Okay, okay – everybody is talking about politics lately. Kinda hard not to, right? The world is freaking out, opinions are being expressed, people are upset, and so on and so forth. So what’s a writer (or any artist in general) supposed to do, here?
On the one hand, I have the advice of Kevin J Anderson, who told me and the other guests at the Writers of the Future workshop a few years back that political discussions by an author were unwise. “There is no sense,” he said, “to alienate half your audience.” He suggested we stay out of it. Do our talking through our writing, essentially.
On the other hand, we have a cadre of very politically vocal authors such as John Scalzi, Chuck Wendig, Kameron Hurley, and others besides. Notably, I recall a tweet from Ann Leckie who said, essentially, that politics is present in our lives and in our writing, no matter what we think of it. To ask that an author alienate politics from their public discourse is to ask that the author alienate a significant part of themselves. What are the odds that if you don’t like my politics, you are going to like my writing, anyway?
In balancing these points of view, one has to admit that Anderson has a point: why alienate potential readers if you don’t have to? Of course, it is notable that Scalzi, Wendig, and the like are hardly suffering as a result of their political opinions. One might argue that for every person who puts a book down thanks to politics, another picks it up for the same reason.
It’s Leckie’s view that sticks with me, though. How do you even avoid politics in writing or in social media? The avoidance thereof is, itself, a political statement. Your writing is going to espouse political viewpoints, no matter how apolitical you seek to be. Politics is important. You ought to have opinions about it. Lack of opinions about it signifies privilege, which is a side-effect (or even a goal) of particular political views. So, okay, sure – you can tiptoe around this stuff for years on end and act like you have no opinions, but you do. We know you do, you know you do, and we can even find your opinions in your writing no matter what you think. So why not just be honest? Speak your mind. Will it piss people off? Sure. But they probably weren’t going to like you anyway.
Now, for my own part, I have tried to keep overt political statements off this blog. I haven’t always been successful (I’ve had one or two people ragequit over some idle quip here or there), but I think I’ve made this a fairly “safe” environment for fans of my work to read what I have to say on the subject of scifi, fantasy, writing, and other geeky endeavors. But on Twitter, I just speak my mind. Because if you’re following me on Twitter, that implies you want to know me, not just read my feed for book ads. Now, back before the political world went batshit insane, my Twitter feed was a pretty dull, sedate place. These days not so much. You don’t want to know my political opinions? Don’t follow me.
Of course, if you wind up reading my books or stories, you’re going to get my political opinions anyway. You just might not realize it, I guess. In thinking about this post, I debated whether or not to discuss or reveal what I feel the true, underlying meaning of some of my work is in a political context, but I eventually decided against it – Foucault’s author function and all that. I will point out, though, that everything in scifi and fantasy has contemporary political meaning, whether you like it or not. There’s the obvious ones, sure – Star Trek, Star Wars, and the like. But then there’s others, too. Game of Thrones is about us and our political systems, not the middle ages. The Walking Dead, likewise, is a story about our own political terrors. The Martian? Political, though indirectly so – a love letter to government workers and federal systems, to international cooperation and technological advance through capitalist means. The Expanse? Obviously. Colony? Hell yes. Even American Horror Story is rooted in political discourse. You can disagree, but it’s all there. Even the MCU can’t escape. Books, comics, movies, video games – they are caught up in it.
This is because politics is the stuff of life, like it or not. We authors (and artists) are engaged in the study and exploration of life and, therefore, we are inevitably drawn to discuss politics. So, yeah, I guess I could be all coy about it and resolve never to speak a political word in public, but then I’d be wearing a mask over my true self. I’ve never been much good at that; neither have a lot of good authors. Will it hurt my career to be so open on Twitter? That remains to be seen, I suppose. I just can’t fully imagine being any other way, though.
This, ironically, would probably make me a poor politician.
I’ve been entirely too negative lately. Granted, there is much to be negative about (waves towards the tire-fire that will soon engulf the US), but I need a break. So, instead of growling about the world, I want to spend some time with something I find completely good: the character of Bilbo Baggins.
In one of my Lit classes, I currently have assigned a paper in which my students need to select a hero (of any kind from anywhere, so long as it is a fictional person) and analyze the reasons they are considered heroic – what do they symbolize, to whom, and why? It usually generates a really interesting batch of papers (some good, some bad) that ideally gets my students to consider the underlying cultural and psychological forces behind the idea of heroism.
Now, if I were to write that paper myself, the hero I’d probably pick is Tolkien’s (and Jackson’s) Bilbo Baggins.
Bilbo Baggins is the hero with whom I most identify in all of literature. He is, at heart, a man who craves adventure while, at the same time, realizing how insane that is. He knows what is really important – what really, ultimately matters – is a good home and good food, a warm bed, and one or two good friends. Adventure is inimical to these things. And yet he needs it anyway.
In this way, I see Bilbo as being the spiritual standard bearer of all of Geek Culture. Geeks are, of course, obsessed with adventure and excitement: they love stories of spaceships and dragons and daring do, and they spend hours pretending to be this hero or that heroine, battling the forces of evil. However, the vast, vast majority of them, if asked to give up the comforts of home to go traveling into the wilderness with a bunch of gung-ho survivalist types, would have a hard time agreeing.
And who can blame them, right? You can just imagine the conversation. This guy shows up at your door, possibly in the middle of the night. He claims to be an agent of some secret international organization. He has with him a bunch of bearded mountain men. He shows you a map. And he says this:
We need your help, (insert your name here), to overthrow a brutal Third World dictator and reclaim the resources he has pillaged from my friends here. We believe you have the skills. Sign here.
That’s crazy, guys. I wouldn’t sign that paper. But you know what? Just like Bilbo, I’d wake up the next day after the mountain men threw their rager and think to myself “did I dodge a bullet, or miss the greatest opportunity of my life?”
Because the thing that makes Bilbo a hero – the thing that separates him from me and you and just about every geek and homebody on the planet – is that he goes. He says yes (late, of course, but still yes). He goes for the whole damned way. What’s more, he becomes more and more important to the dwarves survival. Why? Because he’s a thinking man (err…hobbit). He’s clever. He retreats when he ought to and talks his way out of trouble. He’s smart. And for once, the smart guy – the good, ordinary guy without the bulging muscles – actually comes out on top. Because he’s good at riddles (a geeky pastime outside of some Anglo Saxon hall), because he’s friendly, and because he uses his head.
Bilbo doesn’t slay the dragon. Bilbo doesn’t smite the goblin army. Bilbo doesn’t become some incredible warrior. But he’s an essential part of the adventuring party – he saves their lives several times over – and he comes back having, just for once, lived the adventures he’s always dreamed about. And then, to kick it all off, he writes a book about it – you just don’t get much more nerdy than that. This is what makes Bilbo the quintessential geek-hero – the Sir Gawain of GenCon, the Paradigm of PAX.
Then, to top it all off, he goes on to be an awesome old guy. The guy who tells the stories at parties that enthrall all the kids. The guy who has mysterious sacks of gold in his cellar. The guy who everybody thinks is just a bit off. This, too, is a geek fantasy.
Every nerd wants to end up the mysterious elder statesman – the man who knows mysteries. The guy who can casually discuss that time he looked death in the eye but who, at the same time, isn’t some wacko down by the river. Not a soldier, not a prince or king or leader – just your friendly neighborhood bookworm with secret depths. The guy who stages the best parties at which he manages a prank they will talk about for the rest of time, all so he can go off and retire with his super-awesome friends in the distant mountains.
Everybody talks about how they want their letter from Hogwarts or their development of mutant powers and a visit from Professor X – both cool, granted – but I feel Bilbo’s life is the one I’d actually want. A guy who lives in what amounts to the world’s most comfortable book-nook and who, once long ago, was dragged off to adventure by his ears, had the time of his life, and lived the rest of his days in comfort, surrounded by friends. That’s the life, guys. That’s the goal.
Let’s all go forth and be Bilbos.
It’s release day! My friend Zach Chapman has just put together a ripping collection of Time Travel Tales, just in time for the holidays, and it is now available in both paperback and e-book.
But don’t just take my word for it! Consult with your FUTURE SELF who is, right at this moment, emerging from my time machine. Here we go…
Just some…well…technical difficulties. I’m sure you’ll be fine. That you probably wasn’t even from this timeline. Right.
Ahem. Also included are such luminary authors as Sean Williams, Robert Silverberg, Martin Shoemaker, Stuart C Baker, SL Huang, David Steffen, and many, many more!
So go and get it! Go! Time is wasting!
Well, unless you have a time machine, in which case you can get it now whenever you like.
I just re-read Dune over the past few weeks, prepping to teach it in my scifi elective class come spring semester. This is probably my fourth time reading the book and, at this point, it all seems very clear and straightforward. Herbert’s world-building is marvelous as ever and I’m excited to teach it. However, as with any time I read a book with a mind to teach classes on it, I tried to keep in mind just how accessible the work is to a casual reader. If you’ve ever read Herbert’s work, “accessible” is perhaps not the first word that comes to mind. The world of Arrakis is densely layered and context clues to how everything works are relatively rare; there is a glossary and appendices included at the back of the novel for a reason.
So, okay, my students are going to struggle with it a bit. The question becomes “is that a bad thing?”
Part of the purpose of scifi and fantasy is to challenge the reader’s preconceived notions. The author seeks to create a new and alien place for you to inhabit for a while to get you thinking about the real, actual world (even if only subconsciously). Some do this with worlds that are just a touch off of our own (much of the cyberpunk sub-genre, for instance, or near-future hard scifi like The Martian). Some do it with wildly different worlds so far removed from our own, the comparison is more abstract and less direct – works like Herbert’s Dune series or even Wolfe’s Book of the New Sun.
Personally, while I don’t dislike the more realistic tales, I really dig a good wild ride in a totally alien universe. The price for entry into these wild settings is high, though. It takes a while to get settled in Iain M. Banks’ Culture setting, for instance, though the pay off when you do is proportionally greater (for me). Novelty, of course, is a special thing in literature of any stripe, and any world as wild and strange (and yet fully realized) as Leckie’s Imperial Radch or anything in a China Mieville novel is something to be treasured and a challenge to be met.
In rattling off these names of books and authors, though, you might have noticed that some of them are easier reads than others. This leads me to my last rumination for the day: where, exactly, should the line be drawn between the alien and the familiar? Let’s be honest: there is a real, actual limit to how strange your world can be before it becomes essentially unreadable. A book no one reads is not the goal of any author, no matter how avant-garde they want to be, so where do you hold back? How weird is too weird?
I haven’t much of an answer to give you, I’m afraid. I don’t know that this is something easily solved by a set of hard and fast rules. I can say, however, that you need something at the heart of your tale to ground the audience in the familiar, otherwise you’ll lose their interest. Paul’s relationship with his parents in Dune is sufficiently understandable to carry you through all the bizarre chat about the Kwisatz Haderach and folding space/time with psychedelic spice. Likewise, no matter how strange the Culture seems, Banks (usually) populates it with main characters who are, in broad strokes, not too different from us in attitude and behavior, even if their cultural background is very strange and their appearance off-kilter. Both of these authors, though, cross the lines in some places. Herbert’s later Dune books are very, very weird to the point where they’re hard to connect to. Banks, likewise, has certain seventh dimensional plotlines circling around the doings of super-intelligent AIs that keeps the reader at a distance. As interesting as those books are, readers tend to love with their hearts, not their minds.
Though my current series of novels isn’t that off the beaten path, I grow restless anyway. One of my earlier novels was a multiple-reality/quantum causality thriller which was, frankly, too weird to work so I toned it down into a stock adventure novel and then it also didn’t work. If I go back to it (and other) ideas I have kicking around that are not the standard fare, I’m going to have to think long and hard about how to balance the strange with the familiar, the bracing with the comfortable, if I plan on selling the idea to anyone. Maybe then I’ll have better luck.
Behold, wretched wetlanders, it is I, Vrokthar the Skull-feaster, Scourge of the Northern Wastes, once more compelled to visit my mighty displeasure upon thee and thy incontinent civilization. Oft in the past have I commanded this ensorcelled word-slate to convey my curses to your soft pink ears, but this time is different. Indeed, your fetid customs, while usually merely despicable and foolish in equal measure, have this time done Vrokthar true injury. Such injuries will be answered by your howls of pain. So have I decreed, and so shall it be. But before Vrokthar visits his meteoric wrath upon your flat, sweaty lands, let him first regale you with the story of the fatal errors that hath led thee to this bloody destiny.
As chieftain of a mighty tribe of marauders, it falls to Vrokthar to educate the youth in the art of violence and rapacity. These young ones flock to Vrokthar’s longhouse and squat by the side of his throne of skulls. By the firelight, I speak to them of mighty deeds and teach them the best way to flay a man whilst he lives. Woe betide the foolish boy who does not heed Vrokthar’s weighty musings, for it his he that we practice upon. The screams echo into the night, and we feast and sleep well.
Or so it once was. No more.
In our raids, very many of my tribe have wrested magical treasures from the twisted hands of thy wetlander countrymen. These “computors” and “celled phones” have proven their worth to my people many times. No more shall we be forced to wander endlessly the vast tundras of my land in search of prey. No, the oracle GOOGLE now betrays thy settlements to us, and we pillage at will. The many sacrifices we have burned in for the honor of the GOOGLE are great. Their clever logos also bring much amusement to my warriors.
But these gifts have cost my people more dearly than you know. Now my young charges wish to use the spirit world of the INTORNOT to aid in their learning. Indeed, there are surprisingly many learning packages for the young barbarian, purchasable for reasonable fees. We, of course, do not buy – we take – and many educational software companies have perished beneath Vrokthar’s heavy boots. I now command a flexible and versatile platform of interactive lessons meant to occupy my students, meant to free Vrokthar’s precious time for more butchery and razing of wetlander settlements.
But it is not so. Vrokthar is BETRAYED!
The learning software has failed to function. My foolish students cannot manage to log on. The structure of the program is as dense and mysterious as the Labyrinth of Gloom. Vrokthar has not saved himself time at all! Indeed, I am now forced to poke and prod at mine own word-slate to goad the sluggard programs to load. I am forced to prostrate myself before mine sworn enemies, Tech Support, and grovel for aid. Hours have become days, days have become weeks, and my students are as stupid now as when they began. Worst of all is this: the screams that echo into the night are my own, as I curse and flail impotently at the educational software’s inferior User Interface.
I now ask myself: what was ever amiss with my mighty axe and my booming voice? Where did I go wrong? I answer the question thusly: You fools have done this to me. This is thy vengeance – this is how you seek to destroy the mighty Vrokthar, by denying his heirs his weighty wisdom.
It shall not stand.
Beware, mewling wetlander scum! Vrokthar the Skull-feaster hath ferreted out thy cowardly plot, and now he shall unroot thee. He shall strike from the frigid north like a thunderbolt, dashing down your mirrored castles in thy sedate office parks. Then, when you have been dragged a hundred miles on your knees, eating nothing but the flesh of your fallen compatriots, THEN shall you grovel at the foot of Vrokthar for your very lives. And THEN Vrokthar will show mercy to any who can manage to log in to their wretched INTORNOT portal on the first try. Those who succeed shall become my slaves. Those who fail shall learn new ways to scream as they become an educational message for all their ilk, their entrails shipped to their competitors in small FedEx envelopes for months to come.
So sayeth Vrokthar. So it shall be.
…which is the song I’m going to be humming in my head the whole time I’m at WorldCon later on this week (I’ll be getting in about midday on Thursday). As I have never been there, I cannot vouch for the sanity of their women nor am I going for the express purpose of acquiring one. I am going because I plan to meet with a bunch of friends, possibly run into my editor (or agent), and basically take it all in. As I didn’t get my act together this year to put in for a panel (mostly because I didn’t think I’d rate one), I am not there in any official capacity. You’ll be able to find me sitting by myself in the back of various rooms, standing alone in corners, and maybe even awkwardly trying to insert myself into conversations with writers I admire and then completely and utterly embarrassing myself so that I will never look at nor speak to that person again.
So, you know, my typical convention experience.
I have high hopes this time around, anyway, that this will be more fun than I typically have at these things. You see, now I know people (well, virtually) who I will be able to link up with and whom, possibly, might not object to my presence or company. That’s the goal, anyway.
In the meantime, I am editing a novel (which is currently a torturous, miserable train wreck of a book), getting ready for the arrival of the fall semester (sigh – why does summer have to end?), and planning for my Book Signing and Reading at Pandemonium Books and Games in Cambridge, MA.
I’ll be there between 7pm and 9pm on Thursday, September 8th. If you’re in the area, come on down, hang out, get a book signed, and check out the Boston area’s best scifi/fantasy book and game store.
Anyway, gotta run–I’ve got to bash my head against this intractable manuscript a bit more. I’ll be back next week with a full recap of the magic of WorldCon!
Special treat today! Brooke Johnson is a steampunk author whose first book, THE BRASS GIANT, is a wonderful tale of clockwork, young love, and a hard-nosed female protagonist up to her neck in trouble. The second book in her series, THE GUILD CONSPIRACY just came out yesterday, and Brooke has been so kind as to allow me to post an excerpt of it for you all to read. Check it out!
EXCERPT from Chapter 2 of THE GUILD CONSPIRACY:
Petra reached the University square and crept toward the student entrance, hiding in the shadow of a nearby steam duct. Tucking her hair into the brim of her hat, she glanced down at her pocket watch, grazing her fingertips over the intricate C that decorated the case—just a few minutes before ten. She peeked out from her hiding place and searched the empty square, but no sign of Rupert.
With a sigh, she pressed her back against the warm metal of the exposed ductwork and waited, listening to the rush of steam hissing through the pipes. The machines of the subcity rattled and whirred beneath the stone street, synchronized gears and linkages ticking a rhythm of mechanical perfection beneath her feet. She inhaled a deep breath, catching the scent of coal and gasoline amidst the humid air billowing through the grates. It smelled of home.
A few minutes later, the lock above the student entrance unlatched, the gears knocking and grating as ratchets shifted the deadbolts. The door creaked inward, and Rupert’s blond head peered out, his face lit by the flickering gas lamps at the bottom of the stairs.
“Petra?” he called, his voice barely above a whisper. “You out here?”
She slipped out from behind the steam duct and met him atop the stairs. Rupert closed the door behind her. He removed his student key from the lock, and heavy gears ratcheted the deadbolts back into place, locking the door with a resounding clunk.
Petra leaned against the smooth brass-plated wall and breathed in the familiar air of the University, the lingering scents of grease and metal polish putting her at ease. The usual bustle of engineers, students, and professors was absent from the dark, empty lobby, the echo of distant machinery lurking in the shadows like haunting ghosts. It had been months since she’d been here after dark—when Emmerich was still here and her only worry was keeping their automaton project secret. It seemed an eternity ago now.
Rupert touched her shoulder. “Come on,” he whispered. “Or we’ll miss it.”
He took her to the lift and used his student key to propel them up to the eighth floor, the whirring belts and pulleys singing as they ascended. The lift slowed to an abrupt stop, and the lights above the gates spilled across the hall, startlingly bright in the quiet darkness of the University.
“So what’s this meeting about?” she asked Rupert.
Their brisk footsteps echoed off the hard floor as Rupert led her down the hall toward the student lounges and recreation room.
As they approached, a muffled cacophony met Petra’s ears—shouts and curses, cheers, a clash of metal on metal, the clear sound of a combustion engine igniting. Petra’s heartbeat quickened, and she pressed her ear to the door, feeling the vibrating hum of a purring engine in the room beyond, the sigh of exhaust, the smell of burnt fuel reaching her nose.
Rupert nudged her aside and keyed into the room, the clash of metal rising to a deafening thunder as he opened the door.
Inside, the billiard table, chess tables, chairs, and sofas had been pushed to the walls, the usual carpets and rugs thrown over the furniture. A spotlight illuminated a few dozen students near the center of the room, surrounding a hulk of moving brass, its shiny surface flashing in the glow of the electric light. The crunch of crumpling metal and subsequent jeers echoed off the walls, and the metal beast reeled out of Petra’s sight.
Leaving Rupert behind, she elbowed her way through the crowd of students and stumbled headlong into the center of the ring. A quick hand caught her by the collar and yanked her back into the crowd just as a metal arm swiped through the air, inches from her nose.
Petra stumbled into the student next to her, gaping in delighted disbelief at the scene before her. Two imposing metal figures stood in the center of the ring—a squat trapezoidal machine and a grotesque humanoid—dripping oil and smelling of exhaust. Jagged trenches cut through the outer shell of the larger machine, exposing a mesh of combustion enginery and electrical wiring inside, while the smaller, wheeled contraption had a stump of shredded linkages and twisted gears where its second arm should have been, its stout body half-crushed and front wheels bent.
The bipedal machine lunged, much to the crowd’s delight, and there was a terrible, teeth-grinding crunch as the metal shells crumpled and warped on impact. The biped hammered its fist into the smaller trapezoid, the squat machine’s outer shell buckling under the assault. Yet the contraption held its ground, wheels spinning forward as it pressed against the hulking mass of metal, its remaining arm buried halfway into the biped’s central system, pulling wires and tubes from its body like rubber intestines, oil and hydraulic fluid spilling onto the floor.
With a sputtering whine, the combustion engine rumbled to a halt, the spin of gears slowing to a groan as the mechanical biped powered down. The heavily damaged trapezoid pushed the biped away, and the mutation of combustion enginery and electricity toppled over with a resounding crash.
And then the room erupted in cheers.
From the far side of the ring, a young man stepped forward and waved the crowd into silence. Petra recognized him by his long, narrow face and shrewd eyes—Vice-Chancellor Lyndon’s son, Yancy. He spread his hands wide.
“Gentlemen! I believe we have our winner!”
The winning engineer stepped forward and swept into a low bow, tucking a metal control box behind his back. Petra noted the thick cord trailing from the brass case, snaking across the oil-slicked floor to the back of the trapezoidal machine. So that was how he controlled it.
She suppressed a smirk. Rudimentary technology.
Rupert squeezed in beside her. “What do you think?”
“It’s brilliant,” she said, her voice nearly lost amidst the cheers and shouts around them. “How long has this been going on?”
“Started about midterm, last semester. You know about the failed automaton project, right? Some of the boys who work in the armory found the remains of it and got the idea to start a mechanical fight ring.”
Petra pressed her mouth shut and nodded. So they had kept it then, the ruined prototype that Emmerich had so expertly smashed through the floor of his workshop—now collecting dust in the armory. The failed automaton project. That was what the rest of them called it, not knowing she had helped design and build it, not knowing what her involvement had cost her.
“Where do they get the parts?” she asked.
“Discards and surplus from the workshops,” said Rupert. “Some of the richer blokes buy parts offshore and have them shipped in. Most of it is scrap, though.”
In the center of the ring, Yancy quieted the crowd with a wave. “That concludes the inaugural competition of our mech fights.” Another boy brought forward a table and handed Yancy a pad of paper and a pencil. “If you wish to participate in the next tournament,” he said, waving the paper over his head, “sign up by the first bell tomorrow and have your mech ready for the first round sometime next month, date to be decided. Entry fee is a pound note—or equivalent—the sum of all entries to be rewarded to our next winner.”
He dropped the paper and pencil onto the table, and a handful of students stepped forward to enter. Petra watched as they scribbled their names, one after the other, knowing she could outmaneuver every single one of them with a machine of her own.
For six long months, she’d been stuck in boring classrooms, listening to dry lectures and permitted to do nothing more than pointless busywork. She missed the feel of a screwdriver in her hand, the smell of grease under her fingernails, the late nights of working with her hands deep inside a machine.
She yearned for it.
Rupert nudged her with his elbow. “Go on then. Sign up.”
Petra considered it, absently twisting the stem of her pocket watch between her thumb and forefinger. She could enter, write her name down and fight in the next tournament, finally have the chance to build something again. Yet . . . she knew they wouldn’t let her. They’d only laugh at her, mock her for thinking she could compete with them, for thinking she was their equal.
She stared at the sign-up sheet, the determination to prove herself burning in her chest.
To hell with them.
She released the breath she’d been holding and stepped forward, heart beating faster. Leaning over the table, she took the pencil into her hand and pressed the point of graphite to the paper, quickly scribbling her name at the bottom of the list of entrants before she second-guessed herself. She belonged here, building machines alongside the best of them.
She’d win the damn tournament, and then they’d see.
THE GUILD CONSPIRACY:
In the face of impossible odds, can one girl stem the tides of war?
It has been six months since clockwork engineer Petra Wade destroyed an automaton designed for battle, narrowly escaping with her life. But her troubles are far from over. Her partner on the project, Emmerich Goss, has been sent away to France, and his father, Julian, is still determined that a war machine will be built. Forced to create a new device, Petra subtly sabotages the design in the hopes of delaying the war, but sabotage like this isn’t just risky: it’s treason. And with a soldier, Braith, assigned to watch her every move, it may not be long before Julian finds out what she’s done.
Now she just has to survive long enough to find another way to stop the war before her sabotage is discovered and she’s sentenced to hang for crimes against the empire. But Julian’s plans go far deeper than she ever realized … war is on the horizon, and it will take everything Petra has to stop it in this fast-paced, thrilling sequel to The Brass Giant.
Release Date: August 9, 2016.
About the Author:
BROOKE JOHNSON is a stay-at-home mom and tea-loving writer. As the jack-of-all-trades bard of the family, she journeys through life with her husband, daughter, and dog. She currently resides in Northwest Arkansas but hopes to one day live somewhere more mountainous. You can find her on Twitter @brookenomicon.
This is just my friendly reminder telling you to get out there and buy my book in paperback! Yessiree, NO GOOD DEED is now available as a real, actual book so you luddites out there can get your fill of Tyvian and his mischief while smelling the sweet aroma of bleached, tattooed tree carcass. You might even get a paper cut or something.
Not convinced? Well, how about this BLURB:
Cursed with a magic ring that forbids skullduggery, Tyvian Reldamar’s life of crime is sadly behind him. Now reduced to fencing moldy relics and wheedling favors from petty nobility, he’s pretty sure his life can’t get any worse.
That is until he hears that his old nemesis, Myreon Alafarr, has been framed for a crime she didn’t commit and turned to stone in a penitentiary garden. Somebody is trying to get his attention, and that somebody is playing a very high-stakes game that will draw Tyvian and his friends back to the city of his birth and right under the noses of the Defenders he’s been dodging for so long. And that isn’t even the worst part. The worst part is that the person pulling all the strings is none other than the most powerful sorceress in the West: Lyrelle Reldamar.
Tyvian’s own mother.
Okay, okay – maybe you need a little more. For instance, perhaps you want me to scribble my name in your book and say something pithy. Fine. FINE – I will do that for you. On September 8th at Pandemonium Books and Games in Cambridge, MA I will be signing books and even doing a reading. Come on down to meet me in person and allow me to guilt you into purchasing a paperback. Last time was lots of fun so, with any luck, the streak will stay alive!
As for whether there is going to be a third book, well, time will tell. Stay tuned to this space (or follow me on Twitter or Facebook or Goodreads) and you’ll find out!
Having a crazy week, so here’s just this quick link to a guest post I made over on Ragnarok yesterday. It’s about how writing novels/stories differs from tabletop RPGs, which is something I feel I know a bit about, as I’ve spend a good 25 years parsing through the differences.
Check out the post here, and check out Ragnarok, too – they’ve got a lot of cool things going on over there and they’re relatively new, so wander around.
Talk to you next week!
Hi folks – I’m back! And by “back” I mean “I’ve got somebody to cover for me today as I recover from jet lag.” Allow me to introduce Bishop O’Connell: friend, author, and apparent Irish ecclesiarch. He’s here to talk about villains and, as a frustrated super-villain myself, I can tell you that you ought to listen to his advice, because he knows what he’s talking about. He also has a series of urban fantasy novels out, the most recent being The Returned (I’ll let Bishop describe it for you at the bottom). For now, read his post. Then read his books. Then hack into and read his e-mails (they’re hilarious).
Wait…never mind that last part. You didn’t see that. Ummm…errr…just read the post, okay?
Interview with a Villain
Villains are important. Every book has one, in one form or another. No, I don’t (necessarily) mean a Blofeld-esque villain who lives in an active volcano, on a skull shaped island, laughing as he strokes his beloved cat.
I’m talking about the antagonist. While the story might not have a true villain per se, there is always an antagonist. I learned early in my writing career that if I wanted my stories to be compelling and interesting, I’d need to spend at least as much time on my “bad guys” as I do on my “good guy.” It’s true, not every antagonist is a person, it can be an environment, a society, or anything else. But for those times when it is a person, here are some things I’ve learned about making a good counter to my protagonist (main character):
Goals – “What’s my motivation in this scene?”
Every antagonist has one, and no, “because they’re evil” only makes for a sad caricature of a villain.
I’m not saying their motive has to fit with societal mores, but it does need to be believable; it has to make sense for that character. I could ask myself what my character wants, but better to ask them directly, and better style to ask them why they want it. I’ve found this can actually be incredibly helpful, especially if you pain the full picture. I imagine the scene where I’m meeting my villain. What is the character wearing? Is she waiting for me, or am I waiting for her? If he is waiting for me, does he stand when I arrive, or even acknowledge my presence? Who chose the venue? Are other people there? If so, are they staring? If they are, how does the character react? The more detailed the imagining, the fuller the character will be to me, and thus (hopefully) to my readers. As an example—since you might not know my work and to prevent potential spoilers—let’s take a villain from a story just about everyone has either read or knows about: Lord Voldemort from the Harry Potter series. Apologies to Ms. Rowling for the butchering that follows. I hope you have a good sense of humor.
Voldemort met me at a popular London café overlooking the Thames River. His pale skin, serpent like nose, and trademark flowing, black robes made him easy to spot. He was sitting at a table with a view of the bustling river traffic, a cup of tea in hand, pinky extended. His now-famous wand sat on the table next to some kind of Asian inspired salad. I think he smiled when he saw me, it was hard to tell, and invited me to join him. A cup of tea was waiting for me, but since the wait staff was nowhere to be seen he poured the tea himself. I didn’t drink it.
Bishop: Thank you for meeting with me, Voldemort.
Voldemort: Lord Voldemort, if you please. I didn’t raise a dark army and commit mass murder to not use my title.
B: Apologies, thank you, Lord Voldemort, for meeting with me.
V: Certainly. I hope you don’t mind that I didn’t wait for you. They have the most exquisite quinoa salad here.
B: Not at all.
There is a moment of awkward silence as he takes a bite of his salad and a look comes to his face. It’s either pleasure or disgust, it’s hard to tell which with someone who looks like an escape from the Island of Dr. Moreau. After a moment he dabs the cloth napkin at the corners of his mouth and turns his attention back to me.
V: I’d ask if you want anything, but the wait staff is, well, indisposed at the moment.
He laughs, and it’s more comical than unsettling.
B: I’m fine, thank you. Let’s get to it, shall we? Lord Voldemort, tell me, what do you want?
He skewers some salad on his fork and looks bored.
V: I want to kill Harry Potter, of course.
B: Okay, I got that. I know that, you know that, Harry knows that, everyone knows that. But isn’t that kind of a simplistic goal? That’s kind of short term for you, isn’t it? I mean, what do you really want?
He chews the salad and a smile, or his version of one, returns to his face. He sets his fork down and pours himself more tea.
V: I’m so very glad you asked. No one ever really seems to care. My underlings are just trying to suckle at the master’s teat, and everyone else is just running for their lives. What I really want, and I know it’s terribly cliché, but what I truly want is to rule the world. My personal twist is that I also want to be the most powerful wizard ever. Harry Potter is really just an obstacle, the one who can best deny me those things.
B: Now we’re getting somewhere. Why do you want to rule the world?
V: Well, everybody wants to rule the world.
B: I had no idea you were a Tears for Fears fan.
V: Those are two of my favorite things.
He laughs and drinks more tea.
V: Seriously, though, I suppose I could say it’s the power I want, and I do, but that’s so simplistic. Power is a means, not an end. In truth, I’m a good old fashioned racist.
B: You’re a racist? That’s not something many people would openly admit.
V: I know. The word has such a negative connotation. The difference here is that my racism is based on genuine fact. I’m not biased based on anything as petty as skin color, birthplace, religion, anything like that. No, this is about magic. You muggles, quite frankly, are inferior to us wizards. In every way that matters.
B: Could you explain?
V: Happily. As wizards, we wield immense power. We have the capability to do things you only dream about by just saying the right words and moving a piece of wood through the air. We can violate your sad little “laws” of physics at whim. You are to us, what chimps are to you. We have flying cars, for crying out loud! Your scientists have been promising you flying cars since the 1950s, and yet the only ones I have ever seen are magical. Not that I need one of course, I can fly just find on my own.
B: So your racism is based on magical ability. Why are you opposed to muggle-born wizards and witches, or those from mixed families?
V: Just because the proverbial room full of monkeys with typewriters comes up with a play doesn’t make them Shakespeare.
B: Interesting analogy. Are you saying you admire Shakespeare’s work?
V: Not at all, I’m just using a comparison your small mind can grasp. To continue the analogy, you might find said monkeys an interesting oddity, but you’d never call them human. Likewise, Mud-Bloods, those wizards born from the horrible mixing of a wizard and a muggle, are just a sad half breed. While it elevates the muggle half, it pollutes the wizard blood beyond repair. Muggle-born wizards are just freaks of nature, abominations. No, it’s pure-blood wizards who can, and should, be the ones to rule. We’ve had magic in our families for countless centuries. We are the superior race, and I know it’s overplayed, but might really does make right.
B: It is a bit cliché.
V: Well, with rare exceptions, the one with the bigger club, and the ability to use it, wins. Your history has proven this over and over.
B: Okay, so you’re saying wizards—
V: Pure-blood wizards.
B: Sorry, pure-blood wizards should rule the world, and you being the most powerful, should rule them?
V: Exactly. You muggles, are an inferior species of the human race, like the Neanderthals—
B: Actually, I think it’s pronounced Neander-tal—
V: AVADA KEDAVRA!
And….scene. Obviously I had fun with this, partly because parody covers me from a lawsuit, but also because it kept you reading. Regardless, you see that he wanted more than to kill the kid with the lightning bolt on his face. It’s important as a writer to understand not just your villains’ immediate goals, but their long term motivations as well. When you go to the store, it’s not just to buy food. It’s because you have to eat to live, and odds are you don’t or can’t raise enough food on your own to sustain yourself. The disparity isn’t terribly complicated, but it has a big impact on the story. It doesn’t matter if the antagonist is a normal everyday person, or a scary, murderous monster. In fact, for a villain to be a monster, having a good motive is vital. Which is more frightening: A raving lunatic walking the street hunting people (insert generic horror movie monster here), or a true sociopath who is well organized, has a goal (however twisted), a detailed plan to achieve it, and goes about executing said plan in a cold, ruthless manner (Hannibal Lecter-esque)? Odds are you picked the latter. At least according to movie ticket sales, book sales, and cultural impact.
Tom Hiddleston, probably best known in the U.S. for his role as Loki in the various Marvel movies said, “Every villain is a hero in his own mind.” Hearing that quote for the first time was an “aha moment” for me. It made sense. Villains never think they’re the villain. Oh, they might recognize that society will see them that way, but THEY know the truth and it’s that truth that drives them. Look at your favorite book, movie, TV show, what have you, and think of the antagonist in it. I’d be willing to bet (but please don’t email me offering a bet because you found an exception to this) that they’re doing what they felt had to be done. It might be their own ideals, looking for vengeance (justice in their mind), because their dog told them, or anything else. Regardless, they have their reasons and they are meaningful to them.
No, villains don’t have to be likeable. But, if you make them understandable, and there is a difference, the reader will really love to hate them.
Bishop O’Connell is the author of the American Faerie Tale series, a consultant, writer, blogger, and lover of kilts and beer, as well as a member of the Science Fiction & Fantasy Writers of America. Born in Naples Italy while his father was stationed in Sardinia, Bishop grew up in San Diego, CA where he fell in love with the ocean and fish tacos. After wandering the country for work and school (absolutely not because he was in hiding from mind controlling bunnies), he settled Richmond VA, where he writes, collects swords, revels in his immortality as a critically acclaimed “visionary” of the urban fantasy genre, and is regularly chastised for making up things for his bio. He can also be found online at A Quiet Pint (aquietpint.com), where he muses philosophical on life, the universe, and everything, as well as various aspects of writing and the road to getting published.
Blog – https://aquietpint.com/
Twitter – https://twitter.com/BishopMOConnell
Instagram – https://www.instagram.com/bishopmoconnell/
Amazon Author Page – http://www.amazon.com/-/e/B00L74LE4Y