Posts Tagged ‘novel’

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Iron Angel

December 28th, 2010
World-building at its best. Marketing at its worst.

I bought Iron Angel by Alan Campbell last summer at the recommendation of a friend and fellow aspiring writer. It sat on my shelf for a while (I have a pretty depressing backlog right now, and that doesn’t even include a host of more literary works I know I should read at some point), but the time came for me to dive into a good fantasy novel, and there it was waiting for me.

Fantasy stories are subject to the same standards of criticism as any other genre — characters, plot, compelling language, and so forth — but there are a couple of genre-specific criteria against which they are measured as well. Foremost among those is world building. Fantasy writers get to throw out all the rules that govern our universe (except the rules of human interaction) and build new worlds from scratch. Anne Rice built such a compelling world that there have been (probably) hundreds of stories set in it by lesser writers who do not possess her world-building skills.

Mr. Campbell has built himself a hell of a world here. It’s a sort of Steam Punk/Fantasy mashup. Mashups are all the rage these days, but it’s still refreshing to find one that’s actually done well. Here we have a world with magic and whatnot, and also giant steam-powered war machines (imbued with human souls). The world is an Earth sandwich, with an unresponsive heaven above, expansionist hell below, and angels and demons slugging it out on mortal man’s turf. From the human point of view, there’s not a whole lot of difference between an angel and a minion of hell.

The cover of the book says “By the author of Scar Night.” In fact the book is a sequel. Had I stumbled into the middle of a series? The answer to that was a pretty clear ‘yes’. In the first chapters the author went to great lengths to bring me up to speed on the events of the previous book, and while a crash course is never as fun as a well-paced story, I was nevertheless encouraged by the author’s effort to make the book I was holding a stand-alone story. Specifically, I was confident that there would be an end to at least one major story line by the time I reached the back cover of the book.

About halfway through, I began to worry. Characters had been introduced but not revisited for hundreds of pages. The vectors of the characters’ storylines were parallel. I became more worried after a part of the story that goes like this:

Leader of Good Guys: You must not be caught! I’ll sacrifice myself so you can get away!
Unlikely Hero: OK.

Unlikely hero wanders through hell, avoiding capture. There is a section where he outsmarts a magical door. It’s a nice anecdote, the sort of thing that the Odyssey is composed of, but when the little mini-story is over, the larger story is advanced… not at all. (As I recall, Odysseus didn’t learn much either.) Then, to top it off:

Unlikely hero gets caught.

Now, the unlikely hero’s adventures could have been meaningful. UH might have learned a key fact that he could use later, or he could have an experience that would teach him about himself — he could find strength or expose a weakness. In this case, none of that happened. He had interesting adventures, but in the grand scheme, they mattered not at all.

After I got through that part, I started to worry. Spending so many pages on anecdotes that don’t move the plot does not indicate an author who intends to put any sort of closure at the end of the current volume. I checked the cover again, for anything like “Book two of…” but there was nothing to warn me that this book was dependent on others. OK, no worries; the story is entertaining and the prose is solid if not magical, Just enjoy the ride.

As an aside, in a long adventure story, ‘solid’ is often preferable to ‘magical’ when it comes to the prose. When you’re spinning a yarn, you don’t want your language upstaging your story. You want the words to disappear, the same way the letters do.

On we went. Campbell pulled out some pretty cool inventions, and a transparent train that bugged me immensely. Still, the story vectors were starting to converge, the sudden appearance on the scene of a new secret society was handled with brevity and grace, and it all came down to a final cataclysmic battle. We’ll get to that in a moment.

First I have a brief quibble about economics. Humans are slaughtered in this book. Lots of them. Legions of them. And down in hell their souls are chewed up and spit out, presumably reduced to ultimate nonexistence. At the rate things are going, the world would be depopulated in short order, and not long after that, hell would run out of souls to play with. I think on our current Earth, we send about 8500 souls down to hell on any given day. Iron Angel’s world is much less populous, yet the folks down in Hell chew through souls like they’re peanuts. Somewhere in there the demand curve has to kick in, and human life becomes more valuable in the eyes of both angels and demons.

Although, in this story human extinction is a real possibility, and that’s pretty cool. It’s just that neither side is making good use of available resources.

So: the final cataclysmic battle. I don’t want to give away too much, but…

SPOILER! SPOILER!
It wasn’t final. It was a trap! The “book” (actually a volume) ends with the bad guys pulling a major coup and the real evil army arriving on the scene. We ran out of pages with not even a pretense of an ending. AAAAHHHHHHH!
END OF SPOILER

So here we have a peeve of mine — a book that does not have an end at the end. At least most of the time when this happens the publisher has the grace to put “Book 2 of the Steampunk Angel series” or something like that on the cover. Not this time. “By the author of” does not communicate that you are not buying a complete story. Quite the opposite. This was not a novel. It was not a story. It was a well-written fragment. In the back pages where they tried to sell me the next installment, I found the words “book three.” HA! They knew all along it was simply an episode in a series, they just didn’t put that information on the cover.

Why would they hide that fact? There’s only one reason I can think of. They want to trick people like me into buying volume two. Man, this gets my goat. Mr. Campbell probably had no control over this; he wrote a big-ass story that took three volumes to tell, and sold it to unscrupulous people who actively hid that fact to the naïve book-buying public.

So, here’s the label I would put on the cover of this book: WARNING: This well-written and downright clever work has study hall at the beginning and CONTAINS NO END! The next book will have an end, we promise — and if you read this volume study hall next time will be really easy.

Personally, I think I’ll wait for the box set.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Fox Dreams

December 11th, 2010

I started reading The Fox Woman by Kij Johnson. I read for perhaps half an hour before turning off the light and going to sleep. The next morning I awoke with all sorts of memories about elegant Japanese gardens gone partly wild, about foxes transforming into people, about magic and desire.

In fact, I had memories of far more events than were the book. There was something about the language and the setting that fed straight into my dreams, and all night my sleeping self continued to explore that world. Pretty sweet!

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Not Bad Enough?

November 26th, 2010
I did a poor job at being bad last night.

My story this November is about bad writers getting murdered. One of the things that makes this an excellent NaNoWriMo idea is that I can include excerpts of the fictitious bad writers’ fictitious bad novels. Which means not only can I just let fly with the prose, I don’t even have to cringe and tell myself that I will fix it later. I can revel in the mediocrity, even add things that normally I would never do.

Except for the complete absence of structure, however, even this draft of Step on a Hack is ahead of some of the crap out there.

Occasionally I will write a scene specifically intended to showcase common crime story clichés and blunders. Paragraphs of exposition and loose-end-tying while the protagonist and antagonist are in a burning building, for instance. It is a fun world to write in, where all the good guys are named ‘Buck’ or ‘Dirk’ and all shoot with far better accuracy than a bad guy ever could, where they live a solitary existence, all girlfriends and partners murdered, and are tormented by demons from the past. And out there somewhere, a criminal mastermind seems to have it in for that one detective.

Yesterday I thought, “I need a scene with cars and guns,” so I wrote one. Such freedom! As I wrote it I had several opportunities to include details that are personal peeves of mine (car doors stopping high-velicity bullets, for instance), but I didn’t. Instead I let the scene play out the way I would do it. It’s still mildly preposterous, but I think it scores in the acceptable range on the preposterometer for a story of this genre.

Were I to go back and tweak it, I can see several ways I could make it better, especially at the start, where I still had word-inflation and bad prose as goals. Overall, however, this scene scores a “not bad” from the not-as-dispassionate-as-it-should-be part of me that judges everything I do. Which, ironically, makes it unsuitable for Step on a Hack. Not enough for the cop reading the story to mock. Oh, well.

Here, for your amusement, is a scene with cars and guns. And swearing. If the occasional f-bomb is going to sour your stomach and cast a pall over the rest of your day, then you probably should stop now.

Ace Martingale shifted into fourth as the sleek black Dodge Charger roared up the ramp and onto the highway, a steel shark in the night. Ace lit one cigarette with another and threw the smoldering butt of the first out the window. The speedometer crept upwards, 70 then 80 then 90. He let it settle in at 100 miles per hour. A good speed. Fuck kilometers.

The mighty engine purred and the hot desert air blew Martingale’s hair and dried his sweat instantly. He punched in an eight-track tape to help him think. Lynyrd Skynyrd. Free as a bird now. Free as a fuckin’ bird. Maritngale smiled for the first time in five years.

He was out, he was in a fast machine, a twelve-pack of corona blondies in the passenger seat, bolt cutters, pick and shovel in the back seat. In the trunk, the last of his problems. Life didn’t get any better than this.

“Fuck yeah!” he shouted into the night. “Fuck yeah!” he threw his empty out onto the road and reached for another. By the time the glass bottle hit the pavement he was long gone. He was a spirit, a shaman, a god of the desert and he was going to live forever.

At Desert Center he left the interstate highway, turning north on state road 177, past a couple of industrial sites and into the breathing desert. Two lane blacktop. The way it was supposed to be. He slowed it down to a safe and sane 90 per and popped open another brew.

For the next hour he floated along the highway, in harmony with machine and road, alone and unencumbered. Past mile marker 239 he slowed. There it was. Martingale’s heart sped up a bit as he pulled into the primitive rest stop. Nothing more than a table and what had once been a sun shade. A rusting barrel overflowed with garbage.

He turned off the music and rolled gently to a stop, his tires popping over the gravel. Behind the table his headlights splashed on a gate adorned with a rusted, bullet-riddled “No Trespassing” sign swinging on a piece of wire. He left the motor running and reached back for the bolt cutters.

He opened the car door and stood, stretched his spine. The desert’s hot breath kissed his face. “I missed you, baby,” he whispered into the darkness. The gravel crunched under his boots as he walked to the gate. Before he even reached the gate, he froze.

The chain was already cut.

He dropped the cutters and ran back to the car, dove back in the waiting door.

A hole appeared in the windshield, nice and clean, matched by a larger, more ragged hole appeared in the rear window. The round passed his head with a supersonic crack and vanished into the night.

Martingale stayed low, cranked the wheel and mashed the gas. The car slewed and jumped forward, slamming the door shut. The passenger door made a booming sound like someone had kicked it, and a slug tore into the upholstery.

“What the fuck!” He screamed. Killing another man was one thing, but this car was a classic. It was art. You don’t shoot art. He lifted his head a little to guide the car out onto the blacktop, pointed north. The spinning tires screeched when they hit the pavement and thrust the car forward. The engine roared as Martingale went through the gears. The car started to float at one hundred twenty miles per hour, and Martingale held on for sweet life.

Two lights stared back at him on the road ahead. The eyes of an animal, reflecting his headlights. He hit it before he even had time to wonder what it was. Night insects flashed in his high beams, there and gone faster than a prayer.

More lights ahead. This time, a car. He hurtled toward it. Motherfucker had his brights on. Martingale pushed his speed up to 140. Holding the wheel with sweaty hands, twitching to keep it in his lane.

Just before the other car flashed past he hit the brakes. Flame burst from the other car, the muzzle flash of an assault rifle on full-auto, spraying the space he would have occupied had he kept a steady speed. The enemy flashed past as Martingale punched the gas again and heard bullets tearing into the rear of the car. Then he was away, and, for the moment at least, he was alive.

In the rear view he watched as the other car hit the brakes and began to turn around. Martingale was going to be a long was down the road before they even got turned around. They’d have to be driving one hell of a car to catch him.

He took a deep breath. Time to stop reacting and start acting. They had men and guns, he had a fast car and the desert.

This was his desert. Whoever those people were back there, they had missed their chance.

They knew about the rest stop, and that meant Olaf had spilled his guts. Which meant he was probably dead. Anybody with the means to make Olaf talk wouldn’t be the type to keep him around after they got what they wanted from him.

Martingale slowed to take one white-knuckle turn, then another. He checked the rearview. Nothing. Just before the next corner he switched off his headlights and slowed. He pulled off the road, over a cattle guard concealed by a boulder. He stopped the car and ran back to the road, brushing over his tire tracks with his boot. It didn’t have to be perfect, as long as they weren’t obvious.

In the still night he heard the hiss of the car as it approached, augmented by the roar of a large engine. He ducked behind the rock as the pursuit car screeched around the corner, then around the next curve and out of sight. He jogged back to his car. He’d be easy to spot by anyone coming back the other way.

He stopped short when he saw the bullet holes in the trunk, the metal shining silvery in the moonlight against the black paint. He put his hand on the trunk lid, afraid to open it. “Fuck!” he said, but there was nothing to do now except get well down this road before the others doubled back. He thumped the trunk twice with his fist and jogged to the door. He drove slowly, lights off, steering by moonlight but wishing it was darker.

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November 1st, 2010

November 2nd, 2010
My traditional show-and-tell at the start of NaNoWriMo.

Well, another NaNoWriMo is under way, and this year my mystery/comedy (with action and adventure!) is off to a roaring start. It’s become a tradition for me to put my first day’s output here, and this year my novel’s prologue has guns, cars, hookers, explosions, and profanity! Not bad! Chapter 1 loses some of the momentum, but there’s no time to go back and fix it.

For those new to these parts, National Novel Writing Month is an event where participants are challenged to write an entire novel in a month. Quality is optional and often counterproductive.

There are a lot of ironies here, but I think I’ll discuss them in the comments thread.

Step on a Hack

Prologue

Benny Hamwich regained consciousness slowly, as if his brain knew something bad was out there and didn’t want anything to do with it. Someone was slapping his face, he realized.

“Benny.” The voice was low and gravelly and came from nearby. Another slap. Benny’s tongue was sandpaper against the roof of his mouth. The air tasted like hot metal.

“You really doped him up good.” That was a female’s voice, to his right, a little farther away.

“Benny!” Another slap, harder. “I know you can hear me.”

Benny blinked with sandpaper eyelids and tried to focus. He was sitting upright in the driver’s seat of a car. Convertible. Big. Beyond the long hood the city lights stretched before him. They were pretty high up.

“Benny.”

Benny wheeled his head to point it at the man crouching over him. He was a big guy, his lined, pale face divided by a thick dark mustache. Under the brim of the man’s hat one eye was squinted almost shut. The man’s smile revealed perfect, white teeth.

“Hello, Benny. Are you ready for a little science project?” The man’s adam’s apple bobbed as he talked, drawing Benny’s attention to a scar there.

“A… wha?” asked Benny.

Behind him a woman cackled. He turned to see her sitting in the passenger seat, her short skirt revealing long, slender legs. Her outfit was business sexy, and it worked well on her. She laughed again. Her teeth were not as straight as the man’s. “You should see yourself,” she said, and made a stupid face.

“Now, Marybeth,” the big man said. Benny turned back to meet his cold gaze. “Benny here’s been drugged. It’s hardly fair to judge.” The man reached inside his overcoat and pulled out a slender paperback novel. “Do you recognize this, Benny?” The man’s voice was cold and hard.

Benny nodded, too afraid to speak.

“Look, it’s got your name on it.” The man held out the book so Benny could see his name on the cover, near the bottom. At the top was another name, Penn Jetterson. In between, there was a picture of a rugged-looking man and a sexy woman in a massive white convertible. They were airborne, and she was kneeling in the passenger seat (showing a lot of leg), firing a wicked-looking assault rifle at unseen assailants behind them. He was gripping the wheel like a man possessed, grinnig. “TWO TO TANGO” the title screamed.

“You wrote that?” Benny turned back to the woman in the passenger seat. He was going to hurt his neck wheeling back and forth like that. She looked a bit like the woman on the cover of the book. “Really?” she prompted.

Benny nodded. “Yeah.” His voice cracked. He swallowed and tried again. “I wrote that.”

The woman smiled. “That’s terriffic.”

“That remanis to be seen,” the man said. Benny turned back around to face him. It was much more pleasant to look at the woman. The man tossed the book into Benny’s lap. “Thus, our little experiment.”

Benny forced himself to look around. He was in a white Lincoln convertible with red leather seats. A mighty piece of Detroit iron from back when big really meant big. The same kind of car Dirk Freemont drove in Two to Tango. They were on the roof of a building half a mile from downtown. In front of the car, rails stretched to the edge of the roof. Behind him a machine hissed with escaping steam.

“We are going to do a little reenactment,” the frightgning man said. “Have you memorized your lines, Marybeth?”

“Sure,” she said.

“Since you haven’t had time to prepare, Benny, we’ll let you read from the book. Chapter one, as you have no doubt surmised.”

“Wait, what’s—”

“It’s like this, Benjamin. I have a difficult time accepting that chapter one is, well, possible. Which sort of undermines the rest of the story. So we’re going to reenact some parts of it and see. Perhaps I am mistaken, in which case you’ll have my most sincere apologies.”

“What about all this?” Benny indicated the rails.

“It’s like a flight simulator. We’re going to make it feel like you’re flying while you go through the dialog. We’ll plug that back into the computer to see just how far you actually would have flown.”

“This is bullshit.”

“Benny, I’m afraid I must insist.”

“Come on, Benny,” the woman said. “Just say your fuckin’ lines so we can get out of here. If you’re fast enough I’ll throw in a blowjob.”

The scary man smiled. “Most of Marybeth’s acting career involves less clothing,” he said. “You two have a lot in common.”

Benny opened the book with fuddled fingers and found chapter one.

“I highlighted where we will start,” the man said.

Benny scanned ahead until he saw the mark.

 

“We’re cornered!” Marybeth cried out.

“Hardly,” Dirk grumbled. He mashed the gas pedal down to the floor. With a throaty growl the 455-cubic-inch engine thrust the Lincoln toward the edge of the parking structure. With a roar the mighty beast crashed through the rail and out into space. Directly ahead an office building loomed.

Marybeth flipped down the visor and inspected herself in the little mirror there. With her little finger she fixed a flaw in her lipstick. “I think you should know that I’m sleeping with Steve,” she informed him.

“What?” Dirk growled. “Steve’s my partner!”

Red-tipped tracer bullets streaked past, leaving burning trails of magnesium and strontium nitrate…

 

“Ready, Benny?”

Benny glanced up from his writing. “Fine. Let’s get this over with.”

“All right, then. Marybeth, you start when I say ‘action’. Really go for it, all right? Show me what you can do.”

“You said this was an audition.”

The man indicated a video camera on a tripod nearby. “It is. If this works out, I’ll be optioning the screenplay rights. This is your chance to be a real actress.”

“You’re going to make a movie out of Two to Tango?” Benny asked. It was the opportunity he’d always dreamed about — only, in his dreams things were… different. Less scary.

The man patted his shoulder with a gloved hand. “Whether the movie gets made is up to you, now. Let’s see if we can’t resolve some of these pressing questions.” The man stepped away from the car. The night hung dead still around them, the city below lay quiet. The man glanced around, assured himself that all was ready, and pulled a stopwatch from the outer pocket of his coat. He practiced with the buttons a couple of times. Satisfied, he looked up and said, “Action!”

“We’re cornered!” the woman shouted, her voice an icepick in Benny’s ear.

“Hardly!” Benny said, and grabbed the steering wheel for effect. He mashed the gas pedal even though the engine wasn’t running.

His head snapped back againt the seat’s headrest and he was pressed into the leather upholstery with such force the air was driven from his lungs and spots appeared in his vision. He stomped on the brake but that had no effect as the car was launched into the air and sailed over the edge of the building.

On the rooftop, the man stood in the steam washing out from the catapult and watched the car float through the air, slowly rolling over and going nose-down. He could hear the prositiute screaming. Damn her voice was annoying. After a few seconds the white streaks of tracer rounds flashed up from another rooftop, slowly converging with the the sailing car. Would Benny appreciate the bullets’ red tips? It seemed unlikely. If Benny survived, as his protagonist had, the scary man would be sure to ask.

The Lincoln was no longer right-side-up but still a bullet found the gas tank. The car didn’t explode but a nice gout of flame erupted from the back just before the land yaht slammed people-first into the side of a building downtown. The man stopped his timer.

There was a delay before the low whump reached the man’s ears, followed by the crunch of metal against concrete, and the crash of shattered glass. The flaming wreckage bounced to the side and fell out of sight to the street below. The surrounding buildings were lit by the yellow glow of the fire.

The man looked at his stopwatch. Thirty-five seconds. Not quite enough time for the dialog as it had been written, but he thought he had made his point.

Chapter 1

Penn Jetterson stared at the book lying on his polished oak desk. Kissed a Snake, the title read in bright red lettering, underneath that, A Jake Marten story. The type arched over a glossy drawing of a man in the crosshairs of a rifle scope. Behind him a hot nun stood in the entrance to a cathedral. She held a gun, and was poinging it at the man’s back. Or was she aiming at the man holding the rifle?

As covers went, he’d seen worse. This particular book cover had two real problems, though: His name across the top and the name of Andrew Zen across the bottom. The name at the bottom meant the book would be awful. The name at the top meant he would be blamed for it.

#1 BESTSELLER! A banner in the corner said, although the book had yet to sell a single copy. That didn’t matter; his name was on it. Reviewers would rave in exchange for advertising dollars. Jetterson would make a lot of money. Preorders were strong, but not as strong as they had been for the previous book. Still, lots of people would read it. A few of those would never pick up a Penn Jetterson book again. People were starting to realize the Emperor had no clothes.

He lifted his whiskey glass and found it empty. Seemed like he’d just filled it. He knew he shouldn’t, but some days there was no helping it. He pulled open the large, lower desk drawer on his right and pulled out his bottle of Ardbeg, his beloved Islay single-malt. He poured himself a couple fingers of the amber liquid and paused to let the earthy smell fill his sinuses. He put the bottle back, noting that there were only two left in reserve. He closed the drawer.

The book sat in front of him, waiting.

Before he could stop himself he reached for his phone and dialed a number he knew by heart.

“Penn! Darling!” Emma Coe’s voice gushed down the line. “How’s my favorite writer?”

“I haven’t been a writer for a long time.”

“Poppycock!” Somehow it didn’t sound ridiculous when Emma said words like that. “You’re at the top of the best-seller list. Did you get the book?”

“Yeah. I’ve got it right here.” He picked up the object in question, gazed at the brightly-colored cover. “Looks nice.”

“Wonderful! I’ll tell them we’re ready to go.”

“Uh… hold on a sec, Emma. I’m not sure I’m going to approve this one.”

“Don’t joke with me like that, Penn. You’ll give me a heart attack.”

“It’s not very good, Emma.”

“Have you even read it, Penn? You can’t have had it for more than half an hour.”

Not that it would take much longer to read this fluff. “No, Emma, I haven’t.”

“Well then, there you go. What makes you think it’s so bad?”

“It’s a Jake Marten story, written by Andrew Zen. They’re all bad, and each is worse than the last. I think Zen is unlearning his profession. And seriously, what the hell kind of nom de plume is Andrew Zen?”

“Oh, Penn, let me be the judge of what’s good and what’s bad. Didn’t I help you when you were a struggling writer?”

“Yes, Emma.”

“Really, Penn, Andy may not be as good as you, but he’s plenty good enough.”

Penn flipped the book and looked at the back cover. His heard skipped a beat as he read the description. An asp in a copy machine? Had that really been his idea? He vaguely remembered an outline he had tossed off one night, maybe three years ago. Paper Jam, he’d called it back then, but the publisher never kept the titles Penn gave the stories. “Emma, I don’t think that was one of my best ideas. And after seeing what Zen does with my good ideas, I’m afraid to even open this one. The stink will kill me.” Jetterson took another healthy swig of whiskey to fortify himself against such an occurrence.

“Penn. Honey. Relax. The reviews are in, they love it.”

“They’re paid to love it.”

“We’ve got a big signing scheduled, we’re bringing in busloads of people from nursing homes to pack the place. Blockbuster! Lines out the door. New York TV coverage. Great buzz on the blogs.”

“For this?

“For Jack Marten. He’s huge. They’re talking about Schwarzenegger for the movie. People want this, Penn. Look, you and I both know that the books aren’t perfect, but they sell. And that’s what matters.”

“But…”

“Now, Penn. It’s your name on the book. Jack Marten is your creation. If you tell me to kill this book, I’ll kill it. I’ll kill myself, but I’ll kill the book, too. So. Do you want me to throw away millions of dollars and kill this book, or do you want me to push the hell out of it and get us a sweet movie franchise?”

Jetterson felt one of the last remaining bastions of integrity crumble in his soul. He’s sold out long ago. He lived on a farm in the country, drove a nice car, traveled the world, entertained mistresses. All he had to do was produce two outlines per year for each of six series that bore his name, along with the name of some talentless English major that Emma met at a party somewhere. He had no doubt that the hacks actually believed they were good.

“All right. Publish it.” He put down the book and emptied his glass.

“Fantastic. I’m sure you’ll feel better when the checks start arriving.”

“Yeah.” He reached for the drawer and stopped himself. At least wait until the end of the phone call.

Emma’s voice dropped and became breathier as she moved her mouth closer to her phone. “They found out who was with Benny.”

“Who’s Benny?”

“Benny Hamwich, of course. It was a prostitute.”

“I see,” he said, even though he didn’t. It didn’t surprise him at all that his co-author couldn’t get laid on his own. The only mystery was why anyone else would care. “I don’t pay attention to gossip.”

There was a pause. “You didn’t hear?” Emma asked.

“About Hamwich and a prostitute? No. I couldn’t care less about his personal life.”

“Benny’s dead, Penn.”

“Oh? Really?” Jetterson made a half-hearted attempt at sadness and failed. The man had actually used the phrase “As you know, Bob,” in a story. There were times his stores grew so preposterous that Bennie Hamwich made Andrew Zen look like Shakespeare. “What happened?” Jetterson asked to fill the silence on the line.

“Oh my God, Penn. You will not believe this. He ran into a building in a car.”

“What an idiot.”

“Three stories up, Penn. Three stories up. Just like in Two to Tango. No one has the slightest idea how he did it.”

“When did it happen?”

“Three a.m. this morning. They say the car just came out of nowhere.”

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NaNoWriMo 2010 is Upon Us!

October 25th, 2010
Ready or not, it's that time of year again.

I haven’t done much (well, any, really) planning for my novel-in-a-month adventure this year, but I’m really hoping to restore my writing momentum with a good, hard deadline. I’m pulling out an idea for a story that my sweetie and I hashed out. After I make this awful draft, we’ll work together to make a not-awful version. The idea has a lot of potential. Here is the synopsis I tossed together this afternoon:

Step on a Hack

Penn Jetterson is a best-selling author. The thing is, he doesn’t do much of the writing anymore — the publisher assigns writers to churn out novels based on outlines Jetterson jots down between highballs. Lately, the quality of the work has suffered dramatically. For a while he’s been content to simply sit back and rake in the cash, but lately the writers assigned by the publisher to fill out the plots he dreams up have been, well, awful.

The latest stinker, pooped out by one Bennie Hamwich, opens with a couple having a marital spat while in a car, flying through the air after driving off the top of a parking structure during a high-speed shootout. She is doing her makeup. He is lighting a cigarette. The car continues its improbable arc. She tells him she’s having an affair with his partner on the force just as tracer bullets (tracer bullets!? really?) hit the gas tank, exploding the car.

That’s chapter one. Through an improbable (and unfortunate for the reader) series of events, the bickering couple is still alive in chapter two.

The excerpts from those novels would be downright funny — unless it’s your name on the cover of the book. Penn Jetterson needs a way to salvage his name.

Conveniently, the horrible co-authors are being murdered in horrible, improbable ways that only they could have dreamed up. When poor Bennie Hamwich’s body is recovered from the fiery wreckage of a car that slammed into the side of a building (three stories up), with the charred remains of an unknown woman in the passenger seat, it doesn’t take a rocket scientist to make a connection between the novel and the method of his demise. (Although it might take a rocket scientist to actually make it happen.)

Sales of Bennie Hamwich’s last piece-of-crap novel skyrocket on the news. Another untalented co-writer is eaten by piranha in the sewers of New York. A third meets his demise in an unlikely incident with a photocopier and a bottle of snake venom.

Who is killing the hacks? Is it Jetterson, trying to clear his name? Or is it the publisher, in a despicable attempt to boost sales? Or is it someone else, revealed at the last moment in a true crime against the mystery genre?

Only time will tell, my friends, only time will tell.

Any connection you might make to this horrible book is strictly coincidence.

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The Windup Girl

September 9th, 2010
A fun ride in a scary place.

A while back I put up an episode called “Something New to be Afraid Of“, in which I wondered out loud about the power that agribusiness is gaining through genetically modified foods. I didn’t realize at the time that Paolo Bacigalupi was way ahead of me, not just in time but also in fear level.

The Windup Girl by Paolo Bacagalupi takes place in the future, after fossil fuels have been nearly exhausted. Agriculture is now one of humanity’s main sources of energy as well as how we feed ourselves. The crash from the energy-intensive civilization we enjoy today was swift and brutal. Once-great nations have been nearly depopulated, and hunger is everywhere. Genetic modification is one of the primary tools mankind is using to survive. For instance, we have genetically modified animals that are very efficient at converting vegetable calories into useful work. Many humans are used this way as well, and would not eat otherwise.

Genetic modification is also making things much worse. Where I worried about companies manipulating markets, forcing farmers to buy their seed stock year after year, in The Windup Girl agribusiness has gone the next logical step: unleashing plagues on countries that refuse to do business with them, plagues that only their products are immune to. Whole families of plants are now extinct (there are no peppers, no tomatoes anywhere in the world). Seed banks have been destroyed in the social upheaval and many plants are irrevocably lost. In the words of one “calorie man” in a moment of hubris, “I’ve been inoculated for diseases that haven’t been released yet.”

Man’s tinkering is not limited to plants; there now exists a breed of supercat than can change color and become almost invisible. House cats are now extinct and there are few birds left. Perhaps the lesson of the cats is why modified humans are sterile.

Tucked away in a far corner of the globe, one tiny nation has managed to resist the agricultural conglomerates. Thailand’s independence was hard-won; the people of the country must be prepared to raze villages and quarantine thousands, burn entire crops and even forests, to keep the plagues at bay. Now times are changing. International trade is picking up, and internally the ministry charged with protecting Thailand is suffering for its own success, becoming marginalized.

In Thai street markets, plants long thought lost are starting to reappear. The only possible conclusion: Somewhere they have a seed bank, a treasure of incalculable value (especially to agribusiness).

This story contains a whole bunch of conflicts, between old and new, survival and altruism, pride and duty. The characters are complex and interesting, from the Calorie Man sent from one of the big agricultural companies, to the wily Chinese man just scraping by but always hoping to get back on top, to the cast-aside New Person, a genetically modified woman whose life, well, sucks. Then there’s Kanya with her divided loyalties, who must make a decision that will echo for eternity. Add corrupt politicians, a powerful slum lord, mutating plagues, and a rogue genetic engineer, and you’ve got yourself a fine stew.

Everyone in this story has tragedy in their pasts. Entire families massacred or lost to disease. They are not exceptional; to live in this world is to live with tragedy. Thailand’s past, its history and legends, remain current and meaningful, and inform the actions of the principals in really interesting ways, becoming a template for how once more the Thai must stand against a much more powerful foe.

These are not gentle times, and not gentle people. When things get ugly the author does not pull his punches, including graphic (but heartbreaking) depictions of sexual humiliation visited upon Emiko, the windup girl. The writing is powerful at times, always clear, and the characters change organically, adjusting to circumstances and learning, without needing any sort of epiphany or magic wand to propel them.

I did have a couple of quibbles, in particular: Where are the windmills? It seems like every derelict tower in Bangkok would have a big ‘ol windmill on the top, and the dike keeping the much-higher ocean at bay would be lined with them. Solar panels would be everywhere as well.

In the big picture those things didn’t matter that much; this was a fine read, a real page-turner with language that wasn’t afraid to get down into the gutter with its characters. I really enjoyed it.

Wow – did I just write an entire book episode and talk only about the book? Can this be? Of course not. Let’s talk about sequels.

While I look forward to the next novel Mr. Bacigalupi writes, I hope it’s not a sequel to this one. Well, let me rephrase that. I find the world he’s created to be fascinating and I’d love to visit it again, but a sequel to this story would face problems similar to sequels for The Matrix (should anyone be so foolish as to attempt one). IF there was a sequel to The Matrix (or, God forbid, two of them), the first thing the writer would have to do would be to limit the power Neo had at the end of the first movie. Essentially they would have to rewind the story a little, revoke the payoff of the first movie, and pretend his dramatic little speech never happened. Otherwise the fight between Neo and the Agents would not be compelling – and, let’s face it, Agent Smith makes that movie. Overwriting the end of the first film would be a cheap-ass thing to pull off, so I’m glad no one has tried.

While such a gimmick would not be so immediate in The Windup Girl Goes goes to Omaha, a genie or two have been let out of their bottles, and it would be lame to try to stuff them back in. So, “sequel” as a continuation of this story – I hope not. “Sequel” as an exploration of the changing world set in motion by the events in this book, I wholeheartedly look forward to.

Larger-than-usual disclaimer: I have met the author of this book, and he seemed like a good guy, so I might be a little biased. My bias is expressed in that had I not liked the book, I might not have reviewed it. No worries in this case.
If you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Novel: A Novel

August 23rd, 2010

According to the back cover of the book, George Singleton is a ‘master of the comic short story’. He has been published in some pretty impressive places, and I like humorous prose, so despite some rather negative things my sweetie said about the book, I secretly held hopes that her negative experience was more an issue with Singleton’s style and that I would enjoy the ride.

Novel is written in the first person, narrated by a man named Novel who spends a significant chunk of the story trying to write a novel. Because of a divorce surrounded by an odd series of events, he finds himself in the backwater South Carolina town of Gruel. Gruel is populated by an odd assortment of characters, but it is a dying town. The locals are convinced that Novel’s novel will put them on the map, and rekindle the economy of the town.

The book is written in a rambling, meandering style that took me along with it. Believe me, I know rambling. The opening two-thirds of the book is about our narrator bumbling along, becoming increasingly paranoid, and telling and retelling his history — which changes, evolving in a very interesting way. There’s a lot of foreshadowing in the opening 75%, which is to say we haven’t really got to the plot yet.

Mr. Singleton’s humor shows through, as do his short-story leanings. In a short story he wouldn’t have had time to beat some of the jokes into the ground with such force. (For instance, his adoptive older siblings are named James and Joyce, and “James, Joyce, Novel” is worked pretty hard.) Other parts seem like they’re in there to set up some sort of comic payoff, but never come through.

One of the jokes Singleton beats on quite often is “Books about writing novels say never to do…” and then in the next sentence he breaks that rule. He breaks a lot of rules in this book, and seems to think that pointing out that he knows he is breaking the rule makes it all right. Usually what he accomplishes is to demonstrate by counterexample that the rules exist for a reason. Rules are made to be broken, but not just so you can point at the rule like a proud three-year-old who just broke a vase.

The town has secrets, lots of secrets. As we learn more about the people of Gruel, we discover that they are not the simple, naïve country bumpkins we first thought. Oh, no, not at all. That’s pretty cool. But wait — under a veneer of obtuseness, their plan for Novel is woefully simple-minded. How do these savvy people ever buy into it? The contradiction is never resolved, in fact, Singleton is caught in his own trap. All the characters he introduces are against the grand scheme for Novel. He can’t show us any of the people who think the plot is a good idea, because they would betray the inherent contradiction.

At the end, lots of things happen. Everything comes to a head, people are coming out of nowhere (James and Joyce? But why?), and our boy Novel is in the thick of it. Then a Huge Coincidence occurs, and everyone shrugs and goes home again, nothing changed, nothing resolved, and a lot unexplained; humor pistols loaded in the first act lie undischarged in the third.

The book grinds to a stop leaving a big a pile of unresolved events that we had passed, that I assumed would have some sort of significance. Just why the hell did the owner of the surplus store want Novel to find the knives buried behind the hotel? As I closed the book, I felt like there was some big explanation I’d missed (notwithstanding the big explanation that was provided). I suspect it never left the author’s head and found its way to the page.

I mentioned in a previous review that just because an author is writing a farce doesn’t mean he can just throw out a new coincidence whenever he loses momentum; everything still has to hang together and make sense in that farcical context. I don’t think Mr. Singleton has learned that lesson yet.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Overqualified

August 1st, 2010

It all started here. Joey Comeau needed a job. Somewhere along the way he began to exercise a little more creativity than perhaps is optimum in job application cover letters. Some are hilarious, some are poignant, some are just plain odd. None of them are bound by any sort of requirement to tell the truth.

He didn’t get any of those jobs.

After the police showed up on his doorstep one morning, he stopped actually sending the cover letters in. He continued to compose them, however, and post them on his Web site. He didn’t really want any of those jobs, anyway. Somewhere along the way he got the idea that he could use this form to tell an actual story. Each letter would in itself be significant, but when strung end-to-end they would reveal a larger story, at first hinted at and subsequently revealed.

Put another way, it’s “take what you’re doing already and repackage it in a way that you can sell.” And thus, Overqualified was born.

It is a book of moments, beads on a string that form a larger pattern. Some of those moments are pretty powerful. Some of them aren’t. They go by quickly and before you know it you’re at the end of a brief autobiography told in nuggets of nonsense.

I was a little disappointed, I guess, that many of the supposed cover letters in the book had no ties to the job being applied for. One of the fun things about the letters I linked to above is the cleverness with which he twists the job descriptions, and the decidedly odd ways he represents himself as a candidate. While it does happen occasionally in the book, I missed that cleverness much of the time.

Of course, before there was a larger story to tell, the letters were all about cleverness. The book has a larger purpose and I suppose that means trade-offs.

Comeau certainly has a gift with language. The words he chooses are often evocative as well as descriptive, and a sense of tragedy grows as we move along. He’s at his best when he’s both funny and poignant, as near the end when he applies to be a tour guide, revisiting the scenes of past failures. That bit alone is probably worth the cost of admission.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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The Reapers

June 28th, 2010

When one is in an airport bookstore after spending ten hours on a plane with no reading material, still looking at another few hours before reaching one’s final destination, one doesn’t take chances. One buys multiple books, in different genres, to ensure that the remainder of the journey will pass smoothly. If the first novel fails to please, there is always another.

In the above paragraph, I am the One. Among the books I purchased that fateful day was The Reapers: A Thriller, by John Connolly. Yep, they put the genre right into the title, so there could be no confusion. That might be a good thing, now that I think about it, because the ‘thriller’ part of the book is a pretty simple revenge-begets-revenge storyline without too much actual thrill. Sure, there’s some suspense (not that much, though), along with plenty of violence and action — people are thrust into bad situations and have to dig themselves out. Ultimately, though, the narrative seems to exist not to thrill but to provide the author a framework to explore the soul (or lack thereof) of people who can kill a stranger in the blink of an eye. Are such men born or made?

Connolly has written several stories featuring a detective named Charlie Parker; in this installment the crusty ex-detective plays a subordinate role as the author focuses on Louis, one dangerous mo-fo to be sure. Gay, black, soft-spoken, likes country music, frighteningly cold-blooded. Louis is unusual even among killers; his ego makes no demands, even when he is motivated by revenge. He doesn’t need to see the person die, he doesn’t need to make it poetic, doesn’t need to gloat, as long his target’s heart stops beating. (Although the author glosses over one purely egotistical touch that allows the bad bad guy to get away at one point.)

How did Louis come to be this way? It’s a long story, or a short story, depending on how you look at it. The short version: some people are just born that way. The long version is told over several long flashbacks. As a young man Louis is witness to a particularly horrific hate crime. More crimes against his family follow. After Louis takes his revenge he is discovered and nurtured (or at least trained) by men who work for The Government (or do they?). Louis is retired now, the only one of his group to walk away without being killed. Or so he thought. (insert dramatic sting)

To be honest, after a while the long backstory sections started to feel redundant, as if Mr. Connolly was himself unsure of his thesis that just because Louis was a cold-blooded killer doesn’t mean he’s a bad man. At least for me, he was selling past the close. I got it about two flashbacks before Connolly was ready to trust me that I got it, and move on with the story. The rest started to feel defensive.

Naturally to bring out the best in Louis in this story he must be confronted by a rival of similar pedigree. Turns out that he and his rival have each failed to kill the other on previous occasions. Not a bad set-up by Mr. Connolly.

One of the best things about this book: No one is safe. Even people you like, some little more than innocent bystanders, are fair game. There’s no guarantee that everyone will live happily ever after. That’s critical if you aspire to the title ‘thriller’, and in this case you better not let your guard down until you’ve closed the book. Maybe I have to take back what I said about about it not having much thrill.

Still, did I really have to know the whole backstory of the hired goon who gets whacked? Three pages of backstory for his half-page of action? No, I don’t think I needed to know that. Did I need the detailed description of a rifle, just to have the bad guy choose the other rifle? No, that just came off as the author showing off. Should someone who goes into such great detail about firearms refer to ‘clips’ in an autoloading pistol? Absolutely not.

This sort of story thrives on detail, but let’s keep it to the details that matter, please, and make sure our terminology is correct. Louis would never say ‘clip’ when he means ‘magazine’, and neither should the author.

Overall, however, the rather straightforward plot was very satisfactorily balanced by the character study of the central personality. He is a complex person, a perfect storm of intelligence, physical ability, and near-complete dispassion toward his victims. Was this a thriller? I can’t say I was on the edge of my seat. Wasn’t thrilled, per se. I was interested, and I was wrapped up in the action, however, and I really liked the central characters and they way Connolly introduced them to me. Overall, a pretty good read.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Protektor

June 7th, 2010
There's no such thing as a bad machine. Just bad programmers.

NOTE: This review is spoilier than most I write. It’s not much of a shock when I tell you that the good guys win, but spoilier than that is my discussion of the relationship between the main guy and the machine overlords. (For one, he would never use the word ‘overlord’. Ever.) Anyway…

A week or two ago I was with my sweetie and we dropped by her old office and visited her former coworkers. The subject of her growing ebay business came up, and my sweetie mentioned that she has been hitting the local thrift stores regularly, finding the good stuff, and selling it to people who live in places where they don’t have thrift stores of this magnitude. “It’s too bad there’s not a Salvation Army nearby,” she lamented.

Her friends were swift to correct her in this matter, telling her of a massive Salvation Army Depot not far away. An hour later (after a yummmy sandwich at Togo’s), we found the place, and an unscheduled shopping expedition was afoot with me in tow.

Now, I’m not shopping deadweight by any means, moaning and dragging my feet as we make out way around the store, but I knew that on this day the right place for me while the light of my life combed the cast-off fashions was in the book section. Happily, the book section was next to the comfy sofa section. Perfect. I perused the offerings on the shelves (not as good as I had hoped), but in those circumstances I was not looking for the best book to own, I was looking for something I could sit and read right then. I picked up Protektor, by Charles Platt, plunked myself down on a sofa and dug in. Distant future. Machines handle everything — people are left to eat, watch TV (super-duper TV plugged straight into their senses), and find new ways to have orgasms. It’s ok to do more with your life, but not necessary. Those with the talent and the drive to provide original TV shows and creative sexual opportunities can get fantastically wealthy.

People can live forever, unless something goes wrong. Not surprisingly, something is going wrong.

The test of the book’s mettle came later when it was time to leave the store. Back on the shelf or into the basket? Into the basket it went and Protektor had a new home.

The story takes place on a planet mostly occupied by mining machines, except for a tropical paradise island that has become an amalgam of Hollywood and Las Vegas. Movie stars mingling with hedonistic pleasure seekers. Only, things aren’t quite working as smoothly as they always have in the past. The machines that control everything are getting overloaded periodically. Air cars collide. A building falls over. People are getting killed. For-real killed with a side dish of pain and suffering.

Tom McCray has been called to the planet to investigate. He works for the machines, assisted by a super-robot specially designed to be able to hack into any system. Soon after he arrives, the mechanical mayhem is augmented by a series of murders. Evil is afoot, indeed.

McCray starts with a single assumption: That whatever is going wrong, the problem is rooted in people, not machines. Someone is deliberately sabotaging the system, and it’s his job to find them and undo the harm. The machines themselves are simply not capable of doing anything that would harm humanity. Not capable. It is his mantra, spoken without the faintest hint of irony. He believes.

Tom is a loner but he enlists the help of a local reporter, who is an attractive woman. (No surprise; everyone can be attractive if they want to be.) She also turns out to be one tough customer who got where she is through hard work and she’s not going to take shit from anyone, even if they do have a super-robot and are the only thing standing between her planet and the complete collapse of civilization. I liked her. Not surprisingly, so does Tom. Happily, that doesn’t get in the way of the story.

Other things do get in the way, however, like the occasional sidebars explaining how this world came to be. There is a side explanation of how it came to be that there is no such thing as privacy and why that doesn’t bother anyone. There’s another about how mankind ceded almost all governmental function to the machines, and another about the tiny minority who would rather work and die of old age so they can be independent of the computers. Eventually I got the idea and started skipping the backstory sidebars. I figured I could go back and read them if the story world interested me enough.

At the heart of this benign mechocracy is a set of ten rules that are programmed into the core of every machine, from doorbell to mainframe. It is those ten rules that make the entire system completely and unironically benign. I started to read the ten rules, which are way more complicated than the good ‘ol Three Laws of Robitics, but then I glazed over. I felt like I was reading a legal document. Computers can’t harm people, yadda yadda yadda, a bunch of stuff that looked like it was put in by a lawyer who had studied I, Robot for his dissertation. Not sure, there might have been some interesting bits wedged in there but I pretty much skipped over them, substituted Asimov, and all was well.

Aside from the asides, this turns into a pretty cool thriller/mystery, with millions of lives at stake, different factions with their own overlapping agendas that make the plot harder to figure out, and general world-descending-into-chaos yumminess. It’s told in the first person, which helps occasionally but more often harms the narrative, especially when our main man says “I knew that was fake, but I couldn’t say anything.” If you want to withhold information from the audience that the main character knows, at least don’t put us in a position where we hear his reasoning about everything else as he deduces it. It undermines the character’s voice to hide tidbits like that from us.

In the end, the good guys win. (I suppose that was technically a spoiler, but come on. The good guys win.) There are some surprises, some twists and turns, and after McCray gets around to telling us all his secrets we have a confrontation and the bad guys are apprehended. But there’s still work to do! The systems must be repaired! Our hero takes the criminal hacker mastermind up to his ship where they… write software.

I will grant that this is probably one of the most realistic parts of the story — the damage caused by a hacker is going to be fixed by one or more people writing code. But there’s a reason hacker-vs-hacker movies are unrealistic. Realistic is boring. “Code! Code like the wind!” It’s a bit of a letdown after the shootout. Lacking dramatic tension. Most of the programming scene, placed in the narrative where the climax generally occurs in a story like this, I skipped over, substituting in my head, “what with this and that, they fixed it.” And everything was fine.

(To be fair there is an interesting tidbit as the good guy and the guy who wrote the original virus prepare to release the antigen – a modified version of the original virus. The code for the virus was elegant and beautiful, while the new code, code that will be inserted into every doorbell and mainframe in the human universe, is rather an ugly hack. But it’s expedient. And that’s how our software matures.)

Everything was fine, and machines went back to being incapable of harming humanity — without any irony, without the other shoe dropping, without McCray getting egg on his face for believing in his mechanical masters so blindly. I’m trying to remember any stories since I, Robot in which technology (with the proper fundamental restraints) is so unequivocally good. Sure art and science have pretty much stagnated, but that’s a small price to pay for immortality and lives without want.

Does the boy get the girl? That, dear reader, you will have to find out for yourself.

Often when I get to this point in my ramblings about a book, it looks like I must have hated the thing. This story was for me like a three-bean salad where I didn’t like one of the kinds of bean. I enjoyed it for the most part, learned to avoid some of the yucky beans, and ultimately I was satisfied. The people act like people, the machines act almost but not quite like people, and there is one hell of a mess our boy has to resolve. If you see this book at your local thrift store, by all means drop the half-buck and let it entertain you for a few hours.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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The Lust Lizard of Melancholy Cove

May 23rd, 2010

One axiom I use when evaluating fiction is that the author is allowed one Big Coincidence in a story. It’s that one unlikely event that turns a mundane situation into something worth writing about. In The Lust Lizard of Melancholy Cove by Christopher Moore, the coincidence is that the Old Bluesman who comes into town just happens to have a history with the sea monster that can alter people’s brain chemistry (and make them randy as bunnies in the springtime) which comes ashore just as the town shrink switches everyone from their antidepressants to placebos in response to the death of a patient while…

You get the idea.

There is, happily, an exception to the one-big-coincidence rule, and that’s farce. Farce is not as easy as it looks; you can’t just throw some new bizarre thing at the reader every time you lose momentum. Ultimately things have to hang together, to make sense in the farcical context, and come to a satisfying resolution. Characters still have to grow and change organically. Lust Lizard pulls off the farce in style.

The sea monster’s bunny-in-springtime effect begins to take hold before he even reaches shore, and unlikely pairings ensue. Alas, Steve the sea monster is not so fortunate in love. After an less-than-successful romantic entanglement with a gasoline tanker, the sea monster disguises himself as a trailer in a trailer park, where he is named Steve by the unstable b-movie actress who lives next door (and still works out with her big sword while dressed in her barbarian outfit).

Steve’s not a bad guy, really. Just hungry and lonely. And it’s not as if anyone liked the paperboy anyway…

Naturally the onus for figuring out what’s going on and doing something about it falls on the local law enforcement. That would be Theo. Theo is stoned most of the time, grows his own weed, and follows orders from the department in the big city. Those orders don’t always make sense from a law-enforcement standpoint, but Theo knows a good gig when he sees one. Only problem is, he’s on his own this time.

Throw in a colorful cast of side characters and this coastal California town is primed and ready for wacky hijinks. And hijinks there are aplenty. This book has its serious moments but even they shimmer with a surreal glaze, then off we go romping through the bizarroverse again. It’s a fun read that never loses its momentum.

I wonder, with books like this, which came first, the story or the title?

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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The Fantasy Novelist’s Exam

May 14th, 2010

I ran across The Fantasy Novelist’s Exam while reading the archives at Miss Snark’s no-longer-updated-but-certainly-not-dated blog. It’s a pretty funny list. The theory is that if you answer ‘yes’ to any of the questions, you should chuck in the novel and start again. Would that more people took this list seriously.

For giggles, I decided to see what the score would be for my epic fantasy work in progress, The Quest for the Important Thing to Defeat the Evil Guy. I’ve only included the questions here that I have meaningful answers to.

1. Does nothing happen in the first fifty pages?

Heck no! By the end of chapter one Bixby has been tormented by his distressigngly hot stepmother, met with an old kook who turns out to (also) be a wizard, and has been sent pajama-clad (with his axe) out into the rain to meet a mysterious bunch of people for some important job.

2. Is your main character a young farmhand with mysterious parentage?

Yes. Yes, he is exactly that.

3. Is your main character the heir to the throne but doesn’t know it?

Hm… that’s probably something that I should add…

4. Is your story about a young character who comes of age, gains great power, and defeats the supreme badguy?

How could it not be?

5. Is your story about a quest for a magical artifact that will save the world?

All hail the Important Thing! Whatever it is…

6. How about one that will destroy it?

All hail the Important Thing! Whatever it is…

7. Does your story revolve around an ancient prophecy about “The One” who will save the world and everybody and all the forces of good?

I’m pretty sure that there is a prophecy about Bixby. There are certainly some pretty racy prophecies about some of his companions.

8. Does your novel contain a character whose sole purpose is to show up at random plot points and dispense information?

You know, now that I think about it, QITDEG is lacking this rather annoying feature. Good thing this exam is here!

10. Is the evil supreme badguy secretly the father of your main character?

Oh my god! HOW DID YOU GUESS?!

11. Is the king of your world a kindly king duped by an evil magician?

Hmm… not yet.

12. Does “a forgetful wizard” describe any of the characters in your novel?

Insane would be closer, but we’ll say yes to this one.

13. How about “a powerful but slow and kind-hearted warrior”?

Everyone assumes that’s what Bixby is, but sometimes you have to wonder.

14. How about “a wise, mystical sage who refuses to give away plot details for his own personal, mysterious reasons”?

See #8 above

15. Do the female characters in your novel spend a lot of time worrying about how they look, especially when the male main character is around?

I think it would be more accurate to say that I spend a lot of time worrying about how they look, but the result is the same.

16. Do any of your female characters exist solely to be captured and rescued?

One of them might use it as a ploy, but for the most part they are not interested in being rescued by anyone.

17. Do any of your female characters exist solely to embody feminist ideals?

Yep. They are smokin-hot feminists.

18. Would “a clumsy cooking wench more comfortable with a frying pan than a sword” aptly describe any of your female characters?

No.

19. Would “a fearless warrioress more comfortable with a sword than a frying pan” aptly describe any of your female characters?

Hell, yeah.

20. Is any character in your novel best described as “a dour dwarf”?

I wouldn’t call her dour. She has a lovely beard as well.

21. How about “a half-elf torn between his human and elven heritage”?

No, but there will be plenty of half-elves should there ever be a sequel.

23. Does everybody under four feet tall exist solely for comic relief?

You mean Chavdar the horny halfling who would just as soon cut your throat as head-butt you in the nuts? Yeah, he’s pretty funny.

25. Do you not know when the hay baler was invented?

I hadn’t considered the humorous application of anachronism yet. Might be some potential there.

26. Did you draw a map for your novel which includes places named things like “The Blasted Lands” or “The Forest of Fear” or “The Desert of Desolation” or absolutely anything “of Doom”?

I haven’t drawn the (absolutely required) map yet, but “of Doom” will appear more than once.

27. Does your novel contain a prologue that is impossible to understand until you’ve read the entire book, if even then?

Not yet.

28. Is this the first book in a planned trilogy?

As little planning went into the still-incomplete first book, it would be hard to say yes to this (for now).

29. How about a quintet or a decalogue?

As long as people keep buying the crap, I’ll keep writing it!

30 – 32. [my summary] Is your novel a long-winded and directionless “epic”?

This is an action story, baby!

33. Is your name Robert Jordan and you lied like a dog to get this far?

Hah! I’m happy to report I’m not.

36. Do any of your main characters have apostrophes or dashes in their names?

What the hell kind of fantasy novel would it be otherwise? (Um… though actually, no. They are named for Eastern Eurpean automobiles.)

37. Do any of your main characters have names longer than three syllables?

Only if you include their “the’s”, e.g., Trabant the Immutable.

39. Does your novel contain orcs, elves, dwarves, or halflings?

Well, DUH!

41. Do you have a race prefixed by “half-”?

I expect Chavdar’s half-halfling progeny will have to wait for a sequel.

42. At any point in your novel, do the main characters take a shortcut through ancient dwarven mines?

Yes, not long after they take a shortcut through the mist-shrouded ruins of a once-mighty kingdom. Other suggestions for things they can take a shortcut through are welcome.

46. Do inns in your book exist solely so your main characters can have brawls?

If there’s another purpose of an ‘inn’, I’ve never heard it.

48. Do your characters spend an inordinate amount of time journeying from place to place?

Heck yeah! It’s a Quest!

49. Could one of your main characters tell the other characters something that would really help them in their quest but refuses to do so just so it won’t break the plot?

Oh, my characters keep secrets for iron-clad reasons!

55. Do you think horses can gallop all day long without rest?

No, but Bixby can come close.

56. Does anybody in your novel fight for two hours straight in full plate armor, then ride a horse for four hours, then delicately make love to a willing barmaid all in the same day?

Bixby is far too polite to make love to a barmaid, and wears a lot less.

57. Does your main character have a magic axe, hammer, spear, or other weapon that returns to him when he throws it?

You mean Orc-O-Matic? So far, Bixby has kept it firmly in hand.

61. Does your hero fall in love with an unattainable woman, whom he later attains?

Only one?

62. Does a large portion of the humor in your novel consist of puns?

Actually… no.

63. Is your hero able to withstand multiple blows from the fantasy equivalent of a ten pound sledge but is still threatened by a small woman with a dagger?

More ‘confused’ than ‘threatened’.

70. Does your main villain punish insignificant mistakes with death?

Helloooo! He’s Eeeeevil!

73. Is the countryside in your novel littered with tombs and gravesites filled with ancient magical loot that nobody thought to steal centuries before?

Not nearly enough.

74. Is your book basically a rip-off of The Lord of the Rings?

Closer to a rip-off of Bored of the Rings

75. Read that question again and answer truthfully.

Honest!

Let’s tally up the score then, shall we? By my count I hit on fifteen of the questions, and I’m in a gray area for a few others.

This list is awesome. Using it, I have been able to identify some glaring holes in the story. Should I ever get around to revising it, I’ll have a solid foundation to work from.

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Turnskin

May 11th, 2010

What is the difference between a series of related events and a plot? I have been mulling this question for a few days now, since completing Turnskin by Nicole Kimberling. The book has plenty of events, and some of them lead to other events to provide a narrative, and there are even a couple of problems the main character faces, but did this story have a plot?

In the end I’m forced to say, “not so much.” So what is missing?

The beginning was promising. We are introduced to a character who is different, living in a rural town where he is the only one of his kind. He is a half-breed human and shape-shifter, and in this world the human majority has placed severe limits on the rights of the shapeshifter minority. Not only is he a shapeshifter in a community of humans, but he’s also a Sensitive Artist in a hick agricultural town. On top of that, he’s gay.

That’s a lot of potential from a thematic perspective — bigotry, the struggle of the creative spirit, forbidden love — but those don’t qualify as plot. Not on their own, anyway.

Our hero falls in love with a Bad Boy. A killer, in fact. Bad Boy has to skip town when a body is discovered, and when it looks like suspicion might fall on our hero, he runs off to the city. “A bit of a reach, but perhaps the start of an actual plot,” I thought at the time.

Our fish-out-of-water story, meanwhile, has turned into naïve-country-bumpkin-in-the-big-city story, losing focus on some of the potential themes but gaining others. Before he even gets to town he’s warned three times about the bad people who live there. Fortunately he has family in the city who are in just the right position to give his Artist career the exact boost it needs.

I could go on, but let’s just leave it at this: almost every event in this story is something that happens to the main character. The guy never comes up with a plan or even articulates a goal, beyond “stay with my boyfriend and write plays.” He bumbles into trouble and is bailed out by others.

This book would have been way more interesting if it was told from the point of view of the Bad Boy. As it was, take away the homosexuality and this relationship would fit well in a crappy romance novel. Bad Boy is only ever bad offstage; he’s never frightening or threatening toward our hero, and in the end the Bad Boy’s Artistic Soul is liberated and they live happily ever after. Ho hum.

At least the Bad Boy undergoes some sort of change. I can’t say the same for any of the other characters. In the end our hero gets what he wants simply by being talented and being in the right place at the right time – more than once. Exactly once he puts his foot down and makes something happen on his own, although I only give him partial credit because he’s cornered first and has no other way out. How can you cheer for someone who doesn’t do anything?

I wonder if Kimberling set out specifically to write an urban fantasy with a homosexual romantic angle, and accomplishing that goal blinded her to the need to still put a real story in place behind it. Good romances have flawed people fighting themselves as much as any external battle, and those flaws threaten to ruin everything. The characters make plans and work for what they want (or think they want). In Turnskin, even the potentially powerful themes she begins to develop go neglected.

What’s the difference between a sequence of events and a plot? Volition has something to do with it. People who face a central problem and act to make things go their way. Characters who learn and adapt even as the stakes get higher. It’s the difference between Rocky and Rambo. It’s the difference between this book and a story.

It’s also the difference between many things I’ve written and a story. Something for me to pay attention to as I lay the keel for Immortal Flesh.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Escapement

April 25th, 2010
In a clockwork world, clocks are magic.

There is a vibrant subgenre of science fiction that goes by the moniker steampunk. A steampunk world is filled with gears and gizmos, crazy clockwork inventions that in a broad sense answer the question “what if the information age started without electricity?” Escapement by Jay Lake takes the steampunk idea one step further: rather than filling the world with crazy mechanisms, the world itself is a piece of clockwork machinery. The Universe is a functioning machine.

What would the effect be in the inhabitants of such a world? Theology would certainly be changed dramatically, as evidence of intelligent design is right there in the brass gears that move the planets in their tracks. On this Earth there is a wall around the equator, miles and miles high, that fits into the track that defines the Earth’s orbit. (Gravity still seems to function, and the Earth is the same size as our home planet, so I’m not sure how regular orbital mechanics interact with the mechanical orbital mechanism. But anyway…)

The inhabitants of the flat parts of the Earth are similar in temperament and technology to those of Victorian era. (Steampunk loves the victorian age.) England never lost her colonies, despite an abortive rebellion in the US led by Lincoln and Lee, and now rules Europe as well. China is rivaling England’s dominance of North Earth. South of the wall… who knows? No one has managed to get there and back again. There are tensions between the two powers, and both nations are trying to reach South Earth. There are also international secret societies with their own agendas.

It’s a volatile situation. You know what could be disastrous at a time like that? A genius, that’s what. Adding Paolina Barthes to that situation is like adding an atomic bomb to gasoline.

Paolina was born in a dying village at the foot of the wall, way out in the Atlantic. The wall is a vertical continent filled with all kinds of strange creatures and intelligences, including robots. (Since Čapek has yet to be born, they are called Brass Men.) Events and Stupid People drive her from her home, and she sets out along the wall to find distant Africa, to travel from there to England, where the great wizards create the machines that can change destiny. Paolina has also built a clock — only it’s more than a clock, it’s a device that is in tune with the mechanisms that drive the world. Once it is tuned to resonate with something in the world, it can be used to alter that thing. Some folks on the wall call it a gleam.

In her travels she meets a Brass Man. He is a machine, identical to all the others but for the memories in the crystals in his head that have not been shared yet. There is a code word, he tells Paolina, a word that he himself does not know, that would break the seal that ties him to Authority. Naturally Paolina resolves to find that code to free him.

There are two other main characters as well, but they are less interesting. Perhaps this is partly because of the way we meet them. More on that shortly. Angus al-Wazir is a big, Scottish (with a bit of Arab) military man, formerly of an airship that went down while exploring the wall. He’s made it back to England but now finds himself part of a project to drill a hole through the wall to get to the other side. Emily Childress is a librarian and a member of one of the aforementioned secret societies. She’s been dragged from her library and is about to become a political sacrifice when Events intervene, and she finds herself prisoner on a Chinese submarine.

This was a fun book, but I want to talk for a little bit about the first couple of chapters. Each chapter starts with Paolina, then comes Angus, then comes Emily. Paolina lives on al Muralha; it shapes her life. As something that’s always been there, it’s not something she considers directly that often. I, on the other hand, had no idea what the hell al Muralha was. The village is small, and dying, and everyone besides her is really quite stupid. Only gradually do I start to discover what everyone in the story already knows — that the wall is truly, stupendously, mind-bogglingly tall. In the meantime, I was confused.

It has become a theme in my rambling reviews of late to discuss the way a novel interacts with others of a series. The other two characters in this story (and the wall) were introduced in a previous book. When we are introduced to Angus and Emily there is a whole ton of backstory to deal with, especially with Emily. We are told about Emily’s role in sending some other guy off on a mission with the White Birds, her secret society. We are told about the theological differences between her society an the others they are at odds with. The thing is, all that backstory could have waited. I was starving for information, but given a bunch of blah-blah-blah instead. What I was waiting for was for someone to look at the damn sky. More than once there are passing references to brass in the sky, and even phrases like, “one had only to look at the sky to see the hand of the creator.” I thought at first that the writer was being coy, teasing me along with references to the strange clockwork universe, but in the end that wasn’t it. I think the wall and the sky were made clear in the previous book and he didn’t feel the need to go into the details again. I can’t say for sure as I haven’t read the previous one. I just needed Paolina to spend an evening estimating the width of the track the Earth follows (later she mentions that she has done this), perhaps calculating the stresses on it or speculating on the motive force behind it, to not only appreciate the clockwork world but Paolina as well. It would have been interesting and could have focussed on details of the world not touched on in the previous book, to make it interesting to newbies and returning fans as well.

So we begin with a lot of information, but it’s the wrong information. All that other backstory that we did get is also handled when it is actually needed, so overall chapter one, when we should be getting to know the people and the world, is more about getting to know a different and not terribly relevant story.

After we get through the blah-blah-blah (which is pretty quick) we get on with the story and it’s a pretty good adventure. Just how much power Paolina’s gleam holds is revealed gradually and interestingly, and her struggle to find a place in a sexist society is excellent. Eventually she has to come to grips with the fact that she is an atomic bomb in an ocean of gasoline, and figure out what to do about it. Angus is all right, a tough and sensible guy with an honorable streak. Emily never really picked up a third dimension. The three converge for the big finish, but in the end Emily doesn’t matter much, except to provide a vehicle to tell us, the readers, what the Chinese are up to. Angus has several sub-adventures along the way that add flavor but not substance to the narrative. Somewhere along the wall he foments a Coup d’Etat, then drives away unaffected. Huh. I guess the author needed something for him to do to preserve the structure of the chapters.

Overall, this was an entertaining read, and I’m glad it was in my goody bag at the World Fantasy Convention last November. Had I read this review beforehand, I would have enjoyed it even more. I would have had the right backstory. Now you can go in prepared.

Note: if you use the above link to buy this book (or a Kindle, or a new car), I get a kickback.

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Maledicte

April 9th, 2010
An excellent novel, but perhaps not for the faint of heart.

Note: On review lo these years later I have to admit that this is one of my less-coherent reviews. Which is too bad, because the book really is good.

I met Lane Robins a couple of years ago in a writing workshop. I was strongly encouraged by others there that I should read Maledicte, but someone else in the workshop bought the last copy from the university book store, so I had to wait. It’s been a while now but I finally got around to ordering the book through Amazon and reading it.

I’m not going to give this book a great review because I know the author; I’m going to give this book a great review because I genuinely liked it. Not everyone may be comfortable with this book, but it’s a really rewarding read. (My bias toward the author is manifested in that If I didn’t like the book I just wouldn’t review it.)

First, hats off for the publisher, who created a striking volume with great cover art and a substantial feel. I’ll be ordering a Kindle in the near future, but this book’s physical presence adds to the experience. It’s a pleasure to hold.

At the heart of this story is a love triangle. It’s a very complicated love triangle, between very dangerous people. Maledicte is a beautiful young man in blind pursuit of vengeance against one of the most powerful people in the land. Maledicte is also a young woman from the slums of the city who will do anything to be reunited with her childhood sweetheart. Toward both ends Maledicte has been granted power from a god long thought dead, manifested in a black-bladed rapier — ever sharp, ever quick to hand, ready to spill blood. When his vengeance is complete, Maledicte will have a price to pay.

In his pursuit of vengeance Maladicte finds a powerful ally, and the servant of the lecherous old man forms the second point on the triangle. For a while as their relationship developed I found it difficult to understand why Gilly put up with Maledicte at all. “Here we go again,” I thought to myself, “another petulant rage by Maledicte.” Gilly is thoroughly convinced that Maledicte is male, and he’s a damn unpleasant person to be around most of the time. There is a moment when that changes, a brief, candid conversation that provides a glimpse into the human being behind the horrible mask. After that things made a lot more sense. Just in time, too, because the body count is about to start climbing.

Gilly is troubled that he is attracted to a man, but there’s not much he can do about it, except run away to distant shores and start over. He’s not ready to resort to that, yet, though as time passes he finds himself getting drawn deeper into the web of death and intrigue, his own hands getting bloodied even as he recoils in horror.

The third point on the triangle is Janus, Maledicte’s old flame, also from the slums and every bit as dangerous as Maledicte. He is the bastard child of the man Maledicte wants to kill; Janus just wants to make sure that death furthers his own goals. Where Maledicte kills to further his plans for vengeance, Janus is driven by ambition. He is subtle, seemingly an easygoing young man, only slowly revealing the depths and intricacies of his plotting. Calling him evil would miss the point; his affection for Maledicte is genuine, and he will sacrifice for her. But if that sacrifice means killing people and becoming one of the most powerful men in the land, well, you have to break a few eggs to make an omelette.

In this story Robins asks us to like some pretty unlikeable folks. There are no angels between these pages, and good people die. Also, bad people die. I was unable to sympathize with Maledicte at all for a while; to the point where it started to get in the way. Once I got the glimmer of light from Maledicte’s soul, I was completely on board. Heinous acts and atrocities begin to pile up (the royal court is not a pleasant place), and because we can see Maledicte through Gilly’s eyes, and we see that the victims are rarely innocent themselves, we can still pull for our heroes.

All three of the characters are able to surprise us, and all are realistic — if in twisted ways — as are the supporting cast. The machinations of the court are laid out so naturally that thinking back I’m surprised to realize how complex it all was. There were a couple of background issues that didn’t help the story (Antimachinists, for instance), that are probably there to set up another story but got in the way here. That’s a quibble, though.

Love, hate, revenge, duty, despair, jealousy, and downright crazy all take their turns pulling on the strings of the characters, and what’s really great about this book is that you feel it – even the crazy. This book is both atmospheric and visceral, and doesn’t pull it’s punches. You are right there with everyone else. It’s a good ride.

Note: if you use the above link to buy this excellent book (or a Kindle, or a new car), I get a kickback.