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Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Head-Hopper”

Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Head-Hopper”

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lighthouse

This is part 8 in the Choosing Your Narrative Point of View Series

Virginia Woolf’s novel, To the Lighthouse, does a brilliant job with our next POV style:

  1. Head-Hopper

If you’ve not read her novel, I urge you to do so. I also urge you to read it aloud, even if you’re sitting outside at a café, which I did a few summers ago. The book is graced with many long, complex sentences that loop and flow, and sometimes change point of view from one clause to the next. Reading it out loud helps the brain make sense of the phrases and clauses in a way that eyes-only reading can’t manage as well. When done well, as Ms. Woolf did, it is a brilliant writing stratagem. But it works best in stories where there is very little physical plot. The conflict comes mainly from the contrast of how different characters perceive the same moment, and in the shifting emotions of characters.

Which means, generally, it is not a good point of view choice for action-packed genre stories.

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How to Worldbuild a Good Sandbox: Four Rules from the Warhammer 40K Universe

How to Worldbuild a Good Sandbox: Four Rules from the Warhammer 40K Universe

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Honour Guard Dan Abnett-small
Games Workshop’s Warhammer 40K universe is one of the best sandboxes around.

I’m working on a sandbox Space Opera setting.

Sandbox is the tricky part; a “sandbox” is a storyworld that lets you tell (or experience — if you are a gamer) all sorts of different kinds of story. Essentially, I’m building my Discworld.

Oh, you say, just make it big with lots of different kinds of settings plus spare blank spots on the map.

Yes, that gives you lots of flexibility (though less than you’d think). However, the stories won’t be — sorry, I can’t think of a better word — branded.

I mean, the asteroid miners over here and the fight against the dark lord over there, don’t need to belong in the same universe and the reader (or player) won’t really feel as if they are revisiting the same place.

So a good sandbox is one that maximises the possible range of branded stories.

Spend time with a 12-year-old tabletop gamer and you quickly realize that — in this light — Games Workshop’s Warhammer 40K universe is one of the best sandboxes around. You can could dump just about any Space Opera SF story into it, and it would still feel like 40K. To do Firefly, just plug in Orcs, Inquisitors and Space Marines and Imperial Guards. To do Starship Troopers tell a story about the Imperial Guard. To do Star Trek, just follow a Tau captain on their five year mission.

Less so in the Star Wars universe.

Firefly Wars would need a local civil war as backstory, since the cleanup after the prequels feels like it would involve more mass graves. Your Alliance could be the Empire, but the Empire doesn’t really feel as if it would do dark secrets — why bother hiding them? — or have secret super soldier programs– it has Stormtroopers and Sith anyway. Starship Troopers could be about the latter-day Stormtroopers, but the moral ambiguity would be lost. Star Trek…? No, not without taking a ship to a different galaxy and then it would not feel like Star Wars. It would lose its brand.

So the 40K ‘verse is a far better sandbox than the Star Wars one.  How can this be? It appears to follow four basic rules…

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Meeting Your Heroes

Meeting Your Heroes

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Tanith Lee
Tanith Lee

There is a saying that you should never meet your heroes. The golden god may have feet of clay, and all that. I don’t agree.

Now, I adore my wife. Let me make that plain up front, so there are no misunderstandings. But there is another woman in my life – my goddess of writing, Tanith Lee.

Tanith Lee is the reason I’m a writer today. She inspired me in a way that nothing and no one else did or could. I’ve always hoped that if I worked hard enough and long enough I might one day be a tenth as good a writer as she was. I don’t know that I am, but I’m working on it. Drake is nothing like a Tanith Lee book, but I like to think that at the heart of it there is a little of her voice.

Tanith passed away last year and it my greatest professional regret that I never got to meet her and just tell her “thank you.” But then how many people get to meet their deity?

This Easter weekend though I did get to meet her husband, John Kaiine.

John is an absolutely lovely man and a gentleman in the truest sense of the word. We were at EasterCon in Manchester, UK, and John was there to speak on a panel held in tribute to Tanith. Hosted by Storm Constantine, the panel consisted of John and the Night’s Nieces – Kari Sperring, Sarah Singleton, Freda Warrington and Liz Williams, all writers who Tanith had inspired and mentored. John and the others spoke beautifully about Tanith and her work. There wasn’t a dry eye in the room by the end of the hour.

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Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Reporter”

Things Your Writing Teacher Never Told You: The Multiple Personalities of Omniscient 3rd Person: Spotlight on “Reporter”

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Seeing Eye

This is part 7 in the Choosing Your Narrative Point of View Series

There are multiple variations of 3rd Person Omniscient that don’t appear to have industry-wide agreed-upon names. They’re generally just lumped together under “Mixed Viewpoints.” But used effectively, they’re not just a hodgepodge. They have rules, too, that if learned, can help you focus your story and make it the most powerful piece of writing possible.

I’ve broken several of them out and given them descriptive names to make their uses, purposes, limitations, and parameters easier to understand. All of these are, at base, 3rd Person Omniscient. They use a multiple point of view technique that will leap from one character to another and sometimes beyond, to objects, weather fronts, animals, houses, and non-corporeal entities from ghosts to Justice to Death.

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How and Why You Should Withhold Information from the Reader

How and Why You Should Withhold Information from the Reader

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Risen Empire
…quickly turns out to be about a secret.

You’re not supposed to withhold information known to a point-of-view character. Or to put it another way around:

If the viewpoint character knows something relevant, then by default share it with the reader.

Except that successful authors do this all the time!

It’s most common in thrillers where we follow the Bad Guys, but don’t find out who they are working for until the end. However, you also find it in SF&F. For example, Scott Westerfeld’s marvelous The Risen Empire quickly turns out to be about a secret. We see one team try to expose the secret and another — who know what it is — ruthlessly try to preserve it.

At this point, people will nod their heads and trot out the wisdom they’re supposed to trot out: Once you know the rules, then you can break them; go serve your apprenticeship.

However, that’s not very helpful if — for example — the story you are trying to write hinges on a big secret.

I think there’s quite a different set of rules at work. As you might guess, as far as I’m concerned, it’s all about the conflict.

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PublishAmerica Settles Lawsuit Against Writer Beware

PublishAmerica Settles Lawsuit Against Writer Beware

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Writer Beware Logo-smallVictoria Strauss had a review column, Fantastic Fiction: Books for Younger Readers, in the first three print issues of Black Gate. She was marvelous to work with, and her column was one of my favorite parts of the magazine, but her own growing success as a novelist (Garden of Stone, The Burning Land, The Awakened City) soon stole her away from us.

With author A.C. Crispin, Victoria founded the invaluable Writer Beware, a SFWA-backed volunteer organization that roots out and exposes scammers and con artists preying on aspiring writers. Today Victoria announced the settlement of an ongoing suit that arose from those efforts.

I’m finally getting to post about something I’ve been keeping under my hat for quite some time… On March 18, 2014, America Star Books, formerly PublishAmerica, filed suit against me, Michael Capobianco, Rich White, and Writer Beware in the Circuit Court for Charles County, MD.

The lawsuit alleged defamation per se on the basis of two posts from this blog: one from March 2013 covering the second class action lawsuit filed against PublishAmerica, and one from January 2014 covering PublishAmerica’s new name and services as America Star Books. A total of $800,000 in punitive and compensatory damages was demanded, plus interest and attorneys’ fees…

After a long delay by the Maryland court, the case reached the discovery stage. Shortly after my attorneys sent interrogatories and discovery requests to ASB, ASB’s attorney, Victor Cretella, contacted us to discuss the possibility of a settlement. A final settlement was signed by all parties in January of this year. In exchange for agreement by myself, Michael, and Rich not to seek recovery of legal fees, ASB agreed to release all claims asserted against me, Michael, Rich, and Writer Beware, and to stipulate to Dismissal With Prejudice. ASB does not admit any lack of merit, nor do I and the other defendants admit any liability.

I’m enormously pleased to see Victoria, and Writer Beware, prevail in this suit. Read Victoria’s complete announcement here.

The Refusal To Sprawl: Emily St. John Mandel’s Station Eleven

The Refusal To Sprawl: Emily St. John Mandel’s Station Eleven

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Station Eleven-smallTo peruse the book jacket of Station Eleven, one would think that this novel has a traditional main character (Kirsten). This, like the utterly misleading picture on the front –– the yellow tents and curving wall never crop up, so far as I can tell –– is a lie.

Station Eleven is akin in many ways to A Song Of Ice And Fire in that it positions a dozen main characters and asks us to follow them all, sometimes for moments, sometimes for chapters, in what amounts to a kind of prose chorale. The effort is largely successful, but it also suggests a grander canvas, one that Mandel, who surely thinks of herself as a writer of literary work, has no intention of pursuing.

Contrast with Mr. Martin: when he sets his dozen, then fifty, characters in motion, he follows every one, rabbit hole after rabbit hole. This is not to say that either approach is more valid than the other, but it’s telling; the one method begets only a single book, the other a series or even a cycle.

Once again, I find myself puzzled by the (apparently necessary) differences between genre and literary publishing tropes. I honestly don’t think Mandel even considered expanding her storylines, or following her characters farther afield. Expansion and long-form digressions are all but expected in fantasy and science fiction, and the short novel (say, Flowers For Algernon) is a rare bird these days, and getting rarer.

But in nominally literary work? One book, and you’re out. Covers closed, shelve the title. Move along, people. Nothing more to see here.

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Things Your Writing Teacher Never Told You: When the Form Is the Story

Things Your Writing Teacher Never Told You: When the Form Is the Story

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Writing Team

(This article is a follow up to my blog post “Story In Its Many Forms“)

In a previous blog (linked above), I talked about my Exploring Fantasy Genre Writing class and how they’re required to try their hands at forms beyond the basic short story: including poetry, blues songs, plays or radio plays, comic books, and mock journalism (any of the print or broadcast forms). For other weeks, they can choose yet a different form, but they can’t work in the exact same form twice.

They adapt to some forms fairly easily, because they see the parallels and similarities to the form they’re most comfortable with. And though different parallels and similarities exist between any two forms, they just can’t see them sometimes.

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Gardner Dozois on the New Sword & Sorcery

Gardner Dozois on the New Sword & Sorcery

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Spaghetti western town-smallOn Facebook yesterday editor Gardner Dozois theorized that the essential influence on modern Sword & Sorcery, which differentiates it from the classic pulp S&S of Robert E. Howard and Fritz Leiber, may be the Spaghetti Western.

While we’re talking about fantasy, I’ve been reading a lot of what’s being called “the New Sword & Sorcery” lately, stuff by people like Joe Abercrombie, Scott Lynch, K.J. Parker, Daniel Abraham, and it struck me what the one essential influence was that aesthetically separates the New Sword & Sorcery from the Old Sword & Sorcery, since both have sword-wielding adventurers, monsters, and evil magicians: it’s the Spaghetti Western. Clearly Spaghetti Westerns have had a big influence on the TONE of this new work. Gone are the gorgeous, jewel-encrusted temples stuffed with huge snakes and giant idols with jeweled eyes and slinky sinister priestesses in jeweled bikinis where Conan used to hang out. Instead, the most common setting seems to be a remote jerkwater village, either parched and sun-blasted or drizzling and half-buried in mud, extremely poor and mean, swarming with flies, packed with venal, dull-eyed, illiterate peasants who are barely smarter than morons, if they are, and who have no power or influence in the wider world, and certainly no money, and who stare blankly and slack-jawed at our heroes as they enter town, either kicking up clouds of dust at every step or splashing muddy water.

You know this place. Think of every degraded village in every Spaghetti Western you’ve ever seen.

Read his comment (and the fascinating discussion thread with folks like Eleanor Arnason, Joe Bonadonna, Scott Oden, Elizabeth Lynn, Christopher Fowler, Darrell Schweitzer, Lisa Tuttle, and others) here.