If you all are interested in listening to the latest episode, it’s now available here. We interview the creators of Universal Dead, a new zombie webshow, and talk about a crazy Twilight fan letter that’s been circulating on the net, among other things. Anywho!
This question was sent to me anonymously via my Formspring profile. After thinking about it for a while, I’ve come to the realization that it’s not exactly an easy one to answer. There are no hard-set rules for how to deal with description and explanation in fiction, particularly in science fiction. People try to say that there are, but any time someone comes up with a writing rule that is rigid and absolute, rather than usually right, but reasonably flexible, you should know you’re dealing with a bad piece of advice. “Show, don’t tell,” for example, is not absolute, yet it is told as if it is. This question is very much related to that, and I’m going to try to answer it based on my experience as a writer and as a reader, since what works and doesn’t work is, for me, tied up in both. Explaining technology, specifically technology that is foreign to the reader, is not an easy task primarily because how you can or should explain will depend very much on the situation. For example, typically one explains something in one of the following three ways: –Telling ItLiterally writing “it does this,” but, preferably, in more eloquent prose. –Showing ItDescribing the thing in action. For example, instead of saying how a toaster works, the author would simply show it doing what it was designed to do. A simple example, but the point easily applies to anything else. –By ComparisonYou can apply comparison to “telling” or “showing.” By using a comparison you are essentially saying that your new-fangled thing is similar to this old thing, but different because of X, Y, and Z, perhaps implicitly or explicitly. All three of these types have their place in science fiction (and fiction in general), and any writer can make all of them work. While the universal rule has always been “show, don’t tell,” trying to show too much can be just as annoying as trying to tell too much. It’s a balance issue. If you have a new technology present in a scene, but have no reason to show that thing in action (perhaps because it isn’t integral to the plot), then you should avoid telling or showing it at all. But if you need the main character to know what something does before s/he uses it, then you can’t avoid telling the audience what’s what. The rule about telling really should be: use it sparingly. If you can show it, then do so. If you can’t without bogging down the story, then don’t. “Show, don’t tell” really only applies in its most rigid sense when you are talking about action. You always want to avoid telling in action. You can bring in emotions and brief snippets of things, but the reason why writers say to avoid telling is because it typically bogs down action, which is not a good thing when you want your reader to be engrossed in what is going on. The last from the list above is one that gets used from time to time, but never really discussed. Depending on the situation, using a comparison is very much a form of telling, but it can be done in a way that a) doesn’t bog down the story, and b) keeps things brief and to the point. For example, instead of describing how a futuristic printing press works, you can simply make a comparison between the presses of today and note, briefly, the differences (similes and metaphors are a must). Simpler versions use old terms with a modifier (laser toaster; you know what it does and how just by the title–a ridiculous example, sure, but it gets the point across). This method isn’t used often and really doesn’t apply to very complicated processes or systems, particularly if your audience doesn’t know those systems, but it can be very effective. Ultimately, if you don’t have to tell how something works, or even describe it, then don’t. If there’s no reason for it, then that’s really the only response you should have. If you do have to describe something, however, then consider how it would be best to do so; the more complicated of a system/process it is, the less likely you can reduce it to an info-dump without pulling your readers out of the story. This applies to all forms of fiction. In the end, the best way to deal with this is to come to terms with whether you have to describe it. Don’t waste space doing something you don’t need to do. What about you? If you’ve found ways to deal with this, let me know in the comments! ————————————- If you’d like to ask me a question about science fiction, fantasy, books, writing, or whatever (anonymously, even), feel free to ask on my Formspring page.
Guess what? I have three copies to give away of the U.S. edition of Darren Shan’s new book, Procession of the Dead! Most of you will remember Mr. Shan as the author of the Cirque du Freak vampire novels (which recently hit the big screen) and The Demonata Series. Procession of the Dead, however, is his first adult novel and part of a trilogy called The City. It debuted in the United States on June 4th from Grand Central Publishing. You can find out more about Darren Shan and his books on his website. Details about the giveaway are at the bottom of this post (contest is international). Here’s the cover image (after the fold):About the Book: The City trilogy is a noirish, gritty urban fantasy for adults from the bestselling author otherwise known as Darren Shan. Quick-witted and cocksure, young upstart Capac Raimi arrives in the City determined to make his mark. As he learns the tricks of his new trade from his Uncle Theo — extortion, racketeering, threatening behaviour — he’s soon well on his way to becoming a promising new gangster. Then he crosses paths with The Cardinal, and his life changes forever. The Cardinal is the City and the City is The Cardinal. They are joined at the soul. Nothing moves on the streets, or below them, without the Cardinal’s knowledge. His rule is absolute. As Capac begins to discover more about the extent of the Cardinal’s influence on his own life he is faced with hard choices. And as his ambition soars ever higher he will learn all there is to know about loss, and the true cost of ultimate power! Here’s the author talking about the U.S. release: About Darren Shan:Darren Shan was born in London but at an early age he moved to Limerick, Ireland, with his parents and younger brother. He is a New York Times bestselling author. An extended biography can be found on Mr. Shan’s website. Giveaway Details:Anyone may enter, unless you live somewhere where I cannot ship the books, like the bottom of the ocean or the Moon. Otherwise, it’s open worldwide. To enter to win a copy of Procession of the Dead you may do any of the following things:1. Leave a general comment (you can say anything you like)(if your email is not attached to your profile, then leave a way to contact you)2. Leave a comment telling me a weird, bizarre, scary, or downright creepy thing that you have seen or done (it can be anything, just tell me about it, briefly or at length; you can even make something up)(again, please make sure I have a way to contact you)3. Send an email to arconna[at]yahoo[dot]com with the subject line as “Darren Shan” (you can put whatever you like in the email) The first two winners will be selected at random from a list of all entries. The third winner, however, will be selected based on the most entertaining response to the 2nd option above. Additional entries:–Follow this blog on Google (the follow widget is on the right-hand side)(+1 to follow; +1 if you already follow)–Subscribe to this blog via RSS, Email, or the Kindle (links on the right; let me know which or if you already subscribe)(+1 to subscribe or be subscribed)–Tweet about this giveaway with @shaunduke in the message (+1)–Blog about this giveaway (provide a link in your comment)(+1)–Share this giveaway via Stumbleupon, Digg, or any other social network (+1 for each; provide links) Contest runs until June 25th, 2010. As long as it’s still the 25th for you, you can still enter. Thanks and good luck!
I was actually quite surprised by this little eight minute animation. It has the cute hilarity of a Pixar short and a strong animation style that reminds me of what Disney’s Hercules would look like if it had been CG instead of standard animation. I found myself laughing while watching it. Make sure to watch the credits, because there are a few cute bits there! You can find out more about the film on its website. And without further delay, here it is (after the fold): Thanks to SF Signal for finding this one.
Brandon Sanderson, the author who took over Robert Jordan’s Wheel of Time series, has a new series in the works called The Stormlight Archive, the first book of which, The Way of Kings, will hit your shelves on August 31st, 2010! The best part, however, is that you can read the first three chapters for free on Tor.com (along with a prelude and introduction by the author)! All you have to do is head on over to this link and sign in or sign up (it’s free to join Tor.com). More information about the series will become available here. More information after the fold:About the Book:The Way of Kings is the first book in a ten-book epic fantasy series. The publicist who brought this book to my attention had this to say: Here is a world with historical depths to rival Tolkien, a deep and compelling cast of characters to rival Jordan, and a complex and involving story with all the head-spinning twists and surprises the young fantasy master has become known for. Sanderson’s unique gifts for imaginative landscapes and distinctive systems of magic and technology have never been more apparent. THE WAY OF KINGS is an ambitious and immersive first novel in a series that could ultimately redefine the fantasy landscape. And the back cover apparently reads as follows (from Amazon): Widely acclaimed for his work completing Robert Jordan’s Wheel of Time saga, Brandon Sanderson now begins a grand cycle of his own, one every bit as ambitious and immersive. Roshar is a world of stone and storms. Uncanny tempests of incredible power sweep across the rocky terrain so frequently that they have shaped ecology and civilization alike. Animals hide in shells, trees pull in branches, and grass retracts into the soilless ground. Cities are built only where the topography offers shelter. It has been centuries since the fall of the ten consecrated orders known as the Knights Radiant, but their Shardblades and Shardplate remain: mystical swords and suits of armor that transform ordinary men into near-invincible warriors. Men trade kingdoms for Shardblades. Wars were fought for them, and won by them. One such war rages on a ruined landscape called the Shattered Plains. There, Kaladin, who traded his medical apprenticeship for a spear to protect his little brother, has been reduced to slavery. In a war that makes no sense, where ten armies fight separately against a single foe, he struggles to save his men and to fathom the leaders who consider them expendable. Brightlord Dalinar Kholin commands one of those other armies. Like his brother, the late king, he is fascinated by an ancient text called The Way of Kings. Troubled by over-powering visions of ancient times and the Knights Radiant, he has begun to doubt his own sanity. Across the ocean, an untried young woman named Shallan seeks to train under an eminent scholar and notorious heretic, Dalinar’s niece, Jasnah. Though she genuinely loves learning, Shallan’s motives are less than pure. As she plans a daring theft, her research for Jasnah hints at secrets of the Knights Radiant and the true cause of the war. The result of over ten years of planning, writing, and world-building, The Way of Kings is but the opening movement of the Stormlight Archive, a bold masterpiece in the making. Speak again the ancient oaths, Life before death.Strength before weakness.Journey before Destination. and return to men the Shards they once bore. The Knights Radiant must stand again. Sounds interesting. I hope there’s as much detail in the world as this seems to indicate.Author Bio: Brandon Sanderson is the New York Times bestselling author of The Hero of Ages and Warbreaker. He is currently completing Robert Jordan’s The Wheel of Time. He also teaches at Brigham Young University, where he earned a master’s degree in creative writing. Born in Lincoln, Nebraska, he lives in Utah with his wife and two children. And that’s all I’ve got right now. Sounds interesting. I’ve never read anything by Sanderson before, but this one has grabbed my interest for sure. What about you?
I’ve been mulling over a quote I found over at io9 some months back from Franz Rottensteiner, a European editor of science fiction. When I first read it, I found myself disagreeing almost immediately, and only recently have I managed to disentangle that incredibly nationalistic “but America is awesome” reaction from the things I actually have a problem with. First, I’ll give you the quote: I think that the great difference between the mass of American SF and the (very rare) European masterpieces is their degree of seriousness, moral seriousness. Best exemplified perhaps by Frederik Pohl’s “Gateway” novels and the Strugatskys’ Roadside Picnic. Roadside Picnic is in essence an existential novel about fighting on and keeping your moral integrity in a corrupt world where life is constant fight for survival. Pohl’s novels are simply about winning in the lottery, hitting the jackpot. It may cost your life, but the rewards for winning are tremendous, and the universe is full of gifts. The Strugatskys adopt fairy tale motifs, but their stories are the realistic ones, and Pohl’s the fairy tales. Let’s get realistic with numbers before I try to address what I think is a gross oversight on the part of Rottensteiner: –The Publishing Industry in the United States brought in roughly $35.7 billion of net revenue in 2006. –Following the United States (in 2006) were Japan (about $10.7 billion), China (about $4-5 billion), the United Kingdom (about $3.6 billion), and somewhere in the mix is Germany (I couldn’t find an exact number). In 2006, the Federation of European Publishers, using figures from twenty-six national associations of publishers, reported that the total net revenue from the publishing industry of Europe was about $27.8 billion. –Popular fiction makes up around 55% of what is purchased (which explains why popular fiction, in all its forms, has so much of a presence in bookstores). When I looked at all of that and then re-read what Rottensteiner said about American SF, a few things popped into my mind: a) On some level he’s probably right. When you consider the issue of mass production, most of what comes out of the U.S. is what you might call popcorn or fluff literature. That’s not to say that those titles aren’t good reads or without value, just that the content of their pages is not what most would consider to be of “literary value” (however you determine that). b) “Serious” is a very subjective concept. For some people, gambling may very well be a serious affair, and reading a book about characters gambling with their lives or money or whatever, regardless of the setting, could produce the same impact on that individual as a character study in novel format might on someone who reads fiction for substance. Rottensteiner’s argument, however, has one fatal flaw: he’s comparing the mass of American SF to what he very clearly states are the rare European masterpieces. With that kind of logic, it’s easy to make any kind of blanket statement about the publishing industry of another country or continent. For example, if you look at the split of fiction by language in Europe, it becomes very clear that English is not in the majority in terms of overall size. Only about 21% of sales are for titles in English in Europe, which is beat out only slightly by titles written in German. Collected together, 79% of sales in Europe are for books not written in English. If you take the very generalized route that Rottensteiner takes, then we could assume that the majority of all books in Europe are of no interest to Americans simply because they are not written in English, and, thus, Europeans are, by default, very disinterested in having their work read abroad. A ridiculous argument, to say the least. But, even if you set all this aside and take Rottensteiner’s argument for what it is trying to say, the whole thing simply falls apart. One can’t possibly make the argument that European SF is more serious than American SF without immediately coming off as somewhat ignorant (or maybe extremely ignorant). This is like saying that American film is not serious simply because everyone goes to fun blockbusters like Transformers, which inevitably become representative of the industry, even though they aren’t. What about authors like Neal Stephenson, Jeff VanderMeer, Ursula K. Le Guin, John Crowley, Samuel R. Delany, Jonathan Lethem, Cormac McCarthy, Mary Doria Russell, and the dozens and dozens of others in the U.S. who are writing “literary” SF? These people aren’t names people recognize because they’re unimportant to the genre. They’re names because they’ve provided something to the genre that Star Wars novels have yet to do: a kind of original, well-crafted, well-written, beyond-pop supremacy that makes the genre so diverse and great. It all seems rather silly to say that somehow American SF is less serious than European SF. Maybe it seems that way when you look at the body of science fiction literature that has come out of Europe and made its mark in America. If you look at just that, then, yes, of course European SF looks remarkably serious by comparison. But that’s like saying that translated fiction in the U.S. is somehow representative of the publishing industries of other countries, which is something that anyone with a few braincells knows is ridiculous. American SF may very well have a vibrant popcorn fiction market, but it has an equally powerful and vibrant non-popcorn streak too, and it’s only invisible if you’re not really looking. Sources:The io9 ArticleParapublishing Book Industry StatisticsEuropean Book Publishing Statistics (pdf)The Field of Japanese Publishing (pdf) P.S.: I’ve taken the liberty of using current (as of 6/9/10) currency rates to figure out the dollar equivalent of the various figures listed above. Those rates were likely different at the time of the report and at the time of sales, so there are obviously some discrepancies present in this post. P.S.S.: I would love to include statistics for the number of books
