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Viewing: Blog Posts Tagged with: boots’—lapti, Most Recent at Top [Help]
Results 1 - 23 of 23
1. Cormac McCarthy Is Working on a New Book

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2. Andi Watson: ‘Working hard and having fun hopefully go hand in hand…’

Andi WatsonHave you ever written a scary story? In honor of the Halloween season, we are interviewing horror writers to learn about the craft of scaring readers.

Throughout his career, cartoonist Andi Watson has written and illustrated dozens of comics and graphic novels. Right now, Watson is working on a spooky children’s story called Princess Decomposia and Count Spatula. Check out the highlights from our interview below…

Q: How did you land your first book deal?
A: Because I’m a cartoonist, my first opportunity of being published came through physically mailing my mini-comics to publishers. Six months after sending them out a company called Slave Labor Graphics agreed to publish me. This was a good two decades ago when publishers would look at unsolicited submissions without needing to sign legal disclaimers. Having said that, after experiencing something of the book publishing world, it’s still an awful lot easier to make contact with graphic novel publishers than it is in the traditional prose world. Putting work online and attending cons is a good way to make contacts. As in all areas of work, it helps to know people.

(more…)

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3. Serious Novels Imagined as Children’s Books on Tumblr

chabon

Imagine Cormac McCarthy‘s The Road, Michael Chabon‘s The Wonder Boys and Jonathan Franzen‘s The Corrections told through drawings in a children’s book.

Jerry Puryear has done  just this. He has created a Tumblr page called Misguided Paeans, which is dedicated to children’s book adaptations of serious adult novels. ”A poorly advised amalgam of literary fiction and children’s books,” explains Puryear on the website.

The regularly updated  collection is very entertaining and worth checking out.  (Via Slate).

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4. Jonathan Maberry: ‘Get your butt in a chair & write.’

Have you ever written a scary story? In honor of the Halloween season, we are interviewing horror writers to learn about the craft of scaring readers. Recently, we spoke with author Jonathan Maberry.

Throughout Maberry’s career, he has won multiple Stoker Awards for his horror work. Last month, Simon & Schuster Books for Young Readers released the third installment of the Rot & Ruin series, Flesh & Bone.

He has written for Marvel Comics and published multiple novels for both adults and young-adults. As a nonfiction writer, Maberry has examined topics ranging from martial arts to zombie pop culture. Check out the highlights from our interview below…

continued…

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5. Rewrite Victorian Vampires for Fun & Prizes

To celebrate Mediabistro’s upcoming Media App Summit, we are hosting The World’s Longest Literary  Vampire Remix writing contest.

Follow this link to sign up for our new writing contest. With the help from writers around the country, we will rewrite Varney the Vampire–a bestselling vampire novel from the 19th Century filled with enough star-crossed romance, vampire action and purple prose to inspire another Twilight trilogy.

You will rewrite a small section from the book your own unique style (from poetry to Twitter updates to cartoons to imitations of your favorite writer). We will publish the final product as a free digital book (complete with Victorian-era illustrations) that anyone can download. Every contributing writer will receive a byline, a short biography and a website link in the remixed novel. In addition, we will reprint our favorite remixed passages and share your work with Mediabistro readers.

Intrigued? You can sign up at this link.

continued…

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6. Reader That I Am

50 Book Pledge | Book #47: The Road by Cormac McCarthy

I have always been a reader and I can tell you with complete certainty that I always will be. However, unlike many others, the reader that I am today wasn’t born out of reading a single book but out of a reading experience.

I’m talking about the Scholastic Book Order program. Because my parents trusted the program I was allowed to select any book I wanted. Being given control over my reading was life-changing because it became the one thing that was all mine from start to finish. No supervision required. To me, each book order held endless possibilities and so I would scour it for hours until I made the perfect pick.

As great as it was making my selections, nothing came close to the excitement of hearing my name called by the teacher and being handed my order. Weeks of anticipation were finally over. I would stare at my new books with their crisp, shiny covers and shift anxiously in my chair for the remainder of the day. Upon hearing the final bell I’d race home just so I could start reading. Not the books that my parents suggested. Not the books that my teacher required. But the books that I chose.

Though the days of the Scholastic Book Order ended quite some time ago for me, I still feel that same excitement every time I set foot in a bookstore. Scholastic did what no one else could: It made reading fun. So, Scholastic, it’s about time I thanked you for making me the reader that I am. Thank you!


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7. Karen Thompson Walker: The Powells.com Interview

Karen Thompson Walker's debut novel, The Age of Miracles, is, as Aimee Bender states, "glowing magic....at once a love letter to the world as we know it and an elegy." Julia is 11 years old when the earth, suddenly and inexplicably, begins rotating more slowly on its axis, forcing days and nights to get longer [...]

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8. Fake Cormac McCarthy Interviewed at The Atlantic

The Atlantic has posted an interview with Michael Crossan, the aspiring writer from Scotland who briefly fooled the Twittersphere by pretending to be novelist Cormac McCarthy.

As we reported last week, the fake account convinced hundreds of Twitter users, even managing to fool a Twitter executive before the account was suspended. In both those links, we archived the fake tweets for posterity.

Here’s more: “I did a search for Cormac McCarthy. I realized the chance of Cormac having a Twitter feed were remote. Cormac is religiously private. Of course there was no Cormac on Twitter. The idea flashed to create a parody Cormac feed. I created the account and did a search of the Twitter literati. I came across Margaret Atwood’s tweets. I had read and admired her novel The Handmaid’s Tale. As Cormac I tweeted her as I imagined he would do. I think Cormac is noble and sincere and blunt. I tweeted Margaret — ‘Please excuse my intrusion’ — and it escalated from there.” (Via HuffPost Books)

continued…

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9. Houghton Mifflin Harcourt’s Amazon Deal & Art of Letter Writing: Top Stories of the Week

For your weekend reading pleasure, here are our top stories of the week, including Houghton Mifflin Harcourt’s shocking news about Amazon, a fake Cormac McCarthy Twitter account and  Jack Gantos‘ Newbery Medal winning novel (pictured).

Click here to sign up for GalleyCat’s daily email newsletter, getting all our publishing stories, book deal news, videos, podcasts, interviews, and writing advice in one place.

1. 10 Bestselling Books with More Than 80 One-Star Reviews
2. What’s the Best Book You’ve Read in a Single Day?
3. Cormac McCarthy Did Not Join Twitter
4. Pinterest Tips for Writers
5. INFOGRAPHIC: Most Quoted Books of 2011
6. Houghton Mifflin Harcourt to Distribute Amazon Books
7. J.R.R. Tolkien & George Orwell Removed From Public Domain
8. Best Mystery Books of 2011
9. Revive the Lost Art of Letter Writing Next Month
10. Jack Gantos Wins the Newbery Medal

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10. Fake Cormac McCarthy Twitter Account Suspended

The strange saga of the fake Cormac McCarthy Twitter feed has ended. The Twitter feed that once excited writers around the Internet now reads: “Account suspended. The profile you are trying to view has been suspended.”

Oddly enough, the fake feed managed to fool more readers this week–including Twitter executive chairman Jack Dorsey (his tweet, later retracted, is embedded above).

Explore more tweets below–you can also read the fake Cormac McCarthy tweets archived here. We contacted Twitter for comment earlier this week, but we haven’t received a response. continued…

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11. Authors Who Doodled

Flavorpill has collected the doodles of famous authors, including Sylvia Plath, David Foster Wallace, Vladimir Nabokov, Franz Kafka, Samuel Beckett, Allen Ginsberg, Mark Twain, Henry Miller, Kurt Vonnegut, and Jorge Luis Borges.

The drawings ranged from insect portraits to nightmare images. Wallace drew one of the funnier pieces, doodling glasses and fangs on a photo of Cormac McCarthy.

Vonnegut (pictured with his artwork, via) incorporated many of his drawings into his books. He even had his own art gallery exhibitions. What author should illustrate their next book?

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12. Cormac McCarthy Has Updated 3/1 Odds to Win Nobel Prize in Literature

award.jpgAs U.K. gamblers adjust the odds for the Nobel Prize in Literature, Cormac McCarthy has lept to the top of the heap with 3/1 odds of winning the world’s most prestigious literary prize.

At the Ladbrokes betting site, the experts are hard at work trying to predict a winner of the world’s most prestigious literary prize. At the same time, Kenyan novelist Ngugi wa Thiong’o saw his odds rise to 11/4 and the odds for Japanese novelist Haruki Murakami to win the prize rose to 9/1.

Yesterday, Betting Pro had more about the odds from Ladbrokes spokesman David Williams. He explained: “We’ve never seen anything like it. Ngugi was a rank outsider when we first looked at the candidates but we fear we’ve got it horribly wrong. Punters cant get enough of him and we’re dreading him being announced the winner.” (Via Michael Orthofer)

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13. This Week in Publishing

The number of links this week may set a TWIP record, but holy cow was there good stuff out in the publishophere this past week. Let's get to it!

But first, before we get to the links, today may be your last chance to see the award winning (not really) circa-1999 design of this blog, featuring its square, awkwardly fonted logo and its "I slapped this thing together in a weekend" design ethos. Barring technical catastrophe the blog will be transitioning over the weekend to a fresh new look courtesy of the wildly talented web designer Sean Slinsky. Pardon our dust as we get things running.

And there may just be a few more surprises in store come Monday.

Now for real let's get to it:

First up, in the wake of the controversy about their new self-publishing/vanity arm, Harlequin announced that the new outfit will be called DellArte Press. Which is, um, an interesting name for, um... moving on!

There have been some anonymous murmurings in the comments section that I have been too focused and too pro-e-books lately, to which I would reply: 1) umseriously this e-book thing is kind of a big deal and 2) let me repeat I am not and would never advocating getting rid of print books and/or bookstores. To that end, Amazon recently released a list of the Best Book Covers of 2009, which feature some awesome can't-be-replaced-by-e-reader design. (via The Millions)

And further to that point, Bloomsbury publisher/editorial director Peter Ginna, who recently launched the must-read blog Dr. Syntax, posted an ode to the print publisher's secret weapon: the book designer.

But the e-book world marches on. My client Jennifer Hubbard thinks about what the e-book future might look like, and Mike Shatzkin has a fantastic three point publisher plan for fighting piracy. My favorite is the first one, which entails getting proactive about spreading fake book files on file-sharing sites. Fight dirty, publishers!

And lots of people have been wondering what will happen in an era where getting published is as easy as uploading a file to a website. GalleyCat asks: do we really need three million books? (To which those three million authors answer: yes for my book, no for the others!). And meanwhile, via How Publishing Really Works comes an article on how self-publishing doesn't (usually) work.

And finally in e-book news, J.A. Konrath has eleven bold e-book predictions for 2010, including e-readers for less than $99 and the rise of estributors.

Just kidding, that wasn't the last e-book link. Alan Kaufman wrote an article comparing the closing of bookstores and the rise of e-boo

42 Comments on This Week in Publishing, last added: 12/7/2009
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14. Odds and Bookends: December 4

No Country for Old Typewriters: A Well-Used One Heads to Auction
Christie’s will auction Cormac McCarthy’s Olivetti typewriter that he used to type every book he has written, including three not published.

First look: Harry Potter enters real world in ‘Deathly Hallows’

USA Today offers a first look into Harry Potter and the Deathly Hallows, the seventh, and last, book in J.K. Rowling’s series which is being broken into two films, the first part coming out in November 2010.

DailyLit Announces Move to All Free
DailyLit, a site that offers books in installments via email or RSS, is now offering its service free of charge!

Neil Gaiman Asks: Heard Any Good Books Lately?
In this NPR piece, Gaiman ponders the future of audiobooks and talks to David Sedaris and Martin Jarvis about what makes a great audiobook — and a great reader.

And it wouldn’t be the end of the year without lots of booklists! Take a look at these:

100 Notable Books of 2009
The New York Times features a number of booklists to help you with your holiday shopping. Take a look at this list of the 100 notable books of 2009.

Books of the year: what kept you turning the pages?

The Guardian asks novelist, actors, critics and other notables what books kept them reading throughout 2009.

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15. This Week in Publishing

Lots of links this week, so let's get to it.

First up, there has been a huge controversy sparked by Harlquin's announcement that they would be forming a self-publishing arm called Harlequin Horizons. Victoria Strauss at Writer Beware wrote a very helpful initial roundup of the plan and controversy, Kristin Nelson wondered if it was exploitation or empowerment, and How Publishing Really Works had similar questions. Following the uproar, the Romance Writers of America took the pretty drastic measure of revoking Harlequin's "recognized publisher" status, and Harlequin announced that they are dropping the Harlequin name from the self-publishing program in order to distinguish the two.

Setting aside this controversy for a moment and the specifics of Harlequin's operation, let me just say that in principle I don't think publishers facilitating self-publishing is necessarily such a bad thing. However, there should be complete transparency, fair pricing, total disambiguation between traditional publishing arms and self-publishing arms, and every good faith attempt made to educate writers about the difference between the two. This industry obviously needs new revenue streams, and provided that the publisher's program is genuinely nonexploitive and transparent I don't see the problem, and I don't see why publishers should continue to cede ground to self-publishing companies when they have every capacity to provide the same service. It just has to be done correctly.

Now then. Other news!

Mike Shatzkin has one of the most brilliant blogs on the future of publishing out there, and this week he had a great post about some conversations he's had with agents about how our role will be changing in the new publishing landscape. He explores a possible change in the way agents earn money, the challenge of facilitating self-publishing, and his opinion (which I share) that "power is moving from 'control of IP to control of eyeballs.'"

In e-book news, the NY Times noticed that quite a few people are reading on their smart phones, and raises the question about whether the future of e-books is with dedicated devices or devices people already have (my guess: a mix of both). And in gadget news, a (satiric?) beta tester of Apple's iTablet spilled the beans to HuffPo/blew my mind, and Engadget released a helpful holiday gift guide for all the different e-readers.

My awesome colleague Sarah LaPolla passed along a really cool ode to the e-book in comic form. And HarperStudio posted a video ode to making a physical book.

Meanwhile, with all of our recent talk about efficiency and self-publishing and e-publishing, Rachelle Gardner had a really interesting post that worries about 25 Comments on This Week in Publishing, last added: 12/3/2009

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16. Writing Advice from Cormac McCarthy

The Wall Street Journal just ran an excellent interview with the seldom-interviewed Cormac McCarthy, and I thought this advice was particularly sound:

WSJ: The last five years have seemed very productive for you. Have there been fallow periods in your writing?

CM: I don't think there's any rich period or fallow period. That's just a perception you get from what's published. Your busiest day might be watching some ants carrying bread crumbs. Someone asked Flannery O'Connor why she wrote, and she said, "Because I was good at it." And I think that's the right answer. If you're good at something it's very hard not to do it. In talking to older people who've had good lives, inevitably half of them will say, "The most significant thing in my life is that I've been extraordinarily lucky." And when you hear that you know you're hearing the truth. It doesn't diminish their talent or industry. You can have all that and fail.

I was struck, too, by this:
CM: I'm not interested in writing short stories. Anything that doesn't take years of your life and drive you to suicide hardly seems worth doing.
Oh, Cormac! Aspire! I've spent up to six years on a single story! The possibilities for suicidal ideation as an obsessive short story writer are vastly greater than those of an obsessive novelist -- imagine years spent on twenty pages rather than hundreds! And then the struggle to just get, say, 5 cents a word for that story, if you can get paid at all! Cormac, baby, stop being such a wuss!

It's also clear that Mr. McCarthy has never encountered Big Fat Fantasy:
WSJ: Does this issue of length apply to books, too? Is a 1,000-page book somehow too much?

CM: For modern readers, yeah. People apparently only read mystery stories of any length. With mysteries, the longer the better and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore and people need to get used to that. If you think you're going to write something like "The Brothers Karamazov" or "Moby-Dick," go ahead. Nobody will read it. I don't care how good it is, or how smart the readers are. Their intentions, their brains are different.

The interview is long and fascinating, well worth the time to read it.

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17. Quote Only A Novelist Would Love

Yesterday, I found a quote via Tayari Jones with her Logical Links blog post.

“I’m not interested in writing short stories. Anything that doesn’t take years of your life and drive you to suicide hardly seems worth doing.”

It’s a quote only a novelist would love. From Cormac McCarthy, author of the dystopian novel, The Road.

The quote comes from an interview with the Wall Street Journal, Hollywood’s Favorite Cowboy, where McCarthy talks about writing and forthcoming movie based on his book.

0 Comments on Quote Only A Novelist Would Love as of 11/16/2009 11:03:00 AM
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18. This Week in Publishing

This Week in the Meltdown

Wondering how publishing company stocks are doing these days? Um..... basically as well as everyone else. Not Good.

Penguin imprint Dutton was in the news again as they won the auction for a new, Stoker-family-connected version of DRACULA. It will be the Stoker-family endorsed Dracula project since the 1931 film version.

Before you tell your kids to put down the Wiimote and go read some books, you may be curious to know that efforts are afoot to use video games to promote reading. Whatever works! Says the 28-year-old formerly addicted to Guitar Hero. Also the article has a new phrase I haven't seen before: digital literary. Which is important.

Everyone's favorite shy-author-publicity blog Shrinking Violet Promotions is compiling An Introvert's Bill of Rights. My favorite so far: "Introverts have the right to leave social events "early" as needed."

Editorial Anonymous reinforces perhaps the single best publishing advice that needs to be repeated again and again: don't follow trends.

As I'm sure you have seen, as expected, the Nobel Prize for Literature was not won by an American, but rather Frenchman Jean-Marie Gustave Le Clézio, who the committee cited for being an "author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization." But in the spirit of the current political season, I have a question for the mainstream media: How do we know that Le Clezio is not, and never has been, Cormac McCarthy? I call upon Le Clezi to prove that he is who he says he is and not the author whose terse prose and lack of quotation marks have demonstrated his fitness for the highest award granted in the name of inventors of dynamite.

And finally, in an article that is so quaint it kills, the Nobel Prize committee is gravely concerned that news of their selection of Le Clezio may have leaked early...... as reflected by the betting in the Nobel Prize futures market. I too lost sleep last night about upsetting the all-important "people who bet on the Nobel Prize in Literature" constituency.

Have a great weekend!

48 Comments on This Week in Publishing, last added: 10/15/2008
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19. Welcome!

Holy Tyra! Thanks so much to the Blogger team for making this today's Blog of Note, and a warm welcome to everyone visiting for the first time. We talk about books, reality TV shows, publishing, monkeys, writing, and Cormac McCarthy, not necessarily in that order.

If you're a writer (and really, who isn't these days?) be sure and check out the Essentials on the right side of the page, and especially the FAQs.

Transition.

I've blogged previously about my love of the VH1 show Behind the Music, and honestly, the Very Special Episode on Milli Vanilli is one of the most cherished hours I have ever spent watching television. However, there is one phrase that some people use in query letters that never fails to remind me of the tragic lives of Fab Morvan and Rob Pilatus as documented by a serious narrator on Behind the Music. And that phrase is "is shattered."

"Is shattered" is used a lot in query letters. Here's just a short list of some of the things that I have seen "shattered" in a query letter.

- Someone's faith in the world
- Someone's sense of complacency
- Someone's optimistic outlook
- Someone's heterosexuality

On the one hand this is good -- if something is shattering, it suggests that something is going wrong, which means the book probably has a plot. Plot is good.

On the other hand, "is shattered" is kind of a cliche, and here's why I would hesitate to recommend that people use it.

1) It's passive. "Nathan's day is shattered when he finds out Lauren Conrad sold a book and he wasn't the agent." The passive voice is found in your query!
2) It's vague. What does "is shattered" mean anyway? It's very nonspecific, and when every word counts, it's important to use words that count.
3) Agents see it so often. You couldn't have known this, so as with anything else, don't feel bad if you used it, and there's no way I passed on your query just because you shattered something in your query. And I'm sure "is shattered," as with anything else, has been used effectively sometime somewhere.

So in sum: be careful with "is shattered." If you do, in the immortal words of the Behind the Music narrator, "it all came crashing down."

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20. This Week in Publishing

This week. Publishing. For real this time.

Don't worry, I won't be changing my business cards any time soon. You may have read the news that ICM and Curtis Brown UK are contemplating some sort of mating ritual, but FYI, Curtis Brown and Curtis Brown UK are separate companies and have been for some time, and thus I would not be affected by any possible joining of the two. As you were.

Editorial Anonymous got in touch with a sales rep for a publisher, who very helpfully answered some reader questions about author brands and in-office signings. Since I am a farmboy I can't help but read "author brands" and think about the horrifying experience of watching my uncle brand cattle with one of those hot iron things, so in case you are feeling down about being an author and all of the new publicity demands that come with it, just remember: the cows have it worse. The cows always have it worse.

The Oscars came and went on Sunday, and needless to say: Cormac McCarthy won. I mean, was there ever any doubt? Anyone who lost their Oscar pool because they didn't pick "No Country For Old Men" need to know just one thing: YOU DON'T BET AGAINST CORMAC MCCARTHY. The man is a juggernaut. Me? I tied for winning the Curtis Brown office pool, and if only "Salim Baba" would have won for best documentary short I would have taken the whole shebang and you really would have heard the bragging.

Meanwhile, you know how they were trying to turn the Quills into the Oscars of Books? Yeah. Let's just say the Quills will not be celebrating their 80th anniversary in 76 years. In the wake of announcing that Reed Elsevier is putting their division Reed Business Information on the block, which includes trade magazines Variety and Publishers Weekly, they have also "suspended" the Quills. Sigh.

And finally, a book ATM? Oh hell yes. (thanks to Publishers Lunch for the tip). Contra Costa County in California is starting a program called "Library a-Go-Go." Stay with me -- I know that with "Book ATM" and the ridiculously great name "Library a-Go-Go" you are being besieged with awesomeness, but STAY FOCUSED. The Library a-Go-Go project will install several book ATMs at BART stations (BART = subway/commuter train basically) so you can pick up and drop off books at a Swedish-built machine containing 270-400 books, all without leaving the train platform. If this is the future sign me up. Now.

Have a great weekend!

25 Comments on This Week in Publishing, last added: 3/12/2008
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21. Stray Bits

I have finally made my way through the 3,000 emails that had accumulated in the mumpsimus at gmail account during my absence from checking it. Thank you to everyone for bearing with me on that. If you need a response of some sort to something, and I haven't yet replied, please send me another note, because I think I have responded to everything that seemed to need a response.

There are some sites and items I discovered from the mail, including:

  • The First Book, a site created by Scott William Carter to provide interviews with and information about authors of first novels. Scott was my roommate at the very first science fiction convention I went to, and he's not only a tremendous nice guy, but has developed a great career with lots of short stories published in a wide variety of markets and now a novel that is forthcoming from Simon & Schuster in 2010.

  • Noticing my comments on Cormac McCarthy's The Road, Henry Farrell let me know about a conversation with China Miéville about The Road that he had a year ago. I completely missed this when it was first posted (probably because I'd just gotten back from Kenya), and regret that, because it's very much worth reading.

  • Starship Sofa is a science fiction podcast with a great selection of material -- right now there's a podcast (mp3) about the life and career of the much-too-neglected John Sladek, and past shows have included readings of stories by Pat Murphy, Bruce Sterling, David Brin, and others.

  • This isn't from the mail, but I'll add it here anyway: A thoughtful review of the soon-to-be-released Criterion Collection DVD of Alex Cox's Walker. This is an extraordinary movie, and I'm looking forward to seeing the DVD very much, because I've only ever watched it on an old videotape I got a few years ago, and the image quality on the tape is awful. I first got interested in Walker after I returned from a trip to Nicaragua and started reading up on Central American history -- and one of the stories that most captured my attention was that of William Walker, who took a ragged band of ruffians down to Nicaragua and declared himself president. Cox turned the story into a bizarre movie, and when I first watched it my reaction was basically, "Huh?" But a second viewing endeared the movie to me, and Ed Harris's performance as Walker is extraordinary -- he's one of the best actors out there, but seldom gets a chance to really show what he can do to the extent he got with Walker. The film is a political satire, an over-the-top historical epic, a chaotic mix of anomalies and goofiness, a sad and affecting tale of American capitalism and imperialism. Other films were made in '80s about Nicaragua -- Under Fire and Latino come to mind -- but Walker has more depth and nuance (even amidst its blustery weirdness) than its more straightforward and painfully earnest cousins, and it has withstood the passing of time all the better for it.

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22. The Scarecrow-in-the-Desert Effect

I have been trying to pinpoint what, exactly, I dislike about many contemporary fictions, a certain effect or technique. (Perhaps a lack of effect or technique.) What I dislike feels to be the same in each story or novel, at least in what it does in my brain, despite these stories and novels being from all different genres. Thus, it seems to be some sort of effect of the prose, a way the narrative is presented, an early roadblock on the path from the page to my brain. I have avoided trying to write about it, because I know I will fumble around as I attempt to describe and analyze the problem, but what's a blog for if not to work through ideas...

The provocation for this writing was a quick blip from Galleycat about an article in Wired ("Why Sci-Fi is the Last Bastion of Philosophical Writing"). In describing the article, Ron Hogan wrote, "So why doesn't the establishment take science fiction more seriously? Because, [Clive Thompson] observes, 'the genre tolerates execrable prose stylists.' (Like the literary establishment doesn't?)"

I've been growing dissatisfied with the word "style" recently, because often it seems like a catch-all, a way of pretending to point at something without really doing so. I could probably trace my discontent back at least to my post on "PKD and Style", where the limits of my ability to find the right words for what I was trying to describe are at their height.

Thus, to say "the genre tolerates execrable prose stylists" seems to me simultaneously obvious and unhelpful -- obvious, because my current dissatisfactions with many of the books I encounter could be caused by something that might be connected to this thing we call style; unhelpful, because "execrable prose style" is a judgment that relies so much on personal taste and sensibility that I don't, myself, find it of much use when trying to explain why some things hold my interest as a reader and other things don't.

I liked Ron's parenthetical addition, because I've had as much trouble reading books marketed as literary fiction as I have had reading books marketed as science fiction, as much trouble with stories in literary journals as stories in science fiction magazines. (Or nearly as much trouble -- I do think the effect I'm circumnavigating has less prevalence in the most self-consciously literary circles.)

I always first identify the effect as a kind of image: the prose feels open and thin, like a picture of a tattered scarecrow in a vast desert. It has less to do with the shape and structure of the sentences than the content of paragraphs. It's not that the paragraphs are too short or long -- they can be any length, although the effect most often presents itself in short paragraphs -- but that they don't contain enough of certain types of matter, or they contain too much of another. The matter they lack is sensual or intellectual -- the accumulated paragraphs feel like a wide-angle lens's view of everything -- and the matter that overfills them is unwelcome or unnecessary information. (This is how I know this problem is not one of "good writing", whatever that is, but rather of my own prejudices about what narrative fiction should do, or can do best. Intellectually, I try to stay as open as possible to all sorts of fiction, but really there are only certain types that give me real pleasure as a reader.)

Some of this began to come into focus for me when I read James Gibbons's review of Susan Choi's A Person of Interest in the latest Bookforum. Someone at Viking had sent me the novel, and I have a particular interest in stories about politics and extremism, so I decided to give it a shot. Ten pages in, I knew it was hopeless. Gibbons gets at why:

After Lee is questioned by two men from the FBI about possible links to the Chinese Communists, Choi writes:
Only one thing remained beyond doubt: Lee really had closed the door not just on native country and language and culture but on kin, all of them, said good-bye to all that and stepped over a threshold of ocean to never look back. There had never been a divided allegiance, a pang of nostalgia, not even a yen for the food, so that only months into his life in the States, when faced by two FBI agents in an American bus station, he could almost have laughed—not to be thought Chinese but anything whatsoever, apart from American.
There’s too much of this kind of intrusive analysis in A Person of Interest. Choi writes ploddingly, and at too great length, about her characters in the abstract; the effect is like reading an outline rather than a novel.
"[L]ike reading an outline rather than a novel" -- yes, that was part of it. For the next step in being able to identify the effect that is so common and causes me so much annoyance, I needed Alan DeNiro's review of The New Space Opera:
What’s more disappointing is that in almost no cases is this disassociation from emotion made part of the story (something, ironically, that literary realist stories are often decried for in some genre circles); as an unexamined baseline, the affectless life forms plod through adventures whose outcomes appear meaningless against the larger backdrop of thousands of worlds, hundreds of civilizations. As Ian Macdonald’s meandering narration in “Verthandi’s Ring” tells the reader, “war was just another game to entities hundreds of thousands of years old, for whom death was a sleep and a forgetting.” Again, this galactic void could be part of the observable texture of the narrative, picking up on how the enclosed space of a story -- much like the sealed hull of an interstellar spaceship -- can only contain so much prose.
The section of Macdonald's sentence quoted there is of the sort that, unless the context is very different from the usual context for such sentences, I most dislike -- such sentences create an almost physical reaction in me. First, there is the part about war being "just another game", which sounds like a cliche, a flatfooted attempt at world-weariness (though it could be something different in the actual story). More viscerally, though, what fails for me is the perspective. I think Alan's right that there is a problem of texture here, although I have no idea if he and I are thinking about texture in the same way -- to me, a story with creatures of such age and attitudes would likely only be effective if the attitudes were conveyed through implication -- if we were made to feel their age and disconnection from human-sized events, and if nothing were stated so baldly as Macdonald states it. It doesn't take too much of a leap for me to make Gibbons's criticism of Choi fit with DeNiro's criticism of Macdonald: here is another example of intrusive analysis, another example of what is, to me, plodding writing.

(It's interesting to me now to read my review of One Million A.D., where I said some similar things to what Alan is saying about The New Space Opera. I also tried there to get at some of what I'm trying to get at here. I'm not sure I'm getting any closer now.)

I'm tempted to say that the plodding comes from the prose not doing what I desire prose to do: offer me more to think about than just one thing, but I'm not entirely satisfied with saying that; it doesn't feel like it gets at the heart of what bothers me about such writing. It's true that the feeling I get from such writing is that my brain isn't being engaged enough, but it's also that the abstraction sends my readerly brain down paths it finds dull and vacant, that such writing creates an imaginative distance more appropriate to, as Gibbons says, an outline than a piece of narrative fiction.

To some extent, too, it's a matter of the right details. Consider, for instance, one of the few books I've read recently with complete pleasure: Cormac McCarthy's The Road. I went into the book with some skepticism -- it had garnered so much praise, I was ready to be disappointed. While I certainly don't think it's the most extraordinary novel of our time (what is?), I enjoyed reading it and found much of it moving and impressive. What particularly made it impressive to me was how McCarthy balanced action, description, and dialogue, and how he built a world through implication rather than through statement, something much science fiction aims for and only rarely achieves. Here's a randomly selected passage:
When day broke he pushed his way out of their den, the tarp heavy with snow. He stood and looked about. It had stopped snowing and the cedar trees lay about in hillocks of snow and broken limbs and a few standing trunks that stood stripped and burntlooking in that graying landscape. He trudged out through the drifts leaving the boy to sleep under the tree like some hibernating animal. The snow was almost to his knees. In the field the dead sedge was drifted nearly out of sight and the snow stood in razor kerfs atop the fencewires and the silence was breathless. He stood leaning on a post coughing. He'd little idea where the cart was and he thought that he was getting stupid and that his head wasnt working right. Concentrate, he said. You have to think. When he turned to go back the boy was calling him.
There are bits of diction (kerf, sedge) that make the passage different from the sorts of description other writers would create, but there's also much that is not extraordinary about it, much that feels artless in the sense of being straightforward, plain, flat. It's not an artless passage at all, though, because the plainness of much of the diction is countered by the complexity of the rhythms. A chain of monosyllabic words gets broken by polysyllabic words. The first sentence has sixteen words, the second five, the third thirty-one. The vowels echo off each other. Etc. So much of The Road is like this that the accumulative effect is immense, and part of the novel's emotional power comes from the shape of the prose in concert with the actions and events it describes -- McCarthy leaves much unsaid in the novel, much unexplained, and for a reader like me it is a more evocative and compelling book because of this.

Some of what I'm trying to say here could easily be summed up with the cliche command issued to aspiring writers: Show, don't tell. I'm not convinced that's exactly it, though. If my problem with so much contemporary fiction was that it tells more than shows, why, then, do I find Roberto Bolaño's work so captivating? A story like "The Insufferable Gaucho" should drive me nuts, but it doesn't. Or what about Borges? Or, to return to genre fiction, Cordwainer Smith, whose "Dead Lady of Clown Town" begins:
You already know the end—the immense drama of the Lord Jestocost, seventh of his line, and how the cat-girl C'mell initiated the vast conspiracy. But you do not know the beginning, how the first Lord Jestocost got his name, because of the terror and inspiration which his mother, Lady Goroke, obtained from the famous real-life drama of the dog-girl D'joan. It is even less likely that you know the other story—the one behind D'joan. This story is sometimes mentioned as the matter of the "nameless witch," which is absurd, because she really had a name. The name was "Elaine," an ancient and forbidden one.

Elaine was a mistake. Her birth, her life, her career were all mistakes. The ruby was wrong. How could that have happened?

Go back to An-fang, the Peace Square at An-fang, the Beginning Place at An-fang, where all things start. Bright it was. Red Square, dead square, clear square, under a yellow sun.

This was Earth Original, Manhome itself, where Earthport thrusts its way up through hurricane clouds that are higher than the mountains.
It's not about telling or showing, not about dramatizing or summarizing, but rather about what the prose is up to. Bolaño, Borges, and Smith all fill their sentences and paragraphs with stuff, but there is something about all the stuff they throw in that makes it feel, to me at least, like something other than filler -- purposeful, deliberate, specific, vivid. McCarthy's details become compelling through the rhythms they create, but so do Cordwainer's Smith's, though the details in the passage I quoted are told rather than shown -- but the telling is meaningless on a first read, since we don't know what most of the details refer to, and so we are left with their sounds and shapes, the ways they work together, the music they produce. It's a baroque and even ridiculous sort of music, and yet it works, I think, just as well as McCarthy's mostly plain, mostly ordinary sounds, because it is so very much a thing of its own, simultaneously an object and an effect.

The opposite of this is the scarecrow-in-the-desert effect, the sort of writing that makes me most impatient, the sort of writing I am least inclined -- least capable! -- of reading to the end. For some reason, it has felt to me that I have encountered it with growing frequency in science fiction short stories and novels; the reason I feel this way is probably that I have reached a personal point of saturation and my tolerance levels are particularly low, my sensitivity particularly high. The details in stories seem to be presented too clearly, too obviously, too much for their own sake and not the sake of any additional purpose. They are the details of outlines, details that plod. Statements of action divorced from any purpose except to state an action. Background information that should be made important through implication, not assertion. The perspective of the writer toward the material is an abstract one, distant for (apparently) no good reason. The tone is affectless not because it needs to be, but because it fell out that way -- or the writing is "lyrical" because that's what the writer seems to think "good writing" is.

In his much-discussed Introduction to Best American Short Stories 2007, Stephen King complained about reading lots of stories that felt "airless". My metaphor would be exactly the opposite -- too many of the stories and novels I read feel full of air. That's the desert the scarecrow is in. There's too much dead space between the sentences and paragraphs, not enough for my brain to feast on. I've read (well, tried to read) entire issues of magazines that feel this way: stories with vaguely interesting situations and characters, written by people with the ability to put together smooth sentences, and yet there's nothing else there, and the simple fact is, for me at least, smooth sentences and vaguely interesting situations and characters are simply not enough. (Why should they be?)

Do these notes even describe a single effect? I'm no longer sure. It's possible I'm not bringing myself any closer to understanding the scarecrow-in-the-desert effect so many books and stories have on me these days. I'm curious, though, if anything I've written here resonates with other readers, because by blindly groping toward a description of the effect, I hope not only to be able to better describe how certain pieces of writing affect me, but also to discover ways to avoid creating such writing myself. (Or at least, I'd like to discover more ways to try to avoid creating such writing. Any writer can make grand pronouncements, but it takes a particular mix of skill and luck to be able to live up to such pronouncements even rarely in a career. Failing better all the time...)

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23. The Unknown GulagPart V: Another Source: The Survivors’ Testimony

Today we are proud (and a bit sad because it’s over) to present part 5 of Lynne Viola’s piece on her archival research for her book The Unknown Gulag: The Lost World of Stalin’s Special Settlements. Check out her previous posts here.

It would have been impossible to write this book without access to the archives. The archives, however, tell only a part of the story. (more…)

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