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I've been a reader of John Scalzi's blog, Whatever, since long before I had read any of his work. The first thing of his I encountered was his installment in the five-author collection Metatropolis, where I found Scalzi's humorous, breezy blogging style carried over to his narrative fiction. Old Man's War is similar, despite mostly focusing on a more serious subjects such as war and colonialist expansion.


John Scalzi - Old Man's War

I don't think I've seen a single mention of this book that didn't refer to Robert Heinlein's work, most often Starship Troopers, and after reading this, it's not hard to see why. It really is fairly straightforward in its influence, but that similarity never makes Old Man's War seem derivative in any negative sense. The setup is simple: on Earth a couple of centuries from now, 65 year olds have the option of signing a contract to join the Colonial Defense Force, so that when they turn 75 they undergo some kind of mysterious physical transformation process to become fighting machines, and leave Earth forever to bounce around the galaxy, fighting various weird aliens for control of habitable planets.

The CDF initiates discover the nature of the process that allows them to go from elderly to fighting form, and as in Starship Troopers, we follow the new recruits from training to initial skirmishes, and watch them lose friends to the inevitable effects of war. We also learn more about various interesting elements of the CDF, including the "Ghost Brigades" (title and subject of the first sequel to Old Man's War).

Scalzi is a stronger storyteller than a stylist, but the characters and dialogue are entertaining and likable. I find myself ready to follow along in this series and learn more about the CDF and their various interesting technologies (a "Skip Drive" for example, which is more a quantum reality-shift device than a true drive), especially the "ghost brigades." Scalzi has created a great premise, and even if I hadn't come to this book so late that multiple sequels had already appeared, it would have been plain enough to me that subsequent development could definitely be done in this story's world.

Overall, an enjoyable, well-executed work, and one that makes me want to read more by Scalzi, both in and out of this series.
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I live in Portland, land of one of the world's great bookstores, Powell's Books, which I used to visit several times every week. I don't live as close as I once did (I used to WALK to Powell's several times per week) but still, bookstores are one of life's real pleasures, and who wants to go through life buying everything at Amazon, anyway?

The bookstore visit that prompted this, though, wasn't to Powell's, but one of those mass-market-ish chain stores that starts with the letter B. The stuff on their shelves is much more slanted to the BRAND NEW along with PROVEN LONG-TERM SELLERS. Can't blame 'em, that's how they roll. But when you stroll through the SF/Fantasy section there, you see a whole different range of stuff than when you shop for your favorites at Amazon (where browsing Ubik gets you recommendations for Valis and Man in the High Castle and similar things), or a used book store, which has all kinds of new and old, popular and obscure.

Yeah, my favorite genres look a lot different from that vantage point.

It seems all the Fantasy now is written by women, and all the SF is written by men. Oh sure, more SF writers have always been male, and Fantasy has always had more female writers than SF did. But now I'd say Fantasy is a 90/10 split toward female writers, and SF is the reverse.

Speaking of Fantasy, it appears traditional, Tolkienesque "high fantasy" is dropping way off in favor of modern/urban fantasy. This means, you know, fewer book covers with dragons flying over the mountains, or armor-clad bands of adventurers comprised of wizard plus dwarf plus elf plus berserker/warrior human, carrying swords and axes. Instead, more books with a thin, athletic-looking single woman in tight-fitting clothes, a black pony-tail, and at least one very prominent tattoo. Maybe a demon in the background, or alternately some kind of cool animal familiar, if the heroine is "witchy" in nature. Seriously I must have seen books by two dozen authors, on a variety of publishers, with the exact same cover template. Nowhere else in the bookstore do you see such homogeneous covers, except in the Romance section.

You also get the sense the great majority of SF people are reading is movie tie-ins (Star Wars and Star Trek books), or video game novelizations (Halo, Mass Effect). I thought there used to be a stigma about "real" SF writers doing these novelizations but there seem to be plenty of decent writers doing them now. Maybe that's a good thing. For the longest time, those books were a joke. Are they better now?

There are several authors I hadn't considered "major" who have several shelves of their books all lined up, while several others who seem to have higher profiles (judging by mentions in the various SF blogs, and the awards, and the pages of Locus) have nothing at all on the shelves, or maybe a single book.

All in all, a rather strange and depressing view of the SF/Fantasy genres.

I need to get myself back to Powell's.
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I briefly mentioned a few days ago my excitement at this wonderful new book, Shadow of the Torturer, which is the first of four books in Gene Wolfe's Book of the New Sun Tetrology.

Shadow & Claw: The First Half of 'The Book of the New Sun'

This is my first "Science Fiction Academy" entry in a while, partly because I've been reading a bit less this past couple of months (spending more time writing, which is fine in the short run, but in the long run I'll have to stoke the fire by reading more), partly because I've been reading less science fiction stuff, and partly because I've finished a few books that I haven't gotten around to discussing yet.

Shadow of the Torturer is a great way to start this blog feature rolling again, because this is an incredible book. I feel like I've just stumbled onto one of my new, favorite writers in Gene Wolfe. This past few years I've sorted back through various science fiction of the sixties, seventies and eighties (and to a lesser extent those "classics" in decades before and after that range), and I've been struck more than anything else by the generally very poor quality of the writing in the genre. There are notable exceptions, like the poetic prose of Ray Bradbury, and the breezy, masculine confidence of Heinlein, but far more sf writers create prose at a much lower level than the quality of the ideas. It's such a relief to come across someone like Joe Haldeman, who writes in a clear, straightforward way that never interferes with the story or makes me roll my eyes.

Gene Wolfe, though, may be the best pure writer ever to work in the science fiction or fantasy genres.

This book applies elegant, poetic language to the compelling story of a torturer expelled from his guild for taking pity on a "client" (torture victim) with whom he'd fallen in love. The story is expressed with great sensitivity, and delves into metaphysical and ontological questions along the way.

If there is one drawback, it's that this first book in the series ends rather abruptly. This is remedied by the recent release of Shadow of the Torturer together in a single volume with Claw of the Conciliator, the second New Sun book, so the reader may continue on without too much frustration. I can imagine readers being frustrated with this one when it came out, though, with no sequel at hand until a year or two later.

This work is so accomplished, so compelling and overall so successful that I find I have less to say about it than I would most novels. This book belongs on the shelf of anyone who claims to love science fiction or fantasy, as it somewhat straddles the line between the genres. It feels like a fantasy novel, with swords and armor, horses and witches, and dark towers. Yet the story is based on a far-future Earth, where much has changed, and virtually everything we now know has been forgotten. I've seen this series referred to as "science fantasy" and though that's not a term I normally like, here it fits.

The clearest recommendation I can make is that I not only intend to finish the series, but the related "Long Sun" and "Short Sun" series, and possibly everything else I can get my hands on by Wolfe. Truly one of the best things I've read in a long time.
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For a while now I've been planning some more "focused" entries to this blog, but this here life has been such a mad dash lately, so my entries end up being a mix of whatever comes to mind.

First there was the Writers Weekend story which I had to submit by June 15, and finished a day early. Then I came down with a nasty cold which ruined this past weekend.

More recently I've been back to finishing up my Writers of the Future story, a big long zoomy space story thing. I'm very happy and relieved to finally be done with that. I've certainly written longer stuff, but I haven't actually finished (as in, polished all the way to a submittable final draft) a longer story than that since I started writing again last year. This thing wound up at 9,600 words and I'm quite proud of it. It introduces a new character and a new angle of exploration, plus a cool new artifact/tech device I'm anxious to explore in other stories. And I now think of it as "the WOTF story," while I always referred to it in my head, as I was planning it, as "the Analog story."

Now, I rarely write a story with a specific market in mind. I'm usually driven by an idea or an image, something I want to see happen, or a character I want to follow in a certain situation. Then I have to build up story and conflict and plot around that starting point, and only when I'm mostly finished do I start thinking things like "What's this all about, then? Where will I send it?"

This time I made a conscious effort to write something less character-focused, more about plot, action and conflict. Plus I wanted technology and space travel to be prominent parts, because I really wanted to finally write a story I could see sending to Analog SF magazine. All these touchy-feely "literary SF" stories of mine, with people feeling ways about stuff, certainly have their technological components, and some of them even meet Analog editor Stanley Schmidt's dictum that the "proper Analog story" shouldn't function with the technology removed from it. But I wanted to write something that didn't just sneak into eligibility as an Analog story, but was clearly, definitely about cool tech ideas, off-Earth locations, futuristic travel concepts, and a lot of focus on how human beings will one day travel from here to places very far away.

Now having finished the story, it's occurred to me that I'm missing out on a potentially useful market for my stories by not submitting to Writers of the Future. I don't normally enter contests, but I'm assured by all kinds of people who really do seem to know what they're talking about that so long as you're eligible for the WOTF contest (they only take stories from unpublished writers), you ought to enter. The prize money is good, and actually winning the thing, if you can pull it off, ends up being a nice platform to get people aware of you in a hurry. So, "the Analog story" ends up going to Writers of the Future first, and I'll keep on entering this contest (it's quarterly, with a mega-roundup contest for quarterly winners once per year) so long as I remain eligible.

Now I'm back to starting a few new stories I've had cooking, as well as revisiting some problematic or even "broken" stories I started previously and put on the shelf. I have two that are pretty close to being finished, so if I can wrap those up these next two weeks I may be in a position of actually finishing and submitting four new stories (counting the two just finished) in a period of a month. That would certainly be my greatest period of productivity, and would indicate that the extra hard work I've been putting in has been worthwhile.


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August 2013

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