Archive for Guest Post

The Best Possible Betrayal, or The Fine Art of the Plot Twist in Your Back

BlindingknifeI love a great plot twist. After writing and publishing six big fantasy novels, I’ve become pretty hard to fool with a twist, but every time I hear a reader say, “I never saw that coming, but looking back, it made so much sense.” I get to feel the pleasure anew. It is, of course, merely a vicarious pleasure, but living vicariously is kind of what novelists do.

The Lightbringer Series is, in part, an ass-kicking examination of identity and integrity. Many of the characters have secrets that influence both, and these secrets are revealed not through navel gazing and discourse, but through actions, lies, and inadvertent truths that escape when the characters are under great pressure. Characters do what they don’t say, say what they don’t think, and think what they don’t do. All of which is fertile ground for surprises.

But a plot twist is more than just a character acting in a way that surprises us. A chaotic or insane character does that. (And, let’s be honest, an actually chaotic character might be impossible to pull off. The most famous recent example of a wildly chaotic character is, if one thinks about it at all, actually a master planner par excellence: Heath Ledger’s Joker from The Dark Knight.) Instead, a great plot twist takes a lot of planning and careful management of what a reader thinks is going on at any moment.

But how do you manage audience expectations when an audience ranges from teens reading the very first book they’ve ever read outside of assigned reading to adults who have been reading fantasy for fifty years? Movies get to cheat on this. If you have a convoluted plot, and something’s always happening on screen, only a tiny percentage of people will be able to think through the plot holes and possible lacunae in the two hours they’re watching. With a big fantasy novel, authors don’t have that luxury. Some readers devour, and other readers savor, thinking through every tidbit, and guessing for weeks where the plot’s going. (more…)

Prequels, because doing things “the right way” is too darn easy

THE CROWN TOWERAll my life I’ve done everything wrong, and yet oddly enough, it works for me. I didn’t graduate college. I didn’t wait to get married, and yet I’ve stayed married to the same woman for thirty years. I didn’t take courses, or read books on how to write, and I gave up my dream of getting published after twenty years of trying. I wrote a six book traditional fantasy series with wizards, dwarves, and elves when such a thing was considered absurd. I self-published when no self-respecting writer would stoop so low, and I signed a contract with a major New York publisher when everyone else was making a fortune in self-publishing. So it should come as no surprise that the next book of mine to be released on August 6th through Orbit, THE CROWN TOWER (US | UK | AUS), is a prequel—because rumor has it no one likes prequels.

As usual, I didn’t know there was a stigma regarding prequels any more than I knew there was a stigma around traditional fantasy, or self-publishing until after I did it. Ignorance is bliss, and they say God watches out for children, drunks, and fools. This may be the case, but I refuse to admit which of those I am.

Prequels are apparently disliked for the same reason people dislike sequels and prologues, except prequels are a combination of both. They have been known to feel tacked on and they also precede the interesting events of the primary story. You can feel a yawn approaching just looking at the cover of such a book. Prequels are usually about the childhood years, or possibly even the parents of some main character, and very likely have nothing at all to do with the original story. Once again not knowing all of this, not knowing how I was supposed to build a prequel, I failed to follow these rules. Instead I made the fateful error of fleshing out an origin-story for a legend.

Because I also made the error of writing a fantasy series that didn’t include the formative years of my main characters—preferring to focus on them after they’d actually become interesting—I had skipped the episode where Peter Parker is bitten by the radioactive spider, Clark Kent crashed on Earth, and Bruce Wayne sees his parents murdered, (I really hope those weren’t spoilers for anyone.) For me it just felt logical to include that story. The fact that the majority of my readers requested it didn’t hurt either. (more…)

On the Disruptive Technology of Magic

BlackPrism_TP

When I began writing the Night Angel trilogy, I deliberately started with a world in which there were few magic users, and most people would rarely encounter one during their lives. I mentally compared them to professional athletes in our world–if you have a normal job, you might glimpse a seven-foot tall basketball player walking through the airport someday, and be awed. On the other hand, if your job is an athletic trainer or referee, you might see professional athletes every day, so as the Night Angel trilogy progressed and the characters grew, we saw more and more magic.

In Lightbringer, I wanted to go high magic. After all, why not? I soon found out. Mo’ magic, mo’ problems.

Having lots of magic makes for lots of narrative problems. First, the main problem for any secondary world fantasy is setting the stage, defining the rules, the institutions, the time period, the religious and cultural beliefs and all the other expectation-setting that we’ve come to call world building. In Night Angel, I’d given myself a low bar to clear: at least at first, the world is straight-forwardly quasi-medieval European. You’ve been there before, you can make good guesses about how things work. In Lightbringer, we’re in a different place and time entirely: this is a Renaissance era quasi-Mediterranean setting. Not only is there a huge number of real cultures to draw from, but it was already a time of rapid technological and social change.

Take one small example: up until 1480, sailors aimed their cannons by resting them on the gunnel (the gun-wale), literally the side of the boat. You propped it up, moved it closer or farther to adjust elevation, and boom. But if the other ship got too close, you couldn’t hit their decks anymore. Then someone had a bright idea: you put the gun belowdecks and made little doors to open when you wanted to fire. Thus the boat could still be relatively watertight, and you could shoot at the hull of the other ship for as long as you could still shoot.

Within twenty years, the idea of portholes had spread throughout the entirety of the Mediterranean basin. No one was shooting from the gunwale any more.

But no one treats magic like this. In secondary world fantasy, usually the only person to do anything new or game-changing with magic is the protagonist. Entire towers full of magicians do research for hundreds of years, and they never learn anything new.

(more…)

Anthony Ryan’s Top 5 Movie Sword Fights

BloodSongPreviously Anthony Ryan – author of this summer’s epic fantasy blockbuster BLOOD SONG – told us his top five movie battle scenes. This time around, in honour of the considerable amount of swordplay in his own novel, Anthony gives us his top five movie sword fights!

Scaramouche – Stewart Granger vs. Mel Ferrer

No fandangos here as Stewart Granger dons the guise of a masked clown in pre-Revolutionary France to pursue a deadly vendetta against Mel Ferrer’s Royalist assassin. This lavish version of Rafael Sabbatini’s swashbuckler is a technicolor spectacle topped off with the longest swordfight in movie history as Granger and Ferrer match blades the length and breadth of a Paris theatre. Can you guess who wins?

The Duellists – Harvey Keitel vs. Keith Carradine

Ridley Scott’s version of Joseph Conrad’s tale of two French cavalrymen fighting a series of duels spanning the Napoleonic Wars owes much of its visual flair to Scott’s background in TV advertising; lots of painterly landscapes and exquisitely lit interiors. But these are contrasted by the fight scenes which pack a brutally realistic punch, none more so than in the mid-point confrontation where Keitel and Carradine assail each other with sabres in a Paris wine cellar. Expert editing and choreography bring home the terror and exhaustion of physical combat to great effect. (more…)

New Newsflesh Fiction: HOW GREEN THIS LAND, HOW BLUE THIS SEA

How Green This LandThe Newsflesh trilogy was, by and large, the story of a post-zombie America. The apocalypse had come, we had survived and even thrived in our own weird way, and now it was time to follow first a Presidential campaign and now the backlash from same as it unfolded. There were hints throughout the books of the way the Rising had treated and continued to treat other countries–London was still standing, large swaths of Canada had been abandoned, almost the entire Indian sub-continent was currently considered “lost”–but the nature of the story I was telling in those books meant that we were somewhat geographically constrained. Meanwhile, the entire world was dealing with the Kellis-Amberlee virus, and the resulting “whoops we accidentally raised the dead” issues that came with it.

Now, for what looks like a total subject change:

I love venomous snakes. I think they’re beautiful, fascinating, and worthy of study. Which naturally means that I love Australia, a continent which contains more venomous snakes than anybody really needs (even me). Visiting Australia in 2010 was the culmination of a life-long dream, and I immediately (as is my wont) started contemplating how Australia would deal with the Rising. Probably like everybody else, I decided: running, screaming, dying, and gunfire. Not necessarily a story that needed to be told.

Ah, but how would they deal with things after the Rising? From that question came HOW GREEN THIS LAND, HOW BLUE THIS SEA (US | UK) which I literally described as “animal husbandry in Australia, with zombies” whenever anyone asked me what it was going to be about. That was, of course, the simple answer. It’s about perception versus reality; safety versus freedom; what constitutes an acceptable risk; what lines have to be drawn between humanity and the natural world; and zombie kangaroos. The zombie kangaroos are, of course, key.

If you haven’t read the Newsflesh books, you probably shouldn’t read HOW GREEN THIS LAND, HOW BLUE THIS SEA. Unlike the previous two novellas set in this universe (COUNTDOWN [US | UK] and “SAN DIEGO 2014: THE LAST STAND OF THE CALIFORNIA BROWNCOATS [US | UK]), this isn’t about what came before the series: it’s about one of the things that came after, and while not every character who made it through the trilogy alive shows up “onscreen,” most of them are mentioned at least in passing. You most definitely can read it anyway–nobody’s going to stop you, least of all me–but I think you might be happier if you read the books first.

If you have read the Newsflesh books, this is your opportunity to follow Mahir Gowda into a part of the post-zombie world that you haven’t seen before, and watch him try to deal with it without just turning around and going back to bed.

I like it quite a lot. I hope that you will, too.

HOW GREEN THIS LAND, HOW BLUE THIS SEA is available now in the US and on July 17th in the UK.

 

Anthony Ryan’s Top 5 Movie Battle Scenes

BloodSongThis summer’s epic fantasy blockbuster BLOOD SONG is packed full of exciting action sequences, so we asked author Anthony Ryan to tell us his favourite movie battle scenes.

Here are Anthony’s choices, in no particular order!

Saving Private Ryan – Omaha Beach (1998, Dir. Steven Spielberg)

The immediate cinematic impact of Spielberg’s recreation of the Omaha beach landings makes it easy to forget that there was a time when filmmakers failed to present the experience of modern battle as anything other than a stark horror story viewed through the lens of an over-cranked camera. But, despite its many imitators, the real-time progress of Tom Hanks’ shell-shocked captain across the blasted and corpse strewn shore-line has never been topped for sheer visceral shock value. If you ever wondered what a burst of machine-gun fire will really do to a human body, look no further.

Henry V – Agincourt (1989, Dir. Kenneth Branagh)

Branagh’s directorial debut proved he’s as able behind the camera as he is in front of it. Naturalistic Shakespeare is a tricky thing to pull off but Branagh and cast manage it with admirable aplomb – even Brian Blessed gets through the whole film without a single shouty moment. Crucial to Branagh’s desire to present events within a believable medieval context is his depiction of the Battle of Agincourt as a mud-spattered slo-mo slogging match. Men in armour assail each other with swords, maces and daggers in a rain sodden charnel house shorn of any pageantry or chivalrous pretensions. Grimly compelling.

300 – “This! Is! Spartaaaaggh!” (2006, Dir. Zach Snyder)

Frank Miller’s stylised comic book version of the Battle of Thermopylae in 480 BCE is given lavish homage by Snyder as muscular bare chested men in leather pants engage in a mutual admiration fest before embarking on slo-mo Persian slaughter viewed through a series of prolonged tracking shots (for some reason 300 has come to be regarded as having a strong gay subtext, can’t think why). This is an unashamedly non-realist approach to ancient warfare featuring battle-rhinos, giants and grenade throwing alchemists – and is all the better for it. (more…)

Charles Stross on Planetbuilding for NEPTUNE’S BROOD (Part 2)

Earth (Photo: NASA)
“It won’t be long until you have to answer another question: why would they ever want to have anything to do with a planet, ever again?”

You can find Part 1 of this piece at this link, posted last week on the Orbit blog.

If you posit a future populated by human beings – or posthumans – who are able to live in space without rapidly dying of asphyxiation or radiation exposure, it won’t be long until you have to answer another question: why would they ever want to have anything to do with a planet, ever again?

Planets are bundles of matter so massive that their own gravitational field smooths out their bumps, dragging them into a roughly spherical shape. They’re so massive that most of their volume is inaccessible, hundreds or thousands of kilometres underfoot when you’re standing on the surface. They’re also a royal nuisance if you are a spaceborne society: it takes an inordinate amount of work to give an object lying stationary on the surface sufficient kinetic energy to overcome its gravitational potential energy, i.e. to put it into orbit.

It seems logical that a space-based civilization would therefore only bother with a planet if it provided resources unavailable in smaller gravity wells, such as asteroids. And the fly in the ointment with this issue is that most planet-bound resources are far too cheap to be worth boosting into orbit. Oxygen? Water? They’re everywhere. Carbon? There’s an entire class of asteroids – carbonaceous chondrites – made of dirty carbon. Metals like platinum? They might be rarer in free-floating rocks than in planets, but in the process of planetary formation they’re likely to sink towards the iron/nickel core while the proto-planet is still mostly molten. (We know from seismic studies that the core of the Earth is not only incredibly hot and under tremendous pressure, but it’s almost certainly made of heavier elements than the upper mantle and crustal rock formations.)

So what can you mine on a water world that would justify the expense of settling its hydrosphere?

The answer depends on how long it is since the planet formed . . . (more…)

Charles Stross on Planetbuilding for NEPTUNE’S BROOD (Part 1)

Photo showing the launch of the Kepler spacecraft (Photo: NASA/Jack Pfaller)
The launch of the Kepler spacecraft, 7th March 2009

We are living through the golden age of exoplanetography, and nobody seems to be paying any attention!

I’ve spoken a lot about the economic side of NEPTUNE’S BROOD (UK|ANZ), but pretty much forgot to say anything about one of the other aspects of this novel – the planet much of the action is focussed on, and in orbit around. So it’s time to fix that . . .

Until the tail end of the 20th century, the existence of planets outside our solar system was widely believed in by astronomers – but never directly observed. Planets do not (with a very few extremely odd exceptions) emit heat or light directly: we can only see them by the light they reflect from their sun. This in turn makes them extremely hard to see. If you approximate a star to a light bulb a kilometre away, then the planet you’re trying to see is a dust mote orbiting within a metre of the light bulb. Any photons reflected our way from the planet are drowned out by the comparative torrent from the light bulb itself.

There are ways to measure planets indirectly, of course. In 1992, several planets were detected orbiting the pulsar PSR B1257+12 – their mass perturbed the spin of the pulsar, adding slight irregularities to its output. But improvements in experimental design, and then the launch of the Kepler planet-finder telescope, brought a deluge of new exoplanets to light. We now know of 899 planets in 698 planetary systems, and the Kepler mission has detected another 18,000 candidates: astronomers are still trawling through the embarrassment of riches.

One thing has, however, become clear: extrasolar planets are weird. In fact, they’re so weird on average that it’s beginning to look as if our home solar system is itself the exceptionally weird one, and star systems where multiple gas giants whirl in orbit single-digit millions of kilometres from their primary are the new normal.

So, in NEPTUNE’S BROOD I decided to have some exoplanet-building fun. (more…)

Kate Elliott on the Spiritwalker Trilogy

cold magicFor the Spiritwalker project I wanted to write a multicultural world in which a mixing of cultures and people was the expected, the norm. I happen to think that when cultural change is considered across time, mixing is the norm. It is going on all the time throughout history. Interaction and influence are what keep cultures dynamic. A closed, static culture is a dying culture. In addition, these processes are not one-way. Cultural change happens in many directions, some of them exploitative and coerced and others subtle, subversive, and unexpected.

Certainly living in Hawaii since 2002 has influenced my choices in this regard. My earlier Crossroads Trilogy is influenced by although not specifically based on the Asia-Pacific cultural mix of Hawaii. COLD MAGIC (US | UK | AUS) and the other Spiritwalker books do not use any specific local-to-Hawaii cultural influences; however, they do incorporate ways in which I perceive that local culture has found to keep the cultural integrity of varying cultural groups (not always easily, and certainly the Native Hawaiian culture has fought a tremendous battle against colonization and erasure) allowing a unique syncretic local culture to arise that incorporates elements from all the different ethnic and cultural groups that co-exist here.

cold fireIn Spiritwalker the cultural mixing is a bit different but the process is similar: an immigrant Malian culture meets and mingles with northwestern Celtic Europe while old imperial Rome and merchant Phoenicia retain a strong influence, just to name the four most prominent cultural groups in the book (the second novel, COLD FIRE (US | UK | AUS), adds the Taino culture of the Caribbean to the mix). I admit that I wanted to highlight the immense and too-often overlooked power and richness of the West African Mande traditions and civilizations, specifically the Malian Empire. Western media and narratives too often and too easily dismiss sub-Saharan Africa (as if it is all one thing) with a few words: famine, civil war, guns, blood diamonds, slavery, and so on, and in doing so miss, denigrate and outright disappear the significant history and culture that was present historically not to mention the actual life and culture and history-in-the-making that is there right now. The history and culture of Mali is not my story to tell but I did feel I had a story to write about how we TELL history. (more…)

Elizabeth Moon on Grit vs. Glory in Fantasy Writing

By Elizabeth Moon

When my first novel came out in 1988, SHEEPFARMER’S DAUGHTER (UK|ANZ), some readers commented favorably on its “gritty reality.”  People died in war, some gruesomely (one of a suppurating gut wound, a baby accidentally trampled, civilians made an example of by one or another mercenary force), and that included characters readers identified with as well as those they didn’t.  Later in that group of books, the protagonist suffered more wounds, unjust and cruel reactions as an aftermath of “treatment” for mental invasion, and torture.  Some readers were horrified that a woman would write such graphic violence; others admired an honest appraisal of the costs of both war and heroism.

“Some seem to believe that the good are just stupid, too stupid to realize that you have to be bad to survive”Yet the point of the story was not that war is hell, that people are capable of cruelty, that violence has unexpected costs that land unfairly on the innocent.  That’s common knowledge.  The point of the story was how people – as characters – deal with this reality.  How some become bitter, angry, resentful, and willingly participate in the cruelty.  How others do not, and instead work against the cruelty – sometimes violently and sometimes by choosing to stand with victims, without resisting.

"LIMITS OF POWER is part of a series that challenges adults – not kids becoming adults – to change repeatedly, to become more than they were."Gritty reality has been associated, in some other writers’ works, with a determination to deny the possibility of glory – of redemption, of steadfast adherence to good, of achievement.  Some even seem to believe that the good are just stupid, too stupid to realize that you have to be bad to survive.  That’s not my perspective.  I’ve known too many good people who were also intelligent and street-smart, surviving well without knifing everyone else in the back.  I’ve known too many other people who used the “good = stupid” argument to defend their own cowardice and complicity in evil.

“Some readers were horrified that a woman would write such graphic violence”Does good win easily?  Of course not.  Does good always win?  Of course not.  Does one battle win a war, or one war win anything forever?  Of course not.  But I stand on the side of those who think that good can win . . . if.  If what?  If those trying to make things better don’t give up, don’t sell out, don’t lose hope that their efforts are worthwhile.  If they learn enough about themselves to recognize where they are part of the problem . . . and then have the courage and will to change.  LIMITS OF POWER (UK|ANZ) is part of a series that challenges adults – not kids becoming adults – to change repeatedly, to become more than they were. (more…)