author post

The Good Folk at Orbit invited me to write another post for the site here, and my editor suggested I might touch on my experience as a student – and occasional instructor – of martial arts, and how that study has influenced my work, especially in the Acts of Caine.

People who enjoy my work often speak of how much they like the way my books depict personal combat – one prominent blogger memorably commented that “All of Stover’s heroic fantasies offer fight scenes of such crippling power that they risk hospitalizing incautious readers” – and many fans and reviewers attribute this to my (presumed) martial arts expertise. Which is true to a degree, though somewhat misleading. It does help – but perhaps not in the way you might expect.

For example, the arrow of causation points mostly in the other direction. I don’t do fight scenes because I love martial arts, I do martial arts because I love fight scenes.

And let’s be clear: what makes a fight scene good has very little to do with choreography. A good fight scene does everything a good scene of any type does: engages imagination, reveals character, advances plot and illuminates theme. There are, in my novels, a lot of fight scenes (‘cuz like I said, I love ‘em) and many of them do not involve characters most readers would recognize as highly-trained martial artists. Caine is one, yes, as are Anakin Skywalker, Obi-Wan Kenobi and Mace Windu . . . but most of the rest involve characters with varying degrees of experience and natural aptitude trying like hell to get out of dire situations without getting killed.

Look:

I like hitting people. I also like kicking people, kneeing them, doing (potentially) crippling things to their joints as well as occasionally throwing them across a room, not to mention stabbing them with (rubber) knives and slashing them with (rattan stick) swords. This is not, it should be noted, actual combat. It’s recreation. All in good fun, and when it’s done properly, no serious injuries occur.

Also look:

I often write about people who like these things I like, except many of these people are missing an essential circuit-breaker in their brains. These are people who are bored by the merely recreational. Who only take it seriously if someone’s life is on the line. Who have made violence not only their profession, but their lifestyle. Some are mercenaries, some are jihadists, some are psychopaths. At least one is a performance artist. None of these categories are, you will note, mutually exclusive. Read the rest of this entry »

by Matthew Stover •2 Comments • Categories: Ebooks, Fiction, Guest Post • Tags: Acts of Caine, Anakin Skywalker, Blade of Tyshalle, Caine Black Knife, Caine's Law, combat, epic fantasy, fantasy, fight scenes, Grimdark, Gritty fantasy, Heroes Die, heroic fantasy, Mace Windu, Martial arts, Matthew Stover, Obi-Wan Kenobi, rattan stick, violence in fantasy

author post

Today sees the release of EARTH UNAWARE (UK|ANZ) and EARTH AFIRE (UK|ANZ), books 1 and 2 of The First Formic War, set 100 years before ENDER’S GAME.

Orson Scott Card co-authored these novels with Aaron Johnston – a bestselling author and associate producer on the upcoming Ender’s Game movie. To celebrate the release, we asked Aaron what it’s like to write within such a well-known and much loved world . . .

When Orson Scott Card asked me to coauthor the prequel novels to his science-fiction classic Ender’s Game, my first two thoughts were: (1) Wow, what an incredible honor, and (2) You better not screw this up, Johnston, or fans will hunt you down and toilet paper your house.

We fans can be a prickly lot. Especially when it comes to stories that hold special significance to us, as Ender’s Game does to millions of readers. I’ve read Ender’s Game more times than any other work of fiction, and whenever anyone asks me for a book recommendation, the first words out of my mouth are always, “Have you read Ender’s Game?”

For me, Ender’s Game was the first book I ever read wherein the characters didn’t feel like characters at all but rather like friends and kindred spirits. Bean, Dink, Shen, Valentine, Ender. They were all so believable and honest and distinct that when I stepped into their world, my own world melted away.

I don’t presume to suggest that our books will have the same effect on readers as Ender’s Game does. Only Ender’s Game can produce the experience it provides. But I do hope that our novels will feel like they belong in the Ender universe. That was my goal from the beginning. “If we do this,” I told Scott, “I want it to feel like an Orson Scott Card novel.” And by that I mean: when fans read the book, I didn’t want them to distinguish between the parts I had written from the parts Scott had written. I wanted it to feel seamless.

That’s a lofty goal, I know. Only OSC can write like OSC, after all. But I felt as if we owed it to fans to provide a new and exciting adventure story that also felt like a member of the Ender universe.

In fact, it was so important to me that the books sounded and felt like other OSC novels that before I started writing each day, I would usually pick up an OSC book and read a chapter or two just to get my mind in a place that spoke in the voice and rhythm of Orson Scott Card. Scott has a gift for writing in third-person, limited point-of-view that allows for deep characterization without abandoning the pace. I’m not conceited enough to suggest that I do it as well as he does, but I certainly tried. The biggest compliment I have received thus far is when one fan called the series “classic Orson Scott Card.”

But of course this is a collaboration. And since Orson Scott Card rarely collaborates with other authors, fans naturally have a lot of questions. What follows are my answers to the questions I most often hear. Read the rest of this entry »

by Anna Gregson •Post a Comment • Categories: Ebooks, Fiction, Guest Post, Interviews, New Titles, Orbit Australia, Orbit UK • Tags: Aaron Johnston, Earth Afire, Earth Unaware, Ender's Game, First Formic Wars, Orson Scott Card, science fiction, Space Adventure, space opera

author post

There’s something about cities in science fiction and fantasy. I mean I love the countryside myself, born a country girl, but anyone can write it – there’s only so much you can do without it coming across as odd or unbelievable (unless you’re a genius, obviously).

But where people, or aliens, get involved, anything can and does happen. In real life, and in fantasy. So, I love fantasy cities, towns, places that people have made, because they reflect the people who live there and, crucially, how they think.

So, a few favourites . . .

Tolkien has his flaws but being unable to build believable yet fantastical cities is not one of them. I’d would love, I mean give an arm or something, to walk the ways of Rivendell, to see the Mallorn in Lothlorien, behold the golden hall of Meduseld in Edoras, wind the twisting streets of Minas Tirith. They are clearly fantasy posing as historical (okay, except the elves) but they feel so . . . real. Like they really do exist somewhere, I just haven’t found them yet.

Other cities come near to that status in my mind (hey, you never forget your first love). Camorr, from Scott Lynch’s The Lies of Locke Lamora – with its waterways, its dark and grubby underbelly, its Renaissance feel. A city that works, even though I know its fictional.

London Below, of Gaiman’s Neverwhere, a London that feels almost, just not quite, the real one. As though if I scratched the surface on say Bakers Street, I’d find the Marquis, and all the rest, just waiting for me.

Discworld’s Ankh-Morpork, which is so real to me I can smell the river when I open the pages of the book. Or maybe it just stinks that much! The little nooks and crannies that are a hallmark of an old, old city, the weird ways that seem normal to inhabitants but make outsiders wonder what drugs they must be on.

The thing that, I think, connects all these cities is their internal consistency. They work, such as they do, because thought has gone into working out how they work and why, factoring in how odd people tend to be. And each little factor just adds to the realness of the city.  Of course Ankh-Morpork has a thieves guild. Because it’s a city of moneymakers, and that’s a perfect example of taking what is there and squeezing it till gold coins fall out. The Elder Glass of Camorr shows us a city where things are not always as they seem, that even the city itself has two faces.

Minas Tirith and Edoras reflect the men and women who live there – on constant guard, where skill at arms isn’t just posturing, it’s necessary, and so are the defences and the oaths and honour the people who live there take so very seriously, and for good reason – oaths and honour are perhaps all that have kept them alive all this time against what lies to the East. Hobbiton, by contrast, reflects the hobbits – laid back, little thought to anything much except is it pleasing, to eye or stomach?

So when I started ‘building’ Mahala for Fade to Black, I tried to make sure the city informed the people, and the other way around. My main character Rojan Dizon is who he is – a sardonic, womanising bounty hunter – at least in part, because of where he lives. I doubt he’d be such a cynic if he lived in Hobbiton. The very fact of the way the city is run, the geography of it, the politics of it, and how that affects him, has helped turn him into who he is. Anywhere else, Rojan’s brother Perak might have just been some amateur daydreamer who likes playing with things (and would have probably long ago blown himself up!), but due to Mahala’s reliance on alchemy, he’s given everything he needs and is told to go and invent things. Which he duly does, and then changes the city forever when he invents the gun.

That’s what makes a fictional city work or fail for me – it works, in context, with the people who inhabit it, they showcase each other. They just fit.

***

Francis Knight’s debut novel FADE TO BLACK (UK | US | ANZ), book one of the Rojan Dizon novels, is out now. Book two, BEFORE THE FALL (UK | US | ANZ), releases on 18th June this year. The third and final novel, LAST TO RISE, releases in November 2013.

by Anna Gregson •1 Comment • Categories: Commentary, Ebooks, Fiction, Guest Post, New Titles, Orbit Australia, Orbit UK • Tags: Before the Fall, Camorr, epic fantasy, Fade to Black, fantasy, Fantasy Novel, Fantasy world-building, Fantasy worlds, Francis Knight, J. R. R. Tolkien, Lothlorien, Neil Gaiman, Neverwhere, Rivendell, Scott Lynch, Worldbuilding

author post

“It is the greatest gift of my people, that we can bring our dreams to life for other eyes. Fantasy is a tool; like any other tool, it may be used poorly or well. At its best, fantasy reveals truths that cannot be shown any other way.”

–        Sören Kristiaan Hansen, aka Deliann Mithondionne, the Changeling Prince (BLADE OF TYSHALLE, book two of the Acts of Caine)

A few years before I was born, an American journalist named Edward R. Murrow hosted a program on the CBS Radio Network called This I Believe. Each episode only lasted five minutes, of which three and a half were given over to an essay by a different contributor, each speaking about the specific personal convictions that they felt gave their lives meaning. In the generally terrifying atmosphere of the early Cold War, this program was the closest the 1950s ever got to a viral video. It was the most listened-to English-language program in history at that time, and it spawned books, and records, and other radio programs – some of which continue to this day.

When the good folk at Orbit decided to pick up my Acts of Caine novels, they asked me to contribute a blog-post-slash-promotional-essay or two for their website. I dislike writing about myself in any kind of biographical sense; if I thought that where I was born, my family, education, hobbies and pets and private life generally were any of your business, I’d write memoirs, not heroic fantasy.

I also have very little interest in commenting on my stories. My comments are the stories. Now – despite my dislike – I’ve done both of these things, and reasonably often, because that’s what people keep telling me I have to do to promote my books. The Good Folk, however, gave me license to write whatever I want.

I want to write about what I believe.

Most of what follows will be about story, because I make stories the same way I breathe: even to pause requires an act of will, and if I ever stop, it’s because I’m dead.

So… This I believe:

Not all honest writing is good, but all good writing is honest.

What’s not said is as important as what is. Often more important. Most of the trick to writing is knowing what to leave out.

It’s easier to make people cry if you’ve already made them laugh. And vice versa.

Whatever a story’s other virtues, if it’s not entertaining you, you’re wasting your time. A story is only great if it’s great for you. Personally.

What any work of art means depends on who you are when you look at it. What you get out of a book depends on what you bring to it. A book is only marks on a page (or pixels on a screen). The story is what happens in your imagination as you scan those marks. Books aren’t deep. Some readers are.

  Read the rest of this entry »

by Anna Gregson •8 Comments • Categories: Commentary, Ebooks, Fiction, Guest Post, Interviews, New Titles, News, Orbit Australia, Orbit UK • Tags: Action fantasy, Acts of Caine, Blade of Tyshalle, Caine Black Knife, Caine's Law, epic fantasy, fantasy, Gritty fantasy, Heroes Die, Matthew Stover