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Posts Tagged ‘literature’

The very existence of libraries affords the best evidence that we may yet have hope for the future of man.
― T.S. Eliot
I’ve just discovered a lovely series by NPR on libraries. It’s ongoing but there are already close to a dozen pieces on the role libraries play in society, how they are transforming to meet new needs (disaster preparedness, anyone?) and the challenges they face in this new century.
Also, I had no idea that not all states supported public libraries. Srsly?

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If you haven’t seen it yet, there’s a nice piece by Lev Grossman in The New York Times on “Finding My Voice in Fantasy.”

We — as a whole, as a culture — seemed to be getting more interested in the kinds of questions fantasy deals with: questions about history, and about our connection to the natural world, and about power, how to find it in yourself, how to master it, what to do with it.

Fantasy is sometimes dismissed as childish, or escapist, but I take what I am doing very, very seriously. For me fantasy isn’t about escaping from reality, it’s about re-encountering the challenges of the real world, but externalized and transformed.

 

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Here’s a fun article at Modcloth about an independent librarian, cultural historian, community builder and all-around book maven:

Best Job Ever: Renegade Librarian Megan Prelinger

The Prelinger Library is located in San Francisco and is open on Wednesdays, but much of the collection is also available online.

I just asked the question,  ‘What would an alternative research library look like? And, what would research look like if it was as much fun as going out on a field trip?’

That sounds like my kind of library.

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In writing, brevity works not only as a function of space on a page, but the time that an audience is willing to spend with you.

A friend sent me an excellent article this morning, with some of the most useful advice I can think of for writers. It can also be one of the least welcome suggestions:
Keep It Short.

Danny Heitman’s essay uses this pithy guidance to sum up a lot of bits writers hear when trying to improve their craft: be concise, be concrete, be on point, write for your audience, etc. This does not mean blindly banging away on the Delete button, mind you:

I frequently hear champions of brevity advising writers to cut their word counts by scratching all the adjectives or adverbs… The point of brevity isn’t to chop a certain kind of word, but to make sure that each word is essential.

Short version, keep it short. (Although I can’t help myself, here’s one more quote from the article, this time citing John Kenneth Galbraith):

The gains from brevity are obvious; in most efforts to achieve it, the worst and the dullest go. And it is the worst and the dullest that spoil the rest.

Draft your short story, essay, poem, novel or recipe, then if you have a little time, put it aside. When you come back to it fresh, make friends with that Delete button.

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Another year, another free Campbellian download!

Stupefying Stories has just made available M. David Blake’s “The 2014 Campbellian Pre-Reading Anthology.” This collection contains more than 860,000 words of fiction by authors eligible for this John W. Campbell Award for Best New Writer award. Fabulous fiction, and all free free free!

Limited time offer, get yours today!

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I’m busy working on a hard deadline so today I invite you to enjoy this great, self-reflective piece on diversity in historical fiction (and by extension, all fictional worlds) by Mary Robinette Kowal. She’s talking specifically about race but the same points apply to gender, sexuality, etc. as well.

Don’t blame the homogeneity of your novel on historical accuracy. That’s your choice, as an author.

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While this article* might be more appropriately titled “What Makes a Bad Short Story,” it’s still an interesting read from Heidi Pitlor, editor of The Best American Short Stories series and someone with an astonishing exposure to the depth and breadth of short stories.

…”Sometimes, story writers seem to forget to write scenes.” This sort of thing is fine if scenelessness is done intentionally. But too often, we as readers enter a story via a small action (a door opening, a phone ringing) and then are held captive while the author utilizes a disproportionate amount of space introducing a character, his marriage, his children, his divorce, his parents and his emotional limitations before we return to the room he just entered or the phone call that just begun. In a 17-page story, each page matters. Each sentence matters. Pacing matters.

This may be more of an issue in literary fiction than genre fiction, but it can happen anywhere. (I’m currently reading a genre novel where life-and-death chase scenes are regularly interrupted by peaceful jaunts down memory lane. Srsly?) If you want me to rush headlong into a story, don’t put up speedbumps. And while we’re at it, don’t take life so seriously:

Here are some things I wish I saw more frequently: humor, genre-bending, humor, risk-taking, a more direct addressing of real world matters, humor.

Having somewhat goofy tendencies myself, I’m pleased to see her emphasis on humor. Because what’s the point if you can’t laugh, am I right?

* Yes, there’s a typo in the article. No, it’s not a big deal, no matter what she does for a living. Would you rather she’d refused to publish the piece in an obsessive attempt to ensure its perfection, before finally giving up and tossing it in the trash? I would not:) Do the best you can, but keep moving ahead.

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It’s time for me to find a new book to read, and what better place to start looking than SFSignal’s delightful visualization of NPR’s Top 100 SFF Books? Sure, the list is a little older, but literature is timeless, people, timeless!

SFSignalNPR100

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I Hate Strong Female Characters

Over at the New Statesman, Sophia McDougall has written a thoughtful piece on female characters in television, movies, and text. Provocatively titled, it is much more complex than one might think at first glance. This isn’t a tear-down or a diatribe, and it’s well worth a read.

I like “sexy kickassery” as much as the next person, but when it comes to characters…

What do I want instead of a Strong Female Character? I want a male:female character ratio of 1:1 instead of 3:1 on our screens. I want a wealth of complex female protagonists who can be either strong or weak or both or neither, because they are more than strength or weakness. Badass gunslingers and martial artists sure, but also interesting women who are shy and quiet and do, sometimes, put up with others’ shit because in real life there’s often no practical alternative. And besides heroines, I want to see women in as many and varied secondary and character roles as men: female sidekicks, mentors, comic relief, rivals, villains. I want not to be asked, when I try to sell a book about two girls, two boys and a genderless robot, if we couldn’t change one of those girls to a boy.

I want her to be free to express herself

I want her to have meaningful, emotional relationships with other women

I want her to be weak sometimes

I want her to be strong in a way that isn’t about physical dominance or power

I want her to cry if she feels like crying

I want her to ask for help

I want her to be who she is

…this list of things is better.

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>> note: this is a repost to get around an editing problem; ignore if you’ve seen it or reread at your leisure…

Over at the Clarion Foundation‘s blog, Gregory Frost shares some terrific advice about the importance of establishing place in writing. I agree that authors need to use their details wisely, but too many people forget the importance of place, and I’m not just saying that because I spent time studying Geography.

Quick, what’s the first question you would ask if you woke up in a strange place?

“Where am I?”

Settle that and you can move on to other issues (like “Why am I perched on a tower fifty stories in the air?” or “Who tied me up and how the hell do I get out of here?”). Without it,  all the conflict in the world can’t keep the story from feeling like it’s taking place in front of a green screen.

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