I took a quiz I stumbled onto from Twitter last night. I can’t find the link now, but it was something about 8 Political Traits. You took a quiz regarding your reactions to several political statements, and from that, it judged your position on 4 different paired-trait spectra. Like, Authoritarian/Libertarian, Economic Freedom/Control, etc.
One thing I was struck with was that it got Conservatives/Traditionalists completely wrong. Of course, Progressives usually get Conservatives wrong…it has been shown over and over that those on the Right understand the Left much better than the reverse. Charles Krauthammer’s formulation is the Left thinks the Right is Evil, and the Right thinks the Left is Stupid. Which makes sense, of course: the Right thinks the Left is stupid because they understand the Left’s viewpoints and find them immature or unworkable; the Left thinks the Right is Evil because they can’t understand how anyone can oppose the compassion of a $15 minimum wage and free birth-control for women.
Anyway, what bothered me was they characterized Progressives as believing that the human race can and should progress toward enlightenment. The implication is that the past is always ignorant, and as we learn things, we can improve. What is the opposite of that? Why, that some people think that we should cling to the past because that’s how we’ve always done it! Meaning, the quiz assumed that conservatives are conservative out of fear or reflexive adherence to tradition out of belief that Tradition is simply a Good.
That’s not my view at all. Maybe I’m projecting to the rest of the Right and/or conservatives, but I think I’m not alone in this. I’m convinced conservatives are Thinkers, and spend time questioning and trying to understand everything.
In my opinion, Conservatives conserve Tradition because Tradition arises out of What Works. Humans are humans: we are biologically programmed (whether by God or Evolution) to exploit/game any system to its extinction, but also to require systems to reach our individual and social goals. We are biologically programmed (whether by God or Evolution) so that in our interactions with the opposite sex, any/all errors of judgment result in pregnancy, because *anything* that results in reproduction is a successful reproduction strategy, and those traits of selfishness, sloppiness, pettiness, dishonesty, manipulation, etc, that assist in reproduction will be passed on.
As such, I support Traditions because those are time-tested ways to avoid pain, disaster, chaos, poverty, loneliness, heartlessness, death, despair, depression and Justin Bieber.
That doesn’t mean Traditions are immutable. We can learn as a society, and do. We can rise above our selfishness and pettinesses, and do.
But you have to make the case. You can’t just insist that there is an end goal of perfect equality between all people and all preferences, and anyone who obstructs that progress is wrong. You have to explain how the direction of progress you want is helpful to everyone involved. You have to make the case for overturning Tradition. You have to move slowly when you do make changes, so that we have time to adjust to changes, and to reverse if it proves to be more harmful than helpful.
And most of all, you have to insightfully analyze and clearly identify and explain who pays the price and who benefits. Assertions are not acceptable as proof.
If something benefits 1% of the nation and makes things worse for 60% of the population, it should not be done. More time should be taken to ensure that the benefit is worth the cost, and to minimize the cost as much as possible.
So in the quiz, seeing that they characterized Conservatives as preferring Tradition simply because it was Tradition, it lost any/all credibility with me.
Something Jon said got me thinking. He observed that there are some talented young writers in SFF who are getting caught up in gimmicks and writing tricks and as a result are losing the plot, literally.
I think it’s true that for many contemporary writers, good storytelling is losing out to political and cultural commentary. Strong male heroes are so last century. Good and evil without nuanced, middling gradations are played out, man.
This is certainly a problem. I’m with you! This is a big reason why I’ve retreated down the Appendix N/ Grant List hole and haven’t had any strong desire to come back up for air.
Jon went on to say that these pre-30 authors don’t have the necessary experience to really sell us on what they’re writing. They don’t have the same juice to put into their works. And to some degree I think he’s right. Age and experience flavor and influence a writer’s stories. Look at Tolkien (as we always seem to). His part in World War I is directly observable in the Lord of the Rings. Mordor pretty much is Verdun.
I haven’t had the pleasure of reading Jon’s stuff yet, but it seems clear from what I’ve heard that Jon’s own experience as a father has greatly colored some of his work. And I dig that.
Still, I think we need to be cautious about writing off younger, more life-inexperienced writers, especially those in the vanguard of the pulp revival/revolution. I’m not saying here that Jon is doing so, as it sounds like he’s certainly giving the youngsters a reading and a fair shake. But just as something to chew on for all of us, let’s remember that SFF grandmaster Robert E Howard died at 30. Manly Wade Wellman was in his twenties when he put out his first novel. HP Lovecraft wrote “Dagon” when he was 27 years old.
Now those are some pretty big shoes, and it could very well be that Howard and Lovecraft and Wellman were exceptions to the rule. Still. I’m not entirely convinced that age is nearly as important as talent and imagination.
Two riders raced through the night on horses commandeered from a nearby plantation, hoof-beats and the laborious breathing of their horses the only sounds. Stars illumined their path, infinite points of light breaking through the pitch that enveloped the world. One of the riders broke the silence, his voice tinged with apprehension:
“What are we to do when we get there Orren? You said you have dealt with the like before, you have a plan?”
“I have dealt with a child of the serpent before, yes.”
“On your own?”
“No. I was but one shield in my contubernium. We were tasked with cleansing a sacrificial chamber used by the red priests of Xarzhin. Not all survived the horror that waited for us below the ziggurat of bone.”
“…We’re going to die, aren’t we?”
“It’s a possibility, yes. That is not part of my plan, however.”
A break in the mountain range they had been following came into view. A dense and unnatural fog poured from the valley. Silence returned as the two men rode to their fates.
They reached their destination as the first rays of the morning light began to glow on the horizon. The horses would go no nearer than several yards from the mouth of the cave. Fearful cries and bulging eyes full of terror signaled to their riders that their service had come to an end.
“We walk from here.” Orren said as he dismounted, armaments in hand.
“My posterior has grown tired of riding anyway.” Berek said with a grin, a grin that gave only the slightest hint of trepidation.
The cave was black like tar, as though all light from the outside was swallowed in it’s inky void. Orren pulled the rune stones from his pouch at the mouth of the cave, they were already glowing much brighter than they had during their encounter with the flayer. He looked at Berek and nodded, then stepped into the darkness. Berek watched for a moment as the light of the stones slowly bobbed and fluttered like a firefly at dusk in Orren’s hands.
“You coming?” the voice of Orren called from the cave.
Berek spit, then unsheathed his sword. He looked back once more in the direction they had come and saw the arc of the sun rise above the land. He nodded and raised his sword at the bringer of the new morning.
“May we meet again.” He said aloud, then turned to begin his descent.
Their way down was winding and steep, their movements slow out of necessity. There was but a single path in the cave, as though burrowed out by some kind of enormous worm. The air was damp…and cold. The deeper they went into the bowels of the earth the colder it became. Vapor could be seen mixing with the omnipresent fog in the glow of the stones when they breathed.
“I’d heard that it was warmer in the belly of the earth, not colder.” Berek whispered, his voice echoing in the dark.
Orren stopped. Then he turned and spoke: “The serpent takes pleasure in the perversion of creation and its laws. Some things that I have past seen, things we will assuredly see this day…they are not meant for our comprehension. There are things ancient in our world; ancient and horrible, conceived before our ancestors first walked. To ponder them is to invite madness. My mind and being is anchored to the Sorra. I trust that alone. Do you have something or someone that might serve to call you back from the precipice of insanity should you find yourself there?”
Berek stood silent for a moment, then grinned in the blue light,“I have the steel in my hand. That is all the aid I require.”
“May it be enough.” replied Orren. He turned, and the two men resumed their descent.
They walked for what seemed like hours, though they had no way of tracking time. Hunger and thirst appeared. Berek began to wonder at their situation, perhaps it would be best to turn around, flee this land. There were kingdoms far to the east that he could sell his martial services to. There are worse fates, like starving to death while shivering in a dark hell like this.
“Ahead…light.” Orren whispered without looking back.
A faint green glow could be seen ahead, almost imperceptible. Orren put the glowing stones back in their pouch, replacing them in his hand with pike and shield. They moved silently in the dark, the light growing brighter with each step. It was not long until they reached the source of the light and the end of their tunnel.
At the mouth of the tunnel was a kind of torch lashed to a pole with crimson and purple strips of fabric. The torch did not burn, but was covered in a substance that gave off it’s own unnatural light. The torch marked the entrance to an enormous cavern that stretched farther than the eye could see. Below a roof of teeth like stalactites lay an enormous body of water. The water was completely covered with a thin sheet of ice that ended a few yards out from the shore where gentle waves gently lapped. Orren and Berek stood struck with awe as they gazed upon the subterranean sea.
This must stretch the entire length of my homeland.” Berek whispered. Orren offered no reply. His attention had been drawn to that which stood a ways down the shore: a tent made of crimson and purple cloth flanked by two more torches and surrounded by bones. Tiny bones. Human bones.
David over at Serpent’s Den explores just what it is about My Little Pony that has attracted so many fans, including many dudes.
“That’s exactly what My Little Pony gives us; intensely feminine characters who are interesting in their own right without feeling like they’re trying to one-up us guys. The characters aren’t just self-possessed, confident, and brave, but they actually have real personalities and interests that they care about for their own sakes, rather than being preoccupied with how they are perceived or what social message they’re sending. In short, it’s a series that embraces normal human emotions about the sexes; that men and women are different, and that they generally like each other that way. It does this simply by allowing its female leads to be unapologetically feminine.”
Semper Initiatuvs Unum blog ran a series of polls, pitting Appendix N authors against one another to see who would rise to the top of the heap. The winner may not surprise you, but the individual match-up posts themselves provide some great reading in the form of literary highlights.
I have to say, I was slightly triggered by this guest post over at Castalia House, where Rick Stump’s son Alex tears into Dune. It’s one of my favorite books of any genre. But while I gathered my thoughts, a skirmish played out. And you know what? I’m good. Don’t need to touch this one right now.
“Hellboy is totally pulp. And not just because it has a tentacled space monster. Mike Mignola, the writer-artist of the original comic, points to Lovecraft, but he also points to Robert E. Howard. And not just to Conan but to Solomon Kane. And not just to Howard but to Manly Wade Wellman. Now you have my attention.”
I’ve been watching Iron First on Netflix and voiced more than a couple complaints on Twitter. I’m not the first to vocalize my disappointment in this weaksauce C-lister. Jeffro Johnson recorded his thoughts about each episode on Google+ and Rawle Nyanzi’s compiled them for us.
I generally don’t wish anyone ill, but that doesn’t mean I can’t appreciate when stupid crap fails. I was a big fan of the Mass Effect series. Red flags started to pop up when I read of SJW developers bashing white people on Twitter and not losing their jobs. Andromeda looks to be a big disappointment, and I’m glad to see some prominent voices calling it what it is instead of propping it up.
“A short time ago I was asked a rather intriguing and difficult question. “If you had to pick three books that paint a picture of the Fantasy Genre for someone, which would they be?” It was asked in the context of gaming/role-playing, and what books might best introduce a potential FRPG gamer with no experience with any facet of fantasy.”
Definitely some interesting picks! I read several of the Guardians of the Flame books when I was younger, so it was kind of a blast from the past to see the series named here. Very different selections that I’d make, most likely, but a cool thought experiment.
JimFear138 hosts fellow audiobook narrator and author Jon M on his show! I haven’t had a chance to listen to this yet, but both of these guys have been colorful and fun members of the Pulp Revolution crowd. Looking forward to this.
Lately it seems like every time PC Bushi mentions a book, I have to respond I didn’t like it very much, or at all.
That made me ask, what doI like?
Here’s a partial list:
I like 50s Heinlein, but not 60s.
I like 60s, 70s, and 80s Larry Niven SF, but not his fantasy (mostly).
I like 80s and 90s Cherryh, but to the best of my knowledge based on a brief research attempt, not her 70s and by the ’10s, start feeling meh
I liked Bujold until recently
I liked Brust’s early works, but the later his work, the less I like it.
I used to like Hambly, but she wasn’t re-readable.
I like Saberhagen, but sometimes he just kept digging in played-out mines
To be honest, I guess, I’ve read a lot that was worth reading, but not worth re-reading or recommending.
As such, there are probably more books and authors I have complaints about than I enjoy. That’s the nature of the beast, I guess. Most things fall along a bell curve, and truly excellent books are one or more standard deviations above the mean, and the mean of all SFF novels/stories ever written includes some poor writing.
The rest of this post includes some musing on elements that make a good story. It is also intended to be a continuation of thoughts from this post, and inspired by the very excellent posts by my good friend and consummate gentleman, PC Bushi, found here and here.
I like conflict. I’d like to say allreaders do, but maybe all I can actually insist is that all readers should. It can be internal conflict, or opposed action, but I want there to be some doubt about how things are going to turn out.
Yes, yes, the hero is going to win. That’s the point of reading a book, I guess. The good guy losing most of the time is called “life”. We consume fiction because it provides the comforting illusion that there is some overall, overarching narrative to the vicissitudes of life.
For me, the interesting thing is how is the hero going to win?
The very first thing to do, then, is make me care about the character. If I don’t care about the character, how he wins isn’t going to interest me.
There are many different ways that you, as an author, can make me care about a character:
make me see the issues he struggles with are the same ones I do
make me see him wanting reasonable things/goals, but being thwarted…particularly unfairly thwarted
make me see him really committed to success, perhaps well beyond what I would do (that way I can be inspired to persist in difficulties myself)
Next, give him conflict. They type of story you are writing dictates the type of conflict they have. Or, alternatively, the type of conflict they encounter dictates what kind of book it is:
If he is going through an unfamiliar world or society, then the conflict is the hero trying to return to the normal world, and his efforts to escape let you show me the world/society you thought up. Alternatively, the hero might need to explore to figure out aspects of this new world/society to find happiness or even just survive. Either way, it should show the reader some subtle truth about the world we live in, in contrast. The struggle is in dealing with new and unexpected aspects in each new encounter. This is a Milieu story.
If he is dealing with a disrupting occurrence, then the conflict is obviously trying to deal with the disruption. It can be personally disruptive or disruptive to society, or even existence of humanity. An asteroid strike, or perhaps an earthquake or zombie apocalypse are good examples of this. Alternatively, the hero could be the disruptive force, trying to impose his will on the world, like in a caper movie like Ocean’s 11 or Kelly’s Heroes. Either way, the conflict comes from the obstacles the hero encounters in trying to resolve the issue or impose his will on the universe. This is an Event story.
You, as the author, might also want to explore a concept, like: what if teleportation were reality? How would it work? In this sort of story, the conflict is in dealing with unexpected or non-obvious impacts of the concept. This is where Hard SF really shines. Poor examples of this are when someone sets up the world, then lets the Hero “discover” all the exploits. This was handled really poorly in the “Golden Age of the Solar Clipper” series (first book: Quarter Share by Nathan Lowell). The hero “exploits” a labor system that apparently was used by idiots for at least a generation. He succeeds at everything he tries, the things he “figures out” that impress everyone else are sophomoric in insight, and there isn’t even an antagonist. The best conflict is when the antagonist is exploiting the idea to the protagonist’s detriment, and the protagonist has to figure out how to stop it…preferably without just using another exploit…at the very least, the exploit should not be obvious. This is an Idea story. I think many “serial killer” stories are Idea stories: “What if someone developed a way to exploit society to murder/rape/assault people without being caught/stopped?”
The final type of story depends on conflict internal to the character. The protagonist needs to change, and it has only recently become obvious. The process of changing, of figuring out what to change into, and the normal human resistance to changing oneself are the conflict that drives the story. This is a Character story.
Obviously, these four concepts can arc beyond just one book. The Jhereg series is someone what of a character concept, although individual books seem to be more Event stories. The whole series is, of course, a milieu, and the milieu being explored is not just geographic (Dragaera) but societal/racial, as each book explores some inherent aspect of a Dragaerean house.
But this is all science fiction.
I also really like the Jack Reacher series.
Jack Reacher’s character really doesn’t change over the stories. The milieu he’s exploring is modern-day United States, so it isn’t a milieu story. There is a “What if?” concept of, “what if there were a sort-of modern-day Super Hero who went around the nation solving problems that the law couldn’t solve?” But it seems to me to be, at its core, an event story. Something happens, and Reacher tries to figure out what is happening, then once he figures out the mystery, he acts (often very violently) to impose his will and stop the bad guys from doing bad guy stuff.
Good stories often combine the elements. There are Milieu, Idea, and Character concepts included in the Event Story movie Die Hard. There are Milieu concepts in Titanic. I think Cameron wanted it to be a Character story, but in my opinion, it failed at that, but succeeded by being so strong as an Event story.
Donald Hamilton’s Matt Helm series is really good, too.
They are all Event stories. Like Reacher, either the protagonist starts ignorant, or what the protagonist thinks is the original premise often turns out to be false. The conflict comes in the protagonist collecting clues about reality, then responding to those clues, then acting. And much of the conflict also involves not knowing how the problem will be solved, as initial plans go wrong and the protagonist deals with the unexpected. You know the hero isn’t going to die, of course, but there is often a cost the protagonist pays to succeed: damage, or a supporting character important to the protagonist is killed.
The Matt Helm series is interesting in that the protagonist’s character doesn’t really change over time, but still is a character story in that Helm seems to have normal human emotions and desires, yet is forced to do some fairly brutal things to accomplish the mission. The reader (or, at least, the continuing reader) doesn’t lose sympathy for Helm not just because Helm’s character trait of Commitment to Duty is shown as being incredibly strong, and not just because that commitment to duty is shown as necessary to preventing catastrophe, but because the author shows us the emotional price Helm pays for that commitment.
In contrast, in ERB novels Princess of Mars, the Land that Time Forgot, and the People that Time Forgot, there never is any character conflict. They do the right thing because it is the right thing, with hardly a thought. It ends up leaving the impression that because the hero does it, it therefore is the right thing.
I’m not saying a protagonist must have a desire to be a cad to be sympathetic, but humans are selfish, and shortsighted, and petty, and often ignorant of the implications of their decisions. A good book with good conflict acknowledges those issues.
It doesn’t mean that I favor character over plot.
It does mean that the reasons people do things are important to whether a character is likeable or not, and believable or not, and these reasons often provide motive force to the plot. Why does a character want to do things? Absent any internal conflict, authors too often rely on plot devices to keep the action going. “I saved Tarkus’ life, so Tarkus will save my life” seems more like a plot device. The author knew he would need Tarkus to save John Carter’s life to resolve some conflict and needed plausible motivation for Tarkus to do so, so had Carter save his. It seems too obvious, like it happened because the author needed it to. In contrast, in Jhereg, Vlad wants to avoid taking an action that would cause Morollan to break his oath. Placing a friend’s value system above your own life is an admirable loyalty that drives the plot and increases the reader’s commitment to the protagonist and the story (although wanting to find a way to preserve both is still expected, normal, and included). It is a character element, sure, but it not “characterization over plot,” but rather an effective plot rather than just a plot device.
It means that a story with weak characterization is also going to suffer in plotting.
It means that among the five elements of character, plot, pacing, dialogue, description (some people identify different elements), a novel can be saved by excellence in just one element, but it can also be killed by incompetence in just one element. Most likely, a story that does one or two elements very well will make the other elements more effective. Good dialogue helps in making character and pacing better. Better pacing helps plot. Good description helps everything. And yes, good character helps make plot development more intuitive.
There is room for a difference of opinion over what is “plausible”, and consequently, what is an effective plot vs what is a clumsy plot device.
This probably needs editing for coherence, but I’m not going to do it. For good or ill, this is my stream-of-consciousness, non-exhaustive explanation of why I like some books and don’t like other books.