Archive for the 'Craft' Category

Interview for Savage Mojo’s Dungeonlands Kickstarter

October 13th, 2012

A brief update. I’ve been brought on to write the Ur legend for Savage Mojo’s Dungeonlands Kickstarter project: “Legend of the Lich Queen,” which kicks off their “Tomb of the Lich Queen” trilogy which is now in its final 25 hours:

http://www.kickstarter.com/projects/723840670/dungeonlands-tomb-of-the-lich-queen

Tommy at Savage Mojo has also just published an interview with me:

http://savagemojo.com/home/?p=3206

Here, also, is the teaser video for “The Legend of the Lich Queen” which I’m currently writing:

Gore Vidal Has Left the Stage 1925 – 2012

August 2nd, 2012

Charles McGrath’s New York Times obituary for Gore Vidal calls him “the elegant, acerbic all-around man of letters who presided with a certain relish over what he declared to be the end of American civilization.”

For anyone who has read Vidal’s work with delight and care, it is hard to believe that Vidal saw the United States as possessing a civilization that could end. Power, yes: the nation has great power, wielded without regret and directed anywhere those who possess it choose. But the USA, a civilized nation? Debatable, as Vidal saw it.

That the country could at times be a great deal of fun, or at least amusing, and a pre-eminent provider of entertainment — that Vidal would agree with, laughing all the while. Like Aaron Burr, who as protagonist opened Vidal’s extended fictional portrait of the carpeted halls of power, he enjoyed himself, and laughed more than most — at the nation, at us, at the power brokers and even at himself.

His wide-ranging body of work is like no other, as we see in his obituary. He had the courage of his convictions, or perhaps the courage of one born into the families that determine our national and personal fates, but who was fated by his lesser status among them — relatively poor, proudly sexually transgressive, highly educated in the arts, aesthetics and intellectual analysis — never to be a serious political player himself. He therefore had nothing to lose from honesty, and he was openly, aggressively, fluidly, sexual at a time when few could afford to be, and he wrote non-fiction and outrageous comic fiction both with post-gender attitude.

Narratives of Empire, his heptalogy of historical novels published between 1968 and 2000, traces the United States from the Age of Burr through the Age of Mass Media. Itreveals more than many non-fiction histories about how power is inherited, used, and guarded in America. These seven novels of our national political life bristle with ideas and even historical facts that were not discussed — or admitted to — by either critics or historians, by and large, and certainly not by politicians.

Vidal compared himself on at least one occasion to an obvious precursor: historian Henry Adams, who as the grandson and great-grandson of American presidents was present not only in the hallways of power but also in the homes where the power brokers lived and socialized. Adams’s influence was not always positive: in 1876, Vidal avenged his precursor’s personal prejudice against President Ulysses Grant in a way that was unworthy of most of his historical work — mean, petty, nasty, and a historical lie.

Like Adams, Vidal will probably be less remembered for Narratives of Empire than for his lesser achievements – theater, film, and television appearances, feuds with other writers. Adams is most often remembered today for the rather historically irrelevant cultural musings of Mont Saint-Michel and Chartres and for his highly selective personal memoir The Education of Henry Adams. While Education is empty of his wife’s suicide and the decades they were together, and leaves out his D.C. salon and ever-changing circle of ‘nieces’, it is worth reading, if only for Adams’s account of being private secretary to his father, Francis Adams, who as minister of the Mission to St. James in London was appointed by Lincoln to ensure that Britain never recognize the Confederacy. But Adams’s grand works are his histories of the Jefferson and Madison administrations, and possibly “Napoleon I At San Domingo” (in Adams’s Collected Essays, 1891), the most clear-eyed and even admiring assessment written by a white American historian in the nineteenth century of General Toussaint Louverture and of what the San Domingan revolution meant for the history of the United States.

These two writers offer a grand composite vision of the history of the United States. They were there, and if they weren’t there, their relatives were. They brought us their visions of our shared past; they have themselves become part of the historical record.

Biblio:

Gore Vidal’s Narratives of Empire, which I list in historical order, not in the order they were published: Burr, Lincoln, 1876, Empire, Hollywood, Washington D.C., The Golden Age.

Henry Adams’s Collected Essays; History of the United States of America During the Administrations of Thomas Jefferson; History of the United States of America During the Administrations of James Madison; The Education of Henry Adams.

Sherwood Smith *Banner of the Damned* (April 2012)

March 28th, 2012

 

 

Sherwood Smith. Banner of the Damned. DAW, April 3, 2012. 695 pages. Banner of the Damned is set in the secondary fantasy world of Sartorias-deles; the events take place four centuries after the close of the previous Sartorians-deles epic series: Inda, The Fox, King’s Shield, Treason’s Shore, commonly called the Inda series. It is not necessary to have read these books before reading Banner of the Damned. All these titles are available from DAW.

My complete post on Smith’s Banner of the Damned can be found at the SF Signal site, here.

 

Darkness Falls Early: Reading the Winter Solstice

December 26th, 2011

Penman, Sharon Kay. (1995) When Christ and His Saints Slept.  Ballantine.

Darkness Falls Early: Reading in the Winter Solstice


At the end of the summer I read Lionheart (2011), the latest in Sharon Kay Penman’s series set in the era of Henry the II, Eleanor of Aquitaine, their progenitors and their progeny.  It was so interesting I looked up the novels that came before, Devil’s Brood (2008), Time and Chance (2002) and now, the first one, When Christ and His Saints Slept (1995). It’s odd to read a series backwards, but that’s how it works these days, when an author’s earlier books take more effort to get hold of than we might like.

Lionheart follows the crowned Richard into the east on Crusade. Almost all the women who are part of the previous novels’ action are still alive.  Those who were born during the course of the series are now adults and often monarchs themselves. Devil’s Brood brilliantly describes the political and family causes prompting King Henry II’s sons and his Queen to rebellion, and his sons to further betray each other.  But, In my opinion, Time and Chance is the best written of the four.  That may be because Time and Chance covers what we already think we know about Henry II and Eleanor of Aquitaine, including the Thomas Becket affair, so the events and characters are familiar to both author and reader. But Penman’s Time and Chance is not the plays, Becket and Lion in Winter, or the subsequent films, the historicity of both more than questionable. In the course of researching these books Penman speaks on her website and in interviews of how much she learned is wrong about what we think we know about these characters whose names are familiar even these many hundreds of years later. One of the reasons we have misinformation is political. Then, as much as now, interested parties who could write, who were hostile to the Plantagenets, such as the French, used sexual slander and all the rest of the weapons in the political weapons arsenal to descredit their rivals and enemies.

It’s difficult, submerging oneself as a reader into When Christ And His Saints Slept, the earliest book in the series. It’s hard to know who is who, or even who is a fictional character. It turns out none of them are fictional, with the significant exception of a character who continues throughout the series, a series which at the time of this novel’s writing, the author didn’t know she was going to write. Another difficulty, which is in no way the author’s fault since these are the historically recorded movers and shakers of the events, is that so many of them share the same names, whether monarchs, royal bastards, high ecclesiatic officials, and are not always of different generations either. Then, Penman  made a compositional glitch by writing a prologue set some decades before the novel proper opens, then opening the first chapter in another decade with yet other people we not only don’t know, but whose relationships to those in the prologue we don’t know either.  These are the families and vassals who make the twenty years long civil war, the bloody conflict between Henry I’s nephew, Stephen, and the King’s legitimate daughter, Maud, the former Empress of the Holy Roman Empire and now Countess of Anjou.

However, that we don’t know much about these people, the times, or this 12th century English civil war, will be remedied by the time this novel is finished. Additionally it brilliantly sets up what will happen throughout the following volumes, though half of those volumes weren’t planned to be written when this one was (one more at least is in the process of being written). Once we’ve dug our way through this prologue and the next 40 pages or so, the reader is stabilized as to who the people are and where in geography and when in time they are. Unlike the unfortunates in the early pages who chose a berth on the White Ship, we’re sailing on smooth waters, treated to Christmas Courts, freezing rain, icy snow, fireplaces and wine, perfect Winter Solstice reading, as are the subsequent volumes.

It’s a superb story, filled with colorful, fascinating personalities who scheme against each other, love each other, hate each other, sometimes simultaneously. Henry II is born within the first pages of the novel. The war that is his parents’ marriage, his divided loyalty and love, twists this future king’s character, the damage of which will roll down the decades. We witness Eleanor and Henry’s meeting: like Johnny Cash and June Carter, they “fell into a burning ring of fire.”  There are the splendid early days of Henry II’s early friendship with Becket.  Yes, no matter how long ago certain things, like falling in love or in friendship, and the bitter pain of betrayal by lover or friend, are the same then as they are now.

Penman’s research is responsible and thorough. She’s got the tenacity to keep working on her narrative until these long ago, now obscure historical events and people are comprehensible to us in the 21st century. Penman is particularly good at portraying the strength and agency of all her female characters, of whatever station and condition, without making them behave like late 20th century, 21st century American women, or even think like them. They have different personalities and individual characters, whether of high rank or low. Starting with When Christ and Etc. each volume in this series presents the waste of women’s political talents denied by their gender. It becomes a theme winding its way through all the series.

In When Christ Etc. this theme is deep and broad: Henry I granted the throne of England to his daughter, Maud, formerly the Empress of the Holy Roman Empire. Henry I’s nephew, Stephen, steals the crown on the pretext that bloodshed would be inevitable if Maud’s crowned. Stephen invokes the period’s unquestioned belief in women’s incapacity to rule in their own right, which is founded upon both religion and, “No man will follow a woman to war.” But Stephen lacks the hardness of character necessary for a monarch to hold power year after year. Maud has a tribe of loyal, illegitimate brothers, for Henry I was profligate with his affections, siring many bastards, whom he married into wealthy, powerful families, tying these powerful vassals all the more tightly to his line. Thus it is is Stephen who made bloody civil war inevitable because he siezed Maud’s legitimately granted crown..

The irony contained in this theme is further deepened. Stephen, unable to quench the fires of rebellion in favor of Maud, resorts to his own wife to do it for him. He sends sweet, docile, loving Queen Matilda into the field to lead her own family and vassals, who seize the port of Dover for Stephen. Successful in no small part because of the devotion all ranks of Matilda’s men give her, the Queen continues to other political successes.

As for the series as a whole, a reader who is interested in literary and cultural medieval history of Europe can’t help recalling that Chrétien de Troyes was from France’s north, and he served at the court of Eleanor’s daughter in Aquitaine.  The tales of those extraordinary Plantegenets, Anjous and Aquitaines of the 12th century provided him no little inspiration, we must think, just as his Romances provided some inspiration, when coupled with the real life events of these people, for Penman.  And in the period when darkness falls so early, can there be better entertainment than a series of Romances, then or now?

*Best Served Cold* *2009). Orbit

September 10th, 2009

It seems that the first day of autumn rolled in this morning. Since summer didn’t show up until August it does seem too soon. But then, we are going to be on a real campus this weekend (Yale– how classic is that?), so that I feel invigorated by the sense of snap in the air today is appropriately seasonal. A sharp contrast with yesterday, which was pillowed in the humidity pushed up from the south by another tropical storm.

 Among yesterday’s many tasks, I had to return a book to the library, where I scored a winner — Fitzgerald’s Tender is the Night on cd. Since finishing Donaghue’s late 18th C historical novel, Life Mask I had failed to find any audio book that worked for my work-outs. When I find one, I settle in for several hours for often several weeks — Life Mask was 19 discs that played for about 70 minutes each. It’s hard to transition out of the world that one’s workout has signaled entry into after so long. Finding the right workout book is not easy.

 In any case, I followed Donaghue’s Life Mask on cd, with a print book, Joe Abercrombie’s 15th-century Italian flavored fantasy, Best Served Cold. Along with Fitzgerald’s This Side of Paradise (also experienced via cd) and Treason’s Shore by Sherwood Smith, these were the novels that held my interest this summer.

Best Served Cold is signally composed with more originality and sharply limned characters than many Fantasies. This isn’t easy to do, since thousands of Fantasy works have been published, and published in ever more numbers every month since LOTR created this new publishing genre — and demographic audience.

 What I liked most about Best Served Cold is the picture it provides of the terrible harm private mercenary armies are to everyone. They are fighting a war for their own profit. They collude with each other to drive up prices, throw battles and wars, betray each other and their employers, create wars where there are none. You have to think about Blackwater and, at last accounting, nearly 200 other private militias that are getting U.S. military contracts. If you ever thought  privatizing a national military is a good idea, you should read this novel of Abercrombie’s, particularly p. 239. But surely there’s no one in these current real world militias who is a classic likeable rogue like the former merc General, Nicomo Cosca, in Best Served Cold.

 Like Jacqueline Carey’s Kushiel’s Mercy (2008), and Sherwood Smith’s conclusion to her Inda series, Treason’s Shore (2009), Best Served Cold is a Fantasy novel that feels infused with current political events and catastrophes.  But readers who read to escape the real world, never fear!  Though this deep connection to contemporary events and conditions is successfully accomplished, none of these works will lose anything in depth or effectiveness as all these events disappear from our national attention deficit disordered mind.

 This may be the first Fantasy novel that has a character of agency who is an autistic, just on the edge of functioning. Friendly has no bonds with other humans, or booty, or power. He’s not likely to commit betrayal. He counts things, anything. His dice are his comfort objects. He is happy and content in prison, where the rigid routine allows him to feel safe. He’s a splendid addition to any group of thugs or soldiers because he loves the dice, and he never miscounts. He’s a methodical killer in a fight or battle, counting, counting, counting. He’s a sudden savage killer when the numbers are wrong or someone has broken his comfort routines. Friendly provokes the reader into thinking about what the chances were back in such times and conditions of autistic persons surviving at all.

Morveer is the chemist/alchemist/master of poisons-for-hire. Morveer reminds one of certain portraits of Merlin, including TNH’s description of the “unreliable magician” in her current “Re-reading Sandmanhere, and which others like Kit Kerr have also discussed at different times – Kit has also employed this specifically in her Deverry works. Most of all it is Morveer’s relationship with his apprentice that recall a twisted Merlin, a penetrating reading of that odd end of Merlin’s life with the entry of Viviene, she who wished to learn all his magic and secrets. The Merlin parallel feels most strong around p. 195. However, you will be surprised how this narrative strand plays out.

 The two ‘primary’ characters are the peasant turned mercenary general, the ruthless and brilliant strategist-swordswoman, Monza Murcatto, and Caul Shivers, a Viking sort, who has foolishly followed advice proferred at home and come south to become a better man, rather than a killer and seeker after ephemeral booty. It’s seldom I see actors in the role of fictional characters, but I couldn’t get rid of the image of Shivers as Sex and the City’s Aiden:  hunky, competent, unsizzling personality, dull of expression, and twice jilted by Carrie Bradshaw. There are many more characters than these, but these are the most successful, with the most page time. All of them betray each other and re-align frequently.

 The structure of the novel includes a variety of time periods, a variety of charcters and multi-threaded narrative lines.  These are written with an admirable deftness.  Nor does the prose plod.  The opening section is some brilliant satiric repartee by deeply knowing, profoundly cynical characters who know each other better than they want to, and have loyalty to nothing or anyone. At first you can’t believe what you are reading — you think this author is maybe an untalented sap and you’re going to close the book. But that’s not what is going on. It’s a brilliant bit.  And something that’s included in this bit, is there, at the very end of the novel.

 What was problematical for this reader concerning the novel was the name Abercrombie gave the featured region of his world-building — Styria. My eyes and brain insisted on seeing Syria every damned time, which threw me out of where we are. Nor did it feel like a name that would be found on the 15th Century latinum peninsula, of which this tale of warring city states is so reminiscent — as well as of Mario Puzo’s The Family (2001), featuring the Borgias, with historical characters including Niccolò Machiavelli.

This novel was just about perfect for this reader — see, in ‘my interests’: betrayal. It feels  significantly superior to Abercrombie’s First Law Trilogy. This may be because the world is so emphatically modeled upon a historical time and place, and historical characters. There was more than one very strong female warrior in that period of the warring papal and city states.

 Hopefully, Best Served Cold is the stand-alone work it appears to be.

No Visible Means of Support. Please.

August 18th, 2009

In the days when I was reading slush (unsolicited manuscripts to the fortunately uninitiated) we had a rule of thumb: the more “supporting materials” came with a fantasy manuscript, the more likely the MS was to be rotten. This wasn’t a hard and fast rule: some manuscripts that came with this stuff were okay; few were top-notch. A beginner mistake is to assume that, as finished books have these things, it’s necessary for the aspiring writer to provide them.

Really: no it’s not.

First of all: it reads like a newbie mistake (see above). Second of all, the more detailed and lavish the supporting materials are, the more likely the story itself has been shorted, because the writer has gotten so wound up in providing the schematics for the world (and showing you that they’re all, all there!) that she has forgotten things like logic, character, and wordcraft.

This does not mean that the writer should not do her homework, keep charts and research files and maps and whatever else makes it possible for her to construct a world.  But, as I think I’ve said before, 9/10ths of the worldbuilding iceberg should be underwater, unless you want your manuscript to sink like the Titanic.  Even when the work is finished, think carefully about imposing too many maps, etc. on your reader. 

Of course there’s a reason I’m thinking about this.  I just finished reading a quite satisfying fantasy novel, second in a series set in a big, sprawling elsewhere.  The worldbuilding is generally quite satisfactory.  Two problems:

  • In the first book in the series the author included a pronunciation guide so that readers would understand how to say the names of characters and places.  The problem with this is that once I read the arcane rules of this language it meant that every time I met a new character I not only had to remember what she looked like, but that her name was pronounced so that the first H was aspirated but the second H was not*, and that U was always pronounced long, as in you, but A was always short as in aaaa. This means, for me as a reader, that I’m doing the equivalent of walking through a new country with a guidebook in my hand, rather than getting involved in the story. In the second book there is no pronunciation guide, but (sadly) I still remember it, and kept trying to sound out the names in the new book by the same rules, rather than just getting into the story.
  • Both books have maps. The first book takes place entirely on one continent, and it’s pretty easy to follow the peregrinations of Our Heroine and her dauntless companion once they leave her hometown and set out to save her people from invaders.  But in the second book–because there were maps (not only of the continent but of the world itself) I kept referring back to them. In the second book Our Hero and his dauntless band sail off to save some captives and wind up saving the world and…it’s a good story, full of cool worldbuilding and action and angst and stuff.  Only, I kept trying to figure out where they were on the maps, and got hugely frustrated because I couldn’t: the larger map that compassed his travels did not include the names of the places they visited, so I still have no idea where they started from and only a rudimentary one of where they ended up. But every time the author gave me a new place name I leafed back to the front of the book and tried to find it. Once again, having that supporting material available was a distraction, not an aid.

Not everyone reads as I read, I know.  Many people would skip right over this stuff, or wouldn’t be bothered the way I was.  But some people will be, and for us, it’s a drag.  So think carefully about including your supporting materials with your work, either in ms. form or in the final book.  If someone proposes it, ask yourself (and the proposer) what you want the map to accomplish.  If you’ve built your world solidly enough, readers might not need a map.  And if there are specific reasons (you want a visual reminder of how close the enemy city is to Our Heroine’s wee tiny cot in the woods, or to give some visual cue as to why the journey from Hither to Yon takes six years by carrier yak), make sure that the map is set up to be useful. Because human nature is such that some people are going to try to use it, and hold it against you if they cannot.

 

*The real pronunciation rules have been changed to protect the innocent.

Mary Poppins versus Cthulhu, a writerly parlor game

May 27th, 2009

I just attended BayCon, the San Francisco Bay area regional science fiction convention.  It was, as always, a good chance to catch up with old friends and make some new ones, attend panels, and flex the brain muscles a bit.

While there, I invented a parlor game of interest to writers and fans in general.  It was inspired by this inspired blog post about matchups between heroes and villains to decide the eternal battle of good versus evil.  However, as the game evolved, it seemed a better name was needed than simply Good versus Evil or Heroes versus Villains.  Instead, taking the name from the most warped match-up that presented itself, let me present Mary Poppins versus Cthulhu.

The rules are fairly simple: You need two players, along with any number of judges and kibitzers to decide the fate of the battle for those cases where the contestants can’t agree.  Each player thinks up a hero or villain from the pages of history or literature, then on the count of three, says the name.  It is then decided which of them would win in a battle to the death, with all their powers and resources brought to bear on the problem.  Players alternate heroes and villains each round, and it’s of interest to writers because it gets you to think about characters strengths and weaknesses and the way things will logically happen in a plot. Continue Reading »

Fort Freak, and Writing in the Cities You’ve Never Visited

May 14th, 2009

As before, news and a rumination.  The news is that Fort Freak, the latest volume in the ongoing Wild Cards cycle, has been announced over at George R.R. Martin’s blog, and I’m among the writers tapped to write it.

Fort Freak

Fort Freak

Aside from the good feeling of having a proposal accepted, there’s also the writer’s anxiety about writing about something you don’t know and fear of getting it wrong.  Mary Anne Mohanraj (also among the writers, and new to Wild Cards) was writing about the same thing, relative to Fort Freak being a police story, something she knows little about beyond what she’s seen on television.  My knowledge of police dealings has a slight benefit in that one of my best friends had studied to be a cop (until health issues made him change to lawyer) and his brother is a cop, and I have other friends who work in law enforcement, so I have people to run legalities by so I won’t run too far afoul of Sjöberg’s Law of Cinematic Inaccuracy.   (“Movies get everything wrong. Hacking-based movies are laughable to hackers, military-based movies are laughable to members of the armed forces, and Indiana Jones movies are laughable to archaeologists.”)  Or, as it’s recently been termed on tvtropes.org, having a story “Dan Browned,” a subset of the trope “Did Not Do the Research.”

Of course, there are sins and sins.  Television budgetary concerns can excuse Television Geography and even “The Mountains of Illinois”, but novels and short stories?  Not so much.  I’ve read short stories set in San Francisco where people had a picnic in Candlestick Park (not realizing that it’s a baseball/football stadium) or walked from Alameda to downtown SF (somehow forgetting that not only is this quite a distance, but the bay is in the way).  And these were published too.

So, I’ll confess my failing: I’ve never visited New York.  Neither state nor city.  But I’ve written stuff set there.  Most recently for my story in Busted Flush (the scene cut for pacing and plotting, not inaccuracy), but before as well.  And now I’m about to do it again.

On the plus side, I’ve at least touched Connecticut brownstone (the Flood Mansion in San Francisco is built of the stuff, imported at ruinous expense back in the day) and being familiar with the architecture of San Francisco and other cities helps, in that what was built in one city was then reproduced in other cities of the era, often by the same architects.   (Driving around Mexico City a few years ago, I was getting deja vu, thinking at times I was in parts of San Francisco or New Orleans or even downtown San Jose.)  And with Wild Cards being an alternate timeline which diverges in 1946, there are structures which were knocked down in our Manhattan which can still exist in the world of Wild Cards.  Not tipping my hand too much, but I’m currently researching  one of those, both because it’s neat in terms of alternate history to preserve something rather than destroying everything, and because if I’m pulling from museum archives and photographs, I don’t have to worry that much about someone who actually lives somewhere looking up from the book and rolling their eyes about how I’ve got it wrong.

I’ll also be running the story by some native New Yorkers, so I can get the errors caught before publication.  But right now, it’s research time.

Lord Ooky Hellwrought’s Sixteen Unspeakable Utterances

March 25th, 2009

Lord Ooky Hellwrought’s Sixteen Unspeakable Utterances
(a Supplementary Lexicon for Lady Pixie Moondrip’s Random Craft Name Generator)

In her well-famed essay, to which I refer you for reference, the great loremistress lists the following thirty-one words as being the components of eighty percent of all craft names:

  • Wolf     Raven Silver     Moon     Star
  • Water     Snow  Sea     Tree     Wind
  • Cloud     Witch     Thorn     Leaf      White
  • Black     Green     Fire     Rowan Swan
  • Night     Red     Mist     Hawk     Feather
  • Eagle     Song     Sky     Storm     Sun
  • Wood

Aside from modern witches, Wiccans and neo-pagans, this list also holds true with the majority of witches and wizards in fantasy fiction, especially popular roleplaying games, and is thus of use and interest to the writers and readers thereof.  But with all due deference to the esteemed lexicographer, her rule breaks down in one crucial area: evil overlords and wicked enchantresses.

With the exception of the always serviceable “Black” and “Night,” few evil overlords or wicked enchantresses use more than one word from the above list in their craft names, seldom two, and never three.  The same holds true for the titles of books chronicling their black deeds.  However, this is not to say that the practitioners of the black arts are any more original than their white and off-white colleagues.  They simply draw from a second, but even more limited, word list.

After perusing my vast library of blasphemous texts and eldritch tomes (mostly the aforementioned fantasy novels and gaming supplements), I, Lord Ooky Hellwrought, have found the same sixteen soul-searing words repeated again and again.  Herewith, my addenda:

  • Bane     Blood     Bone    Curse    Dark
  • Death    Dire    Doom    Dread     Fell
  • Foul    Grim    Hell    Hex    Nether
  • Shadow

These words may be combined with those from Lady Pixie Moondrip’s original list in the same manner, or, for added effect, may be added to professional titles.  Dread pirates and blood ninjas can charge more than mere ninjas and pirates.  And while no one is much impressed by a merchant or thief, the same cannot be said of death merchants and shadow thieves.  (Lord Ooky Hellwrought notes that a few professions, such as hairdressers and proctologists, are beyond help.  Aspiring evil overlords and wicked enchantresses would do best to not list these on their resumes.)

Writing Process: Writing With A Craft Goal In Mind

February 26th, 2009

Note:  This post originally appeared on my blog.  I’ve made a few minor changes.

I’ve written a lot of books.  Traitors’ Gate (due August 09 USA with Tor Books USA and early Sept 09 with Orbit Books UK) will be my 19th published novel.  That’s counting The Golden Key, the collaboration I wrote with Melanie Rawn and Jennifer Roberson, but not counting the two early unpublished works which are unpublishable and will remain that way because they’re also really embarrassing.  Hey, I was young once, too.

That’s not my point.

My point is, that I continually strive to improve as a writer.  I want to write better books, not worse ones.  I want to get more disciplined, not more lazy.  I want to hone my craft, not become dull and stagnant.

So obviously, this being my goal, I work to make each book better than the ones that came before.  Continue Reading »

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