Wind Sprint: Serenity

I tell Liz Poole all the time that I'm never going to write Urban Fantasy. But an opening line while I was driving from physical therapy gave me an idea for a character that turned an espionage thriller plot I had been ruminating on into a genuine urban fantasy.

The original espionage was inspired by a crazy lady I passed in the subway one day. She stood near a street musician, one whose music I really enjoy. He's a junky that plays a mean harmonica with a bean can shaker. He makes some great blues music. She was screaming, "SHUT UP! SHUT THE FUCK UP!" Except she wasn't screaming at the musician. She had her back to him and was shouting at the escalator. I wanted to know what she was seeing. And wouldn't it be interesting if something was actually there?

Combine with that a separate experience where a less talented musician was there not actually playing at the time I passed. Someone threw money in her hat and she handed the person a folded piece of paper. Now, most likely, the paper was folded around drugs. But what if it wasn't? What if the musician was a CIA operative passing information to another operative? How cool would that be?

Mix those two together. What if the CIA isn't just your normal espionage spooks? What if it's a supernatural agency? Who can infiltrate better than a changling that can change his/her features? (Reminds me a little of Gail Carriger's work and some other urban fantasy I've touched on but can't remember at the moment. Lurker, ring a bell with you?) A small government program attempting to track the tidal wave of immigrants moving to America at the end of the 19th century (tracking Irish and similar "blights" on the country), discover supernatural beings living among us. The Cenosapian Identification Agency is formed to identify how pervasive the infestation is and to determine whether they're a biproduct of the Irish or something else entirely.

Fast forward a few decades when the government begins to fight the red menace and all of a sudden supernaturals are necessary to fight back communism. Stalin and Hitler both had their own cenosapian programs and if we give the reds the advantage, it'll spell the end of democracy for the world! Fast forward a few decades more and now the wall has fallen and post-War colonialism is winding to a close. Espionage isn't that useful with only one remaining super power. [Avoid all your overdone plots and think of something cool to go here.]

Now all you need is a main character. And that's today's idea, Serenity.

"My parents didn't name me Serenity because they were Buddhists or existentialists or anything like that. They were nerds. Big, cosplaying nerds, and they named me after a spaceship. Thanks mom. Thanks dad. Why couldn't you be hippies? Make love not war. Smoke weed. Wear hemp. If we had spent my childhood getting high and eating brownies rather than rolling for initiative, maybe I wouldn't be in this mess.

I rolled a three, by the way. Maybe that's the problem too."


(That last part might riff too close to GEEKOMANCY, but the point of a wind sprint isn't to show off a new idea, but to fastball pitch an idea against the wall and see what kind of Rorschach shapes come out of it.)

I'll puzzle around with this more after I'm done with my next draft of FAMILY JEWELS.

Be Sure to Use the Appropriate Nasality

It's been a while since I've posted. I have a few drafts that I'll probably never publish (that happens from time to time), but I have a really good reason why. I've been writing like Robert E. Howard. Not specifically in his style, but when he wrote Conan, he said that the barbarian himself stood behind him, threatening to kill him with his axe if Howard did not tell his story. I started a new draft at the end of January and I fully expect to be finished by the end of February. We often do the numbers and say "If you maintain 1000 words per hour and write two hours every day, you'll have an 80,000-word draft complete in 40 days!" This is absolutely true, and 1000 words per hour is not unreasonable. But things happen. You don't necessarily write 2000 words on Saturday or Sunday. Or you make a mistake and have to rewrite a chapter. Whatever. Forty days is optimistic. It usually takes me three months to finish a first draft, which I still think is respectable. So finishing in one month is both exhausting and exciting.

What would make me stop this high productivity to post here? Well, I'd like to say it's my blog post on what kind of critique critism you should hope for and the dangers of positive feedback, but it's not. It's so I can whine!

A debut author's book is coming out. The cover is being shown all over the webs and people are posting its blurb and an agent says, a fantastic urban fantasy debut! So why am I whining? Because--by the description being posted--it's not urban fantasy! It's contemporary fantasy. Now you might not care for the arguments of what makes a book epic fantasy or what makes it urban fantasy (does it have to have vampires, blah blah blah), but if you're an aspiring fantasy writer, those questions are important. Because when you start looking for an agent, you will see time and time again that the agent is interested in urban fantasy but not other types of fantasy.1

Some agents will just say fantasy with a preference toward... or just fantasy. But that's less common than you might think. Books are shelved in sections. eBooks have metadata. We can be specific, and for personal preference or monetary interest, agents (and editors) specify what kind of fantasy they want. So when a genre is incorrectly shelved in another genre, two things will happen. First, people will be less interested in the story because they think they're buying something they're not.2 Second, people will say that the genre it should have been in is under-represented.

"No one is reading/writing contemporary. It's just too small a market." NUH UH! You're just shelving it wrong! waaaaaaaaaaaaaa!!!!! /baby

September marks my fourth anniversary of being a querying writer, so let me ask this anniversary wish. Don't make it harder for me to find representation than it already is. If a book is epic, it's epic. If it's traditional, it's traditional. And if it's contemporary, it's contemporary. Who knows, maybe you'll popularize a genre that hasn't been getting a lot of attention otherwise.



1 Urban was the cash cow for the last decade, so this isn't surprising. Likewise, after Game of Thrones hit it big on HBO, you saw a lot of agents add epic to their list of interests. This faded a lot faster because people who aren't used to reading epic discovered what a mountain of text comes with an epic manuscripts. If you're under 150,000 words, you haven't written an epic fantasy. Or at least, you haven't written it very epically.

2 See this post by Kristin Nelson to understand the importance of metadata.

That's Been Done Before

I've commented before that there are some parts of my beloved genre that just bore the shit out of me. "New" is really "The same but from a different persecptive." How can you tell? Because our titles sound like they came out of a sausage maker. Fantasy in, delicious sausage out. One link looks much like the next.

Here is your modern fantasy title:

[Article] [A]'s [B]

(The use of the article or the possessive can be eliminated to make the title more impactful.)


COLUMN A
Assassin
Dark
Dragon
Fire
Ice
Kingdom
Mask
Prince
Shadow
Thief


COLUMN B
Blade
Emperor
King
Knife
Magic
Shadow
Shard
Sword
Thorn
Throne

Another Epic Fantasy Discussion

What makes Epic fantasy Epic fantasy and not just traditional, urban, or any other sub-genre is a well-worn conversation. One that I'm kind of bored with, actually. It's been discussed enough that the informed have come to a general consensus (scope of setting/cast/stakes, etc), the uninformed bumble in that general direction, and the hair splitters try alternate arguments to come to the same conclusion. (No insult against hair splitters, as I've split many a hair myself.)

BUUUUT, as I was watching the most recent episode of Extra Credits, something new in the conversation caught my attention.

In my anecdotal review of fantasy fiction, I find the hero's journey to be incorporated more frequently into epic series than in traditional fantasy. Epic books by their very size allow more space to follow the many steps of the journey. And it made me wonder, is that an easy marker to distinguish between the two? Is a traditional fantasy more likely to skip over the refusal of the call than is an epic fantasy?

Discuss.

The Other Side

I don't only read fantasy and science fiction. I think that's a good thing, to read outside of one's preferred genre. Keeps things fresh. Keeps things interesting. You get a view of how things are done elsewhere (setting doesn't matter as much in some genres as it does in sff where many call it another character in the novel). And you get a view of how things are changing there, maybe something you can use in your own work as well.

For me, when I'm not reading sff, I usually turn to a biography. Jerry Lewis' DEAN AND ME, Steve Martin's BORN STANDING UP, Craig Ferguson's AMERICAN BY CHOICE (a much more solid offering than his fiction BETWEEN THE BRIDGE AND THE WATER1), and more. Some are awesome (see Ferguson). Some are completely self-serving (see Lewis). Some are a train wreck of good intentions (see Meghan McCain's DIRTY SEXY POLITICS). Currently, Russel Brand's first autobiography, MY BOOKY WOOKY. I tend to lean toward performers rather than historical, political, or military figures, who so often make up the bulk of the biography section. I like to see how they were drawn to their art, how they suffered, and how they overcame (if they did). Artists often tend to leave off a lot of the polish. Even with Jerry Lewis writing about how he and Dean Martin loved each other to the very end, he speaks on infidelity and ties to the mob.

With Russell Brand, his fiction follows a consciousness delivery much like his stand-up. Tangents come and go and you have to hold on for the ride. I love the book already because he makes a statement that perfectly sums up my childhood as well. "I was awake as a child." It's such a profound statement that people have trouble understanding unless they lived it. I made the local news when I was in kindergarten. My school did a balloon release2, and I was one of a handful of students whose balloons were found first. They interviewed the larger kids first, so I heard the kind of questions they were going to ask. I was prepared with a cogent, intelligent response, but when they asked me my question, I stuck my finger in my mouth and twisted in place, looking horribly cute. Of course, the entire time, I'm screaming in my mind "WHAT ARE YOU DOING" like some guy at the helm of a spaceship, the controls not responding, the circuit boards sparking, and the ship setting course for the closest star.

I was awake as a child.

I don't think I would have ever heard, I don't think I would have ever articulated that experience if I had not read Russell Brand's MY BOOKY WOOKY. Thanks for that Russell. It's a good read.