Books, and What Could Have Been

A small but distinguished selection of reading material appeared at Winkelman Abbey this past week. From left, we have Cursed and Skull & Pestle, two anthologies from World Weaver Press. Third is the inaugural issue (!!!) of DreamForge Magazine. And finally, and most eagerly awaited, Terminal Uprising by Jim C. Hines.

A year ago this month I spent most of my free time putting together a story for Skull & Pestle. I completed about 90% of a first draft but realized that I would need to either burn a week of vacation days or break up with my girlfriend in order to complete and edit the story in time for the deadline. Therefore I shelved it. The story is good, I think, involving a colony of Old Believers, teen angst and bullying, the Midwest, and of course Baba Yaga. I may complete it at some point and see if there is still need for such stories.

But hey! Even if I didn’t submit my story to this anthology I still get to read the anthology, and that is a very good thing. And World Weaver Press consistently produces some top-quality anthologies.

In reading news, I finished The Blood-Tainted Winter by TL Greylock, and moved on to Death March by Phil Tucker. This was a much faster read and I had more time available for reading, so I completed it Friday night. Last night I started The Black God’s Drums by P. Djeli Clark. 25 pages in, and I am completely hooked! Of course it is a short novella so I will probably finish tonight or tomorrow. Then likely on to Terminal Uprising, though The Nine by Tracy Townsend is suddenly looming large in my attention, due it being discussed in the most recent episode (14.7, “How Weird is Too Weird?”) of the Writing Excuses podcast.

Currently goals: Structuring life so I have time to both read well and write well.

Links and Notes for the Week of January 13, 2019

Links and Notes for the Week of January 6, 2019

Links and Notes for the Week of December 2, 2018

Links and Notes for the Week of August 12, 2018

ConFusion 2018: Poetry in Novels

(These are my lightly edited notes for a panel I participated in at the ConFusion Fantasy and Science Fiction Convention in January of 2018)

THE PANEL: Poetry in Novels (21 January 2018, 10:00)

PANELISTS: Amal El-Mohtar, Clif Flynt, Jeff Pryor, John Winkelman, Mari Ness

DESCRIPTION: “Carroll’s Alice in Wonderland and Through The Looking Glass include lengthy poems, placing them in a long tradition of long-form fiction that incorporates poetry into the work. How does writing poems for prose fiction differ from writing poems that stand alone? What distinct techniques does it require? Where do poems within stories exist in the landscape of genre poetry today?”

PRE-PANEL NOTES

PANEL NOTES

  • Poetry can be time-shifted in relation to the story in which it appears
    • In situ, as a bard or skald composes a poem based on events as they are happening
    • Used to imply history/world-building for the setting. An epic poem is written between the time of the events which it recounts and the time in which it is read.
    • The poem itself can be placed in a specific place in history based on written style or language or word usage.
  • Poetry can be used for world-building, either experienced by the characters or as related by the narrator.

MY THOUGHTS

Boy, did I over-think this one–in part because I love poetry, and in part because Amal El-Mohtar was also on the panel and I wanted to bring my “A” game.

ConFusion 2018: A Novel Look at the Short Story

(These are my lightly edited notes for a panel I attended at the ConFusion Fantasy and Science Fiction Convention in January of 2018)

THE PANEL: A Novel Look at the Short Story (21 January 2018 14:00)

DESCRIPTION: “Short stories require a different approach to pacing, character, world-building, exposition, and plot than longer works. Let’s explore the tools we use to convey important information to the reader when we have a lot fewer words to do it with.”

PANELISTS: Scott H. Andrews, Amal El-Mohtar, Lucy Snyder, Jessi Cole Jackson

NOTES:

    • Interests from the Audience
      • Distilling vast research down to a coherent short story
      • Contrast between short story structure vs. novel structure
      • Writing short stories for specific markets vs. writing short stories, then searching for a venue
      • How do you keep a short story short?
    • Novel structure vs. short story structure
    • Alan Moore’s Jerusalem
    • 3-act structure, 5-act structure, etc
    • PLOT DOES NOT JUST HAPPEN
    • There is not 100% consensus over what a short story *should* be.
    • The defining quality of a short story is that it is short
    • Difficulty writing short stories of short story length can be mitigated by reading more short fiction, e.g. GET IN THE HABIT OF READING SHORT STORIES
    • Jo Walton – defining element of a genre is PACE – Western page, romance pace, fantasy pace, etc.
    • Lackington’s – really big on prose style, even over plot
    • A truism about academic research – you should get three books out of the same research: your thesis, a monograph, and a popular book.
    • Make words and phrases do double duty
    • Make sure everything in a short story is load-bearing
    • The Pink Institution by Selah Saterstrom – structure is linked (or not) short stories which make up a novel

 

 

My thoughts: I didn’t learn much that was new to me here. I did enjoy the conversation between the panelists, and I picked up a few new books for Mount Tsundoku.

ConFusion 2018: The Setting as Character

(These are my lightly edited notes for a panel I attended at the ConFusion Fantasy and Science Fiction Convention in January of 2018)

THE PANEL: The Setting as Character (21 January 2018, 12:00)

DESCRIPTION: “In Science Fiction and Fantasy , settings can literally come alive–be it via the talking flowers of Through The Looking Glass or the rage of Peter Quill’s creepy dad-planet in Guardians of the Galaxy Vol 2. In Ann Leckie’s Imperial Radch universe where ships have minds, main characters can be both people and places at the same time. Are living settings a science fiction/fantasy extension of the classic “Hero Vs. Nature” story? How do they exist in conversation with real-world beliefs about whether the world around us has a will of its own?”

PANELISTS: A. T. Greenblatt, Cassandra Morgan, David John Baker, Suzanne Church

NOTES:

My thoughts:

This was a good general overview of the topic. I was kind of hoping that there would be more focus on concepts like Genius Loci and the like, but on reflection the panel’s approach makes more sense, as setting qua setting is the environment in which the story exists, not a personality with agency per se.

ConFusion 2018: Science Fiction and Philosophy

(These are my lightly edited notes for a panel I attended at the ConFusion Fantasy and Science Fiction Convention in January of 2018)

PANEL: “Science Fiction and Philosophy: Exploring the Connections”

DESCRIPTION: “SF has been called the literature of ideas, and the ideas explored in SF have become increasingly philosophical throughout the history of the genre. What are the most illuminating thought experiments in recent and classic SF? Which philosophical questions do they raise? And how are philosophers in today’s universities employing SF in their teaching and research?”

PANELISTS: Andrea Johnson, Dyrk Ashton, Ken Schrader, Nathan Rockwood

NOTES:

MY THOUGHTS:

This panel was interesting in that so much of the discussion revolved around listing works which address philosophical questions, and not a lot of addressing the questions themselves. This bothered me at first, but on reflection I realize that these panels are meant to be introductions and overviews, not necessarily deep dives into the subject; if for no other reason than that the panels all stand alone, and if two or more share a subject it is only by coincidence. That said, I appreciated the breadth of suggestions, and particularly that they included games. Computer games, if the narrative is sufficiently complex, can be seen as simulations and testing grounds for ideas which are not always easy for an individual to address in the real world.