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Things Your Writing Teacher Never Told You: Pro-Tip From A.J. Aalto

Things Your Writing Teacher Never Told You: Pro-Tip From A.J. Aalto

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AJ AaltoNicknamed “The Writerghoulie” in the early days of Twitter, A.J. Aalto is a Canadian urban fantasy writer, author of the paranormal comedy series The Marnie Baranuik Files, and an active member of the Horror Writers Association.

Butt-In-Seat: Discipline and the Muse

The Muse loves to strike when you’re in the drive thru or walking your llama and can’t immediately capture those perfect snippits of dialog or subtle plot twists.

There are many ways to get around this. First of all, don’t own a llama. Secondly, set up regular meetings with yourself, to get your creative mind into the habit of showing up for work on your schedule.

Any time I have trouble being disciplined, I return to the habit that seemed to work best for me. Pro tip: 4 A.M. is prime creative time. I set my alarm, snarl at the clock, slap it a few times, throw myself out of the sack, slog to my office to load my documents, and put on a pot of tea. While the kettle heats up, I curse my boss; since I am my boss, I know exactly which insults cut the deepest.

Then I start the music in my headphones: Dubstep, K-pop, whatever music my teenagers say I’m too old to listen to. Then I shake my booty in the dark kitchen, where no one but my cat has to witness my cool-ass dance moves. Once the tea is ready, I’m wide awake and ready to work; thanks to the habit, the Muse is, too. In the beginning, you may need to bribe yourself to show up at 4 A.M. (I find that desk-chocolates work and desk-kale does not), but once the habit is fixed, it’ll be much easier to get your butt where it needs to be.

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Superhero TV: That’s Agent Carter To You

Superhero TV: That’s Agent Carter To You

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Carter 1I don’t know how I forgot “superhero” when I wrote about characters and their jobs a couple of weeks ago, but I was powerfully reminded of my lapse – and inspired – by two excellent posts from my friends and fellow BG bloggers, Derek Kunsken (Supergirl) and Marie Bilodeau (The Flash). Today I’d like to put in a word for the Marvel TV universe, where there’s at least one heroine that’s neither an alien, nor a human with superpowers: Peggy Carter of the Strategic Scientific Reserve (SSR) is 100% human.

A number of factors make this show stand out for me. For one, the creators have managed to pull off a series that is a little bit prequel, a tad bit sequel, as well as a sort of spinoff, that doesn’t rely on deep knowledge of either Captain Americ or Agents of Shield – or anything else in the Marvel universe for that matter. Plus, it avoids the drawback of most prequels: you know who isn’t going to die.

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The Midnight Games and Why I Wrote Them

The Midnight Games and Why I Wrote Them

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The MIdnight Games David Neil Lee-small“One might not think of our city as a muse,” began a recent review of my first YA horror novel The Midnight Games in a Hamilton magazine. But if you ask me, good horror novels, because they assume that monstrous secrets lurk behind the facades of everyday life, always convey a strong sense of place: I’m thinking of the New York City of Whitley Streiber’s The Wolfen, the Los Angeles of Robert McCammon’s They Thirst, or even the east coast gothic of Tim Wynne-Jones’ Odd’s End (which is an archetypical Canadian production — a horror novel about real estate).

In any case, Hamilton, Ontario, just southwest of Toronto, is a grimy little city that, like a lot of its relatives in the USA, dearly misses the great days of its industries (in this case, steel); days that have passed and that will not return again. One result of this is a working class culture, deeply depressed, that tends towards the nostalgic, and by nature I am a relentless optimist who regards nostalgia with a distaste approaching revulsion. For all that, I’ve lived in Hamilton since 2002 and the city has been good to me in many ways; let’s just say it’s enabled me to write a lot of books.

One day a local Hamilton publisher, Noelle Allen, put out a Facebook call for Hamilton-based books on behalf of her company, Wolsak & Wynn. I replied, “What we need is a horror novel, set in Hamilton, that people will read on the bus.” I volunteered to write such a novel.

Like it or not, for the past twelve years my family and I have lived a couple of blocks from Ivor Wynne, the local football stadium, and we hear all the noise from the Tiger Cats games. So I began a novel in which my protagonist hears a racket from the stadium at night, which he thinks of as “midnight games.” However, they are not games at all, but the cruel ceremonies of a local cult which is trying to summon to earth the Great Old Ones of the H.P. Lovecraft Cthulhu Mythos; trying with what turns out to be a fair degree of success.

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Check out the For a Few Gold Pieces More Kickstarter

Check out the For a Few Gold Pieces More Kickstarter

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For a Few Gold Pieces More-small

Q: Would you introduce yourself?

A: Hi, I’m Richard C. White, a science fiction/fantasy author and occasional blog contributor here at Black Gate. I’m also the sponsor of the For a Few Gold Pieces More Kickstarter. Along with my writing, I’m a member of the Writer Beware committee for the Science Fiction and Fantasy Writers of America.

What is this project about?

For a Few Gold Pieces More is a collection of ten short stories I originally did for an e-publisher a few years ago. After having the rights to these stories returned, I decided it was time to release them as a collection, both e-book and in print. It’s tough to promote an e-only series at conventions, because as soon as you get people interested, they want the book now — not when they go home and try to remember what the book was or who wrote it.

The idea for the stories was to take folktales, fairy tales, and legends and given them a decidedly dark twist. And speaking of dark twists, my protagonist isn’t exactly a hero, but he’s not as hard and cynical as he like to think he is. Suffice to say he does what it takes to get the job done.

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Things Your Writing Teacher Never Told You: The Skeleton Matters (Or, Why It’s Not OK to Skip Scenes in Your Third Act)

Things Your Writing Teacher Never Told You: The Skeleton Matters (Or, Why It’s Not OK to Skip Scenes in Your Third Act)

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Seriously, [novelist’s name redacted],

I get that you were writing a romance with a post-apocalyptic setting and plot, and not a post-apocalyptic novel with romantic elements. I get that the pacing and structure is significantly different between those two categories.

gas mask lovers-small

BUT, I don’t care which one you’re writing: you don’t get to leave out the middle of the third act! It would only have been a couple scenes; they could have been done in as little as 4 or 5 pages (though 8-10 would have been better), but they were important scenes. You can’t just toss the events off in a couple of graphs of narrative summary in the scene you jump to.

You had built that villain into a bad mo-fo: you can’t cheat us out of the meat of their encounter!

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The Amazing Authentically Authentic Latina Author!

The Amazing Authentically Authentic Latina Author!

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Certain-Dark-Things Silvia Moreno-Garcia-smallCategorization is a funny thing when you’re Latin American. Everything I write, people want to call it magic realism.

And then, when I write science fiction, sometimes people have no idea it’s science fiction because they don’t have enough cultural info to figure it out. When you’re writing a dystopia or an alternate history set in the USA, it’s pretty easy to figure out it’s dystopia or an alternate history. Everyone knows the USA! Hey, I knew your president cut a cherry tree and you had a Civil War when I was like seven years old and couldn’t speak English.

But is it fact or fiction that in Mexico when you apply for a job people can ask you to state your age, marriage status, and religion, and affix your photo? Sure! That’s not a dystopia. So sometimes I write a story and outsiders think, “That’s too fantastical,” or they confuse an ordinary detail with the fantastic.

More than once I’ve been told something is not “science fiction” or not “science fiction enough.” Needs more hyperdrive. There’s also the dreaded “doesn’t ring true.”

Doesn’t ring true generally means people expect you to bring in the exotic. They’ll be like “I once went to Acapulco so this gives me super great knowledge about your country and therefore this is not exotic enough.” Awesome. They want you to show a sarape, bring out the donkey. Check out the rooster in The Three Caballeros. That’s the sense of place you should aim for.

Someone once wanted me to change a name because it looked weird. It was a real name used in Mexico.

In Mexico City there are women-only designated subway cars so you won’t get groped. There are subway gangs with youths, hair combed back with too much gel who go to reggaeton shows, and like a story I read online, if you encounter a bunch of them it looks like you’re living in a “Spanish-language remake of The Warriors.”

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Taos Toolbox, a Two Week Master Class in Science Fiction and Fantasy

Taos Toolbox, a Two Week Master Class in Science Fiction and Fantasy

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My project this month was to put together a promo video for Taos Toolbox, which is run by my longtime friend, Walter Jon Williams, and Nancy Kress. It will run from July 10-23rd this year. I remember when Walter put the first session of this workshop together, and right from the start, it has helped authors turn rough draft manuscripts into traditionally published novels.

A non-exhaustive list of Toolbox novels includes:

Saladin Ahmed’s Throne of the Crescent Moon
Alan Smale’s Clash of Eagles Trilogy
Gail Strickland’s Night of Pan, the Oracle of Delphi Trilogy

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Matthew David Surridge on The Great Hugo Wars of 2015

Matthew David Surridge on The Great Hugo Wars of 2015

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Rabid Puppies logo-smallOver at culture site Splice Today BG blogger Matthew David Surridge, who declined a Hugo nomination last year for Best Fan Writer, looks back at his involvement in Puppygate.

It was difficult to keep up with everything that was happening; when a controversy strikes the literary world, writers are affected, meaning much will be written. And I was out of it. Appreciative reaction to my post continued to come in at Black Gate, but as what Martin called “Puppygate” sprawled on, I was watching from the sidelines. I saw calls for boycotts of publishers, I saw counter-calls to buy books from the same publishers, I saw reports that the number of people buying memberships to Worldcon had hit record numbers. I saw satires and arguments. I saw proposals to change the Hugo voting rules to limit the impact of future slates. I kept track of as much as I could, partly because it was fascinating to watch, and partly because I never knew if my name would come up. Mostly, it didn’t, which suited me fine. If for no other reason than that the culture-war overtones that Breitbart had highlighted in the Puppies became increasingly front and center…

In the end the Hugo voters opted for “No Award” over the Puppy nominees in almost every category. The Best Novel Award went to Cixin Liu’s The Three Body Problem, which made it onto the ballot when Marko Kloos, whose book Lines of Departure was on Beale’s slate, declined the nomination after learning about the Rabid Puppy actions. Beale, ironically, ended up urging his Puppies to vote for The Three Body Problem; the Rabid vote seems to have given it the margin of victory. Meanwhile, Best Fan Writer was won by the lone non-Puppy, Laura J. Mixon. Later, the final nomination data confirmed a rumour I’d heard that Mixon had gotten the nomination when I declined it.

See Matthew’s complete comments here.

Fellowship of the Pathfinders: The Importance of Party Dynamic in Fantasy Adventure

Fellowship of the Pathfinders: The Importance of Party Dynamic in Fantasy Adventure

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illustration by Eric Belisle
illustration by Eric Belisle

I bought my first Pathfinder novel after reading about it here in a New Treasures post. Howard Andrew Jones’s Stalking the Beast just looked like a lot of fun. Hunting down a big scary monster? Okay, cool. And I’m a sucker for half-orcs. The potential dynamic of a half-elven ranger and a half-orc barbarian working together grabbed me — in fact, I don’t think I ever ran a D&D campaign that didn’t have something like that combination in the mix.

As I described in my review here at Black Gate, I was pleasantly surprised by how much fun the book was — I found myself not wanting to put it down: an experience I was not primed to expect from previous RPG adaptations I’ve read. It delivered the sort of entertainment I am hoping for when I crack open an RPG-themed book, and it was very well written just in general terms as a fantasy novel. Well plotted; good world building; but most importantly, great characters. The dialogue was just as entertaining to read as the action set-pieces.

I subsequently read two of Tim Pratt’s books for Paizo Publishing, and then I went back to Jones’s first contribution to the series. All four of the books impressed me, which left me wondering: is it just because I’m a fan of Jones and Pratt? I mean, these are good writers (a critic more dismissive of “tie-in” literature might have uncharitably suggested they were just “slumming,” writing for a game publisher’s bi-monthly novel line). Were these books the exception, or are Pathfinder novels routinely this level of quality?

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Things Your Writing Teacher Never Told You: Pro-Tip From Nancy Kilpatrick

Things Your Writing Teacher Never Told You: Pro-Tip From Nancy Kilpatrick

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Nancy Kilpatrick-smallOur Pro-Tip author this week is the multiple award-winning writer and editor Nancy Kilpatrick. She writes dark fantasy, horror, mysteries, and erotica. Her publishing credits include 18 novels, over 220 short stories, 7 collections, and 1 non-fiction book. She has edited 15 anthologies.

I Can’t Seem to Get the Ending Right. What Should I Keep in Mind?

A short story is a slice of time in the life of the protagonist. What happens has to have a beginning, middle and end, even though most of the time the protagonist had a life before the events of the story and will (hopefully) have a life after. A short story should read from the beginning as if the reader does not know where the story will end–that’s suspense. But once the story is finished, the reader should feel that Yes!, this is how it had to end. That makes a satisfying read.

Your protagonist has a problem, aka ‘conflict.’ If he/she doesn’t, you don’t have a story. That conflict is an either/or conflict. The protagonist is torn between two basics. Base line example: live or die. The reader reading the story knows this because they see the conflict and the obvious solutions to that conflict. If the story ends with either of these obvious endings: the protagonist lives/the protagonist dies — the reader will feel let down. The writer’s job is to find either an alternative ending or a variation on one of the two obvious endings so that the story has an intriguing and unanticipated conclusion.

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