Online version of the Writing Fight Scenes workshop!

I know that some people who were interested in my fight scenes workshop weren’t able to make it out to Seattle this past weekend. I have good news for you: I’m teaching an online version this upcoming weekend! From 1-3 p.m. Pacific time (4-6 p.m. Eastern), through the Rambo Academy for Wayward Writers. To register, send an email to catrambo@gmail.com saying you’d like to sign up for this one, and telling Cat whether you would prefer to pay via Paypal, Venmo, or some other route; whether or not you are a former student or Patreon supporter of hers; and how you heard about Cat’s classes. There are also three scholarship slots available, if you are unable to pay — details at that link. (Note that she particularly encourages QUILTBAG and POC people to apply.)

New Worlds: Toys

Another month, another theme for the New Worlds Patreon! To kick off our spin through leisure activities, we’re starting at the young end, with toys for children. Or, y’know, objects “for ritual use.” Depending on how much the archaeologists are throwing their hands up into the air and shrugging. 🙂

Comment over there!

Books read lately

I keep falling out of the habit of recording what I read, much less posting about it — the last such post covered my reading from August of last year. But I remember some of the things I’ve been reading, and an incomplete booklog is better than nothing, so.

A Golden Fury, Samantha Cohoe. Sent to me for blurbing purposes. Historical fantasy focused on alchemy, with a very interesting spin on the Philosopher’s Stone and what it really means. The beginning was fine, and then the story hit a point where it really took off for me — I inhaled quite a bit of it in the space of about a day. Ultimately I was left with a few questions about how the logic of it all hung together (there was an instance of someone being uber-selective about a thing for unclear reasons, to seemingly counterproductive result), but I enjoyed the overall tale a fair bit.

A Hero Born, Jin Yong. Read for review in the New York Journal of Books. This is the first in a projected four volumes translating the Chinese wuxia novel commonly known in English as Legend of the Condor Heroes, which I think might be compared to The Lord of the Rings in terms of both the author’s erudition and the popularity of the work. Reading it is kind of a fascinating experience, because I’m very accustomed to seeing the visual manifestation of these ideas, but have read relatively little of them in prose format. It is also not remotely paced like a modern Western fantasy novel — for example, one hundred and six pages into the story, one of the two main characters is finally born. A lot of page count is devoted to describing the characters’ various battles, which means the amount of actual incident is fairly small for the length of the book. But I’m very glad to get this translation, and hope to review the future volumes, too.

China’s Golden Age: Everyday Life in the Tang Dynasty, Charles Benn. I love this kind of book. Benn is no Liza Picard, but then again few people are, and as overviews of a specific (albeit long) period go, this one is both specific and comprehensive. It’s clear he’s drawing from a lot of primary sources, because there are all kinds of incredibly random details about various incidents that happened in various locations, of a sort you would only cite if you read something that said, yep, this definitely happened.

Heroine Complex, Sarah Kuhn. Second book of her series about Asian-American superheroines in San Francisco, this time focusing on the character of Aveda Jupiter, aka Annie Chang — and I put the names in that order on purpose, because much of Aveda’s problem is that she really, really would like to forget that she’s normal human Annie Chang underneath it all. It’s frustrating to watch her spending most of the book doubling down on her errors (hint: the way to repair your relationships with the people around you is not to recommit to pretending you have no squishy vulnerabilities and in fact have never even met such a thing), but it’s clearly in service to her eventually getting past that mistake.

Crown Duel, Sherwood Smith.
Court Duel, Sherwood Smith. Listing these two together because I read them in the Book View Cafe edition (which is also the Definitive Edition). I can see why it is both a duology and a unified story; although ultimately there’s a single struggle going on, the first half of that struggle is carried out in a very different fashion (more warfare-oriented) than the second half (more politics-oriented). Which is, among other things, a nice antidote to the idea that all you need is a good climactic battle to settle things: here that’s just the midpoint of the process of achieving change.

Order of the Stick: Dungeon Crawlin’ Fools, Rich Burlew.
Order of the Stick: No Cure for the Paladin Blues, Rich Burlew.
Order of the Stick: War and XPs, Rich Burlew.
Order of the Stick: Don’t Split the Party, Rich Burlew.
Order of the Stick: Blood Runs in the Family, Rich Burlew.
Order of the Stick: The Origin of PCs, Rich Burlew.
Order of the Stick: Start of Darkness, Rich Burlew.
Order of the Stick: Snips, Snails, and Dragon Tails, Rich Burlew.
Order of the Stick: Good Deeds Gone Unpunished, Rich Burlew. Re-reads for all but the final title listed here. I spent much of late November and early December mainlining the collections of The Order of the Stick for my Yuletide story, but it also served as a good refresher before Burlew launches into the final arc of the series. I, uh, had pretty much forgotten Blood Runs in the Family. Like, to the scale of “they went to the desert? For a whole book? Ohhhhhh, right — yeah, the stuff with Gerard Draketooth.” Not because it wasn’t memorable, but because it was so long ago that I read it. Given the incredible gut-punch that volume delivers to one of the characters, I’m a little embarrassed that is slipped my mind.

A Declaration of the Rights of Magicians, H.G. Parry. Read for blurbing purposes. This is the first half of a historical fantasy duology set in the late eighteenth century, and it manages to pack both the French Revolution and the Haitian Revolution in, while also covering what was happening in Britain at the same time, because those things are very interconnected. I felt like the Haitian end got a little short-changed here, maybe in part because of viewpoint choices: the British and French ends follow some very famous individuals like Pitt the Younger, William Wilberforce, and Robespierre, but the Haitian end doesn’t follow (say) Toussaint L’Ouverture. Instead our viewpoint there is a female character who is, so far as my research has been able to turn up, invented for the story — and while she interacts with Toussaint et alii, it makes for a different, and more distant, angle on the events. But I also have the feeling we’ll see more of Haiti in the second half of the duology. Meanwhile, Parry does an excellent job of making the historical figures feel like real people rather than animated wax models. And it’s no small achievement, packing fifteen years of history into a single novel.

Jurassic Park, Michael Crichton. Re-read for research purposes, because I’m noodling around with an idea that would have some of the “trapped on a dangerous island and there’s a ticking clock for getting to safety” feel to it. I last read this when it came out, soooo, like thirty years ago? Criminy. The concept remains an excellent one, but the book version spends much more time on build-up than I remembered, with lots of one-off looks at the situation through the eyes of various minor characters. I had also (mercifully) forgotten how badly it did by its female characters: Ellie Sattler’s face-off with the velociraptors is good, but I could have done without every male character ogling or commenting on her legs, and Lexie basically does nothing but cause problems or make existing ones worse. Dennis Nedry is also pretty much the walking stereotype of the fat, greedy, computer nerd slob — and unfortunately, while I remember the film doing better by the women, I don’t believe they changed him at all.

Daily Life in Ancient Mesopotamia, Karen Rhea Nemet-Nejat. Speaking of not being Liza Picard . . . it took me ages to get through this book, even though I love daily-life stuff, and at first I thought it was because Nemet-Nejat’s writing is very dry and factual, with little to no authorial personality coloring anything (apart from mentioning one artistic motif being repeated “ad nauseam”). Then I thought it was because it’s covering such a huge span of time. But while both of those things are part of it, ultimately I think the problem is that nothing here flows: a paragraph will start off with a line about X, but then the rest of the paragraph has to do with Q instead, and then the next paragraph is about V. So all the information in it winds up feeling disjointed, which makes it hard to maintain momentum while reading it.

Kingdom of Souls, Rena Barron. I liked the setting and concept of this one (which are based heavily on African inspirations, and I think specifically West African), especially the part where it avoids simplistically saying “Group A good, Group B bad.” But I had flow issues here, too — things like certain bits of exposition feeling like they arrived in the wrong place, or revelations at the end being insufficiently set up, or the narrative spending lots of time on interstitial bits and then very little on climactic moments. I also realized three-quarters of the way through that the protagonist had accomplished almost nothing meaningful: most of the things she attempts to do fail, and the ones that succeed rarely seem to have any significant effect on the trajectory of the plot. It’s possible to write a story that specifically explores helplessness or constraints on agency, but it didn’t feel to me like this was trying to be that story; it just felt like the gears never quite meshed.

Emerald Empire. This is the fifth-edition setting book for the Legend of the Five Rings RPG. Most of its content is already familiar to me (through my familiarity with fourth ed), but I decided I should read it properly to familiarize myself more thoroughly with the places where the new owner of the game has changed things. Most of those places have to do with the spiritual and religious side of Rokugan — toning it down from the “everything is Tainted and shugenja are basically wizards” feeling AEG fell into and instead making things more nuanced, subtle, and integrated with the rest of daily life. Which I appreciate.

Deferred rewards

One of the things that makes a writing career difficult is that all your payoffs are deferred.

Let’s say you’re writing a novel. Each day, or whatever schedule you work on, you add some more to the pile of words. Go you! But if you’re not someone who lets people read the draft in progress (I’m usually not, though there have been exceptions), then you do that work in a void. And it’s a long, long road to having a completed draft, so you’re in that void for quite a while.

Then you finish your draft. Go you! Now maybe you let somebody read it. But you know, in your heart of hearts, that this isn’t the end of anything; it’s just an intermediate stage. There’s revision, and that’s before the novel even heads out into the wide wide world.

Ah, but surely you get payoff when you sell the novel, right? Go you! Except . . . what “selling a novel” actually looks like is generally that your agent sends you an email saying “here’s what they’re offering,” and you say “that sounds great, let’s do it!” Whereupon your agent haggles for a while, because that’s their job. Or maybe this is the next book in a multi-book contract you already signed, at which point this stage doesn’t even really happen, because it happened years ago.

Assuming it’s a new deal, eventually somebody sends you a contract to sign. This comes probably weeks after the offer you said yes to, if not months. Is this the payoff? It doesn’t feel much like a payoff. On the one hand, you kinda sorta sold the book a while ago; on the other hand, you haven’t been paid yet, much less seen your book in print.

Some number of days or weeks after you signed the contract, money shows up. This used to be in the form of an actual check, but these days lots of people use direct deposit instead. So instead of a Real Live Check, you get an email saying “hey, we’ve deposited this money in your account.” Is that the payoff? Literally, yes; emotionally, no.

Edits.

Copy-edits.

Page proofs.

Somewhere in here, you get a cover. Awesome! It mostly has nothing to do with you, since at best you got to offer some ideas that your publisher may or may not have listened to, but at least it’s shiny! Meanwhile you’re busy with something else.

And then, one day, FINALLY, months after you got paid, months after you sold it, months or maybe even years after you wrote the book . . . it’s on the shelves! Everybody is so excited!

Except for you. I mean, sure, you’re happy. I’m not trying to say that it isn’t cool to hold your very own book in your hands and see your name on the cover. But . . . as a payoff for the long marathon of writing the thing, it isn’t much, because it comes way too late. By the time it arrives, you’re already doing something else. You’re in the void of a different book, probably, and when people talk about “your new book,” you have to remind yourself which one they’re talking about. To them, the one that matters is the one they can buy. But that’s not the one eating your time and attention anymore. And psychologically speaking, a reward that’s massively deferred from the behavior that earned it is pretty much useless.

This is why I’m coming around to the opinion that it is hugely important to set up some kind of ritual for yourself — in whatever form works for you — that celebrates the milestones. Two years may go by between finishing the rough draft and seeing the result on a shelf, but if you’ve done something meaningful to mark the achievement of that draft, or the other landmarks along the way, then you won’t run as much risk of the job starting to feel meaningless. If the way the circumstances work isn’t going to reward you in a timely manner, then you’ve got to do it yourself.

Things they never teach you

Writing advice books tend to go into great detail on things like how to structure your plot, or develop character, or describe things, or whatever.

They do not — in my limited experience; hence this post — bother to say much about how to decide where to break chapters, scenes, or paragraphs, apart from telling you to start a new paragraph if you’re switching speakers in dialogue. Maybe a vague nod at “cliffhangers are exciting!,” but that’s about it. You’re just supposed to figure that stuff out as you go, apparently. Or else (and this is entirely possible) it never occurred to the writer of the writing advice book that there’s an actual skill buried in there.

But I haven’t read a huge number of writing advice books, so I’m perfectly willing to believe that someone out there has at some point unpacked this stuff for the reader. Any recs? Because it’s one of those things that I do instinctively, without much ability to articulate how the decision-making process goes — and since I enjoy teaching writing, being able to articulate it would be useful.

I need noodle soup!

There is a sad lack of noodle soup in my cooking repertoire. What recipes do you guys recommend? The main requirement is that it be non-spicy, in the peppers/chili sense; other things are easy to leave out (cilantro) or substitute (eggplant for squash).

Lightning in the Blood!

Following on the heels of the republication of Cold-Forged Flame, now Lightning in the Blood hits the shelves!

cover art for LIGHTNING IN THE BLOOD by Marie Brennan

Once she had nothing: no name, no memory, no purpose beyond the one her master bound her to fulfill. Now the wandering archon known as Ree must walk an unseen path — one that will lead her toward the untold story of her origins. But the road to the truth is paved with blood . . .

It’s on sale now, at Book View Cafe, Barnes and Noble, Google Play, Kobo, Indigo (Canada), and Amazon US and UK.

Loving-kindness

One of the mediation apps on my phone (yes, I have several . . . I am the walking stereotype of “I really want to make a habit of this! Maybe if I find The Perfect Program, I’ll succeed!) is running a New Year’s Challenge, with a goal of meditating at least fifteen days in the first twenty-one, i.e. five days a week for three weeks. So far I’m 11 for 11 (it started on the 6th, not the 1st), which is good, and I sort of wish they’d launch another challenge after this one, because seeing that little gold medal does help with motivation and persistence.

But it’s gotten me thinking about a bunch of things. Like New Year’s resolutions, and the ways in which that whole concept tends to set us up for failure. One of the “ohhhhh” moments for me in trying to practice mindfulness meditation was when it finally got through my skull that those moments when I realize my attention has wandered away from my breath? That’s not me failing at meditation; that’s me succeeding. Because the point is not to achieve perfect tranquility from start to finish, but rather to be mindful: both to pay attention to a thing (my breath), and also to notice when my attention has strayed. “Begin again,” as several of the meditation teachers in this app have said — and as one of them pointed out, that applies to the practice of meditation in general as well as any individual session again. Missed a day? Begin again. Missed a week? Begin again. Missed six months? Notice that you’ve stopped. Be mindful of what you’re doing. And what you’re not doing.

I have a poster on my wall with the text of “An Invocation for Beginnings”. It’s one of the few “motivational” things that’s ever spoken to me on an emotional level. And to quote one pertinent bit: “Let me realize that my past failures at follow-through are no indications of my future performance, they’re just healthy little fires that are going to warm up my ass.” New Year’s resolutions, though . . . we treat them as rigid. If you resolve to do a thing, and then drop the ball, you’ve broken your resolution. Game over. Stop trying.

No. Begin again.

The app has been providing a meditation lesson for each day, which I recognize is so they can advertise the various series that require a paid account to use. But I’m still appreciating it as a tour of different things, like deep breathing techniques to reduce stress. Today’s was on “loving-kindness” meditation, which is about developing compassion toward yourself and other people. Chesed, maitrī, agape in its less-religious sense. What really struck me was the brief video beforehand, with Dan Harris (the guy behind the app) and Sharon Salzberg (the teacher for that session) discussing the concept of loving-kindness — and how we as a society tend to disparage the idea, as if compassion and kindness make us weak. The video was only a few minutes long, so I’m not surprised they didn’t attempt to unpack the gender dimension, but it’s there: loving-kindness is a trait associated with femininity, and therefore men are discouraged from developing it. Harris straight-up admitted that he was embarrassed to be seen reading Salzberg’s book — that he literally hid the cover when he was reading it on planes, etc. How messed-up is that? But he’s a white dude in America, which means he’s not supposed to be squishy and touchy-feely and nice.

Hello, toxic masculinity. And yet, so many of our religions praise this quality, not just for girls but for everybody. But it’s hardly news that we’re historically bad at actually practicing what we preach.

I don’t really have a point here that I’m trying to arrive at, except that getting back into meditation (begin again) is prompting a variety of thoughts in me. And that I’m hoping it will help me develop the internal equilibrium I’m going to need to survive 2020. Our whole society could use a mega-dose of loving-kindness, if only we had some way to inject it.

I return to the teaching fold!

Temporarily, at least. 🙂

I’m currently slated to do two teaching stints in 2020. The first is coming up soon: Pen, Paper, Action!, a one-day workshop at Clarion West in Seattle on February 8th. There I’ll be covering not just fight scenes in specific, but action more generally.

The second is later this year, during the Sirens Studio that takes place before the main conference. I’ll be teaching a writing intensive on creating religions for fantasy worlds — going beyond deciding who the gods are, and delving into how beliefs can be integrated into the daily lives of the characters. Sirens is a beautiful event focusing on women in fantasy; I haven’t been to the Studio before, but I was one of the Guests of Honor at the conference in its second year, and had an amazing time.

Registration for both of these things is limited, so if you’re interested, sign up soon!

belated Yuletide post

I never did post about Yuletide, did I? I blame the chaos that was the last several months of 2019 — I’m still picking myself off the floor.

I lucked into three (!) gifts this year. The first was “the three Chrestomancis,” the prompt for which was borne out of me realizing that Cat arrived at the castle before Gabriel passed away, meaning that for a while there were three nine-lived enchanters running around at once. (Not that any of them still had nine lives by that point, but it doesn’t affect their power.) Then I received “as wine pervades water,” which features exactly the kind of wedding I’d expect Rick O’Connell and Evy Carnahan (from the 1999 Mummy movie) to have, i.e. ad hoc and done at speed to save the world from a supernatural threat. I also got the Madness treat “When a Body Meets a Body,” and it amuses me how many Mummy fics I’ve seen involve bog bodies over the last few years; I credit Sovay and her comment that I quote in my Yuletide letter. 🙂

For my own part, I dove deep into the history of D&D for “Third-Party Supplements,” a fic for The Order of the Stick. My thanks to the various people who helped me research old editions, and especially whoever it was on Twitter (too difficult to dig back that far now) that linked me to the infamous Random Harlot Table. 😀 I legit rolled dice for this story, y’all.

Recent TV: The Witcher

Like many people, I recently inhaled the first season of The Witcher. I enjoyed it a lot, even if in some ways I think it’s a bit of a mess?

One part of the messiness is that the show does not do an excellent job of communicating to you off the bat that the various plotlines are not all happening at the same time. I found that out because I looked at a summary of the first episode after I watched it (which I did because often either the actors are not great at enunciating the names, or the sound editor is not great at making sure those moments are loud enough, so I was having trouble figuring out what anybody or anywhere was called), and there are a few hints here and there about the non-simultaneity, but I think it’s entirely possible not to realize what’s going on until Geralt meets up with some characters you saw die several episodes ago in someone else’s plotline.

And the structure is kind of choppy in general. Lots of Geralt’s plots are basically monster-of-the-week deals which appear to be drawn from short stories, and while they do end up echoing forward in a few places, it means he doesn’t have a lot of through-line except “I’m a monster hunter and I wander around being paid to kill monsters.” I’m told the second season and onward will be more cohesive, with the central characters interacting more frequently, so that will probably help.

Finally, the ending . . . kind of isn’t. An ending, I mean. It’s a stopping point with some amount of cliffhanger, but — if you’ve watched Nirvana in Fire, you know how the episodes there often seem to go to the credits at absolutely arbitrary points? It feels a bit like that. There’s not no payoff, but if you’re expecting a clear narrative shape to the season (as I was), you won’t really find it here.

But! Having said that, I still enjoyed the heck out of it, and that is about 98% due to the characters, dialogue, and performances. I am much more willing to put up with a main character who is stoic, grim, and frequently cynical when there’s no shortage of other characters ready and willing to take the piss out of him at every opportunity — and many of those characters are women. My impression (from those who know the source fiction and/or the games) is that this is largely an innovation of the TV show; certainly the presence of characters of color fits under that header. I’m glad of both things. The first episode alone has four women playing significant roles in the plot, and that’s before Yennefer shows up to be a protagonist. And while there’s a lot of nudity, most of it female, the show (mostly) isn’t nearly as exploitative about that as it could be — I could have done without Stregebor’s illusion of naked women wandering around his garden. They do put Geralt naked in a bathtub not once but twice, though, plus a number of shirtless scenes.

Also, Jaskier is hilarious. Geralt’s “rarr I don’t have friends rarrr” attitude means we don’t get as much of him as we might otherwise; hopefully he’s returning for season two. Even if he has earwormed us all with “Toss a coin to your Witcher.” 😛

Fair warning: do not start a drinking game that involves taking shots when somebody says “destiny” or when Geralt says “hmmm.” Not unless you want to court liver failure. Taking a shot when Geralt looks at something for a moment and then delivers a deadpan evaluation of “fuck,” though, might be entertaining.

The show is very violent, and like I said, the overall narrative structure isn’t all that hot. But I find it very pretty — the costumes are way better than on Game of Thrones — and fun on the level of smaller plots, and I’m looking forward to what future seasons do now that the component pieces are in place.

The best and worst of the Star Wars sequels

Opinions on the Star Wars sequels have been polarized from the start, and from what I’ve seen, that’s no less true of Rise of Skywalker. I don’t see much point in wading into that — if you liked it then you liked it (I did), and if you didn’t you didn’t (I’m not liable to change your mind) — so I thought I’d post about something different. Instead I’d like to step back and evaluate what I consider to be the strongest and weakest narrative decisions made overall.

Spoilers for Rise of Skywalker, since both of these things play into the final episode.

(more…)

Scholarship in antiquity

I know I have at least a few people reading this journal who know a bit about this topic. 🙂

Scholars in the ancient world: what exactly did they do? What sorts of things did they write? “Commentaries,” according to the references in the things I’ve read, but what exactly was the content and purpose of those things? What other kinds of works did they produce?

What sparked this question was thinking about the Library of Alexandria and the scholars who used it, but I’m also interested in answers from other parts of the world (since the purpose to which I’d be putting this is not historical fiction). Ancient Confucian scholarship, ancient Vedic scholarship, those and more would all be interesting to know about, too.

The kinds of things I ask about . . .

I belong to an online writer’s group where I can post research questions. For my own entertainment, I made a list of the things I’ve asked about in the last two years. Some of these are for works that are out now (e.g. Turning Darkness Into Light, The Endless Knot, “Vīs Dēlendī”); others are for works I have written but not yet sold; others are for back-burner projects.

Some are more about soliciting suggestions of things of a certain type:

  • Mythological thefts (for the good of humankind)
  • Perfume blends
  • Near Eastern tales and myths
  • Folksongs
  • Archaeology-based plots
  • Celtic battle music recs
  • Slavic music recs
  • Card games played with non-numerical decks
  • Words that fit a specific pattern

But others were more about getting references or facts:

  • Scholarship in antiquity
  • 1930s British university structure
  • Life on a Saturnian-type moon
  • Bronze forging and casting
  • Probabilities for a card game
  • Ancient Roman magic
  • Length of the lunar day and orbital mechanics considerations for launch
  • Historical Chinese cuisine
  • Jewish religious law and literary genres
  • Short-term cons to build trust
  • Treasonous activities
  • Social models of friendship
  • Charting a horoscope
  • Basics of lunar landing
  • Lunar calendar based around two moons
  • Moons and tidal mechanics
  • Punishments for Buddhist monks
  • Tattoos
  • Latin gerunds [I wanted somebody to check my grammar]
  • Putting gold inside clay
  • Fire scenario: starting it, dealing with it, and fighting it
  • Russian-to-English grammatical quirks
  • Cuneiform

. . . apparently I’ve been thinking about moons a lot lately? Oddly, though, those questions are for three completely unrelated projects. Anyway, it’s an amusing cross-section of some of the things I’ve been researching over the last two years, and I’d say it’s a fair snapshot of what my fiction is like in general!