Only Nine Days until Delivery for Mouse and Dragon
Sunday, July 5th, 2009 10:36 amIt's not raining. More, the sun is out, and there's a nice breeze playing in the trees outside my window. Too bad we have stuff to do inside.
I've been going through the story cards here at the Confusion Factory, mostly to see if I can figure out why the file manuscript of Agent is on nine-pin burst paper. I'm guessing the typescript came back trashed from Ace, where it was submitted first, and I retyped it into the (then lately acquired) computer before sending it out to DAW. There's no other reason that accounts for both the month-long gap in getting the manuscript back into the mail and the computer printout.
Anyhow, going through the cards, I'm struck by the various rejection notes gathered over the years. Mostly, it seems that "nothing happens" in our stories; indeed "Candlelight" was rejected numerous times with the note that "something needs to happen" in the narrative. Then of course there was Stephe Pagel's fond description of Local Custom "the book where nothing happens," and Shelly Shapiro's comments regarding Carpe Diem, which she objected to because (so it says in my notes from our phone conversation) "nothing happens." Since I suspect that "nothing" also happens in Mouse and Dragon, I'm now even more interested in seeing the inevitable revision notes.
So, here's a question for an unrainy Sunday: How much action, and what kind, do you as a reader require in a book to remain engaged? And, for extra credit: What's your favorite book in which "nothing happens"?
I've been going through the story cards here at the Confusion Factory, mostly to see if I can figure out why the file manuscript of Agent is on nine-pin burst paper. I'm guessing the typescript came back trashed from Ace, where it was submitted first, and I retyped it into the (then lately acquired) computer before sending it out to DAW. There's no other reason that accounts for both the month-long gap in getting the manuscript back into the mail and the computer printout.
Anyhow, going through the cards, I'm struck by the various rejection notes gathered over the years. Mostly, it seems that "nothing happens" in our stories; indeed "Candlelight" was rejected numerous times with the note that "something needs to happen" in the narrative. Then of course there was Stephe Pagel's fond description of Local Custom "the book where nothing happens," and Shelly Shapiro's comments regarding Carpe Diem, which she objected to because (so it says in my notes from our phone conversation) "nothing happens." Since I suspect that "nothing" also happens in Mouse and Dragon, I'm now even more interested in seeing the inevitable revision notes.
So, here's a question for an unrainy Sunday: How much action, and what kind, do you as a reader require in a book to remain engaged? And, for extra credit: What's your favorite book in which "nothing happens"?
Several folks have offered to scan the papers we're looking to get rid of, and several others have pointed me at scanners. All of this concern and good advice is appreciated, but. . .
I don't understand why I would want to be scanning the papers.
Obviously, I'm missing something.
Somebody point out the elephant, please?
Thanks.
I don't understand why I would want to be scanning the papers.
Obviously, I'm missing something.
Somebody point out the elephant, please?
Thanks.
Fledgling, Saltation, and! A Poll
Monday, June 22nd, 2009 07:16 pmI have finished entering the back-logged orders for Fledgling and Saltation. As of this moment, we have 164 Saltation and 214 Fledgling available for adoption. These are for books-signed-by-the-authors. Which will, please note, probably arrive directly to your mailbox some time -- even some Very Long-Seeming Time -- after you could've picked it up in a store. This is because we will be signing and mailing each of those books ourselves. Auctorial fingerprints, no extra charge!
If you're interested in adopting, please drop me a note at rolanniATkorval.com (where The Usual replaces AT).
The rest of the bookkeeping can take a hike for the evening. Also? The chest of drawers did not get built, though the pieces of same have been decanted and counted. Perhaps tomorrow. Or, perhaps tomorrow we'll be grasshoppers and go see Up!
I wondered over on Facebook this morning whether I really needed to hang on to all of the hard-copy submission drafts for various novels. I mean, what's the point? And! If I shredded them and used them for mulch, then I could, like, get rid of a file cabinet! Believe me, there are fewer thrills so heady as getting rid of a file cabinet, especially when there's the possibility of replacing it with a bookshelf. Andy Funk suggested that we auction the drafts off, which I thought was kinda silly (sorry, Andy), because -- Hello? Piles of Old Paper that only have one side available to draw on.
However, in the course of my explorations today, I opened the bottom drawer of one of the file cabinets in my office, discovering the original 'scripts for Agent of Change, Conflict of Honors and Carpe Diem. Not only was this Very Scary (no wonder I don't have any room in the file drawers!), but -- now I can't get the drawer closed.
Which leads me to wonder anew if Andy's idea has merit after all -- would anybody pay for this paper? -- or if shredding is the way to go?
Your opinion counts!
[Poll #1419696]
If you're interested in adopting, please drop me a note at rolanniATkorval.com (where The Usual replaces AT).
The rest of the bookkeeping can take a hike for the evening. Also? The chest of drawers did not get built, though the pieces of same have been decanted and counted. Perhaps tomorrow. Or, perhaps tomorrow we'll be grasshoppers and go see Up!
I wondered over on Facebook this morning whether I really needed to hang on to all of the hard-copy submission drafts for various novels. I mean, what's the point? And! If I shredded them and used them for mulch, then I could, like, get rid of a file cabinet! Believe me, there are fewer thrills so heady as getting rid of a file cabinet, especially when there's the possibility of replacing it with a bookshelf. Andy Funk suggested that we auction the drafts off, which I thought was kinda silly (sorry, Andy), because -- Hello? Piles of Old Paper that only have one side available to draw on.
However, in the course of my explorations today, I opened the bottom drawer of one of the file cabinets in my office, discovering the original 'scripts for Agent of Change, Conflict of Honors and Carpe Diem. Not only was this Very Scary (no wonder I don't have any room in the file drawers!), but -- now I can't get the drawer closed.
Which leads me to wonder anew if Andy's idea has merit after all -- would anybody pay for this paper? -- or if shredding is the way to go?
Your opinion counts!
[Poll #1419696]
Is there a linguist in the house? How about a psychologist?
Friday, May 22nd, 2009 12:29 pmClose readers of this journal will note that I have recently completed Nine Years Among the Indians being a first-person account of the abduction of a white child, one Herman Lehman, by Apache Indians. As I suspected, I gained very little insight into the process of moving (albeit being forced to move) from one set of cultural mores to one that was pretty much diametrically opposed from Herman's account. I suspect that he was among the Indians as he became among the white men when he was finally "reunited" with his "real family," a charming rogue who could spin a tale to his own benefit as easy as taking a breath.
But! One thing that Herman asserted has me wondering a bit about language (though perhaps I should be worrying about Herman). I know that children acquire languages very quickly, often making no difference between the words from Language A and those from Language B and being pretty free in the matter of creating creoles. Herman was eleven when he was abducted, and at that time was bi-lingual -- he spoke German and English. When he was returned to his mother, a great hulking savage of twenty summers, he spoke Apache, Comanche, and Spanish. He claimed to have no knowledge of English or of German and had to have those languages taught to him again by his sister.
I suppose I had expected that Herman would have perhaps had to have been "reminded" of his first two tongues, since he hadn't spoken them daily for nine years, but I'm having a hard time imagining that he would completely forget them. Maybe a younger child would have -- but by eleven you would think that the languages would have made grooves in his brain.
Does this happen? Do people simply forget their milk tongue if they don't speak it for a certain number of years? Or is this simply the "let's make it a better story" gene at work?
But! One thing that Herman asserted has me wondering a bit about language (though perhaps I should be worrying about Herman). I know that children acquire languages very quickly, often making no difference between the words from Language A and those from Language B and being pretty free in the matter of creating creoles. Herman was eleven when he was abducted, and at that time was bi-lingual -- he spoke German and English. When he was returned to his mother, a great hulking savage of twenty summers, he spoke Apache, Comanche, and Spanish. He claimed to have no knowledge of English or of German and had to have those languages taught to him again by his sister.
I suppose I had expected that Herman would have perhaps had to have been "reminded" of his first two tongues, since he hadn't spoken them daily for nine years, but I'm having a hard time imagining that he would completely forget them. Maybe a younger child would have -- but by eleven you would think that the languages would have made grooves in his brain.
Does this happen? Do people simply forget their milk tongue if they don't speak it for a certain number of years? Or is this simply the "let's make it a better story" gene at work?
Words, we has them
Saturday, May 2nd, 2009 07:45 pmReminder to the folks who don't have LJ accounts: I love your comments, but do remember to sign your posts! It unsettles me to not know who I'm talking to. Thanks!
Still soliciting suggestions for good, new SF over here, and being amused by the interesting ideas about What Is Science Fiction and What Is Fantasy.
Not that we're helping any, I know. Writers like to mashup genres.
We do have a question down in that thread that I'm throwing open to the Group Mind, since I have embarrassingly not read either Escapement,The Difference Engine or enough Steampunk literature to have formed an opinion. The question from Lauretta at Constellation Books:
Watching this thread and thinking about this, I must ask - What do you consider steampunk? Fantasy or Science Fiction?
PS Steampunk as defined as The Difference Engine, Larklight (YA - very good), most of Jay Lake's work, etc.
Progress on Mouse and Dragon
Still soliciting suggestions for good, new SF over here, and being amused by the interesting ideas about What Is Science Fiction and What Is Fantasy.
Not that we're helping any, I know. Writers like to mashup genres.
We do have a question down in that thread that I'm throwing open to the Group Mind, since I have embarrassingly not read either Escapement,The Difference Engine or enough Steampunk literature to have formed an opinion. The question from Lauretta at Constellation Books:
Watching this thread and thinking about this, I must ask - What do you consider steampunk? Fantasy or Science Fiction?
PS Steampunk as defined as The Difference Engine, Larklight (YA - very good), most of Jay Lake's work, etc.
67590 / 120000
So, what's good to read in SF lately?
Saturday, May 2nd, 2009 12:03 pmI just had the occasion to review my wish list over on Amazon.com and notice something...peculiar. Excluding non-fiction, my book list is exclusively fantasy -- no, I'm wrong. Surely Palimpsest is science fiction. So, the Overwhelming Majority of my fictional wants is fantasy.
I can't help but think that there's something wrong with this. Back before I uttered the Fateful Phrase, "I can do better than this!" and so embarked upon my career as a writer, I was pretty much reading science fiction, having gotten there via a crooked path through mystery, classics, romance, and general literature. Granted, because I'm a natural mimic, I tend to stay away from reading SF when I'm writing SF, but I'm not even buying SF anymore (another exception -- the new Bren Cameron novel hit the mailbox this week). I have here in my TBR pile:
New Amsterdam, E. Bear (fantasy)
The Last Days of the Incas, K. MacQuarrie (non-fiction)
Nine Years Among the Indians, H. Lehmann (autobiography)
A Song in Stone, W. Hunt (fantasy)
The Animal Dialogues, C. Childs (non-fiction)
Thirteenth Child, P. Wrede (fantasy)
Conspirator, CJ Cherryh (sf)
The Source of the Nile, R. Burton (non-fiction)
The Kimono of the Geisha-Diva Ichimaru,Till, Warkentyne, Patt (non-fiction)
...and I'm currently reading Edison's Eve: A Magical History of the Quest for Mechanical Life by G. Wood (which by the way is fascinating) -- nonfiction.
I remember hitting a thick patch with SF a couple of years back, where I was reading books that people whose taste I trusted raved about -- and finding them (choose all that apply): (1) dull (2) incomprehensible (3) Inflated with a sense of their own Importance (4) lack sympathetic characters -- and I guess I found that my itch for exciting! character driven! stories! got scratched better elsewhere. But, surely, there's SF that's worth reading out there. Right?
What're you reading that's good in SF? And! Special Bonus Question: What makes it good?
edited to fix spelling
I can't help but think that there's something wrong with this. Back before I uttered the Fateful Phrase, "I can do better than this!" and so embarked upon my career as a writer, I was pretty much reading science fiction, having gotten there via a crooked path through mystery, classics, romance, and general literature. Granted, because I'm a natural mimic, I tend to stay away from reading SF when I'm writing SF, but I'm not even buying SF anymore (another exception -- the new Bren Cameron novel hit the mailbox this week). I have here in my TBR pile:
New Amsterdam, E. Bear (fantasy)
The Last Days of the Incas, K. MacQuarrie (non-fiction)
Nine Years Among the Indians, H. Lehmann (autobiography)
A Song in Stone, W. Hunt (fantasy)
The Animal Dialogues, C. Childs (non-fiction)
Thirteenth Child, P. Wrede (fantasy)
Conspirator, CJ Cherryh (sf)
The Source of the Nile, R. Burton (non-fiction)
The Kimono of the Geisha-Diva Ichimaru,Till, Warkentyne, Patt (non-fiction)
...and I'm currently reading Edison's Eve: A Magical History of the Quest for Mechanical Life by G. Wood (which by the way is fascinating) -- nonfiction.
I remember hitting a thick patch with SF a couple of years back, where I was reading books that people whose taste I trusted raved about -- and finding them (choose all that apply): (1) dull (2) incomprehensible (3) Inflated with a sense of their own Importance (4) lack sympathetic characters -- and I guess I found that my itch for exciting! character driven! stories! got scratched better elsewhere. But, surely, there's SF that's worth reading out there. Right?
What're you reading that's good in SF? And! Special Bonus Question: What makes it good?
edited to fix spelling
What goes around poll
Friday, April 10th, 2009 01:33 pmThere's been a sort of movable discussion wandering through a couple writer communities I'm part of, brought on in part by writers who are trying to figure out how best to grow their audience, make a living, and maybe even get a bigger piece of the action.
Not surprisingly, many of these conversations come 'round to web serialization for fun and profit, what works, what doesn't. Some folks are of the opinion that giving one's work away "for free" is always a bad deal for the writer, some folks think that giving work away "for free" is the wave of the future, whereupon we're all gonna starve, some folks think that asking readers to kick in a buck for downloading a novel direct from the author is tacky, some think it's OK, but that no one will pay.
In other words, it's a complicated subject and lots of bright people are struggling to make sense of it, and to figure out how to work current realities to their benefit while simultaneously trying to figure out where current realities are going to take us in one, three, six years.
Now, Steve and I did well with our web serializations. I honestly don't know if that's because of a Paradigm Shift, or because we have Incredibly Cool Fans(TM), or because we were writing a Liaden story -- or a combination of all those factors and a bunch that I haven't thought of.
In the spirit of trying to figure some stuff out myself, I offer the following poll, going from the general to the specific.
[Poll #1381306]
Not surprisingly, many of these conversations come 'round to web serialization for fun and profit, what works, what doesn't. Some folks are of the opinion that giving one's work away "for free" is always a bad deal for the writer, some folks think that giving work away "for free" is the wave of the future, whereupon we're all gonna starve, some folks think that asking readers to kick in a buck for downloading a novel direct from the author is tacky, some think it's OK, but that no one will pay.
In other words, it's a complicated subject and lots of bright people are struggling to make sense of it, and to figure out how to work current realities to their benefit while simultaneously trying to figure out where current realities are going to take us in one, three, six years.
Now, Steve and I did well with our web serializations. I honestly don't know if that's because of a Paradigm Shift, or because we have Incredibly Cool Fans(TM), or because we were writing a Liaden story -- or a combination of all those factors and a bunch that I haven't thought of.
In the spirit of trying to figure some stuff out myself, I offer the following poll, going from the general to the specific.
[Poll #1381306]