Tom Simon on Creative discomfort and Star Wars:
That creative discomfort can make all the difference between great writing and dreck. One could argue the point endlessly, for there are examples to the contrary — snap decisions that turned out to be brilliant, slowly gestated ideas that still turned out useless. I would maintain that such cases are outliers: so much depends on the talent of the individual writer, and on sheer luck. What we want here is a controlled experiment. We could learn a great deal by taking the same writer and putting him through a series of similar projects. In half of them, he would have all the time he wanted to brainstorm, to throw away ideas when he came up with better ones, to tear up drafts, to indulge his creative discomfort. In the other half, whenever he had to make a decision, he would simply take the first workable idea that came to mind. Unfortunately, we can’t hire a writer to go through such an experiment. Fortunately, the experiment has already been made. The writer’s name was George Lucas.
Broderick and Di Filippo turn on the fire hydrant of reference, retire to a safe distance, and let the pressure hose of words flail wildly about, bashing the reader’s brains in… We could charitably say that Broderick and Di Filippo have their hearts in the right place but they are obviously utterly unaware of the manifold traps of words like “indoctrinated” and “exotic.” Unfortunately, such cluelessness recurs, amplified…
…[M]y abiding impression of The 101 Best Novels is of being constantly blindsided; I ended the book not informed or entertained but baffled by these sentence-sized bolts from the blue. I’m sure if Broderick and Di Filippo had a couple of thousand words to write about any of these individual novels or any of the themes they touch on then they would acquit themselves admirably—they obviously know their onions. But their task was something else and, thankless though it was, they were not equal to it. Compression has crushed the life out of their wit and intelligence, leaving the reader with a mangled corpse of a book, punctured by broken bones and leaking shit.
Michelle Sagara, A Question About Male Gaze:
I’ve been thinking about books, written by men, in which women are handled well. Or, to be more specific, in which I think women are handled well. It’s a question I used to be asked while working at the bookstore, and therefore a question I’ve turned over on the inside of my head, time and again.
And this morning, because I am writing and my creative writer brain has slowed, I have returned to this, having spent an evening reading about male gaze.
All of the male authors I’ve recommended or cleared as “writing women well” (Sean Stewart for example) are entirely absent male gaze.
Cora Buhlert has things to say about Grimdark Fantasy:
There is a time in the life of otherwise privileged young western people where they become disillusioned with the world around them, once they figure out that parents and teachers are fallible and may even be jerks, that revolutions don’t necessarily lead to freedom, that voting for the right guy doesn’t necessarily mean that the wrong guy won’t win. And the young people going through those realisations tend to develop a taste for dark and gritty entertainment, because hey, the world is bad and western democracy does not work as advertised and now they want entertainment that tells it like it is. For most people, this phase starts sometime in their mid to late teens, which is also why the teen version of grimdark fantasy, dystopian YA, works so well. By their mid twenties to early thirties at the latest, they usually grow out of it. You can actually see this development in the work of several writers and artists. Alan Moore is a good example of this. His earlier work – Watchmen, V for Vendetta, Marvelman, his run on Captain Britain (all written in his late twenties to mid thirties) – is much darker than later works such as Promethea, Tom Strong or League of Extraordinary Gentlemen, all written when he was in his late forties to early fifties.
With a follow-up here.
The King of Elfland’s 2nd Cousin on conservatism and epic:
Here are the aspects I’m curious about:
– Aesthetics. Does our current conception of epic fantasy preclude certain imagery, metaphors, sentence construction, etc.?
– Structure. How do trends in epic fantasy constrain the narrative structures viable within the sub-genre?
– Themes. Are there thematic areas which epic fantasy cannot explore? Moral, ethical, political, sociological models it cannot dramatize?
Max Gladstone talks about the Romance of the Three Kingdoms.
Victoria Brittain: England’s War on Terror is also a War on Women.