Neil Gaiman's new book is out. Here's Benjamin Percy's review. It's a tale of childhood reminiscence uncovering forgotten wonders and horrors.
I shouldn't have to say anything else. Go read it.
Showing posts with label Neil Gaiman. Show all posts
Showing posts with label Neil Gaiman. Show all posts
Friday, July 5, 2013
Friday, June 21, 2013
Prologues and Epilogues
Before I'm accused of closed-mindedness regarding supplemental novel materials, let me say that both of my manuscripts' first drafts had prologues. I was persuaded to cut them on the wise advice of my beta readers.
Prologues and epilogues have staunch defenders who point out major books by famous writers that have them (Robert Jordan and Neil Gaiman for instance). I cut my prologues for two simple reasons.
Since this blog sticks to advice for beginning writers from a beginning writer, I say in all bluntness: avoid prologues and epilogues. Make them your first and last chapters, integrate the material elsewhere in the book, or just cut them altogether. Again, the main reason for this rather crude approach is that 90% of agents and editors admit that a prologue negatively impacts their view of a manuscript. If you must include supplemental material, submit the MS without it and tactfully discuss adding it back in once the project's been accepted.
Prologues and epilogues have staunch defenders who point out major books by famous writers that have them (Robert Jordan and Neil Gaiman for instance). I cut my prologues for two simple reasons.
- Agents and editors hate them.
- I am neither Robert Jordan nor Neil Gaiman.
Since this blog sticks to advice for beginning writers from a beginning writer, I say in all bluntness: avoid prologues and epilogues. Make them your first and last chapters, integrate the material elsewhere in the book, or just cut them altogether. Again, the main reason for this rather crude approach is that 90% of agents and editors admit that a prologue negatively impacts their view of a manuscript. If you must include supplemental material, submit the MS without it and tactfully discuss adding it back in once the project's been accepted.
Wednesday, May 22, 2013
Touring the Sorcerer's House
The Sorcerer's House by Gene Wolfe comes highly reviewed by both Neil Gaiman and John C. Wright, so there's little I can add of any critical merit. I will say that I deeply enjoyed the book.
Wolfe makes the bold and unorthodox choice to structure his novel in epistolary form (a series of letters between protagonist Bax Dunn and his colorful cast of family and friends). Since The Sorcerer's House is, among other things, a mystery, this approach serves the narrative well; causing enough chronological uncertainty and giving the author good reason to omit enough information to keep readers on their toes.
The symbolism is thick and rich here: especially the theme of objects, events, and people coming in twos. I dimly suspected that the whole book has a dualistic structure on my first reading, but I'll have to read it again to be sure.
All is certainly not as it seems. The main character immediately establishes himself as an unreliable narrator: a con man recently released from prison who nonetheless holds multiple advanced degrees and conducts himself in a cordial, erudite manner.
The novel's tone is generally tongue-in-cheek and understated, though there are certainly moments of genuine pathos and surreal horror. The Sorcerer's House is urban fantasy/gothic mystery with a heart. Don't go in expecting a parable on contemporary issues or a hero dispensing justice. This tale is told for its own sake--the best reason of all.
Wolfe makes the bold and unorthodox choice to structure his novel in epistolary form (a series of letters between protagonist Bax Dunn and his colorful cast of family and friends). Since The Sorcerer's House is, among other things, a mystery, this approach serves the narrative well; causing enough chronological uncertainty and giving the author good reason to omit enough information to keep readers on their toes.
The symbolism is thick and rich here: especially the theme of objects, events, and people coming in twos. I dimly suspected that the whole book has a dualistic structure on my first reading, but I'll have to read it again to be sure.
All is certainly not as it seems. The main character immediately establishes himself as an unreliable narrator: a con man recently released from prison who nonetheless holds multiple advanced degrees and conducts himself in a cordial, erudite manner.
The novel's tone is generally tongue-in-cheek and understated, though there are certainly moments of genuine pathos and surreal horror. The Sorcerer's House is urban fantasy/gothic mystery with a heart. Don't go in expecting a parable on contemporary issues or a hero dispensing justice. This tale is told for its own sake--the best reason of all.
Wednesday, February 20, 2013
Defeating Writer's Block: Part 2
I've met many obstacles since I started writing daily over two years ago. Writer's block isn't a single affliction. It's a group of mental obstructions that can delay or derail the creative process.
Writer's block has as many cures as forms. Charlie Jane Anders gives some practical advice for dealing with each head of this hydra. I'll synthesize these suggestions with advice from other writers and my own experience.
1. Lack/Glut of Ideas: I'm distilling Anders' first two types of writer's block into one point since they both deal with ideas. Whether you have no ideas (a rare problem, as discussed previously) or can't decide between myriad ideas, coming up with the right story premise is best handled by writing.
Sound backwards? Priming your creative juices with a little freestyle, stream of consciousness, or observational composition can unearth buried gems.
2. Narrative Flow Problems: once again I find it's useful to combine issues dealing with a story's narrative thread. If you get stuck at any point after starting a project, first make sure you're not being hypercritical. Get someone else to read the story thus far. If your alpha reader can't make sense of things, proceed to phase two: rewrite from the departure point.
3. Character Issues: if you find your characters difficult to write, chances are you haven't motivated them properly. "Every character should want something, even if it is only a glass of water." The soul of a story is the interplay between what the characters want, the obstacles in their way, and how they overcome those obstacles.
Know your characters' motives. Then make sure their actions are consistent with those motives.
4. Stage Fright: if fretting over what people will think is stopping you from telling your story, I have bad news for you. No matter what you write, someone is going to hate it. Writing professionally isn't about pleasing everyone. It's about producing to a certain standard.
To paraphrase Neil Gaiman, if you aren't afraid that you've shared too much of yourself, you're doing it wrong.
The author is the person least qualified to judge what others will think. Get a few alpha readers to peruse the first draft. Listen to their feedback. Then draft a second version and give it to your beta readers. Repeat.
5. Editing Hang-ups: some writers love free composition and hate editing. Others agonize over their first drafts but take to revisions like sharks to chum. The reason for this dichotomy is that writing and editing are two separate processes.
Revising a manuscript can be like pulling teeth to more right-brained types. That's how I felt until I realized the intoxicating power of deleting superfluous text. Liberate yourself from useless lines, paragraphs, and pages.
The editing dilemma that most afflicts me these days is verbal perfectionism. Nothing interrupts my writing flow like grasping for exactly the right word to describe the scene in my head. The most useful advice I've gotten on this front came from Nick Enlowe. Use a placeholder word, move on, and fix it in the next draft.
I hope you've found this series on writer's block enriching and entertaining. What are some of your own creative obstacles, and how have you handled them?
Writer's block has as many cures as forms. Charlie Jane Anders gives some practical advice for dealing with each head of this hydra. I'll synthesize these suggestions with advice from other writers and my own experience.
1. Lack/Glut of Ideas: I'm distilling Anders' first two types of writer's block into one point since they both deal with ideas. Whether you have no ideas (a rare problem, as discussed previously) or can't decide between myriad ideas, coming up with the right story premise is best handled by writing.
Sound backwards? Priming your creative juices with a little freestyle, stream of consciousness, or observational composition can unearth buried gems.
2. Narrative Flow Problems: once again I find it's useful to combine issues dealing with a story's narrative thread. If you get stuck at any point after starting a project, first make sure you're not being hypercritical. Get someone else to read the story thus far. If your alpha reader can't make sense of things, proceed to phase two: rewrite from the departure point.
3. Character Issues: if you find your characters difficult to write, chances are you haven't motivated them properly. "Every character should want something, even if it is only a glass of water." The soul of a story is the interplay between what the characters want, the obstacles in their way, and how they overcome those obstacles.
Know your characters' motives. Then make sure their actions are consistent with those motives.
4. Stage Fright: if fretting over what people will think is stopping you from telling your story, I have bad news for you. No matter what you write, someone is going to hate it. Writing professionally isn't about pleasing everyone. It's about producing to a certain standard.
To paraphrase Neil Gaiman, if you aren't afraid that you've shared too much of yourself, you're doing it wrong.
The author is the person least qualified to judge what others will think. Get a few alpha readers to peruse the first draft. Listen to their feedback. Then draft a second version and give it to your beta readers. Repeat.
5. Editing Hang-ups: some writers love free composition and hate editing. Others agonize over their first drafts but take to revisions like sharks to chum. The reason for this dichotomy is that writing and editing are two separate processes.
Revising a manuscript can be like pulling teeth to more right-brained types. That's how I felt until I realized the intoxicating power of deleting superfluous text. Liberate yourself from useless lines, paragraphs, and pages.
The editing dilemma that most afflicts me these days is verbal perfectionism. Nothing interrupts my writing flow like grasping for exactly the right word to describe the scene in my head. The most useful advice I've gotten on this front came from Nick Enlowe. Use a placeholder word, move on, and fix it in the next draft.
I hope you've found this series on writer's block enriching and entertaining. What are some of your own creative obstacles, and how have you handled them?
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