Reviewed over at Strange Horizons.
Joe Abercrombie’s HALF A KING, which I’m supposed to review for Strange Horizons; Steven Brust’s HAWK (Vlad Taltos, how much do I like this series?); and Steven Erikson’s WILLFUL CHILD, which is hopefully a much better Star Trek parody than Scalzi’s REDSHIRTS was.
Elizabeth Bear on “I Love A Good Tragedy As Much As The Next Guy”:
I mean, we’ve all been fifteen and in love with death. Yours truly was a Goth before that was a thing; we were still adjectives back in my day, not even having graduated yet to nouns. That nihilistic view of the world is essentially a juvenile, sociopathic, self-justifying fetish, and most of us eventually grow out of it. We grow into a little responsibility, at least—the understanding that the only thing likely to make the world a more endurable place for the bulk of humanity is collective action. Even when we’re spending a significant amount of time selfishly looking out for number one.
Joe Abercrombie follows up his “Value of Grit” post with “Gritty Washback”:
Doubtless gritty fantasy (and I’d include my own) has not always covered itself in glory in its treatment of race and gender. Though I don’t see any reason why grit can’t be a powerful tool to investigate those issues, if wielded with skill, thought and responsibility (not by me, in other words).
Elizabeth Bear, again, with “I pity the fool”:
Every damned time the topic of diversity in SFF comes up, somebody says something about “Well, if the story demands that the character be queer/disabled/black/trans/female/postcolonial/feminist, that’s one thing. But if you’re just putting it in to be politically correct***, then you’re bound by ideology, and that’s bad art.”
… … …
…because able Western white cis het male is the default. Because the viewpoint character being an able Western white cis het male totally doesn’t inform the narrative, and has no influence in the way the world is presented, because that’s the only viewpoint that really exists, and the rest of us are all flavor text.
Sofia Samatar interviews Nalo Hopkinson at Strange Horizons.
Also at Strange Horizons, the results of the 2012 Readers’ Poll. Very personally flattering, and congratulations to everyone else who made the lists.
Marie Brennan on How to write a long fantasy series:
It took three years and two months rather than the two years I initially planned, but I have, at very long last, finished the Wheel of Time re-read and analysis. And as I promised quite some time ago, we’ll end with what I’ve learned.
This post, unlike the others, is not WoT-specific. I’ll be referencing the series, because it’s the primary source of my thoughts on this topic, but the point here is to talk about the specific challenges of writing a long epic fantasy series — here defining “long” as “more than a trilogy, and telling one ongoing story.” (So something like Mercedes Lackey’s Valdemar books wouldn’t count, since they’re a conglomeration of multiple trilogies.) My points probably also apply to non-fantasy series, but other genres are much less likely to attempt multi-volume epics on this scale, so I’m mostly speaking to my fellow fantasists.
I do not pretend this is in any way, shape, or form a recipe for commercial success with an epic fantasy series. After all, most of this is a checklist of errors I feel Jordan made, and you could paper the walls of Tor’s offices in fifty-dollar bills with the cash he made for them. Nor am I claiming artistic failure awaits if you fail to heed this advice; you might squeak through on luck, or just really good storytelling instinct. But I do feel that bearing these points in mind can help the would-be writer of an epic series avoid falling off some of the more common and perilous cliffs.
Michelle Sagara with Where Is My Outrage? Here It Is:
The title refers to this post, by author Nora Jemisin. It is worth reading. It is not going to make your night any happier.
But then again, I’m not going to make your night any happier. I don’t know if people will find this post triggery–but it will descend, in all probability, into rant and a genuine, visceral anger. So this might be the time to scroll past.
Leah Bobet on Freedom To Read:
And we need to learn that: so people of all ages can see some of the world and decide who they want to be. So we can not just think critically, but realize that you can disagree with certain things.
I learned that what you want and what you’re talented at aren’t necessarily the same thing, and why that’s okay, long before I washed out of my first professional choir and had to face that I would never be a career musician. I learned that gay people are just people, with loves and ideas and problems, before the first friend ever came out to me. I understood something of how wonderful my city could be years before I started to explore it.
I read those things in books. That was a good thing in my life.
I am glad nobody took those books away.
Joe Abercrombie on The Value of Grit:
Grit is an inclusion. Not grit is an absence. Nothing to prevent gritty books including the ennobling, the clean, the beautiful. Indeed, I’d argue that the extremes of darkness only allow the glimpses of light to twinkle all the more brightly, if that’s the effect you’re after. Clean books deny themselves a chunk of the physical and emotional spectrum.
(As an aside: finding Abercrombie talking about grit as an inclusion makes me think about archaeology’s pottery analysis and what inclusions of different sorts of materials in ceramic fabrics tells you about their origins. Yes, I am that kind of geek. Although not as much as some people I know…)
Aidan Moher at A Dribble of Ink has some Hugo nominations and is gracious enough to consider me in the Fan Writer category. Really, me, I don’t think work done for money ought to count, but apparently it does – so thanks, man. I think you should be nominating Martin Lewis or Maureen Kincaid Speller instead, but it’s nice to be noticed.