.  The background allows for multiple levels of conflict.

Cons:  I have to do a lot of world-work for this one – not just now-time worldbuilding, but past and (possibly) future.  The amount I have to do varies inversely to how specific I get with the pre-plotting, roughly.  Second, I risk falling into the trap of either copying Ishene and Kemel, or trying to make the chars so different that I’m just making them blind opposites.  (I also have to comb stories for details, as above.  This is a bigger detail, because there are 5-6 I&K stories, one of which runs well over 10k.)

Tuesday, May 26, 2015

Tuesday Thoughts

I love writing my secondary world fantasy, in diverse worlds beyond our own, but there are some reoccurring problems that need to be addressed.  Most of them - the calendar, appropriate naming - I really enjoy tackling, but there are a few that, for some reason, I never quite feel satisfied with.

Forms of Address.  I'm not talking about noble titles - those tend to sort themselves out.  I'm talking about the equivalent of Mr. and Mrs. (and Miss and Ms.!) in the world.  Master and mistress is ... acceptable, but sometimes doesn't feel right.  In Butterfly's Poison, I used "Ner" for men and "Nel" for women - but then you have to make it clear from context that the word isn't part of their name.  For some reason, whenever I reach this particular decision, I struggle with it.

Police!  So what do you call the cops in a fantasy locale?  I tend to default to "the guard," but I can't use that every single time, and then it creates cases where it's unclear if the word is meant to be a noun or a verb.  Add different branches to this - the king's guard; the city guard - and it gets more gnarly.  And are guards also soldiers?  Bah!

Greetings and Courtesy.  Do people shake hands?  Bow / curtsey?  What if the person they're meeting is of much higher or lower rank?  This is such a little detail, but it's easy to forget what you've decided and a pain in the neck to fix in editing.  In fact, I'm pretty sure I planted one of these details in Unnatural Causes and forgot it ...

Tuesday, May 19, 2015

Tuesday Thoughts

I've never been one to let the grass grow under my feet for long, and with the first draft of Unnatural Causes complete, I've moved on to a novella (novelette?  Well, longer than a short story!) project that I've been talking about for a while:  the zombie tale inspired by the Zombie Walk I attended some years back, specifically a few photographs of the costumed participants.

The beginning is always one of the trickiest parts of a story for me because of how much has to be put into place.  Introduction to character, their goals or problem(s), and physical description, if I intend to include it.  (As a reader, I create a mental picture of a character early on:  if you tell me on page ten she's a redhead, tough luck, she's still blonde to me.  So if I want readers to picture the character a certain way, I try to get a few big picture details down fast.)  Introduction to setting, both the larger world and the specific place in which the scene is occurring.  And all this has to go on while putting the plot into motion.  It's enough to make your eyes cross.

With my current project, which I've tentatively titled Undertaking Chances, I have an additional complication:  because zombie stories have been done to death (no, I'm never going to get tired of that particular bad joke), I have to make sure to hook the reader with some unusual aspects of the setting before I drop that dreaded word.  And I am going to use the word zombie:  to me, it seems that if we're assuming a contemporary or near-future setting - and I am - that the pop culture saturation of the term would inevitably see it applied to a similar phenomenon, whether accurate or not.

Once I get past these opening issues, the story will start picking up steam ...