Sign up for my newsletter to receive news and updates!

Posts Tagged ‘writing’

old ghosts

There’s something deeply odd about revisiting a text you wrote when you were fifteen, with
an eye toward revising it into something worthy to see the light of day now. (I might have
been sixteen, but I don’t think so. Certainly I was in high school.) It’s not purely
craptastic, though it comes close; large chunks of it are getting deleted without a second
thought. But I had a few worthwhile turns of phrase, buried in amongst the chaff. And the
idea still has some compelling force, which is why I’m revisiting it in the first place.

Should this end up seeing the light of day, it will displace Doppelganger as my
earliest idea to successfully reach print. I can only think of one other thing that stands
even a faint chance of defeating this for that title, and that one thing will be so heavily
modified by the time it does so that it would only barely qualify as the same idea I had when
I was fourteen.

Still. Kee-rist. I was fifteen when I thought this up. If I thought it was weird
admitting I wrote Doppelganger when I was nineteen, this would be substantially
worse.

Magic versus Science

Occasionally I write essays for my website, and I decided a while ago that I would start posting them here in first-draft form, thereby to get any commentary people feel like providing, before putting them up on the site permanently. So here’s the first attempt at that.

At the World Fantasy Convention this year, there was one panel titled “The God or the Machine?,” which addressed the division (or non-division) of magic or science. It was, hands-down, the best panel I went to that weekend, because it got me thinking, and left me with useful thoughts. I like entertaining panels as much as the next person, but this kind’s even better.

Let me start with the things that I don’t think usefully distinguish magic and science from one another. (Top of the list is Frazier’s approach, where you’ve got magic when you’re a primitive society, religion when you get a little more advanced, and science when you reach the top. But enough about nineteenth-century armchair anthropology.)

I don’t think it’s useful to say that science works within the laws of nature, while magic violates them. Whose laws? What nature? This view takes modern, rationalist Western science as the default, which is problematic not just on our own planet (where there are plenty of people with other opinions) but in invented worlds, where the laws of nature may be whatever the author pleases. “The supernatural” isn’t a word I particularly like; if it exists, how is it not a part of nature, in the non-environmentalist sense? If it doesn’t exist, then doesn’t “the supernatural” really mean “the fake”? Bleh. Sure, magic may violate the laws of scientific nature, but you could just as easily say science violates the laws of magical nature. A dead-end, to my way of thinking.

Then there’s the idea that magic operates by/is a manifestation of will. While there’s some truth to this, I can poke two holes in it. First, a lot of magic systems require more than just will; even David Eddings’ Belgariad is based on the Will and the Word. Usually you need to do something. Second, isn’t there an element of will involved in science, too? “It is by will alone I set my mind in motion,” Piter de Vries says in Dune, but Mentats are human computers more than magicians. I’m also reminded of Apollo 13, when Jim Lovell says, “From now on, we live in a world where man has walked on the moon. And it’s not a miracle; we just decided to go.” Sure, they had to do more than just make the decision; they had to build things and develop technologies and work out mathematical equations. But so do magicians, much of the time. It may not take as many people, as much time and money and experimentation as the space program did, but both of them are based on an element of deciding you want to do something, and then doing what you have to in order to make it happen.

So what are you left with, at this point? Most of the time, we make the distinction based on trappings. If you chalk a circle on the floor, burn herbs, chant arcane mantras, et cetera, then you’re doing magic. If you take measurements and draw graphs and solve equations, then you’re doing science. Or we distinguish them by their effects: demon-summoning and fireball-throwing are magic, while genetic engineering and lasers are science. But I think we can agree that this is a pretty sloppy way to separate the two.

I never had a good answer to the question until Ted Chiang made a comment, during the WFC panel, that turned on the proverbial light-bulb over my head. He was talking about alchemy, which is a classic case of fuzzy distinction between magic and science; it has elements of both, and sort of slipped from one to the other over the course of centuries. What he pointed out was the idea, once common in alchemy (but lost by the time alchemy turned into chemistry), that the process of alchemical transformation was also a transformation of the alchemist, that the creation of the Philosopher’s Stone was also a process of spiritual refinement.

I thought through the real-world magical systems I have any familiarity with, since I’m of the opinion that any division between magic and science ought to hold true in our reality, not just made-up ones. And it seemed to me that every one I could think of includes some kind of element — call it spiritual, call it moral, call it personal — some element that influences the act based on the actor. Who is performing the steps matters, not just based on their knowledge (whether they do things correctly), but based on some more intangible quality. People are born with magical talent. People undergo spiritual training to acquire magical talent. People can only work magic if their hearts are pure (or foul). People form contracts with other entities which grant them the power to work magic.

Science, on the other hand, will work for anybody who knows what they’re doing and has the right equipment.

If you remove that personal element, making the procedure something anyone can do, then you have science, not magic. Even if it doesn’t obey the laws of science as we know them, it’s imaginary or invented science, not magic. Some parts of alchemy didn’t work in the slightest, but that didn’t stop them from being scientific in their approach. And you could write a very passable world where they do work.

I tend to be utilitarian when it comes to theoretical constructs; for me, the test of an idea is whether or not it clarifies things for me that were muddy before. And in this case, it does. I’ve always had an odd relationship to China Mièville’s Bas-Lag novels; theoretically they’re fantasy, and he says things in various places about thaumaturgical energy and the like, but it never felt quite right to me. I like my fantasy, my magic, to have a numinous quality — but lacking a way to codify what I meant about “the numinous,” it was hard for me to say how and why I found it absent in that setting. Looking at it in this light, I can see exactly what I was missing. When parts of Armada are mining ore that they refine to produce that thaumaturgical energy, when the process can be automated and industrialized, divorced from the people involved, then you can call it by magical terms all you like, but it feels like science to me, not magic.

(Whether or not that means I think his novels are SF instead of fantasy is a complicated question, and one for another post.)

This still doesn’t make the line between the two absolutely clear; alchemy, as I’ve said before, is a good example of something that is neither fish nor fowl. It holds more water, though, than any of the approaches I’ve heard bandied about before.

Re-Mused

I know many of my readers on this journal are interested in fairy tales, ballads, myths,
and the way people play around with same, so you might want to check out Re-Mused, a new LJ community I’ve joined
that is made up of writers who have published retellings of traditional material. Membership
is restricted, but anybody can watch it and comment, and it looks like we’re warming up to
some pretty good discussions. Check out the profile to see who the current
members are.

just short

I don’t need another fairy-tale retelling with a side order of unspeakable horror. Not
when I’m already trying to market three other stories like that.

But even less do I need another fairy-tale retelling with a side order of unspeakable
horror that is stubbornly quitting on me two sentences short of the end.

updatery

World Fantasy was good. Got to see (read: stay with) Khet; got to socialize with many
friends from previous cons and make some new ones. The con itself wasn’t the best I’ve ever
been to — thin programming, too heavily focused on the topic du jour (the Robert E. Howard
Centennial), and most of the panels I went to were okay at best — but that’s only one of the
reasons I go, and not even the most important one, so I’m not upset.

Voted this afternoon. Most of my time was spent waiting for them to figure out what to do
with the two women in front of me who had both moved and therefore needed to jump through
administrative hoops. Link of interest: the Vote
by Mail Project
is pushing the model of voting Oregon uses, which appears to be vastly
preferable on every front you can imagine. Worth taking a look at.

Also, started wading through my school e-mail that had built up over the weekend, and found
I’ve made it through the first round of cuts for my Collins course proposal. Now I have a
half-hour interview/presentation to go through, with some adjustments to be made to my
syllabus. Not sure when I’ll have the time to prep for that between now and Thursday, but I’d
better find some, as it appears I stand an actual chance of getting this through.

Sprechen sie Deutsch?

Woke up to the delightful news that Luebbe, a German publisher, has made an offer for both
Doppelganger and Warrior and Witch. I’ve always been tickled by the idea of a
German translation of Doppelganger — all they have to do is slap an umlaut back on the
title and it’s good to go! (The title is, anyway. The rest of the book would need some
actual translation.)

This also highlights two interesting facts about the Life of the Writer. First, foreign
sales are your friends, because then people give you more money without you having to write
more books. It isn’t much, but by such things do writers make their livings. Second, this is
why one acquires an agent. Every so often you get new writers kvetching over the way agents
take a cut off the money their clients earn, but they absolutely deserve it; I wouldn’t have
the first clue how to start marketing translation rights to my novels. (Let alone all the
other useful things an agent does.)

So, life is pretty good.

Now back to work, I suppose.

wiki-me

Got a delightful e-mail from a reader today, alerting me that he has made a page on Wikipedia for Doppelganger.

It’s odd little things like this that convince me, yes, I really am a published author. (Not that I thought the boxes of books were hallucinations or anything, but ya know. It can use reinforcement.)

hah!

I had to get up early this morning to help the boy take his car to the shop, and when I got
home, I couldn’t go back to sleep. I’m sure I’ll crash out in the early afternoon to make up
for it, but in the meantime, I’m awake, and I decided I should be productive (if not on the
things I really should focus on). So there’s now the usual page for “Nine Sketches,
in Charcoal and Blood,” and more to the point, I’ve finally caught up on recommendations! (I
know I’ve been deluging you all with them over the last few days; I apologize for that.) This
time around, in honor of the time of year, it’s Sergei Lukyanenko’s Russian fantasy Night Watch. I’m
fairly certain that’s the first translated fantasy novel I’ve ever finished reading; there’s a
dearth of the stuff in our genre anyway. And that puts me back on track, finally, for the
recommendations, after months of being very, very bad about posting them. (Now all I have to
do is be vaguely disciplined for two more months, and I’ll finish out the year on
schedule.)

another one finds a home

As a writer, of course, I love all my children equally, but I love some more equally than
others. One of the special ones found a home this morning: “Nine Sketches in Charcoal and
Blood,” the story that ambushed me out of nowhere a little less than two years ago, wrote half
of itself in no time at all, spent months not writing the other half of itself (and not
letting me do it, either), grew an ending, went out into the world, went to the Canadian
magazine On Spec back in March, and sold to them just now. I’m very pleased by this,
as I like it a great deal. (Which is not to say I don’t love my other children, too. The
ones I don’t love get buried in the backyard and never seen again.) It’ll be out some
time in 2007.

a window into my life

There’s nothing quite like curling up on a cold, grey Sunday afternoon to read Maoist tracts on guerrilla warfare for the fantasy novel proposal you’re working on.

*^_^*

back to press!

Here’s some good news I do understand: Doppelganger is going back to press!

It’s fantastic to have this happen to my first novel. This means that, while probably not every single copy of the first print run has been sold yet, it’s come close enough that they’re making more. In other words, it’s selling better than expected, by a lot.

I believe the word is “wah-hootie!”

I haven’t the faintest idea what this means, but it sounds good.

According to my editor, Warrior and Witch hit the Barnes & Noble mass market bestseller list at #37. Bookscan, the program that tracks point-of-sale at many stores, puts me at #10 on the fantasy bestseller list, and #4 for mass-market fantasy.

I am completely lacking in the experience needed to translate those facts into something meaningful, but damn, they sound good. And if my editor’s e-mailing me about them, they’re probably good enough to be worth taking note of.

So yay!

Happy Street Date Day!

Today is the official street date for Warrior and Witch. Not that this means all that much, since bookstores are rarely rigorous about enforcing such things, but y’know. Go buy the book. ^_^

Also today — since they put up their new issue on the first of the month — you can go read my interview with Sequential Tart. Mostly they do comics stuff, but the Culture Vultures cover other material, and one of them was kind enough to get in touch with me. Writing, gaming, academic life — the interview covers it all.

We have a winner!

Kasi Spyker wins the tuckerization contest, having sent me the following picture:

I think I’ll have to make her one of the senators or representatives that’s on the less shady side; “Spyker” as an antagonist’s name just wouldn’t be subtle. 🙂

For posterity, I will note that hers was not the first picture I received, but I told Kurayami-hime that family were disqualified. Nonetheless, it’s good to see that there are quite a few copies on the shelf in this store, and even one of Doppelganger:

Send me more pictures! I’d love to know where the book has already made it into the wild.

more excerpt, and a contest

One week to go until the official street date for Warrior and Witch. You can now read a sample of Chapter Two online. (Sorry for cutting off where I do, but my contract limits me in how much I can post.)

Also, we return to the land of tuckerizing! The deal is the same as it was with Doppelganger: be the first person to e-mail me a picture of Warrior and Witch in a store, and I’ll name a character after you in the urban fantasy I’m working on. (You’ll probably be a senator or representative.) And even if you’re not the first, I very much appreciate reports (with or without pictures) of sightings in different places. Go forth, and find my book!

excerpt and other goodies

If you’ve read Doppelganger already, then check out the page on my site for Warrior and Witch, newly updated with all kinds of goodies — including the first chapter of the novel! It’s the revised version of what got printed in the back of the first book, and next week (one week from street date!) I’ll be adding a section from the second chapter.

If you haven’t read Doppelganger already, then please don’t follow either of those links, as they lead to spoilers that make Baby Jesus cry. Go read the first book instead.

they giveth, and they taketh away

What an appalling offense to archaic grammar. But that doesn’t stop me from titling the entry thusly.

I have on my desk a letter from Delia Sherman that would have me bouncing in happiness if it didn’t happen to reject “La Molejera” for Interfictions along the way. She and Dora Goss seem to have put a lot of effort into writing the rejection letters, which is above and beyond the call of duty for editors. So yay, but at the same time boo.

The reason given for the rejection, incidentally, was that it was too identifiably a genre story to fit the anthology. This confirms my suspicion that, provided they do manage to put out a second Interfictions antho, and provided I have not sold it by then, “The Deaths of Christopher Marlowe” may be my best prospect with them. (Of course, this also requires the provision that I get off my ass and do something with that first draft. It won’t sell to anybody sitting on my hard drive.)

more than the sum of its parts

I don’t recall where I picked up this link, but it’s a discussion of media (all media) and its future. The major point is, presented in analogy, that a music album (frex) is a molecule, and songs are atoms, and we as a society are increasingly interested in atomic rather than molecular content; we download individual songs, make our own mix CDs, and even get to sub-atomic levels in creating mashups. Nor does this apply only to music.

Here are some of the issues I have with the post and its comment threads (one of which says, “Most consumers are just playing with the atoms and discarding them, and any art form that expects the consumer to understand a complex molecular structure, whether created from whole cloth or from other atoms, is in trouble”). First of all, I don’t think this trend is inherently going to keep on as it has been. Personal experience prompts this feeling; I like listening to my music on shuffle, but after a while of doing that I found myself craving whole albums again. Now, I can’t assume everybody’s like me, of course, but I have a gut feeling that playing around with atomic content is something we’re doing a lot of because suddenly technology’s making it easier; the novelty, however, may well wear off, and then the atomic approach will become one of many ways we interact with media, instead of the Tsunami of the Future that will wipe out all others.

Second, it sort of carries the assumption that the molecules are no more than the sum of their parts. “They don’t want to buy a whole album just for that catchy radio single” — true enough, but the fault then lies with the way we market music, promoting one good song on the radio while the rest of the album may be mediocre crap. I wouldn’t want to buy the album then, either. But a good album is well worth buying, because not only does it have more worth listening to than that one catchy song, it has more than its entire collection of songs; it is an artistic work in its own right, with carefully chosen beginning and ending tunes, a flow from one song to another, a journey that lasts more than four minutes. Atomic media can only offer you small experiences — powerful ones, perhaps, but limited in their complexity. And I think we enjoy complexity enough for molecular media to still have their place.

Finally, look at this on a more extreme level. The quarks of writing, if you will, are letters and punctuation, or words if you don’t want to go that far. Anybody can mix and match them to their heart’s content. But not everybody can do it well, and so we pay writers (and musicians, and TV show creators, and so on) to put them together for us, to present us with something compelling. I make characters soundtracks (i.e. themed mix CDs), but I don’t listen to them as often as I do to professional albums, and I sure as hell don’t write my own music. I could be vaguely interested in the notion of a “mix anthology,” collecting my favorite short stories in one place, but a professional editor can probably do a better job of that than I can. A mix anthology from a friend would interest me more as an expression of my friend and/or our relationship, but a professional anthology would interest me more as literature. I don’t mean that to slam my friends, of course; could well be that one or more would manifest a heretofore unsuspected talent for that sort of thing, and produce a work of sheer brilliance. But on the whole, I consume anthologies (books, albums, movies, etc) looking for someone else, someone who has spent a lot of time learning how to do it well, to present me with an experience. The more I chop up their media, the more I’m undoing their work, losing the crafted connections that made the whole more than the sum of its parts. That can be fun, and it can produce amazing new works, but I don’t think we’re going to forswear molecules for atoms any time soon.

I

And I <3 <3 <3 stunting.

I commented the other night that combat in Exalted isn’t all that quick (when I can blow a relatively cheap charm to get six actions in a round, or the bad guy can attack five times as often as I do, things get slowed down real good) . . . but despite that, I find it far more interesting than combat in most other games. Why? Because the system actively rewards you for being exciting. Say “I run up and stab him” in a normal game, and you roll your normal dice. Say that in Exalted, and you roll your normal dice. Say “I run up his enormous daiklave, feinting with my blade to all sides, then leap into the air, turn three backflips, and stab him in the back” in a normal game, and you have to make a crap-ton of difficult athletics rolls, then roll your normal dice (if you’re lucky; if not, then you’re at a penalty.) Say that in Exalted, and you get bonus dice and some of your magic juice back to boot, just for being awesome.

What’s not to love?

Obviously this approach wouldn’t work for all genres, and probably wouldn’t quite work in an Exalted game that wasn’t deliberately starting in the last chapter of an epic story. But I like the way it rewards you for describing what you’re doing, and doesn’t penalize you for trying the exciting and difficult thing over the safe and boring one. Seems to me that could be incorporated, on a less insanely over-the-top level, into more games.

It also makes me ponder something I’ve pondered before, namely, how one could go about trying to write Final Fantasy/wuxia/anime/etc-type-stuff as prose fiction. One difficulty is that the appeal of such sources is heavily visual, with both the flow of movement and the aesthetic arrangement of bodies; conveying those kinetic and spatial qualities in prose is hard. Another difficulty is simply that we’re not used to such things in our prose, and so a level of over-the-top-ness that you can swallow off a screen is much harder to digest off a page. I gradually toned down the martial arts in Doppelganger over the course of submitting it around, taking out some of the stupider wire-fu that had been in there; I wanted Mirage to be badass, but not so much so that she defied the laws of physics utterly. It might fit into another story, though, and so I ponder how it could be done.