“Let me buy you a pint, Elric…”
This week, we posed the following to our panelists:
[Do you have an idea for a future Mind Meld? Let us know!]
With all of the blockbuster, bestselling titles out there, and so many quality stories available, it can be easy for other titles to be overlooked, so this week, we asked our authors and panelists:
Here’s what our panelists had to say…
Everyone talks about Kage Baker’s Company series, but it’s a long series that has to be read in a certain order, making it look almost as intimidating as McMaster Bujold’s Vorkosigan saga (or moreso, since very few people will tell you what The Company series is actually about). Want just a taste to see if The Company schtick is for you, not to mention Baker’s writing style? Plant yourself in front of the short story collection In The Company of Thieves for a handful of short stories that take place in the world of The Company. There are contemporary tales, a comedy of errors, plenty of history fiction, and even a steampunk story. I can’t think of a better way to get introduced to Kage Baker if you’re not familiar with her work. I always get a little sad thinking about this series, because there will never be another book written in it.
And speaking of long intimidating series and authors who have passed away, I was insanely impressed with Iain Banks’ The Quarry. Lack of the famous middle initial means this isn’t a science fiction novel. It’s just a novel about a man’s last weekend with all his old friends, and his socially handicapped son. We get the story from the son’s point of view. When you hear the name Iain Banks, it’s so easy to jump right to “oh em gee, the Culture novels! You have to read The Culture novels!”. But what if you don’t want to read a Culture novel? What if you tried and you didn’t like them? The Quarry is all the Banks snark with none of the WTF.
On a much happier note is an anthology I just finished the other day – Sidekicks, edited by Sarah Hans. It’s from a smaller publisher, Alliteration Ink, and has very few big names to brag about in the table of contents. But that subject! Everyone loves a superhero movie (or at least that’s what IMDB tells me), but what about their sidekicks, their partners, their helpers, the guy or gal who gets the supersuit dry-cleaned and picks up coffee on the way to the Batcave? Some of the heroes know they’re in a partnership with their sidekick, other hero/sidekick relations are much more complicated. With far more depth and far less spandex than I expected, it was a very impressive collection. The sheer variety of hero/sidekick relationships and types of stories included makes this anthology worth some more mainstream attention.
Wow, I’ve been reading a TON of short fiction this year! My final book that I read recently that I think should get more attention is Clarkesworld Year Four, which includes all the original fiction published in Clarkesworld Magazine. It doesn’t matter how much screen-reading I do, I’ll always prefer a thinly sliced dead tree in my hands. Unfortunately, my propensity towards print makes it difficult to keep up with the all the short story magazines I enjoy, such as Clarkesworld, Lightspeed, and Apex. Getting a copy of Clarkesworld Year Four opened my eyes to fact that many magazines publish annual volumes of all of the original fiction that was published in their magazine and/or on their website. Can you say Best of Both Worlds? I get award winning and innovative short fiction, and a book in my hands! All the annual volumes of the short fiction magazines should be getting more attention.
[Do you have an idea for a future Mind Meld? Let us know!]
In fiction, especially Fantasy, SF, and the like, part of the joy of reading is the sometimes vast, and complicated, worlds that authors create. However, there are certain “rules” that seem to apply to this process, and io9 recently published an article called 7 Deadly Sins of Worldbuilding, which made me wonder what authors and readers thought about the subject, what kind of “rules” they use in their writing, and also what they like to see in their reading. So I asked them:
Here’s what they said…
For me, worldbuilding has to add to the narrative. For example, there is no point in telling me the ins-and-outs of a new plant species unless it is eaten or used for medicinal purposes in the story. Likewise, there is no need to spend ten pages explaining a piece of technology if it is never mentioned again.
My young adult novel When the World was Flat (and we were in love) is set in our world, but – at the risk of sharing spoilers – it also includes an alternate world with a re-imagined history. This alternate world is the catalyst for the relationship between the two main characters and all of the worldbuilding is connected to the events in the story.
My work-in-progress (WIP) goes one step further than When the World was Flat (and we were in love), as it is set in a world with a re-imagined history. This means breaking the rules of our current world (e.g. everyone eats ice-cream three times a day instead of just for dessert), but with good reason (e.g. the world is run by kids). I promise that is not the premise of my WIP!
I loved the worldbuilding in the Forest of Hands and Teeth trilogy by Carrie Ryan, because it showed the separation of societies in a post apocalyptic world by distance and therefore culture. They even have different names for the zombies in each region, e.g. the Unconsecrated, Mudo and Plague Rats.
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