Disclaimer: I realize that not all of these books debuted in 2010. However, I read them all this year, so that is why they are my favorites of the year. And there are 6 instead of 10, not because I didn't read 10 books I liked, but because I'm busy and don't have time to write about why I like 10 books.
In no particular order:
Room by Emma Donoghue
I used this book for What I Learned about Writing From this month. But there is more that I like about it than what I learned from it as a writer. The premise sounds depressing: a five-year-old boy has spent his entire life in an 11'x11' room; the same room his mother's been imprisoned in for seven years. Yet, it's not depressing. Jack has fun in Room. He adores Ma and thinks life is pretty great. I know that life in Room must be harder on Ma--how could it not be--but she makes it home for Jack, and I adored her for that.
They both have to face a lot in the second two thirds of the book, each in different ways. Viewing everything through Jack's eyes makes it at once easier to read and more difficult. Donoghue has a way of letting us see Ma's struggles filtered through her son's innocence without dampening what she's going through.
I've recommended this book to more than a few people, but always add that it might be a more difficult book to experience if you have children of your own.
Postcards From a Dead Girl by Kirk Farber
I knew about this book long before it was published. Kirk is a member of Pikes Peak Writers, and I'd heard about his reading at one of their American Icon Contests. The title already had be interested, then Jenny told me how much she liked his reading--even if they were in competition with each other. So I knew I'd have to buy it as soon as it came out.
The book does not disappoint. Sid Higgins is the ultimate unreliable narrator, because Sid just may be losing his mind. He's getting postcards from his ex-girlfriend Zoe, who disappeared on trip to Europe she started about a year before. All of the postcards are dated from not long after she left, and Sid is trying to find out why they were delayed. In addition to Sid's weird postcard dilemma, he's being haunted by his mother, whose ghost is stuck in a wine bottle in the cellar, he thinks he has a brain tumor, and his sister is pretty fed up with him.
At first I was nervous about the fact that the book has very short chapters, but it works. A lot about this book works. And while I sometimes found myself being frustrated with Sid, I believe it was the author's intent. I'll ask him the next time I run into him.
Good Omens by Neil Gaiman and Terry Pratchett.
I have to admit I was a bit apprehensive about finally reading this one. So many people have raved about it for so long that I just knew it couldn't live up to expectations. Boy howdy, was I wrong.
From the description of the cast of characters, I was hooked. How can you resist an angel who "didn't so much fall as saunter vaguely downwards?"
Aziraphale and Crowley have been the earthly reps for Good and Evil for a very, very long time. And they like it here. There's one little problem: the Apocalypse is going to happen, on Saturday. Which means they'll have to go back to their respective homes. Can they stop it?
There's an Anti-Christ, witch hunters, a witch, various demons, a handful of "horsemen," a bunch of kids and Dog.
Gaiman and Pratchett each have strong, funny voices. The combination of the two could have been overwhelming. But styles blended seamlessly. They claim that they can't tell who wrote what. I tend to believe them.
It kept me laughing--sometimes until I had to set the book down and wipe my eyes--and turning pages right up to the end.
Hurricane Punch by Tim Dorsey
I received this book from a friend. "It's about a serial killer in Florida." Ah, a Dexter knock off, I thought. Wrong again.
Serge Storms and his buddy Coleman are traveling around the state, just ahead or just behind the hurricanes that are pounding it, wreaking almost as much havoc as the storms. Especially once a rival killer starts taunting Serge.
There are some pretty graphic descriptions of what happens to the victims, which I probably could have done without. But these are tempered by some of the funniest writing I've seen.
After finishing Hurricane Punch, I went out and bought the first two books in the series. I'm looking forward to spending some more time with Serge--just on paper of course.
The Spellman's Strike Back by Lisa Lutz
The Spellmans are back in all their wacky glory. Izzy is prepping to take over the family's detective agency, still going to therapy and dating the hunky Irish owner of her favorite bar. Mom's none too happy and finds a way to bribe Izzy to date other men. David's still unemployed and dating Maggie, Henry's ex. Rae's acting weird.
All in all, life as usual for the family.
This fourth installment is the best of the bunch, and that's saying a lot. All the family intrigue, actual cases, romance and laughter are here. Izzy may be evolving, slowly, but she's every bit as much fun as ever.
The Passage by Justin Cronen
A Government experiment goes wrong. Not only that, it is set loose on the population. The world as we know it ends and another one begins.
Sounds like King's The Stand. And the set up to The Passage definitely reminded me of it. But the disaster is different. It may still be a kind of virus, but one that turns people into vampires. With all the vampire hype recently, I was skeptical. But Jenny recommended it, so I gave it a try.
Many reviewers have talked about the first third of the book being brilliant and the rest bogging down. I didn't feel that. The second second slowed it's pace, but it's the aftermath. I thought there was plenty of excitement, and also how things can become mundane after ninety years--even fighting vampires.
My main disappointment was the abrupt end. At least I had been warned that the book is the first in a trilogy. While he did wrap up one part of the story line, Cronen left the reader hanging over a big old cliff. I'll pick up the second one, for sure.
Juliet by Anne Fortier
This doesn't count in the 6, because I haven't finished it yet. But it could be another one that I finish before the end of the year that would make the list--Juliet by Anne Fortier. I'm about 3/4 of the way through, and I'm still loving it.
Showing posts with label Neil Gaiman. Show all posts
Showing posts with label Neil Gaiman. Show all posts
Monday, December 27, 2010
Monday, November 22, 2010
And Another Thing
I learned about writing from Sandman:
4. Break Those Stereotypes
Death is one of Dream's siblings. What is the picture that just popped into your head? A hooded figure? Perhaps skeletal? Definitely male though. Not in Sandman. Death, in Neil Gaiman's universe, is a cute Goth teen. And it works.
Gaiman shakes things up in other ways as well, taking what we think of as fact and flipping it upside down and backwards. In The Sound of Her Wings, my favorite story from Preludes and Nocturnes, Dream is in our world. He is sitting on a park bench, feeding the pigeons, and he sees Death. They discuss humans. Death says, "Mostly they aren't too keen to see me. They fear the sunless lands but they enter your realm each night without fear." Dream replies, "And I am far more terrible than you, my sister."
I've been called out by my critique group on stereotypes and cliches in my work. Never intentional, but that doesn't really matter. one of the things I'm working on is really shaking up expectations with my characters.
What do you think? Can dreams be more terrible than death? Are there ways you can surprise your readers by not living up to their expectations?
4. Break Those Stereotypes
Death is one of Dream's siblings. What is the picture that just popped into your head? A hooded figure? Perhaps skeletal? Definitely male though. Not in Sandman. Death, in Neil Gaiman's universe, is a cute Goth teen. And it works.
Gaiman shakes things up in other ways as well, taking what we think of as fact and flipping it upside down and backwards. In The Sound of Her Wings, my favorite story from Preludes and Nocturnes, Dream is in our world. He is sitting on a park bench, feeding the pigeons, and he sees Death. They discuss humans. Death says, "Mostly they aren't too keen to see me. They fear the sunless lands but they enter your realm each night without fear." Dream replies, "And I am far more terrible than you, my sister."
I've been called out by my critique group on stereotypes and cliches in my work. Never intentional, but that doesn't really matter. one of the things I'm working on is really shaking up expectations with my characters.
What do you think? Can dreams be more terrible than death? Are there ways you can surprise your readers by not living up to their expectations?
Monday, November 15, 2010
What I Learned About Writing From
The Sandman Comics
I know. I know. There are those of you who are screaming, “Graphic Novels!” If the author of “The Sandman” series, Neil Gaiman, refers to them as comic books, who am I to quibble?
Neil Gaiman has been one of my favorite authors for a while now. I’ve read his novels, children’s books, YA books and short story collections. But I avoided the comic book collections. My experience with comics was limited to “Archie and Jughead,” “Little Lulu” and “Casper.” And those when my age was still in single digits.
Curiosity got the better of me, especially after reading reviews and hearing interviews with Mr. Gaiman about “The Sandman.” I tried to hide the first collection “Preludes and Nocturnes" under a stack of magazines and other books when I bought it at a local bookstore. After all, I was a woman of a certain age buying a comic book. I didn’t want anyone to see. The clerk, however, picked it up and announced, “This is a great series. You’re going to love it.” Red-faced, I snatched the bag from him and left in a hurry.
He was right. The next time I picked up a Sandman book, I didn’t hide it. Not only did I enjoy the series, but I learned a few things about story-telling.
1. How you draw things changes the tone of the story.
Mr. Gaiman collaborated with many different artists over the course of the series. Depending on the style of the drawing, the feel of the story changed. Some were very stylized and the story seemed more sophisticated. In the few that were more whimsically drawn, the stories were lighter in feel even with the same dark subject matter. Although the characters retained the same basic size, shape and coloring, the artistic style of the drawings gave the characters’ personalities a slightly different twist.
The settings changed as well. Again, Dream (our Sandman), lives in The Dreaming. But what we see of his land or other magical realms, or our own world for that matter, effects the story being told. Is the setting dark and shadowy? Or is bright and sunny?
I love a well-defined setting in fiction. I may or may not be successful at drawing my own worlds with words. But I’m working on playing with setting more. What does it do when a happy occasion takes place during a thunderstorm? Can a change in background give a scene more kick?
2. Your protagonist doesn’t have to be a nice guy.
Dream isn’t even technically a guy. He’s one of seven siblings, known collectively as The Endless. At the beginning of the series, Dream has been imprisoned by a wizard. After his escape, he sets about atoning for some of the wrongs he’s committed. However, he’s still often thoughtless, stubborn and cruel. When you’ve existed for billions of years, you get used to doing things a certain way.
It’s in the contrasts between Dream and the other characters—some human, many not—that brings out the brilliance of Gaiman’s universe. Dream is often kinder than those around him, even if it’s by accident. Sometimes helping out can be the worst thing you could do for another person.
Could exploring my characters’ dark sides, especially my “good guys”, make them more well-rounded? How could a well-intentioned action create havoc for another character?
3. Mythology is your friend.
Gaiman uses myth a lot in all of his writing but particularly in “The Sandman.” The Greco-Roman pantheon is present, but so are Egyptian, Norse and Asian gods. I suspect that he also makes up myths—or I’m just not as well-versed, which is a distinct possibility. He uses them head on in the comics. Sometimes with a lesser known name applied to a god and always with his own twist, but still addressing the actual myth as it’s come down the ages.
Writers are often told to go to myths for ideas for their stories. Too often, I think, we just take a myth and set it in the here and now with very little change. And we have a lot of books on the shelves, including “American Gods” by Neil Gaiman, that take the gods and plunk them down in modern times.
Can I come up with a new way to use mythology in my writing? I don’t know. But I’m sure going to try.
I'm sure I'll come back to Neil Gaiman in the future. He's an amazing writer, who I've learned many lessons from.
I know. I know. There are those of you who are screaming, “Graphic Novels!” If the author of “The Sandman” series, Neil Gaiman, refers to them as comic books, who am I to quibble?
Neil Gaiman has been one of my favorite authors for a while now. I’ve read his novels, children’s books, YA books and short story collections. But I avoided the comic book collections. My experience with comics was limited to “Archie and Jughead,” “Little Lulu” and “Casper.” And those when my age was still in single digits.
Curiosity got the better of me, especially after reading reviews and hearing interviews with Mr. Gaiman about “The Sandman.” I tried to hide the first collection “Preludes and Nocturnes" under a stack of magazines and other books when I bought it at a local bookstore. After all, I was a woman of a certain age buying a comic book. I didn’t want anyone to see. The clerk, however, picked it up and announced, “This is a great series. You’re going to love it.” Red-faced, I snatched the bag from him and left in a hurry.
He was right. The next time I picked up a Sandman book, I didn’t hide it. Not only did I enjoy the series, but I learned a few things about story-telling.
1. How you draw things changes the tone of the story.
Mr. Gaiman collaborated with many different artists over the course of the series. Depending on the style of the drawing, the feel of the story changed. Some were very stylized and the story seemed more sophisticated. In the few that were more whimsically drawn, the stories were lighter in feel even with the same dark subject matter. Although the characters retained the same basic size, shape and coloring, the artistic style of the drawings gave the characters’ personalities a slightly different twist.
The settings changed as well. Again, Dream (our Sandman), lives in The Dreaming. But what we see of his land or other magical realms, or our own world for that matter, effects the story being told. Is the setting dark and shadowy? Or is bright and sunny?
I love a well-defined setting in fiction. I may or may not be successful at drawing my own worlds with words. But I’m working on playing with setting more. What does it do when a happy occasion takes place during a thunderstorm? Can a change in background give a scene more kick?
2. Your protagonist doesn’t have to be a nice guy.
Dream isn’t even technically a guy. He’s one of seven siblings, known collectively as The Endless. At the beginning of the series, Dream has been imprisoned by a wizard. After his escape, he sets about atoning for some of the wrongs he’s committed. However, he’s still often thoughtless, stubborn and cruel. When you’ve existed for billions of years, you get used to doing things a certain way.
It’s in the contrasts between Dream and the other characters—some human, many not—that brings out the brilliance of Gaiman’s universe. Dream is often kinder than those around him, even if it’s by accident. Sometimes helping out can be the worst thing you could do for another person.
Could exploring my characters’ dark sides, especially my “good guys”, make them more well-rounded? How could a well-intentioned action create havoc for another character?
3. Mythology is your friend.
Gaiman uses myth a lot in all of his writing but particularly in “The Sandman.” The Greco-Roman pantheon is present, but so are Egyptian, Norse and Asian gods. I suspect that he also makes up myths—or I’m just not as well-versed, which is a distinct possibility. He uses them head on in the comics. Sometimes with a lesser known name applied to a god and always with his own twist, but still addressing the actual myth as it’s come down the ages.
Writers are often told to go to myths for ideas for their stories. Too often, I think, we just take a myth and set it in the here and now with very little change. And we have a lot of books on the shelves, including “American Gods” by Neil Gaiman, that take the gods and plunk them down in modern times.
Can I come up with a new way to use mythology in my writing? I don’t know. But I’m sure going to try.
I'm sure I'll come back to Neil Gaiman in the future. He's an amazing writer, who I've learned many lessons from.
Tuesday, December 1, 2009
December Goals
Obviously didn't get much done on the writing front last month. Didn't even manage to keep up with blogging. I did, however, think a lot about revisions. Not just for MMG, but for Vesta and TNN as well. Neil Gaiman has said, "Thinking about writing is not writing." While I hate to disagree with the great and powerful Mr. Gaiman, thinking about writing is definitely an important part of writing. Especially in the revision process. What's working, what isn't? Which characters are three-dimensional and which are only two (sorry, guys, but one-dimensional isn't possible)? Do I have a well-defined goal for my protagonist? Am I beating him/her up enough? Is the setting visible for the reader? Etc, etc, etc.
I did get my one critique done. This month, I also have only one critique to do. Next month will be the same. So no excuses there.
But it's December, with all that entails. Even with all the days that have things planned, there are more than enough that do not. So, can't really use that as much of an excuse. Dammit.
Three writing goals this month:
--Finish all Christmas shopping/decorating and card sending by 7th and mail packages by the 10th
--Work on MMG revisions
--Complete CWC critique (0/1)
Why is Christmas stuff a writing goal? Because something that like can become a major distraction when I do sit down to write. The old "I should be . . ." [fill in the blank] instead of sitting here.
So, that's it. Ali's is "get stuff done." I like it. What about you?
I did get my one critique done. This month, I also have only one critique to do. Next month will be the same. So no excuses there.
But it's December, with all that entails. Even with all the days that have things planned, there are more than enough that do not. So, can't really use that as much of an excuse. Dammit.
Three writing goals this month:
--Finish all Christmas shopping/decorating and card sending by 7th and mail packages by the 10th
--Work on MMG revisions
--Complete CWC critique (0/1)
Why is Christmas stuff a writing goal? Because something that like can become a major distraction when I do sit down to write. The old "I should be . . ." [fill in the blank] instead of sitting here.
So, that's it. Ali's is "get stuff done." I like it. What about you?
Monday, April 20, 2009
Taking My Own Advice
So, yesterday I packed up my bag with a couple different notebooks and journals and headed to It's A Grind for what Ali calls out-of-the-house pages. I was disappointed at first because the place was packed with Sunday after church and Sunday not so much church people. Only one table left and that one in the middle of the room. But I slung my bag into a chair to hold it and went off to order my coffee.
A few minutes later, I was so deep into my Morning Pages I almost missed the woman bringing me my triple Nutty Cow (hazelnut latte). Finished morning pages and pulled out a very pretty journal that I hadn't written in since last October. That surprised me. I think about that book all the time, but it seems that thinking about writing really isn't writing (Neil Gaiman was right). I looked around the coffee shop, wondering what to write about. I hadn't brought any prompts with me and couldn't think of any that sounded interesting. Then I spotted a guy who bore a slight resemblance to Stephen Fry, the actor and King of Twitter. That was all it took. Several pages later, I had what could turn out to be a fun short story with a little work.
As I sipped my coffee and looked out at the beautiful Colorado day, a woman sitting by the window asked me, "Are you writing a book or just writing for yourself?" "Both actually." We chatted for a while. She's from Michigan, too, not far from where I grew up. Then off to King Soopers for some healthy-ish food for the week.
When I got home, I took my bag into the writing room, pulled out the draft of MMG and started on rewrites. I had fun with them for the first time in a while. Actually liked what I was producing. Seventeen pages that sound like me. Not like a pale imitation.
I rock.
A few minutes later, I was so deep into my Morning Pages I almost missed the woman bringing me my triple Nutty Cow (hazelnut latte). Finished morning pages and pulled out a very pretty journal that I hadn't written in since last October. That surprised me. I think about that book all the time, but it seems that thinking about writing really isn't writing (Neil Gaiman was right). I looked around the coffee shop, wondering what to write about. I hadn't brought any prompts with me and couldn't think of any that sounded interesting. Then I spotted a guy who bore a slight resemblance to Stephen Fry, the actor and King of Twitter. That was all it took. Several pages later, I had what could turn out to be a fun short story with a little work.
As I sipped my coffee and looked out at the beautiful Colorado day, a woman sitting by the window asked me, "Are you writing a book or just writing for yourself?" "Both actually." We chatted for a while. She's from Michigan, too, not far from where I grew up. Then off to King Soopers for some healthy-ish food for the week.
When I got home, I took my bag into the writing room, pulled out the draft of MMG and started on rewrites. I had fun with them for the first time in a while. Actually liked what I was producing. Seventeen pages that sound like me. Not like a pale imitation.
I rock.
Thursday, March 26, 2009
Clearance on Poppets
What's a Poppet?
Obviously, you don't follow Neil Gaiman's blog then. That's where I first learned about poppets and became hooked.
A poppet is a little (usually about 2 inches tall) sculpture by an amazing artist, Lisa Snellings. They are extremely cute and just a tad bit creepy. "Grotesque," says Giovanna. "In a good way." There are a couple who wander around my house. My first, Little Red, sits on my desk at work to inspire me in those moments I have to do something creative. She--I'm convinced that this one is a girl--waits patiently for me to acknowledge her. But sometimes she she draws my attention when I wasn't expecting it, trying to get me to "do the work".
The sale is this Saturday, March 28th on Lisa's eBay site Lisa's Store .
You can check out Lisa's other artwork (wish I had more disposable income, but I did just find out she does layaway) at Poppet Planet .
Obviously, you don't follow Neil Gaiman's blog then. That's where I first learned about poppets and became hooked.
A poppet is a little (usually about 2 inches tall) sculpture by an amazing artist, Lisa Snellings. They are extremely cute and just a tad bit creepy. "Grotesque," says Giovanna. "In a good way." There are a couple who wander around my house. My first, Little Red, sits on my desk at work to inspire me in those moments I have to do something creative. She--I'm convinced that this one is a girl--waits patiently for me to acknowledge her. But sometimes she she draws my attention when I wasn't expecting it, trying to get me to "do the work".
The sale is this Saturday, March 28th on Lisa's eBay site Lisa's Store .
You can check out Lisa's other artwork (wish I had more disposable income, but I did just find out she does layaway) at Poppet Planet .
Monday, October 13, 2008
Just Tell The Damn Story, Part 1
Over on Ali's blog she has been talking about what she took away from seeing Neil Gaiman in person and from looking at the nuts and bolts of his writing in The Graveyard Book. And the "it doesn't have to be perfect" lesson is a great one. One I have had to remind myself of most of my life. There is a reason that so many half-finished projects--not just writing but quilting, embroidery, sketches, knitting, etc.--are strewn around my house.
My big lesson from the experience? Just tell the damn story! I've said this to other people in critiques. A couple of them in particular. And it's always been for writing around the story. For trying to be clever to the point of obscuring any real nugget that might move the plot forward. Now don't get me wrong. I've talked before about how much I love literary writing. The "pretty" of writing. But, as with people, pretty that has no real heart, soul or brain gets damn dull after a while. After a very short while, usually.
But it also applies to my own writing. Or lack thereof. Because I stall out when I feel I'm not writing it right. "Maybe this would be told better in 1st person--or maybe I should include a flashback. Wait! Flashbacks are bad, right? But sometimes they're okay. Or I should change the main character. Or the setting. Or or or or." And I don't do anything. But if I'd quit looking at the perfect and just told the damn story that's in my head, I wouldn't have those problems. I'd probably have other ones, but that's okay. Clean it up later, right?
When Mr. Gaiman uses "to be" verbs, I believe it's because that's the way people tell stories to each other. "Once upon a time, there was a little girl who . . ." "I was at the Neil Gaiman reading the other night and . . ." And he is a storyteller. And, yes, they can be overdone, but that's what revision is for. To take out the ones that don't work. I just think we need to be mindful of the ones that do and be brave enough to leave them in. Forget about that critique group in our heads, who may even be worse than the Heckler.
Now, I'm probably the biggest offender when it comes to marking up things like passive voice and adverbs and the like, including "to be" verbs. And as a part of a critique group, it may be my job to point out overuse. But I think we all need to be aware of when we're overdoing the critiques too.
So, Just Tell The Damn Story is my new mantra. When I'm stuck. When I'm confused. When I don't feel like working. Just Tell The Damn Story.
My big lesson from the experience? Just tell the damn story! I've said this to other people in critiques. A couple of them in particular. And it's always been for writing around the story. For trying to be clever to the point of obscuring any real nugget that might move the plot forward. Now don't get me wrong. I've talked before about how much I love literary writing. The "pretty" of writing. But, as with people, pretty that has no real heart, soul or brain gets damn dull after a while. After a very short while, usually.
But it also applies to my own writing. Or lack thereof. Because I stall out when I feel I'm not writing it right. "Maybe this would be told better in 1st person--or maybe I should include a flashback. Wait! Flashbacks are bad, right? But sometimes they're okay. Or I should change the main character. Or the setting. Or or or or." And I don't do anything. But if I'd quit looking at the perfect and just told the damn story that's in my head, I wouldn't have those problems. I'd probably have other ones, but that's okay. Clean it up later, right?
When Mr. Gaiman uses "to be" verbs, I believe it's because that's the way people tell stories to each other. "Once upon a time, there was a little girl who . . ." "I was at the Neil Gaiman reading the other night and . . ." And he is a storyteller. And, yes, they can be overdone, but that's what revision is for. To take out the ones that don't work. I just think we need to be mindful of the ones that do and be brave enough to leave them in. Forget about that critique group in our heads, who may even be worse than the Heckler.
Now, I'm probably the biggest offender when it comes to marking up things like passive voice and adverbs and the like, including "to be" verbs. And as a part of a critique group, it may be my job to point out overuse. But I think we all need to be aware of when we're overdoing the critiques too.
So, Just Tell The Damn Story is my new mantra. When I'm stuck. When I'm confused. When I don't feel like working. Just Tell The Damn Story.
Wednesday, October 8, 2008
Mr. Neil Gaiman
What to say about last night?
It could be lack of sleep, but the whole thing is kinda jumbled together in my mind. Mainly impressions.
--Neil is shorter than I expected, but I expected he'd be shorter than he looks in pictures. If that makes any sense.
--He's quite at home on the stage. Not fakey comfortable like I did at AI, but really comfortable.
--A great reader. Does voices and everything.
--Manages to be down to Earth while dropping names. But it doesn't seem like name-dropping because he seems truly awed to know these people (Dave McKean, Charles Vess, Tori Amos, Amanda Palmer, Terry Gilliam, Terry Pratchett, etc.)
--Very funny, and can ad lib. (or has prepared what seem like ad libs and delivers them as if they are off the cuff)
--Coraline looks amazing. Even with the technical glitch in the middle that caused previous groups to go mmmmmrrrrMMMMMMMRRrrrmmmm.
--Will buy Blueberry Girl for Elizabeth and Clerissa as soon as it comes out.
--I liked what I heard of The Graveyard Book. Like Ali, I focused more on nuts and bolts than I probably would have. Caught many things that a former critique group would have just reamed him about. But it worked in the story.
--Definitely want any audio versions of his books that he reads.
--Neil telling us about the reaction of the LA group when he stopped at the halfway point of Chapter 7.
--Boulder group had great questions but horrible handwriting. Apparently, LA was just the opposite.
--Neil's favorite breakfast is "probably a cheese omelette, but only if I make it." He was a bit nonplussed that anyone would use their one question to ask that of a published author.
--A little over a month ago, I started using a different color ink in my Vesta notebook each day so it was easier to tell how much I'd written that day. Seems one Mr. Gaiman does the same. "Page and a half. Horrible day. I suck."
--Event organizers seem never to be all that organized. There was a traffic jam at the inner door after the reading as people who didn't get the book before the show lined up in the lobby to get it after. The people who just wanted to leave had a hard time getting around the clump. Make one door the actual Exit door and the other the one for shoppers. Easy fix, but noooo.
--With apologies to anyone from PPW who might read this: This was by far the best perk I've gotten from being a volunteer. Second row, stage right, two in from the aisle. Reserved seats. Gotta love it.
--Must save some dubloons for next trip to Beads, Beads, Beads.
That's all that's coming to mind right now. If you ever get the chance to see Neil Gaiman in person, do it. He's amazing.
It could be lack of sleep, but the whole thing is kinda jumbled together in my mind. Mainly impressions.
--Neil is shorter than I expected, but I expected he'd be shorter than he looks in pictures. If that makes any sense.
--He's quite at home on the stage. Not fakey comfortable like I did at AI, but really comfortable.
--A great reader. Does voices and everything.
--Manages to be down to Earth while dropping names. But it doesn't seem like name-dropping because he seems truly awed to know these people (Dave McKean, Charles Vess, Tori Amos, Amanda Palmer, Terry Gilliam, Terry Pratchett, etc.)
--Very funny, and can ad lib. (or has prepared what seem like ad libs and delivers them as if they are off the cuff)
--Coraline looks amazing. Even with the technical glitch in the middle that caused previous groups to go mmmmmrrrrMMMMMMMRRrrrmmmm.
--Will buy Blueberry Girl for Elizabeth and Clerissa as soon as it comes out.
--I liked what I heard of The Graveyard Book. Like Ali, I focused more on nuts and bolts than I probably would have. Caught many things that a former critique group would have just reamed him about. But it worked in the story.
--Definitely want any audio versions of his books that he reads.
--Neil telling us about the reaction of the LA group when he stopped at the halfway point of Chapter 7.
--Boulder group had great questions but horrible handwriting. Apparently, LA was just the opposite.
--Neil's favorite breakfast is "probably a cheese omelette, but only if I make it." He was a bit nonplussed that anyone would use their one question to ask that of a published author.
--A little over a month ago, I started using a different color ink in my Vesta notebook each day so it was easier to tell how much I'd written that day. Seems one Mr. Gaiman does the same. "Page and a half. Horrible day. I suck."
--Event organizers seem never to be all that organized. There was a traffic jam at the inner door after the reading as people who didn't get the book before the show lined up in the lobby to get it after. The people who just wanted to leave had a hard time getting around the clump. Make one door the actual Exit door and the other the one for shoppers. Easy fix, but noooo.
--With apologies to anyone from PPW who might read this: This was by far the best perk I've gotten from being a volunteer. Second row, stage right, two in from the aisle. Reserved seats. Gotta love it.
--Must save some dubloons for next trip to Beads, Beads, Beads.
That's all that's coming to mind right now. If you ever get the chance to see Neil Gaiman in person, do it. He's amazing.
Monday, July 28, 2008
Magic, Insanity or Both?
So, since July 12th, I have read all three of the Twilight series books. All 1,792 pages of them. I bought the first book in the series months ago, and it's been sitting on the nightstand ever since. I finally decided to pick it up and read through it. I did so in about four sittings. The same with New Moon, the second book. Then Friday afternoon, I left work, bought the third book, Eclipse, and finished it Saturday afternoon.
For those of you, like me two weeks ago, who have little to no knowledge of what these books are, I'll give you a little recap trying to avoid as many spoilers as possible. They are YA fantasy about a high school junior named Bella Swan. She moves from Phoenix to the small town of Forks, WA, to live with her father, the town sheriff, after her mother remarries. She falls in love with Edward Cullen and becomes close to his whole "family"--all vampires who have sworn off using humans as food. In the second book we find out that her slightly younger friend, Jacob, is a werewolf. Many problems ensue, not least of which is that werewolves and vampires hate each other and both Jacob and Edward want Bella for their own.
What is it about these books at this time? Damned if I know. They are certainly not flawless. In fact, many flaws when I think about it. The old vampire vs. werewolf device. The tortured vampire with a conscience. The boy from the wrong side of the tracks cliche. Torn between two lovers. Then there are the technical issues. All three books are too long because of repetition of scenes. Overuse of certain words or images. One of the characters (Alice, one of my favorites actually) 'dances' everywhere. It's nice the first time to get across how tiny and graceful she is. After three books, it's just annoying. In the 3rd book, everyone starts to say "Ugh" when they don't like something. And Charlie, the sheriff, is clueless about what's going on. He doesn't like Edward on principal at first and then for a better reason in book 2, but when Bella keeps showing up injured, he never says "Hey, your boyfriend's abusive, I'm arresting him." It's "oh, my poor clumsy little girl." Nuh uh. Jacob, supposedly a sympathetic character, just acts like a whiney, manipulative little kid. I don't see him as being a viable threat to Edward romantically so the whole "who will she choose" question seems contrived.
But there are great moments, too. Some very human. Some that are funny or exciting or insightful and are because of the vampires or werewolves. There is a battle prep scene with Alice and her mate that is hilarious. And Alice, who sees the future, and Edward, who can read thoughts, play out an entire chess match in about three minutes--all in their heads. I get annoyed with Bella, too, but that's because a lot of her reactions and decisions are what a teenager would probably do, and from an adult perspective, it's stupid.
The thing is that by about the third chapter of book one, I was hooked. There's a feeling I get when I read or watch certain things. It's not quite hairs standing up on my neck, it's more a tingling sensation at the base of my brain. The feeling seems to say, "This is for you." And very possibly 3 million others, but still... Very hard to describe, but I've come to think of it as my Hill Street Blues feeling. That's the first TV show that made me aware of it. Certainly not the first I was hooked on, but the first that I identified the feeling and knew I would love the show. Thirtysomething, Lost, X-Files, Dr. Who, Pushing Daisies are all shows I am/was obsessive about and all gave me that feeling. The Harry Potter books do that. Some, but not all, Gaiman and Atwood books do it. I think Lord of the Rings probably did and Little House books before that. And these silly books.
So what do these disparate things have in common? Good solid characters (which is funny when you read the descriptions of Edward, but I digress). There is something just a little different or off about the world and/or the world view. The storytelling pulls you along. You want to know what happens next. If it's a TV show and the "to be continued" card comes up at the end, you may just throw something at the screen. If it's a book, you keep turning pages even if it's an hour past bedtime and you have to get up early. "Just one more chapter." It's what Jenny called Magic last night. If I knew how to bottle it, I'd be rich.
Is it embarrassing to be the age I am and hooked on a YA series? Not after the Harry Potter phenomenon. Disconcerting maybe, but not embarrassing. I don't think Meyer is quite on a level with Rowling. Fewer books appealing to a much narrower demographic for one thing. And while Rowling does tend to get longwinded in the later books, I didn't notice the same number of technical issues that I do with Meyer. Although I will not be in line at midnight on Friday, I know I'll be at B&N on Saturday morning for my copy of Breaking Dawn, the final book in the series.
And I'll finish it well before the Pirate meeting on that Monday night.
For those of you, like me two weeks ago, who have little to no knowledge of what these books are, I'll give you a little recap trying to avoid as many spoilers as possible. They are YA fantasy about a high school junior named Bella Swan. She moves from Phoenix to the small town of Forks, WA, to live with her father, the town sheriff, after her mother remarries. She falls in love with Edward Cullen and becomes close to his whole "family"--all vampires who have sworn off using humans as food. In the second book we find out that her slightly younger friend, Jacob, is a werewolf. Many problems ensue, not least of which is that werewolves and vampires hate each other and both Jacob and Edward want Bella for their own.
What is it about these books at this time? Damned if I know. They are certainly not flawless. In fact, many flaws when I think about it. The old vampire vs. werewolf device. The tortured vampire with a conscience. The boy from the wrong side of the tracks cliche. Torn between two lovers. Then there are the technical issues. All three books are too long because of repetition of scenes. Overuse of certain words or images. One of the characters (Alice, one of my favorites actually) 'dances' everywhere. It's nice the first time to get across how tiny and graceful she is. After three books, it's just annoying. In the 3rd book, everyone starts to say "Ugh" when they don't like something. And Charlie, the sheriff, is clueless about what's going on. He doesn't like Edward on principal at first and then for a better reason in book 2, but when Bella keeps showing up injured, he never says "Hey, your boyfriend's abusive, I'm arresting him." It's "oh, my poor clumsy little girl." Nuh uh. Jacob, supposedly a sympathetic character, just acts like a whiney, manipulative little kid. I don't see him as being a viable threat to Edward romantically so the whole "who will she choose" question seems contrived.
But there are great moments, too. Some very human. Some that are funny or exciting or insightful and are because of the vampires or werewolves. There is a battle prep scene with Alice and her mate that is hilarious. And Alice, who sees the future, and Edward, who can read thoughts, play out an entire chess match in about three minutes--all in their heads. I get annoyed with Bella, too, but that's because a lot of her reactions and decisions are what a teenager would probably do, and from an adult perspective, it's stupid.
The thing is that by about the third chapter of book one, I was hooked. There's a feeling I get when I read or watch certain things. It's not quite hairs standing up on my neck, it's more a tingling sensation at the base of my brain. The feeling seems to say, "This is for you." And very possibly 3 million others, but still... Very hard to describe, but I've come to think of it as my Hill Street Blues feeling. That's the first TV show that made me aware of it. Certainly not the first I was hooked on, but the first that I identified the feeling and knew I would love the show. Thirtysomething, Lost, X-Files, Dr. Who, Pushing Daisies are all shows I am/was obsessive about and all gave me that feeling. The Harry Potter books do that. Some, but not all, Gaiman and Atwood books do it. I think Lord of the Rings probably did and Little House books before that. And these silly books.
So what do these disparate things have in common? Good solid characters (which is funny when you read the descriptions of Edward, but I digress). There is something just a little different or off about the world and/or the world view. The storytelling pulls you along. You want to know what happens next. If it's a TV show and the "to be continued" card comes up at the end, you may just throw something at the screen. If it's a book, you keep turning pages even if it's an hour past bedtime and you have to get up early. "Just one more chapter." It's what Jenny called Magic last night. If I knew how to bottle it, I'd be rich.
Is it embarrassing to be the age I am and hooked on a YA series? Not after the Harry Potter phenomenon. Disconcerting maybe, but not embarrassing. I don't think Meyer is quite on a level with Rowling. Fewer books appealing to a much narrower demographic for one thing. And while Rowling does tend to get longwinded in the later books, I didn't notice the same number of technical issues that I do with Meyer. Although I will not be in line at midnight on Friday, I know I'll be at B&N on Saturday morning for my copy of Breaking Dawn, the final book in the series.
And I'll finish it well before the Pirate meeting on that Monday night.
Monday, October 29, 2007
Cheating and Eating
Since I don't belong to the CSFWG Sunday group anymore, but do go out to dinner with the group after the meeting, I decided to go to the Starbucks at the B&N where they meet and do a little writing. I wrote seven pages of the Vesta story while I waited for the meeting to finish. Since my goal for the week was 5-10 pages, I met my goal. But, since one of the rules for NaNoWriMo is that you're supposed to start a new book, it is cheating. Oh well. Pirate.
It was a fun dinner, as usual, but more . . . just more. I was sitting pretty much at the center of the table and at one point there were three different conversations going on around me. I was having a nice conversation with Nicole, Ali and Jenny while Whit was regaling John and Marie with something outrageous at one end of the table and a somewhat political discussion (that I KIND OF [inside joke] wanted to jump into) happened at the other end of the table. Everyone seemed to be wound up. Maybe it was the length of the meeting and the sheer number of critiques.
Some topics of discussion:
--Dumbledore's sexual orientation
--Christian Bale
--Historical accuracy in fiction
--Neil Gaiman
--Strange coworkers
--Halloween costumes and customs
--Russell Crowe
--Slumber parties
--Fortune telling
--Heroes (the television series)
--Acting one's age and what that means
--Joss Whedon
--Dinner auctions (see Ali's blog for more on that)
--Pan's Labyrinth, Solaris, Crouching Tiger/Hidden Dragon and other disappointing movies
--Do people think your characters are you?
--Having too much to do
--Zombies
--Sherman Alexie
--Cheating at NaNoWriMo
--Bad writing
--Good writing
--Turning bad writing into good writing
--Great Big Sea (briefly, but they must be discussed at each monthly dinner)
--Whiny boy singers (watch this space for more on that and a related topic)
There were more, but I can't remember them right now. All I know is that it was late when we left and we were still chuckling.
Oh, my goal for the week is to write another 12 pages of the Vesta book. Another cheat I'm doing with NaNo is to set my goal at 30,000 words which is 20,000 fewer than what you're supposed to write. That comes to 4 pages a day and since Saturday is the 3rd . . . And I'm going to the PPW Scare Your Writers workshop on Saturday since I need some help with building tension. That's it.
It was a fun dinner, as usual, but more . . . just more. I was sitting pretty much at the center of the table and at one point there were three different conversations going on around me. I was having a nice conversation with Nicole, Ali and Jenny while Whit was regaling John and Marie with something outrageous at one end of the table and a somewhat political discussion (that I KIND OF [inside joke] wanted to jump into) happened at the other end of the table. Everyone seemed to be wound up. Maybe it was the length of the meeting and the sheer number of critiques.
Some topics of discussion:
--Dumbledore's sexual orientation
--Christian Bale
--Historical accuracy in fiction
--Neil Gaiman
--Strange coworkers
--Halloween costumes and customs
--Russell Crowe
--Slumber parties
--Fortune telling
--Heroes (the television series)
--Acting one's age and what that means
--Joss Whedon
--Dinner auctions (see Ali's blog for more on that)
--Pan's Labyrinth, Solaris, Crouching Tiger/Hidden Dragon and other disappointing movies
--Do people think your characters are you?
--Having too much to do
--Zombies
--Sherman Alexie
--Cheating at NaNoWriMo
--Bad writing
--Good writing
--Turning bad writing into good writing
--Great Big Sea (briefly, but they must be discussed at each monthly dinner)
--Whiny boy singers (watch this space for more on that and a related topic)
There were more, but I can't remember them right now. All I know is that it was late when we left and we were still chuckling.
Oh, my goal for the week is to write another 12 pages of the Vesta book. Another cheat I'm doing with NaNo is to set my goal at 30,000 words which is 20,000 fewer than what you're supposed to write. That comes to 4 pages a day and since Saturday is the 3rd . . . And I'm going to the PPW Scare Your Writers workshop on Saturday since I need some help with building tension. That's it.
Tuesday, August 21, 2007
Should I Stay Or Should I Go?
A little while back, Ali posted about abandoning books you are reading. The questions were do we do it and, if so, when?
I am about 100 pages into The Heir of Autumn by Giles Carwyn and Todd Fahnestock. The prologue may be one of the best pieces of writing ever. It is beautiful and scary and sets up their world. But now about ninety-seven pages later, I want to stop. And this is the second time I've made it this far and no farther. Why?
The writing is good. Their descriptions are great. The dialogue is appropriate to the fantasy world around it. There is conflict aplenty. So what's the problem? I've thought about it off and on all day, and I think I have the answer. I don't like any of the characters so far.
The young hero is supposed to be strong and brave and good and all of the things you want a hero to be. But he goes along with everything his friend suggests no matter how dangerous, mean-spirited or idiotic. I hope we're reaching the point where Brophy stands up to Trent because Trent has just done something really nasty that impacts Brophy himself.
The aunt who raised Brophy is beautiful and strong and brave as well. Yet she turned the country over to the strong conqueror from an enemy land thinking that the big test for a ruler will kill him. When it doesn't she then brings him into her bed. Even though she doesn't trust him on any level. Why? Just so the fox can be in the henhouse when the plot needs him there? Not loving that.
We also have a hooker with heart of gold. At least, I think she'll turn out to have a heart of gold. And she's not exactly a hooker. She's the fantasy equilvalent, though. In Firefly, Anara was called a Companion (i.e., high class, sanctioned hooker). In The Heir of Autumn, Shara is part of an 'order' called the Zelani. Both boys and girls are raised to use sex-magic as advisors to the powerful (i.e., they are a high class, sanctioned hookers). Again, she's not questioning anything going on around her, even though we know she's going to be a pivotal character somewhere down the line.
I don't read a lot of fantasy, but I have enjoyed a lot of what I've read. Neil Gaiman being one of my current heroes. And Tolkein being a long-time favorite. But both of them write characters who think about what is going on around them. Aragorn may be destined to be king but he's not sure he wants it. Frodo wants nothing but to stay in The Shire, but goes on the quest because he thinks it is the right thing to do. Richard Mayhew doesn't know what the hell is going on, but he keeps going to help out Door and, maybe, find his way back home.
All of that said, I do think I will press on. I have it on good authority that this is a good read. And some of the Amazon reviewers say they are glad they stuck with it past the first few chapters. So, I'll see where Giles and Todd take me. And trust that I'll enjoy the journey--once we get out of town.
I am about 100 pages into The Heir of Autumn by Giles Carwyn and Todd Fahnestock. The prologue may be one of the best pieces of writing ever. It is beautiful and scary and sets up their world. But now about ninety-seven pages later, I want to stop. And this is the second time I've made it this far and no farther. Why?
The writing is good. Their descriptions are great. The dialogue is appropriate to the fantasy world around it. There is conflict aplenty. So what's the problem? I've thought about it off and on all day, and I think I have the answer. I don't like any of the characters so far.
The young hero is supposed to be strong and brave and good and all of the things you want a hero to be. But he goes along with everything his friend suggests no matter how dangerous, mean-spirited or idiotic. I hope we're reaching the point where Brophy stands up to Trent because Trent has just done something really nasty that impacts Brophy himself.
The aunt who raised Brophy is beautiful and strong and brave as well. Yet she turned the country over to the strong conqueror from an enemy land thinking that the big test for a ruler will kill him. When it doesn't she then brings him into her bed. Even though she doesn't trust him on any level. Why? Just so the fox can be in the henhouse when the plot needs him there? Not loving that.
We also have a hooker with heart of gold. At least, I think she'll turn out to have a heart of gold. And she's not exactly a hooker. She's the fantasy equilvalent, though. In Firefly, Anara was called a Companion (i.e., high class, sanctioned hooker). In The Heir of Autumn, Shara is part of an 'order' called the Zelani. Both boys and girls are raised to use sex-magic as advisors to the powerful (i.e., they are a high class, sanctioned hookers). Again, she's not questioning anything going on around her, even though we know she's going to be a pivotal character somewhere down the line.
I don't read a lot of fantasy, but I have enjoyed a lot of what I've read. Neil Gaiman being one of my current heroes. And Tolkein being a long-time favorite. But both of them write characters who think about what is going on around them. Aragorn may be destined to be king but he's not sure he wants it. Frodo wants nothing but to stay in The Shire, but goes on the quest because he thinks it is the right thing to do. Richard Mayhew doesn't know what the hell is going on, but he keeps going to help out Door and, maybe, find his way back home.
All of that said, I do think I will press on. I have it on good authority that this is a good read. And some of the Amazon reviewers say they are glad they stuck with it past the first few chapters. So, I'll see where Giles and Todd take me. And trust that I'll enjoy the journey--once we get out of town.
Thursday, July 26, 2007
Let Down
I've been in a bad mood for almost two weeks now. Had a little respite this weekend while reading The Deathly Hallows. But now it's back.
There are some physical reasons for the mood. It's hot. I don't like the hot. A migraine has been threatening for a few days. Never fun. And there are psychological reasons. Work is more stressful than usual now so that's an impact. My sister lives with me. I was going to put an "and" after that and expound a bit, but I think that says it all.
Usually to help turn around my mood, I read. There's a stack of books on the nightstand. Another in the spare room. Another in the family room. So far, so good. But what do you read after a book that was just so much fun? Fluff won't cut it. Neither will anything too heavy. Not after :::::SPOILER ALERT:::::all the deaths, especially Fred and Hedwig. And little Colin.. (Highlight with cursor to read).
So what next? I'm thinking maybe Preludes and Nocturnes, the collection of the first 8 Sandman comic books. Or some short stories. Or maybe the Seamus Heaney translation of Beowulf. The latter would also fill Ali's challenge to read poetry.
Or maybe I'll just read it again. There have been a couple books that I've read and then turned around and read them again immediately. One was The World According to Garp. Another was The Prince of Tides. And in each case, now that I think of it, I was going through some bad stuff and the worlds Irving and Conroy created were ones I didn't want to leave.
Maybe I need to linger a while longer in Rowling's world.
There are some physical reasons for the mood. It's hot. I don't like the hot. A migraine has been threatening for a few days. Never fun. And there are psychological reasons. Work is more stressful than usual now so that's an impact. My sister lives with me. I was going to put an "and" after that and expound a bit, but I think that says it all.
Usually to help turn around my mood, I read. There's a stack of books on the nightstand. Another in the spare room. Another in the family room. So far, so good. But what do you read after a book that was just so much fun? Fluff won't cut it. Neither will anything too heavy. Not after :::::SPOILER ALERT:::::all the deaths, especially Fred and Hedwig. And little Colin.. (Highlight with cursor to read).
So what next? I'm thinking maybe Preludes and Nocturnes, the collection of the first 8 Sandman comic books. Or some short stories. Or maybe the Seamus Heaney translation of Beowulf. The latter would also fill Ali's challenge to read poetry.
Or maybe I'll just read it again. There have been a couple books that I've read and then turned around and read them again immediately. One was The World According to Garp. Another was The Prince of Tides. And in each case, now that I think of it, I was going through some bad stuff and the worlds Irving and Conroy created were ones I didn't want to leave.
Maybe I need to linger a while longer in Rowling's world.
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