The best writing reflects real life and day to day challenges to mental health are a reality for everyone, to a greater or lesser extent. Through September and October dozens of authors will be blogging about mental wellness, mental illness, depression, suicide prevention, domestic violence intervention, PTSD treatment and related issues.
Gosh, that sounds like a whole load of fun… really?
Don’t be fooled. This isn’t some worthy gloom-fest. Look at that hashtag #HoldOnToTheLight. This initiative is about illumination, about exploration, about using the power of the Internet for something positive.
Few things are as isolating as the struggle for mental health. This campaign is already highlighting that whatever your particular challenge may be, you are not alone. If you’re desperate to help a burdened friend but don’t know what to do for the best, see what you can learn from the experiences of those who’ve already been there and done that, from both sides of the issue.
So check out that hashtag on Twitter. Keep your eyes open on Facebook and other social media. I’ll be writing my own post towards the end of this month.
Death and taxes: the universal themes. Or, nearly. Not all cultures pay taxes, but all pay the reaper. Acknowledging that nobody will ever beat Sir Terry Pratchett for his depiction of Death, we believe there are more stories to tell, exploring the realm and character of death: tragic, humorous, and all the shades in-between. Edited by Laura Anne Gilman & Kat Richardson, THE DEATH OF ALL THINGS will contain approximately 14 brand-new stories with an average length of 6000 words each. It will include short stories by multi-award winning and NYT-bestselling authors
Aliette de Bodard,
Jim C. Hines,
Jason M. Hough,
Juliet E. McKenna,
You’ve noticed that’s not 14 names? That’s because the other slots will be filled by the open call for submissions following the successful completion of the Kickstarter. ZNB’s commitment to offering new writers a chance is just one of the many reasons I enjoy being part of these projects.
Another is the quality of these books. For instance, the cover art for all three will be commissioned pieces created by Justin Adams of Varia Studios. The cover art for “Submerged” has been completed as you can see from the Kickstarter page. The cover art for the other two anthologies will be completed and revealed at a later date. The official covers for the anthology based off this artwork will be revealed sometime after the end of the Kickstarter.
If you’re wondering about those other two titles?
ALL HAIL OUR ROBOT CONQUERORS!:
“Danger, Will Robinson! Danger!” 50s and 60s television shows and movies were replete with clunky robots with bulbous arms and heads, blinking lights, and a staggered, ponderous walk, like Robby the Robot, GORT, and the Daleks. With a touch of nostalgia and a little tongue-in-cheek humor, this anthology will present invasions of robot conquerors—or well-meaning robot companions—rooted in those 50s and 60s ideals of the robotic vision of the future.
From the very earliest days of SFF, when Jules Verne wrote 20,000 Leagues Under the Sea, the depths of the oceans have always intrigued us. Three quarters of our planet teems with creatures beyond our imagining, and terrors we cannot see. Kraken, Leviathan, Cthulu – what other mysteries and monsters lurk in the currents of the wet and dark? SUBMERGED will explore the depths beneath the surface, whether it be on brand new planets yet to be explored, apocalyptic Earths, or fantasy settings from our wildest dreams. So come join us and explore unfathomable trenches, underwater volcanoes, and abyssal plains. Take the plunge . . . into the Deep End!
Click on the link below to find out who’s writing for those anthologies. Help us reach the Kickstarter goals and you’ll get these books ahead of everyone else, as well as the chance to pick from a great range of backer incentives and other rewards!
I spent the past weekend at the annual St Hilda’s Mystery and Crime Conference, and as always, came away with a broad range of interesting notes and thought-provoking questions. This year, the papers explored the question of genre: asking just what is crime fiction? So here are just a few things that came up, necessarily in brief.
The conference opens on Friday evening with drinks, a dinner and a guest speaker. This year that was Ted Childs, the TV producer who brought ‘Morse’ to the small screen. It was fascinating to hear how that all came about, back in the day when ITV was still very much a collection of regional broadcasters. As well as an affectionate and nostalgic reminder of John Thaw’s talents, among others, his talk was also a reminder of just how ground-breaking the production was back then; two hour episodes on film rather than video, recruiting writers and directors from stage and movie backgrounds. Without Morse, it’s fair to say the TV landscape of today would look very different, and not just for detective dramas.
On Saturday morning, Elly Griffiths looked at the changes in domestic life, particularly domestic interiors from the Regency to the Victorian era when crime fiction first emerged. As her slides showed, the Victorians surrounded themselves with stuff in a way their forebears never had. In this age of uncertainty, as science challenged religious certainty, as new philosophies challenged political certainties, the home became a sanctuary, filled with all this stuff holding emotional resonance and value of its own. Thus invasion of this home, in an age that could feel so threatening, becomes all the more shocking and transgressive? The home itself could become claustrophobic and tyrannical, provoking extreme acts and emotions. There’s a lot to think about there.
Jane Finnis proposed various lines to be drawn between fairy tales and crime fiction and not just the restorative justice aspects, though that is certainly important. Consider how many fairy tales involve looking for clues and solving a puzzle. Once you start looking, you can find a lot of fairy tale themes that crime fiction has retold, reinterpreted and developed for the modern, mass-reading audience. Issues of trust, deception and self-reliance. Then there’s the formula of ‘a long time ago, in a land far far away’ which removes the threat, the abominable acts, the violent retribution, to a safe distance while still allowing the reader to see the value of using one’s wits and challenging evil. Consider how many people who read mystery fiction really do not like true crime writing and how many writers feel uneasy about drawing too closely on real atrocities and tragedies. ‘Far too close to home’ is a telling phrase.
This was of particular interest to me given I’m increasingly convinced that folklore and fairy tales are an undervalued precursor to epic fantasy fiction in its current form. Especially when you look back to the original tales as collected by Grimm, Perrault etc, rather than their subsequent sanitised forms. Where, incidentally, female characters can have a lot more agency than later versions allow them, as was remarked on at the weekend.
Conference Guest of Honour Lee Child went even further back. He proposed the thriller as the original fiction that everything else has stemmed from, thanks to its original evolutionary purpose. If you want to know more, you’ll be pleased to know that this was livestreamed at the time and you can watch the recording here.
And all that was just Saturday morning! After lunch, Martin Edwards looked at the resurgent interest in and fashionability of Golden Age crime fiction – principally those books published between the World Wars. He’s involved in the wonderful British Library Crime Classics now being republished, editing their anthologies and consulting on the series as a whole. A closer look at those writers, their themes and their villains does give the lie to the ‘snobbery with violence’, ‘Downton Malice’ interpretation based on partial knowledge of Christie, Sayers, Allingham et al. He drew on a good few parallels with concerns then and those of our own times, most notably distrust and disillusion with politicians and rapacious money men as villains and unsympathetic victims. Carol Westron explored the various ‘Rules’ for detective fiction that contemporary writers produced back then and once again, closer examination shows that the genre writing of that era was considerably more complex than a glance at these supposed guidelines might suggest. Most of the successful writers broke them wholesale.
Something both speakers touched on was the ‘No Chinamen!’ dictum of the time, which can and has been held up as a symptom of that era’s endemic racism polluting crime fiction. Except… looking at contemporary discussions of that point, a great many more interesting angles arise. ‘The Yellow Peril’ was the bogeyman of the age, to such an extent that at one point, no fewer than five West End plays in production were blatantly sinophobic, not to mention the on-going hostility and shock-horror stories about ‘orientals’ in the popular press. Genre commentary at the time warned crime writers off pandering to such ill-judged and unsubstantiated prejudice – and of the dangers of bad writing in doing so – by so lazily seizing on the villain of the moment. The parallels with contemporary islamophobia are striking. Of course, views on race and ethnicity nearly a century ago remain a world away from our own but this is a salutary reminder that the past is a good deal more nuanced than we might be tempted to think.
Further papers looked at the development of various sub-genres within crime and mystery fiction, from past to present. Andrew Taylor looked at historical fiction, while Shona MacLean considered the challenges of writing such books from the professional historian’s viewpoint. Kate Charles reviewed the origins and growth of clerical detectives as a niche while Chris Ewan looked at humorous crime fiction. Sarah Weinman reviewed the originators of domestic suspense – because these books were being written decades before the current slew of ‘Girl in/on/who’ best-seller titles as the ‘Troubled Daughters, Twisted Wives’ collections make very clear. Lastly but by no means least, Marcia Talley looked at murder least foul – the ‘cosy’.
I can’t attempt to summarise these papers as they were all wide-ranging and came with copious examples of writers laying the ground work for such varied writing as far back as the 20s and 30s. Many of them were women asking questions of women, which has now somehow been airbrushed out of popular memory. Looking at the ways in which each sub-genre is still reflecting and testing the core tenets of crime fiction, its central themes and archetypes was and will continue to be fascinating for me.
The frequently under-estimated skills required were mentioned more than once. The challenge of making historical characters both of their time and accessible to modern readers is significant. Using humour not to make light of the awful reality of murder but for example, to hold up the corrupt to ridicule alongside grim events, is no easy trick. Similarly there’s considerable craft in achieving the necessary suspension of disbelief to make an amateur sleuth work in this day and age without tipping over into the ridiculous. And given the protagonists and primary market for cosy mysteries are mostly women, it’s hard not to conclude there’s quite some misogyny in the disdain those books so often attract.
Regular readers here will be seeing the echoes and correspondences with ongoing debates within SF&Fantasy that I did. I found many of the same concerns we have about our own genre with regard to retail and publishing trends. This is primarily a conference about the fiction but you won’t be surprised to learn I had a few shop-talk conversations with other authors. Publisher mergers and restructuring have caused similar carnage of late, especially among the mid-list. Editorial decisions seem to be driven by marketing and retail assumptions based on highly debatable reasoning about what will or will not sell, with scant consultation of actual readers. Frustrating levels of risk-averseness were mentioned, all infuriatingly familiar.
But I shall try not to dwell on that. Instead, I shall start working my way through the list of authors and titles now added to my To Be Read List. Thanks to the magic of ebooks I can do a bit of that this week and next as I am currently in Holland, thanks to the demands of my Husband’s work colliding with our holiday plans and seeing us both head out here a week earlier than our planned trip to the Ardennes. So bear in mind I’m only going to be online intermittently – I’ll be very interested in your observations in comments here but won’t be replying or answering questions in a particularly timely fashion.
Do raise a hand in comments or somewhere online if you’re interested in details of next year’s conference. Then I can pass on the information as soon as I get it.
With a week away now in sight at the end of the month, I’m stockpiling holiday reading. One book I’m very much looking forward to is Gaie Sebold’s ‘Shanghai Sparrow’. I really enjoyed her Babylon Steel books – an entertaining and intelligently different take on epic fantasy. So it’s going to be fascinating to see what she does with the themes and ideas of Steampunk and I’ve invited her to share some thoughts on the book here. Over to Gaie.
When I started writing Shanghai Sparrow, the first book in the Gears of Empire series, I knew I wanted to write about the grimy, smelly, exploitative underside of the Victorian period. This may have been at least partly in response to a certain writer’s remark about Steampunk being ‘fascism for nice people,’ which, as a longstanding Leftie, I regarded as…well, more of a challenge than anything.
So my heroine, while originally from the most respectable of backgrounds, ends up surviving on the streets of London under the kind of circumstances that inspired Thomas Barnardo to set up his children’s homes. Evvie, however, did not meet Thomas Barnardo. She met Ma Pether, a woman who runs a group of female pickpockets, fraudsters and breakers-and-enterers.
I wasn’t expecting Ma. She created herself on the page, striding in, pipe asmoke, fidgeting dangerously with explosive mechanisms and creating bizarre aphorisms. She turned out to be a lot of fun to write. Almost too much fun – it was difficult to stop her taking over every chapter in which she appeared.
The same could be said to apply to the villainous Bartholomew Simms – though unlike Ma, he can’t really be said to have any redeeming features. At all. A thoroughly nasty, dangerous, sly, violent and brutal man – but with a certain style and turn of phrase that makes me look forward to writing him.
And then there’s Evvie herself – who occasionally aims for respectability but just isn’t terribly good at it. She’s too good at being bad, too good at fraud, deception, and thievery.
But she is the heroine. She has moral boundaries and dilemmas, she has struggles with her conscience. Just not always, perhaps, the same ones that most of us might have when faced with whether or not to nick something or rip someone off.
Yet she’s most fun to write, in some ways, when she’s just enjoying being good at what she does best – being a trickster and a thief.
And therein lies the question. Why are villains such fun to write? What is the appeal of going outside the moral boundaries within which I live quite happily most of the time in the real world?
I’m talking about my own personal moral boundaries, of course, which while they are going to overlap with many people’s are not always going to be identical. But I don’t steal, or commit fraud, or act violently to others. I don’t, as a general rule, want to. I fear the consequences, yes, but also, I don’t want to be a con-artist, a fraudster, a murderer. In real terms these are people who damage lives or end them, and I don’t want to do that.
And yet, on the page … it’s so damn much fun writing people who don’t have those boundaries. People who say those things, and do those things, and (sometimes) get away with it. But the point isn’t necessarily whether they get away with it in the long run – the fun part is that they get to say it and do it right now, right there, before our very eyes!
Some of it, certainly, is a form of wish fulfilment. I’d sometimes like to treat the law like the ass it occasionally, indisputably is. I’d often like to be able to turn the tables on our Lords and Masters, who rip off whole societies, whole countries, by outdoing them at their own game of fraud, deception and theft, but with a fraction of the resources and ten times the wits.
I might not want to murder, but I would like to be that bold, that scary, that tough. Especially when the vicious and violent of the world are making me feel threatened, I’d like, for once, to be the one who has conversations fall silent and glasses slip from trembling fingers when I enter the room, to be able to quell would-be opponents with a glance, to have my reputation go before me as someone not to be messed with.
I’d like the power that comes with going outside the legal and moral boundaries. But since I’m not going to do that, I have to find another way. And until the world becomes a place where (all questions of hard work and persistence aside), being nice and obedient and lawful is the best way for a woman to get respect, I guess I’ll keep on living vicariously through my villains, and enjoying every moment of it.
Gaie Sebold was born some time ago, and is gradually acquiring a fine antique patina. She has written several novels, a number of short stories, and has been known to perform poetry. Her debut novel introduced brothel-owning ex-avatar of sex and war, Babylon Steel (Solaris, 2012); the sequel, Dangerous Gifts, came out in 2013. Shanghai Sparrow, a steampunk fantasy, came out in 2014 and the sequel, Sparrow Falling, in 2016. Her jobs have ranged from till-extension to bottle-washer and theatre-tour-manager to charity administrator. She lives with writer David Gullen and a paranoid cat in leafy suburbia, runs writing workshops, grows vegetables, and cooks a pretty good borscht.
It’s unusually hot here in the Cotswolds. The cats are unimpressed and I’m working in the garden as much as possible, thanks to the marvels of wifi. Moving on to the cool stuff.
If you have access to BBC programming don’t miss Artsnight on BBC tomorrow, Friday 22nd July.
“Is fiction the best way to access the truth? Award-winning Scottish crime writer Val McDermid explores the relationship between fiction, video games and real-life crime documentary. She talks to Ken MacLeod and Richard K Morgan, whose science fiction novels offer a commentary on current political events. She meets Malath Abbas, the designer of Killbox, a new game about the ethics of drone warfare, and Lucas Pope, whose Bafta-winning Papers Please examines the moral and political decisions faced by an immigration officer. McDermid discusses the importance and the pitfalls of covering real-life crime with veteran documentary maker and criminologist Roger Graef.”
“Today, we direct your attention to one of the great forces for good in modern SF, the one and only Pat Cadigan.
Twice winner of the prestigious Arthur C. Clarke Award: in 1992 for Synners and then again in 1995 for Fools, Pat has also been shortlisted multiple times for the Hugo, Nebula, Philip K. Dick, BSFA, World Fantasy and Theodore Sturgeon Awards, among many others. In 2013, she won the Hugo Award for Best Novelette for ‘The Girl-Thing Who Went Out for Sushi’.
Many are the good and great of the field who have lined up to praise her. Can Neil Gaiman, William Gibson and Bruce Sterling all be wrong? We think not. Nor could fellow Arthur C. Clarke Award-winner Paul McAuley, who wrote an astute review of Fools in the early days of this very blog.
OK, we’re sure by now that you’re champing at the bit to sample some of Pat’s extraordinary work – but where to begin? We’re glad you asked!”
Apropos good reading, you may – or may not – be aware that I really don’t do Horror. I simply don’t get it. Whatever – that’s just me. I have a good many writerly pals among horror authors and find they have a lot of useful and interesting things to say about both the craft and the business of writing. One of those is Adam Nevill. Here’s the latest news from him, if horror’s remotely your sort of thing.
I’m offering a FREE full-length book, CRIES FROM THE CRYPT: SELECTED WRITINGS, for folks who take my monthly newsletter, and it’s now available to download from my homepage.
CRIES FROM THE CRYPT is a selection of uncollected short fiction, unpublished chapters from my novels, advice for writers, features on horror, and some favourite interviews that accompanied the publication of my books. I guess it’s a horror companion and weighs in at 70K words. Just register at my homepage and collect your free copy.
Now for my question. That news from Adam got me thinking about newsletters. Increasing numbers of authors I know are doing them and as a reader myself, I see why. Facebook, Twitter and other such social media are increasingly ‘curating’ their content with algorithms and such which ensure you see what they want you to see (and make money from) rather than what you necessarily want to see.
Okay, that’s commerce for you. But how to make sure you don’t miss the latest news from a favourite author? Do you want that landing in your inbox?
If you’d be interested in a newsletter from me, let me know in comments. I’m interested in whatever thoughts you may on the pros and cons. How often might you like to get such a thing – monthly, every two months, quarterly? What sort of thing would you be looking for? Snippets from work in progress? Bits of idle flash fiction?
Just at the moment, I’m thinking about the relationships between writers and a couple of things, one of which is the personal, oral, family history which we learn (proverbially and frequently literally) at our grandmother’s knee. When I’m up to date with current obligations, I plan on blogging accordingly.
Meantime, imagine my delight when I was interviewing Lisa Tuttle for the upcoming issue of Interzone, and conversation turned to this very topic. She’s very kindly expanded on this in a fascinating guest post.
To me, the experience of doing family history research falls somewhere between what it feels like to read a novel and writing one. These people were real, not fictional creations, but their stories have been lost….only scattered references, clues and hints, the occasional memory or newspaper references remain, so I must use my imagination to try to bring them back to life.
The figure who first caught my interest in this way was my great-grandmother, my father’s paternal grandmother, Eugenia Ash Tuttle – “Genie” – who died a couple of years before I was born. Here’s what my Aunt Gracia (my father’s older sister) remembered:
“She travelled all the time, all over the world, and crossed the Atlantic 17 times. When my father was a little boy, he lived in Paris, and spoke French before he spoke English. His mother had great E.S.P. and believed she was clairvoyant. She studied astrology in Egypt. After she divorced Mr Tuttle [this was her third divorce at a time when it was rare], Genie moved to California and starred in silent movies. Late in life, when she was down on her luck (like me) she went to live with her son in Birmingham, Michigan, but she could not stand the quiet, missed the excitement of her life in California, so back she went!”
Genie’s first husband – my great-grandfather — was Robert Elliott Clarke. He was ten years older than 20-year-old Eugenia, who had known him barely twenty-four hours when she married him in Chicago in 1886. He was the son of Irish immigrants, grew up in Brooklyn, left school at fourteen, had worked as an actor and as a voice teacher. Their son, born in 1889, was years later adopted by his stepfather, Clarence Tuttle, and became Robert E. Tuttle.
My grandfather never saw his real father again after the age of about five, and I suspect any discussion of Clarke was verboten for at least as long as Mr Tuttle was around, but later he did some investigating of his own – the copy of his parents’ marriage license was my own starting point, decades later. The story that came down to me was that Clarke had been “physician to the Court of St James” at the time of Queen Victoria.
From a biography of Queen Victoria I learned she’d had a personal physician named Sir James Clark. Could this possibly be my ancestor? The dates did not fit, nor did his life – he never went to America, and nor did his son, who had no children.
My reading was too random to be classified as research. Only after the internet came along, and the wonders of searchable digitized archives and newspapers, did I make a real effort to unravel this old family mystery, and discovered this headline from Washington, D.C. in February 1891:
“Robert E. Clarke Disappears – He Left Many Checks, but No Bank Account”
He’d been selling bogus shares in property investment, and skipped town just in time to avoid arrest. Thanks to the many digitized records available through Ancestry.com, I was able to find out where he “disappeared” to: In March, he applied for a passport, to include his wife Eugenia and their little boy, at the American Embassy in Berlin. He claimed he was a “merchant” from New York.
What they did, how they survived, abroad for the next four years I don’t know. They moved around. They spent time in Paris (where my grandfather learned French) and in London. But I have no detailed evidence of their lives abroad, and that blank spot has inspired a curiosity, which has led to me a fascination with the period. I have read a lot about other people who lived in – and Americans who visited — London, Paris and Berlin in the early 1890s, developing a feel for the zeitgeist of the time. This led me to write fiction – not about my great-grandparents (I want to know them, not turn them into fictional creations) but set in that time, so I embarked on a series of detective stories….and the first novel in the series, The Curious Affair of the Somnambulist and the Psychic Thief, set in London in October and November 1893.
My grandfather returned to the U.S. – for good – with his parents in April 1895. They left Southampton on 4 April 1895, on the Manitoba, bound for New York. It was a single-class passenger liner and there were only 26 passengers on board for that voyage, so they would all have become acquainted during the 12-day journey – I imagine it a bit like a floating house-party. Among the passengers were three prominent members of the Theosophical Society – Dr Archibald Keightley (who had been responsible for bringing the founder of that group, Madame Blavatsky, to Britain from America, paid her bills and supervised the publication of her book The Secret Doctrine), his wife Julia (formerly Mrs Verplank) and their close friend Alice Leighton Cleather. I feel sure Genie would have been fascinated by Theosophy as she was by all such spiritual, esoteric subjects.
On the passenger list, Robert E. Clarke claimed his profession was “Physician.”
I’m guessing this reflected a new scam he’d developed to earn a living whilst in Europe. And he continued to call himself a doctor after he got back to New York, as per an article that appeared in the New York Herald, Monday, 16 December 1895:
MANY SEEKING G. ELLIOTT CLARK.
An Army of Creditors Call at His Former Residence To Find Him Gone
FAT PERSONS DISGRUNTLED
He Agreed to Cure Them Of Obesity, but Many Still Mourn Over Their Corpulency.
How He Made Men Taller.
The story beneath the interesting headlines says that he put the letters “M.D.” after his name on his card, although “he did not openly practice as a physician.” He sold bath salts that were supposed to aid in weight reduction, and special shoe inserts to make men taller. By the time he left – assumed to have returned to London – his wife had taken their son and gone back to her mother in D.C. She did not stay where he might have found her, but went to Chicago, divorced him, and – but the rest is a story for another time.
Getting the final volume of The Aldabreshin Compass out in ebook has set me thinking about the challenges for a writer when it comes to concluding a series. Since I’m always interested to know what other authors think about a topic that’s got my attention, and noticing her current epic fantasy story is now reaching its own conclusion, I invited Gail Z Martin to share her thoughts on this particular topic. As you’ll see from reading this piece, that was an email very well worth me sending.
When the End Comes
By Gail Z. Martin
Saying goodbye is hard, especially to the people who have been living in your head.
Ending a series is bittersweet, because it brings a story arc to a conclusion, but it often means that those characters who have been in your thoughts every day for years, maybe decades, won’t be hanging out with you anymore.
So how do you wrap up a series in a satisfactory way, and in today’s digital publishing world, is goodbye ever really forever?
I’ve put a bow on two series now: The original Chronicles of the Necromancer/Fallen Kings Cycle series that runs from The Summoner to The Dread, and the Ascendant Kingdoms Saga series that ranges from Ice Forged to Shadow and Flame. I’m happy with the outcome in both cases, but it’s always sad to reach the end of the journey.
As a reader, I still feel sad thinking about series that ended the adventures of characters I’d come to love, like the Harry Potter series or the Last Herald Mage series. The series came to a planned conclusion, but it was still sad nonetheless that we wouldn’t be going on new journeys together. Having those experiences helps me make my own decisions as an author to give readers the best wrap-up possible and leave the characters at a good stopping point.
For the record, I think the whole debate about ‘happy endings’ is bull. A book’s ending is an arbitrary point chosen by the author. In the real world, we all have good days and bad days. If we are telling a story and chose to end the write-up on the character’s wedding day or the birth of a child or a big business success, that would be a ‘happy ending’ but it doesn’t ensure that tomorrow the character wouldn’t be hit by a bus, which had the story continued would make it a ‘tragic’ ending. That’s why I don’t think happy endings in and of themselves, properly led up to and reasonably executed are unrealistic. It’s an arbitrary decision of when we stop rolling the film on our character’s lives and let them go their way unobserved. I don’t buy into the idea of tragedy being more real or honest than happiness, or that a tragic ending is more legitimately literary than giving your characters the chance to go out on a good day.
So here’s what I think matters when it comes to wrapping up a series or a multi-book story arc:
1. Wrap up the loose ends. Make sure you’ve got all the characters accounted for, the plot bunnies caged, and the stray threads tucked in neatly. Don’t leave us wondering ‘whatever happened to …”
2. Give us closure. It may turn out that fate and free will are illusions and everything is mere random chance, but if it does, human minds will still be driven to assign meaning and context. So whatever journey or quest your characters have taken, make sure that by the end, we know what it all meant and what comes from it. Leave us with a sense of purpose.
3. Glimpse the future. None of us knows what tomorrow brings, but that doesn’t stop us from making plans. So have your protagonist face the future with the intent to move forward, and let us know what that looks like.
4. Provide emotional satisfaction. If you’ve made us care and cry and laugh and bleed for this character, then the least you can do is give us the emotional satisfaction of knowing how the character feels when it’s all over, and perhaps how the other key characters feel as well.
Now for the second part—do we ever have to really reach the end? Thanks to ebooks and the advances in self publishing, it’s possible for authors to continue to create new adventures in series long after the books are out of print or a series has officially ended. After all, authors can make a profit off self-pub sales levels that are far below what a traditional publisher considers viable. Readers love to get additional canon stories. And of course, there are also a growing number of book series that have been reanimated by new writers (Dune, for example) after the original author dies.
I truly think that series extension via ebook is going to continue to grow. There’s a lot of upside, and very little downside. I’ve written three novellas in my Ascendant Kingdoms world that fill in part of the six-year time gap that occurs early in Ice Forged, and I have another three in mind for later this year. (The three stories currently available are Arctic Prison, Cold Fury and Ice Bound, and the coming-soon collection of all three is The King’s Convicts.) They’re every bit as much ‘canon’ as the books, but they’re extra stories that flesh out characters and set up later events.
Likewise, my Jonmarc Vahanian Adventures are prequels to The Summoner, adding up eventually to three serialized novels of backstory for a very popular character. So far, there are 18 short stories and there will be three more novellas by the end of the year. And in the case of the Jonmarc stories, the original publisher asked to do a collection of the first ten short stories plus an exclusive eleventh and bring out the collection in print and ebook (The Shadowed Path, coming in June 2016). That’s a win for me, for readers and for the publisher, because it keeps existing fans happy while potentially bringing in new fans, and it helps me keep a light on for the characters until I get to write the other six books in the series that are bouncing around in my brain.
So there you have it—goodbye doesn’t have to be forever. Every series ending is the beginning of a new series extension. Virtual immortality, for our virtual characters. Seems like a win-win-win to me!
About the Author
Gail Z. Martin is the author of Vendetta: A Deadly Curiosities Novel in her urban fantasy series set in Charleston, SC (Solaris Books); Shadow and Flame the fourth and final book in the Ascendant Kingdoms Saga (Orbit Books); The Shadowed Path (Solaris Books) and Iron and Blood a new Steampunk series (Solaris Books) co-authored with Larry N. Martin.
She is also author of Ice Forged, Reign of Ash and War of Shadows in The Ascendant Kingdoms Saga, The Chronicles of The Necromancer series (The Summoner, The Blood King, Dark Haven, Dark Lady’s Chosen); The Fallen Kings Cycle (The Sworn, The Dread) and the urban fantasy novel Deadly Curiosities. Gail writes three ebook series: The Jonmarc Vahanian Adventures, The Deadly Curiosities Adventures and The Blaine McFadden Adventures. The Storm and Fury Adventures, steampunk stories set in the Iron & Blood world, are co-authored with Larry N. Martin.
Her work has appeared in over 25 US/UK anthologies. Newest anthologies include: The Big Bad 2, Athena’s Daughters, Unexpected Journeys, Heroes, Space, Contact Light, With Great Power, The Weird Wild West, The Side of Good/The Side of Evil, Alien Artifacts, Cinched: Imagination Unbound, Realms of Imagination, Clockwork Universe: Steampunk vs. Aliens, Gaslight and Grimm, and Alternate Sherlocks.
Find her at www.AscendantKingdoms.com, on Twitter @GailZMartin, on Facebook.com/WinterKingdoms, at DisquietingVisions.com blog and GhostInTheMachinePodcast.com, on Goodreads and free excerpts on Wattpad
I’m a great fan of this series – as evident from this snapshot review I wrote back in the day
Science and dragons overlapping show how hard drawing the line between fantasy and SF can be. Justina Robson’s Quantum Gravity series erases that line altogether. In this near-future world, the quantum explosion of 2015 linked Earth to the elven, fey, demonic and elemental realms, not to mention the death dimension. In Keeping It Real (Gollancz 2006) and Selling Out (Gollancz 2007), logic and weirdness combine to make perfect sense.
Special agent Lila Black is a fusion of woman and machine assigned to protect an elven rock-star who someone’s trying very hard to kill. Who’s showing abilities that should be impossible given the nature of Zal’s innate magic. This is something of particular interest to Lila’s handlers, given humanity’s lack of magic is proving rather a disadvantage. If either of them are to survive, she must keep all her wits about her, picking and choosing among allies and enemies alike. It’s no use relying on the artificial intelligence plugged into her brain or incidental advantages like guns in her forearms and rocket-jets in her heels. The series thus far is vivid with inventive detail and the unexpected continually erupts to shake the unwary reader.
*Coins, Fights and Stories Always Have Two Sides*
There’s three things I love about this first story by Juliet E McKenna.. First, it’s logical and realistic. There’s as much detail about Erlin’s day to day life as you need to know that he and the other camp followers live hand to mouth just like the soldiers, every action has a consequence, and there’s no bottomless bag of rations or gold coins for adventurers to live on. Second, following on from that, there’s grit – but not grim. A subtle difference that I think makes the punches hit harder. Third, Juliet has a real way of giving snappy character descriptions that stick – one guy is just called croppy-head, another just the snake. I saw the twist coming, but it’s not quite what you think…
And the discussions of subsequent stories have been very interesting.
Welcome to the brand new podcast, Breaking the Glass Slipper. There are so many wonderful women writers of science fiction, fantasy, and horror but they are often overlooked.
This podcast series was inspired by writer Juliet McKenna who recently commented on her blog about the many so-called ‘best of’ genre fiction lists that were conspicuously lacking in entries written by women. Science fiction, fantasy, and horror are genres created and loved by women as much as men, and yet the majority of the dialogue surrounding them still suggest that women are in the minority. We are here to prove to all genre lovers that there is a place for female writers and great female characters amongst the men folk!
Join your hosts, Megan Leigh, Charlotte Bond, and Lucy Hounsom as they discuss the genres they love, writers they envy, and characters they wish they could be.
I think that should be enough to be going on with over the weekend 🙂
EDITED TO ADD – Marie Brennan on The Series Payoff. With the ebook edition of Eastern Tide about to hit the virtual bookstores, this is naturally of particular interest to me!
I’m very much looking forward to the return of A Game of Thrones on the telly. Though it will be a different experience this year. I won’t have to spend the next couple of months trying to telepathically divine if an article I’m about to read will include a massive potential spoiler from someone who’s already read the books. Because while I’m up to date now, I hadn’t read any of the stories behind the series before it hit the screens.
Wait, what, how? I’m an epic fantasy writer, surely… But here’s the thing. I find it incredibly hard to read epic fantasy for enjoyment while I’m actively writing a novel in that genre myself. I’m too focused on issues of craft and analysis to just lose myself in a story. I did buy a copy of A Game of Thrones back in 1999 but it sat on the TBR shelf for years…
Until word of the television series spread. At which point I very firmly put it aside. Because I wasn’t about to miss the opportunity of seeing an epic fantasy on the screen where I didn’t already know the plot. One of the things that’s stayed with me ever since watching The Fellowship of the Ring with my then-young sons, was how very different their viewing experience was to mine, since they had no idea what was coming next. As far as they were concerned, Gandalf was dead and done with. In The Two Towers, they were on the edges of their seats with anxiety over the outcome of Helm’s Deep. Actually, one of them ended up on my lap. I wanted something of that for myself for a change. By and large, I’ve mostly succeeded.
Then, at the end of each season, I’ve read the books up to the point the TV story has reached. That’s been extremely rewarding, as a reader and as a writer. I’ve had the visuals and voices from the production’s designers and actors to enhance my imagination. I’ve also had the chance to appreciate the adaptation’s choices and to assess the different opportunities and impacts on offer through written versus visual storytelling.
What now, though? I won’t have The Winds of Winter to hand when the end credits on Series Six’s final episode roll. Happily there’s plenty of other epic fantasy to read, so how about we share a few recommendations? Need not necessarily contain dragons. I’ll kick things off by recommending Stella Gemmell’s The City – with the review I wrote for Albedo One magazine below.
Though you needn’t write a lengthy analysis in comments yourself – the title and author is sufficient. That said, feel free to share what makes you particularly enthusiastic about a book and/or to flag up a review elsewhere.
Stella Gemmell – The City (Bantam Press/Transworld)
The reader’s double-take here will be because while Gemmell is a name synonymous with the gritty, realistic tradition, this story is written by Stella, not David. Surely this makes the debut novel hurdle ten times higher than it is for most writers. How many people will read such a book primed to dismiss it as shameless cash-in or pale imitation? Even though it’s a matter of record that Stella Gemmell is a journalist in her own right and worked with her husband on his Troy trilogy, concluding the last one after his death. Well, I didn’t read the Troy series; as a Classics graduate I very rarely read anything derived from texts I studied so thoroughly at university. So I’m coming to The City entirely new to her writing.
Stella Gemmell’s skills as an author are immediately apparent. There’s a sophistication in the story-telling as the episodic structure commands attention and engagement from the readers. A disparate and separated cast of characters are initially wandering the sewers beneath a great city, reminiscent of Byzantium but with a character all its own, and troubled by the first hints of slow-moving disaster. Though the flood that sweeps through the sewers is anything but slow-moving, sundering and reassembling the men, women and children who we’ve just met. Bartellus, former general, disgraced and tortured for a crime he’s not even aware he committed and no one ever explained. Elija and Emly, fugitive and orphaned children who barely remember daylight. Indaro, warrior woman, torn between her duty and her longing to escape what she’s seen and done.
When the flood has come and gone, the story has leaped forward and the reader must work out how this fresh narrative relates to what has gone before, and fathom links between old and new characters such as Fell Aron Lee, aristocrat and famed general coming up hard against the unwelcome realities of life as an epic hero. Meantime, readers must also piece together the emerging pieces of the plot, by which I mean both the story itself and the conspiracy that’s developing to challenge the Immortal Emperors. It’s their insistence on perpetual warfare which is ruining so many generations’ lives. Gradual revelation poses successive questions which prove to have unexpected answers. From start to finish, the tale is impressively paced with constant surprises, not least where apparently trivial elements seeded early on come to fruition, and as the scope of the storytelling goes beyond the City itself, to show us its place in the wider landscape and the history of this world.
There’s more than enough death and brutality to satisfy grimdark fantasy fans but from the outset there’s something more and richer. There’s compassion in Stella Gemmell’s writing that’s all too often lacking in current epic fantasy, leaving those stories sterile and readers distanced. Here, readers will be drawn into caring over the fate of even minor characters. More than that, the rising death toll isn’t merely there to thrill readers with vicarious slaughter. Just as Gemmell assesses the cost to common folk of selfish noble ambition, she also reveals how the suffering that results is essential to creating men and women with the dogged endurance, physical and mental, needed to challenge their Imperial masters. Especially since this is epic fantasy, not alternate history, and that means magic at work. Gemmell thinks through all the implications of the Immortals’ sorcery with the same mature intelligence, right to the very last page, leaving the reader to ponder what might follow after the book is closed.
This is the most satisfying, intelligent and enthralling epic fantasy I’ve read in many a year. It stands comparison with the finest writers currently developing and exploring the enthralling balance between realism and heroism in the epic fantasy tradition that David Gemmell pioneered.