Progress Report

As requested, here’s how things are going:

I’m approaching the halfway  point in Vallista.  At my current rate of work, the draft should be done within about three months,  maybe sooner.  Then it goes to my critique group, gets revised, gets turned in, line edited, &c.  If I had make a wild-ass guess about when it’ll be on the shelves, I’d say 18 months.

Also, Incrementalists #2 with Skyler White, called The Skill of Our Hands, should be out early in 2017.

I’ve also finished another novel, called Good Guys, which is still under consideration, so no guess when or if that will be out.

Thanks for your interest.

 

The Reaction Shot

wheatonI have a little bit of theater in my past. From around age 14 to maybe 20, my passion for theater and for writing were about the same. One effect of having a theater background is that I’m in the habit, when watching a performance, of thinking about how it applies to writing. The one I’ve been noticing most recently is the reaction shot.

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In a particularly effective scene, think about, instead of the actor who is doing the thing, the one who is reacting to it. This is always the key to fight scenes: stage combat (I love stage combat) is 90% about reacting to attacks. But it applies more broadly. For example, I’ve just re-watched Leverage, one of my favorite shows. If you watch the episodes where Wil Wheaton guest stars, watch how many scenes he sells by reacting. There is one spectacular example in “The Last Dam Job,” where we believe in the taser because of how he sells being tased. Another great example is in The Martian. One of the more delightful scenes in a movie full of delightful scenes is the one where the crew is finally in touch again with the stranded astronaut. There is some splendid and real-sounding banter between friends (“We have to take turns doing your tasks, but I mean, it’s only botany, it’s not real science.”), which is both well written and well performed between the actors; but what really makes the scene work is the way the rest of the crew, listening to the conversation, reacts to it. For a third example, I’ve been watching some old episodes of the original Mission: Impossible, and watching Martin Landau react, and noticing how much that carries a scene, is fascinating. (As a side note, Landau is one of my favorite actors; if you ever get the chance, catch his appearance on Inside the Actor’s Stuido. He talks about acting the way we process geeks talk about writing.)

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Do I have to spell out how this relates to writing? No, but I will anyway, because I’m a pedantic son of a bitch. Check out how easy it is to change the emotional content of a scene just by the reaction of someone not directly involved  in the action.

“Okay,” I said, letting a dagger fall into my hand. “We can do it that way if you want.”
He kept his face expressionless. Behind him, the bodyguard folded his arms and smirked.

vs

“Okay,” I said, letting a dagger fall into my hand.  “We can do it that way if you want.”
He kept his face expressionless. Behind him, the bodyguard leaned forward a little, hands twitching.

Or, this.

He held out his arm, and she took it. Her friend glanced at them and gritted her teeth.

vs

He held out his arm, and she took it. Her friend glanced at them, then looked away, suppressing a smile.

Now of course, point of view is at the heart of this, as it is at the heart of everything. But paying attention to the reaction of those who are not directly involved in the action can accomplish a lot with very little effort.

Staring Into Space on a Typical Afternoon

Whose desk this is I think is clear.
His cat-bed on the desk-tray dwells;
He’s using it while I work here
To write at least one book this year.

My silly bird thinks he excels
In helping, though he never tells
What the next plot twist ought to be
As concentration he dispels.

And this is now a dog I see
Who shows up just to punish me.
His stupid head upon my lap
Hinting that he needs to pee.

So soft my bed, so warm my wrap
But I’m caught in contracts like a trap.
And shit to do before I nap,
And shit to do before I nap.

Fifty Ways to Write a Fight Scene

For those of you not familiar with the work of Paul Simon, sorry, you’ll just have to guess at the tune.  For the rest of you, here it is:

Fifty Ways to Write a Fight Scene

The problem’s all in point of view as like as not,
She said if exposition isn’t slowing down your plot.
I’d like to help you now we’ve found the trouble spot
There must be fifty ways to write a fight scene.

She said, It’s really not my habit to critique
Furthermore I hope you know that I don’t think your prose is weak.
But I’ll repeat myself at the risk of seeming geek:
There must be fifty ways to write a fight scene.
Fifty ways to write a fight scene.

Use summary, Lee
Focus on the skill, Jill
Consciousness stream, Liam,
Move the story along.

Talk about the pain, Jane
Just say who was slain plain
Dwell on blood, Bud
You can’t go wrong.

She said it grieves me so to see a story fail.
I wish there was a way to help you get it back on trail.
I said I appreciate that, and could you speak in some detail
About the fifty ways.

She said why don’t we both just focus on the text,
And I believe after an edit you will be less perplexed.
Then she red-penned me and I realized that she was quite correct
There must be fifty ways to write a fight scene.
Fifty ways to write a fight scene.

Use summary, Lee
Focus on the skill, Jill
Consciousness stream, Liam,
Move the story along.

Talk about the pain, Jane
Just say who slain plain
Dwell on blood, Bud
You can’t go wrong.

The Fantasy World called “Practical Politics”

One of the most important things to a writer of fantasy is to know how to make a magical, impossible world seem real to the reader. This is one of the skills we share with capitalist politicians. There is a conversation many of us have heard over and over, which, distilled to its essence, goes something like this:

“There is actually no way forward for the oppressed unless the working people unite and challenge the two parties of big business.”

“Agreed. But in practice, that’s never going to happen, or at least not for a long, long time. So, in the meantime, wouldn’t you rather vote for someone who is at least going to support <insert favorite liberal hobby-horse>? That’s something that affects real people, you know, and until this magic day (in which I don’t truly believe), we should do the best we can.”  This is often found in neat, succinct form in such phrases as, “Who is your viable alternative?”

This is, by the way, closely related to the “lesser evil” theory. One difference between the usual fantasy setting and the Land Of Practical Politics is that, in the latter, the protagonist is recognized as evil, which is something I find potentially interesting in fiction, but rather frightening in reality.

In constructing a fantasy world, one of the key elements is misdirection–“Hey, reader, look over here, at the wonderful meal, or the explosive magic, or the sword fight, or the witty dialogue–nothing to see over there.” Or, “Hey, reader, look over here at the dangers of terrorism, or how jobs are going overseas, or how despicable our enemies are, or our inane dialogue–nothing to see over there.”

At this point, I must tip my hat to Bernie “As Trustworthy as Syriza” Sanders, who has mastered what is, for fantasy novelists, a key technique: injecting just enough reality to be convincing. If I have roses in my novel, and I can manage to describe the sight, smell, and texture well enough that the reader fully identifies this with his or her own experience, the reader will then be that much more likely to believe my wizardry and sorcery and witchcraft. In Sanders’ case, he talks about actual problems that no other bourgeois politician is addressing, which makes the reader think that he’s going to do something about them. Then, when he bows out of the race and throws his support to Hilary Clinton, you won’t notice him smiling and muttering, “gotcha” under his breath. (Of course, if he were somehow elected, it wouldn’t be any different–he remains a capitalist politician).

Point being, for a fantasist, there are things one doesn’t want the reader to think about: Magic isn’t real; in many cases, the economy simply doesn’t make sense; sometimes, for the story to work, the author must introduce basic errors in biology or geology or even metallurgy. If the author is doing things right, the reader will never notice. For a capitalist politician, the big thing the reader’s attention must be directed away from, at all costs, is history, but pretty much every other realm of social science can also break the “willing suspension of disbelief” that leads to electoral victories.

History teaches us that, when reform is possible, it is accomplished not by “kinder, gentler” politicians, but by the ruling class’s fear of the movement of the masses. Just in this country we saw the women’s suffrage movement emerge from the Civil War, and become a powerhouse with the 1909 New York garment workers strike;  the mass movements of the ’30s in the wake of the Bolshevik revolution that led to the rise of the CIO and produced the New Deal;  the mass movements and riots of the 60s that resulted in Medicaire and Medicaid; and the mass movement against racial inequality that led to the end of Jim Crow segregation. Can someone show me a serious step forward in equality that was not accomplished by mass action on such a scale that the ruling class felt threatened? They don’t give away their power because they want to have less–they give away some of their power when they fear they have no other choice except to lose it all–again, assuming there remains the possibility of reform.

Short version: when reform is possible, it is only the threat of revolution that produces it.  When reform is impossible–in my opinion, that is the case today–a reformist party will inevitably betray those who trust it into the hands of the most reactionary, right-wing elements. We saw that in Hungary in 1921, in Italy in 1922, in Germany in 1933,  in Spain in 1936, and on and on–until the latest example, Syrzia (not even really a reform party,  they just like to sound like one) that has opened the door of Greece to the Golden Dawn.

Of course, the question “is reform possible” never comes up, because in the Land of Practical Politics, reform is always possible–the fascist dictatorships that arose were simply errors made by bad people, having nothing to do with intolerable social crisis.

And in the Land of Practical Politics, capitalism is permanent; it is the economic system that is the final culmination of human wisdom. The fact that no other economic system has been permanent in history, and that it has inevitably required revolution to replace it, is simply not the case in this fantasy world.

In the Land of Practical Politics there is no history–the past is gone.

In the Land of Practical Politics people have opposing viewpoints just because.

In the Land of Practical Politics there is no possibility of understanding economics–things cost what they cost, and we can never understand why.

In the Land of Practical Politics there are no social classes–political parties just represent folks who kind of think  alike.

In the Land of Practical Politics racism and sexism are sins in the hearts of individuals, not products of definite economic and social relations.

In the Land of Practical Politics the masses can do nothing for themselves, and it is up to the Enlightened Middle Class to ease their sufferering a bit when their attention can be spared from improving the condition of the Enlightened Middle Class.

In the Land of Practical Politics nothing ever changes in a fundamental way, because things have always been the way they are.

In the Land of Practical Politics we are helpless.

In our world, revolution happens when intolerable conditions produced by an economic system meet the end of that system’s flexibility. Sometimes the revolution is successful, sometimes it is not. One of the factors that determines its success–the key factor–is how ready the revolutionary class is to take and hold power. In modern society, preparing the revolutionary class is the task of the vanguard party. Preventing the revolutionary class from being prepared is the task of the authors and distributors of stories set in the fantasy world called Practical Politics.