- New Moon by Stephenie Meyer
- Twilight by Stephenie Meyer
- The Shack by William P. Young
- Eclipse by Stephenie Meyer
- Breaking Dawn by Stephenie Meyer
- The Associate by John Grisham
- Diary of a Wimpy Kid: The Last Straw by Jeff Kinney
- The Yankee Years by Joe Torre and Tom Verducci
- Run for Your Life by James Patterson and Michael Ledwidge
- The Love Dare by Stephen Kendrick and Alex Kendrick
Friday, February 20, 2009
Top 10 Best-Sellers as of 2009/2/15
From USA Today's best-seller list (you can find out their basis here):
Thursday, February 19, 2009
February 19, 2009 Links and Plugs
Here's a quick one:
- The Rumpus interviews Jacob Weisman.
- Strange Horizons interviews Sheree Renée.
- Joshua Palmatier on Keeping a Series Fresh.
- John Scalzi on media tie-in fiction.
- Clarion South and Australian Recommended Reads.
- Deborah LeBlanc on the Google Library Project.
- Digital Galley Copies Spotted on Pirate Sites.
- The Book Publicity Blog has a database of freelance book publicists.
2009/02/19 Tabletop RPG Podcasts
Every Thursday, I post links to various podcasts that deals with tabletop RPGs.
Tabletop RPG (Mostly)
General Discussions/Reviews/Everything Else
- Pulp Gamer episodes: The Dutch Golden Age (The Game Kennel).
- The Podge Cast episodes: Whedonesque.
- Fell Calls! episodes: Me and My Shadow, Mark II.
-
- Wapcaplets episodes: Learn Your Faction!
- Trapcast episodes: Symbiotic Relationships.
- Bear Swarm! episodes: Gaming Environments.
- Gateway to the Megaverse episodes: TW Game Remix.
- Game On! episodes: “Taste the Adventure”
- Save Against Frostbite episodes: Homemade Porn Panda.
- Geek Girls Rule! episodes: Podcast 10.
- Order 66 episodes: Out of Order but Still Following.
- 3.5 Private Sanctuary episodes: Barbarians!
- 2d6 Feet in a Random Direction episodes: Episode 41.
- Animalcast episodes: Stat Yourself and RPG Pitch.
- Brilliant Gameologists episodes: Definitions and Goals.
- Canon Puncture episodes: Playing the Canon Puncture Way, pt. 2.
- Fear the Boot episodes: RPGs in the New Media Paradigm, Knowing When to End a Campaign.
- Fist Full of Comics and Games episodes: Monarch Comics Briefing Vol 3 (#10, #11).
- The Gamer's Haven episodes: Young Roleplaying.
- Green Ronin Publishing Podcast episodes: 2009 Ahoy!
- Have Games Will Travel episodes: For A Few Games More #36.
- Narrative Control episodes: Episode 20.
- Minis Mayham episodes: Line of Sight on the Princess.
- The Holocron episodes: Hutts and The Order of 66.
- Meanwhile... episodes: The Supernatural Hero.
- The Game's The Thing episodes: Romance and Gaming, Combat Advantage Makes Sense (A, 2).
- Role Playing Public Radio episodes: Great. Expectations.
- THACO episodes: Politics & Religion, Board Games.
- The Escapistcast episodes: Schools & Studies.
- The Tome Show episodes: Draconomicon.
- Wandering Geek episodes: Information for the Show Transition.
- Atomic Array episodes: Scion.
- Echoes from the Rifts episodes: Mark Oberle.
- Master Plan episodes: Interview with Crafty Games, Part 2.
- Stabbing Contest episodes: Jordan and Chris after a game.
- Theory from the Closet episodes: Interview with Eero Tuovinen.
- Heroic Cthulhu episodes: Election Day (1, 2, 3, 4), Skinwalker (1, 2, 3, 4, 5, 6, 7, 8), Called Shots (1, 2, 3, 4, 5, 6, 7, 8), Communist Bats (1, 2, 3, 4, 5, 6), Thomas Fell (1, 2, 3, 4, 5, 6), Rules Discussion 02 17 2008 (1, 2).
- Gamer's Haven episodes: Deadlands Reloaded - Enough Room to Die (3.1, 3.2, 3.3, 3.4, 3.5).
- Story Shtick episodes: A Penny For My Thoughts…part 1.
- D&D Podcast episodes: Penny Arcade/PvP (1).
- Kore RPG episodes: Off to Westhaven.
- Adventures of the Ottawa Warband episodes: Aldeigjuborg.
- The Walking Eye Podcast episodes: Misspent Youth Actual Play (2).
Wednesday, February 18, 2009
February 18, 2009 Links and Plugs
Just plugging along.
- Check out some free Astronomy Science Fiction with Diamonds in the Sky.
- Speaking of anthologies, here's the table of contents to the upcoming Lovecraft Unbound.
- Sheila Finch on Islands of the Imagination.
- Wheatland Press is having a sale!
- James Van Pelt on Art and Competitiveness in a Scary Publishing World.
- Ryan Harvey on Remember to Punch In: Writing “On-the-Clock.”
- Ben Vincent on Book Packagers.
Essay: The Phobia of Writing for the International Market and Philippine Speculative Fiction
Every Wednesday, I'll have an essay or a feature on any topic that catches my fancy!
Here in the Philippines, when I start talking about Filipinos taking their work abroad, there is often some hesitation. Many people in the writing community and the academe are wary, the value of their own craft being important to them. From my understanding, their fears can be summed up in two points: they don't want the Philippines to be exoticized nor do they want to pander to an international market. (Another reason is that they want to be read here in the Philippines but I can't refute that.)
Let me elaborate on both issues. For me, the fear of being exotic and pandering to an international market are more or less identical. An issue with writers is the concept of "selling out" or writing for the sake of profit rather than art (not that there's anything wrong with -gasp- writing for money) and they usually associate an international audience with that mentality. Prabda Yoon, a Thai writer, for example in the recent Philippine International Writers Festival mentioned that other people typically expected Thai writers to talk about drugs since that was the public perception (outside of Thailand). Or that Thai locals never referred to Bangkok as Bangkok. So to many local writers, one of the worst things you can do is to reaffirm the stereotype.
I can only speak in terms of Philippine Speculative Fiction since that is what I am most familiar with. Philippine Speculative Fiction has made some progress when it comes to getting published internationally (perhaps not incredibly popular but we've finally gotten our feet wet). Dean Francis Alfar for example has been published in print in publications like The Year's Best Fantasy & Horror, Rabid Transit, and Exotic Gothic 2. Kristin Mandigma's fiction has appeared in Clarkesworld while ex-pats Chiles Samaniego and Rochita Loenen-Ruiz works have been published in Weird Tales (famously known for printing H.P. Lovecraft's short stories). Then there's the various online venues such as Fantasy Magazine and Bewildering Stories where a few Filipinos have gotten their work accepted.
Going back back to the idea of pandering to an international market, again, I want to stress the fear of Filipinos that foreigners will want to read about an idealized Philippines, one with beaches and natives instead of, say, the urban landscape that can at times be "more America than America." While these fears are arguably warranted, there's a point where this phobia is an idealized concept by Filipino writers, the same way a foreigner might think the Philippines is nothing but a tropical paradise devoid of modern luxuries such as electricity.
For example, The Year's Best Fantasy and Horror includes an Honorable Mentions list and a few Filipino works are cited. Why just last year, we had eight stories mentioned. Here's the list:
"Hamog" by Joanna Paula L. Cailas
"The Datu's Daughters" by Raymond G. Falgui
"Pedro Diyego's Homecoming" by Apol Lejano-Massebieau
"In Earthen Vessels" by Rodello Santos
"Sidhi" by Yvette Natalie U. Tan
“The Ascension of Our Lady Boy” by Mia Tijam
“The River Stone Heart of Maria Dela Rosa” by Kate Aton-Osias
“Stella for Star” by Yvette Natalie U. Tan
The first six stories saw print in Philippine Speculative Fiction Vol. 3. Look, that book for the most part is circulated in the Philippines. I don't think the writers ever imagined that their work would ever be read internationally. They were really writing for Filipinos. "Pandering to an international market" probably never entered their mind and well, editors abroad enjoyed their work. I think what surprised everyone (me, the editors of Philippine Speculative Fiction Vol. 3, and the author herself) was the inclusion of "The Ascension of Our Lady Boy," not because it wasn't well-written, but because the tone and voice is very colloquial. I think we underestimated foreign readers that they wouldn't understand it. For example, the said work includes lines like "I know, it's so Bagets! But growing up, Aga Muhlach was the crush-ng-bayan and now it's just yummy-ulam-pahingi-pa-ng-kanin Papa Piolo Pascual!"
In the same list, Yvette Tan mentioned in an interview that she previously hadn't tried marketing her fiction abroad because she thought Americans wouldn't appreciate her work--at least the stories that she had previously written. Yet here are two works that were acclaimed, "Sidhi" originally written for the Palancas (and winning third prize in the Futuristic Fiction category) while "Stella for a Star" a runner-up in the Philippine Graphic/Fiction Awards (which was judged by Filipinos).
Back in 2006, another story that was included in the Year's Best Fantasy and Horror honorable mentions list is Francezca C. Kwe's "Lovelore" which was originally printed in The Philippines Free Press and later reprinted in Philippine Speculative Fiction Vol. 1. I don't think neither Tan nor Kwe's citation was a fluke and maybe there's something that both Filipinos and readers abroad can appreciate.
When it comes to online magazines, Kristin Mandigma's "Excerpt from a Letter by a Social-Realist Aswang" was originally intended for Philippine Speculative Fiction Vol. 2 and only later on found a home at Clarkesworld. The author told me that she queried the editor whether she needed to further elaborate and explain the events happening in the story (there's a lot of allusions to Philippine culture and myth after all) but the latter said it wasn't necessary. And for the most part, I think readers of the said magazine enjoyed the story as it is. Another example is Nikki Alfar's "Glass" which got accepted in Fantasy Magazine. This was originally submitted to a dragon-themed anthology locally but because of delays, was submitted elsewhere. It isn't pandering or exoticizing if your original target audience were Filipinos.
Oh, and allow me to toot my own horn with citing the Philippine Speculative Fiction Sampler which are all reprints of existing speculative fiction stories written by Filipinos. One of the stories that got BoingBoing'd was Khavn Dela Cruz's "The Family That Eats Soil" which was a translation of a local piece. Another story that foreign readers latched on to was FH Batacan's "Keeping Time" because of its science fiction biology element. The piece was originally published in The Philippines Free Press and later won the 2008 Free Press Literary Awards. I don't think majority of my writers ever expected that they would have an international audience yet the website has over 10,000 hits in less than four months since it was originally set-up. The virtual anthology was even mentioned in the Carl Brandon Society Blog, a website "dedicated to improving the visibility of people of colour in the speculative genres of science fiction, fantasy, horror, magical realism, etc."
What I also like about Philippine Speculative Fiction is that it reaches out to Filipinos, not just those in the country but those outside of it. There have been Filipino contributors hailing for Singapore, America, New Zealand, France, etc. And for me, I feel that there's a certain injustice when our own works, with a limited print-run of a thousand or so copies, don't go beyond our borders. What about Filipinos living abroad, who don't have access to the books here?
Now I'm not saying that Filipino writers shouldn't be careful in what they write, especially when it comes to writing for a global audience. But it's been my experience that when it comes to speculative fiction, what Filipino readers and writers read are also the same things that international readers want to read as well. And perhaps, just perhaps, aren't we underestimating the intelligence of the international audience? Can our preconceptions about them not be as erroneous as the stereotype of the typical Filipino? We're not immune to bias and close-mindedness after all. And as far as the writers and works mentioned above, there were no compromises made to their fiction, save perhaps in those in the service of the story.
Here in the Philippines, when I start talking about Filipinos taking their work abroad, there is often some hesitation. Many people in the writing community and the academe are wary, the value of their own craft being important to them. From my understanding, their fears can be summed up in two points: they don't want the Philippines to be exoticized nor do they want to pander to an international market. (Another reason is that they want to be read here in the Philippines but I can't refute that.)
Let me elaborate on both issues. For me, the fear of being exotic and pandering to an international market are more or less identical. An issue with writers is the concept of "selling out" or writing for the sake of profit rather than art (not that there's anything wrong with -gasp- writing for money) and they usually associate an international audience with that mentality. Prabda Yoon, a Thai writer, for example in the recent Philippine International Writers Festival mentioned that other people typically expected Thai writers to talk about drugs since that was the public perception (outside of Thailand). Or that Thai locals never referred to Bangkok as Bangkok. So to many local writers, one of the worst things you can do is to reaffirm the stereotype.
I can only speak in terms of Philippine Speculative Fiction since that is what I am most familiar with. Philippine Speculative Fiction has made some progress when it comes to getting published internationally (perhaps not incredibly popular but we've finally gotten our feet wet). Dean Francis Alfar for example has been published in print in publications like The Year's Best Fantasy & Horror, Rabid Transit, and Exotic Gothic 2. Kristin Mandigma's fiction has appeared in Clarkesworld while ex-pats Chiles Samaniego and Rochita Loenen-Ruiz works have been published in Weird Tales (famously known for printing H.P. Lovecraft's short stories). Then there's the various online venues such as Fantasy Magazine and Bewildering Stories where a few Filipinos have gotten their work accepted.
Going back back to the idea of pandering to an international market, again, I want to stress the fear of Filipinos that foreigners will want to read about an idealized Philippines, one with beaches and natives instead of, say, the urban landscape that can at times be "more America than America." While these fears are arguably warranted, there's a point where this phobia is an idealized concept by Filipino writers, the same way a foreigner might think the Philippines is nothing but a tropical paradise devoid of modern luxuries such as electricity.
For example, The Year's Best Fantasy and Horror includes an Honorable Mentions list and a few Filipino works are cited. Why just last year, we had eight stories mentioned. Here's the list:
"Hamog" by Joanna Paula L. Cailas
"The Datu's Daughters" by Raymond G. Falgui
"Pedro Diyego's Homecoming" by Apol Lejano-Massebieau
"In Earthen Vessels" by Rodello Santos
"Sidhi" by Yvette Natalie U. Tan
“The Ascension of Our Lady Boy” by Mia Tijam
“The River Stone Heart of Maria Dela Rosa” by Kate Aton-Osias
“Stella for Star” by Yvette Natalie U. Tan
The first six stories saw print in Philippine Speculative Fiction Vol. 3. Look, that book for the most part is circulated in the Philippines. I don't think the writers ever imagined that their work would ever be read internationally. They were really writing for Filipinos. "Pandering to an international market" probably never entered their mind and well, editors abroad enjoyed their work. I think what surprised everyone (me, the editors of Philippine Speculative Fiction Vol. 3, and the author herself) was the inclusion of "The Ascension of Our Lady Boy," not because it wasn't well-written, but because the tone and voice is very colloquial. I think we underestimated foreign readers that they wouldn't understand it. For example, the said work includes lines like "I know, it's so Bagets! But growing up, Aga Muhlach was the crush-ng-bayan and now it's just yummy-ulam-pahingi-pa-ng-kanin Papa Piolo Pascual!"
In the same list, Yvette Tan mentioned in an interview that she previously hadn't tried marketing her fiction abroad because she thought Americans wouldn't appreciate her work--at least the stories that she had previously written. Yet here are two works that were acclaimed, "Sidhi" originally written for the Palancas (and winning third prize in the Futuristic Fiction category) while "Stella for a Star" a runner-up in the Philippine Graphic/Fiction Awards (which was judged by Filipinos).
Back in 2006, another story that was included in the Year's Best Fantasy and Horror honorable mentions list is Francezca C. Kwe's "Lovelore" which was originally printed in The Philippines Free Press and later reprinted in Philippine Speculative Fiction Vol. 1. I don't think neither Tan nor Kwe's citation was a fluke and maybe there's something that both Filipinos and readers abroad can appreciate.
When it comes to online magazines, Kristin Mandigma's "Excerpt from a Letter by a Social-Realist Aswang" was originally intended for Philippine Speculative Fiction Vol. 2 and only later on found a home at Clarkesworld. The author told me that she queried the editor whether she needed to further elaborate and explain the events happening in the story (there's a lot of allusions to Philippine culture and myth after all) but the latter said it wasn't necessary. And for the most part, I think readers of the said magazine enjoyed the story as it is. Another example is Nikki Alfar's "Glass" which got accepted in Fantasy Magazine. This was originally submitted to a dragon-themed anthology locally but because of delays, was submitted elsewhere. It isn't pandering or exoticizing if your original target audience were Filipinos.
Oh, and allow me to toot my own horn with citing the Philippine Speculative Fiction Sampler which are all reprints of existing speculative fiction stories written by Filipinos. One of the stories that got BoingBoing'd was Khavn Dela Cruz's "The Family That Eats Soil" which was a translation of a local piece. Another story that foreign readers latched on to was FH Batacan's "Keeping Time" because of its science fiction biology element. The piece was originally published in The Philippines Free Press and later won the 2008 Free Press Literary Awards. I don't think majority of my writers ever expected that they would have an international audience yet the website has over 10,000 hits in less than four months since it was originally set-up. The virtual anthology was even mentioned in the Carl Brandon Society Blog, a website "dedicated to improving the visibility of people of colour in the speculative genres of science fiction, fantasy, horror, magical realism, etc."
What I also like about Philippine Speculative Fiction is that it reaches out to Filipinos, not just those in the country but those outside of it. There have been Filipino contributors hailing for Singapore, America, New Zealand, France, etc. And for me, I feel that there's a certain injustice when our own works, with a limited print-run of a thousand or so copies, don't go beyond our borders. What about Filipinos living abroad, who don't have access to the books here?
Now I'm not saying that Filipino writers shouldn't be careful in what they write, especially when it comes to writing for a global audience. But it's been my experience that when it comes to speculative fiction, what Filipino readers and writers read are also the same things that international readers want to read as well. And perhaps, just perhaps, aren't we underestimating the intelligence of the international audience? Can our preconceptions about them not be as erroneous as the stereotype of the typical Filipino? We're not immune to bias and close-mindedness after all. And as far as the writers and works mentioned above, there were no compromises made to their fiction, save perhaps in those in the service of the story.
Tuesday, February 17, 2009
February 17, 2009 Links and Plugs
Uh oh, writing deadlines.
- Call for Submissions on Destination: Future.
- Applications for the Launch Pad Astronomy Workshop is now open.
- Sarah Monette on writing.
- Nick Gevers interviews Jonathan Strahan.
- Gary Wolfe on the Disappearing Act of speculative fiction at the AWP convention.
- Jessica Faust on Writing Sex.
- Editors Unleashed on How to Build Your Twitter Cred.
- Judith Berman on Seek the Gnarl.
Interview: Ben Parzybok
Every Tuesday, I'll have an interview posted.
Benjamin Parzybok is the creator of Gumball Poetry, a (now defunct) journal published through gumball machines, the Psychic Book Project and the Black Magic Insurance Agency, a city-wide mystery/treasure hunt. His projects have twice been selected as Best of Portland for the Willamette Week: "Best Guy Who Walks His Talk" and "Best Quarter's Worth of Culture." He is the author of Couch.
Hi! Thanks for agreeing to do the interview. First off, can you tell us more about yourself (anything you're willing to spill)?
Sure - I like stats, and manage to have half a dozen numbers I'm following at any one time. Speaking of numbers, the number 47 is a number that occurs with unusual frequency in my life, I believe, and I'm not the only one: http://www.47.net/47society/
Some day I'm going to write a story about that.
I like to stay busy. Here are a few of my larger projects:
Project Hamad - projecthamad.org
Gumball Poetry - gumballpoetry.com
Black Magic Insurance Agency - blackmagicinsurance.com
Walker Tracker - walkertracker.com
there are a few others on my website ideacog.net. I find I'm happiest while in a project. Other than that - I love to travel - I've lived in Taiwan and Ecuador, and have traveled extensively through Central America and parts of Asia. I live with my partner, Laura Moulton, and our 2 kids in Portland, OR. We have 2 chickens, a cat and an ant problem.
When did you know you wanted to be a writer?
We used to have to write a short story a week in my fifth grade class which we were then required to read out loud. It was terrifying and absolutely thrilling. I think it was then, having just invoked some laughter from a crowd of 5th graders, that I first envisioned the glory of it all. But I didn't become serious about writing until midway through a B.S. in Physics in college when I apparently had some kind of meltdown and took 32 credits straight of playwriting. It's been downhill from there.
What are some of your favorite books or who are some of your favorite writers?
I have a lot - but Haruki Murakami, JRR Tolkien (& also thanks to Peter Jackson), Cervantes, Cormac McCarthy and Rick Moody were inspirations, directly or indirectly, for Couch. Independent People by Halldor Laxness is a book that just blew me away. I can't help but note that none of those are 'humorous' writers, or write books that in any way would be considered 'funny', while most reviews of Couch call it a funny book. I don't know what that means.
Is Couch your first novel? What were some of the difficulties in writing the book?
Couch is my first published novel. I have two other manuscripts that I kick the tires of occasionally to see if they'll run. I may retire them to the junkyard or get back in to drive, it's hard to know. The largest difficulty in writing Couch was when I decided to let it cross genres. I didn't know I was going to do this - I'd not yet heard of Slipstream/Interfiction/New Weird when I was writing Couch - and I had a lot of anxiety about going a different direction than I'd imagined myself as a writer. I think it was a freeing process - doing what I really wanted to do - but at the same time I'm not sure I knew it would end well.
How did Small Beer Press end up publishing your book? Did you have to pitch it to them or did they "stumble" across it?
Apparently mine is the first book they pulled from the slush pile. I queried and they asked to see the full book - and some time later they picked it up. It was not a quick path to writing for me - I started my first book in 1994. Couch was written in 2002. I've had a tremendously good time working with SBP. And, while there's a country that spans between us and it's apparent that in sending emails to them, there's a section of the network between us where all messages must be carried on the backs of stubborn African Hippos with other things on their minds, it's hard to imagine respecting them more as a publisher.
Do you consider yourself a genre writer or more of a fiction writer in general?
I like genre writing - the first 10 gazillion or so books I read were fantasy and science fiction. However at some point the adults in my life ganged up on me and told me to start reading 'serious' books - and so I tore through literary fiction for years. Where would I like my books put in a book store? I think I'd lean toward literary fiction since on average I spend more time in that section to find books I want to read. I think the category of literary fiction is less restrictive and one is much more able to digress from the story line into some interesting corner of the world just for the purposes of exploration, and so for that reason I'd rather be on that shelf. A ton of really great work is being done across multiple genres now, though, and so these labels can be restrictive. When I was seeking a literary agent for Couch - I got the complaint that it 'crossed genres'.
What other avenues of literature are you currently pursuing? Or is it more of marketing your book as of late?
I'm working on another novel and I write some short fiction as well.
I absolute love the book's cover and the aesthetic sense of your site, ideacog. How much control did you have over the book's cover? Do you have a particular design philosophy?
SBP and I talked about the cover a fair amount, though the design is all Andi Watson (www.andiwatson.biz, a graphic novelist in the UK). I very much wanted the cover to show movement and a sense of journey, and I think he did a kickass job with that. I wish I had a design philosophy, that sounds like a fantastic thing to have.
With regards to your site, why the name ideacog?
Ideacog is in some ways a remnant of the past - I registered it in the year 2000 while thinking of a good name for a general purpose web development business. But primarily it's been the home of many, many projects over the years - some small web experiments, some larger-scale activist or art projects. And so in that way the name still fits - I've always liked the image that in any kind of machine there's a cog whose job it is to industriously churn out ideas.
What's the appeal of poetry for you?
When I started the literary journal Gumball Poetry in 1999 I was reading a ton of poetry - at one point I thought that poetry had saved my life (specifically Jim Harrison's "Letters to Yesenin" which I see was recently re-released by Copper Canyon Press!). I found it discouraging that most of my friends didn't avidly read poetry - it seemed to be an art that they thought of as a sort of punishment one endured in high school. And so I wanted to create a distribution format that would make poetry appear in a surprising place - to take it out of its element and make it read again. GBP was a great project and I think we succeeded in a lot of ways. But as with most projects, there comes a time where you want to move on.
What do you consider a good poem?
I love to be surprised. But, as with fiction, a lot of good poetry you just feel in your gut. You don't even know how it really works. You're reading along and suddenly, wham! A line has twisted in a way not thought possible or a situation was set up that opens you to the core.
What were some of the challenges in running Gumball Poetry?
I found the slush pile to be a challenge. We would read thousands of poems for each issue - it's hard work, and it's hard work deciding what you like best, and it's even harder agreeing with the other editors on the best work. Without fail we'd winnow the pile down to 20 poems, get them all set, and then someone would find some absolute gem in the slush pile - sometimes a poem that we'd already rejected! I remember calling up a poet to tell her to ignore the rejection letter we'd sent, we were taking her poem after all. This may have been a problem with our organizational abilities, of which mine are certainly not legend, but it's also hard to read successive poems while keeping a clean palate for each.
Another problem, as with most literary journals, is how it is supported. We derived enough income from GBP to pay the printing costs - but certainly not for our time, interns, marketing, etc. To fold and stuff the poems into the capsules (along with a piece of gum!) we'd throw massive stuffing parties, paying in food and drink. We never positioned it as a way to make money - but in the end, money needs to be made to survive, and from your remaining time you choose the art you want to pursue the most. In our case, we (my wife and I) decided to head back to our own writing.
There's a lot of creative projects on your site. Do you find yourself sticking to only one project at a time or is it a multi-tasking mash-up?
I work best when I do only a single project at a time - or perhaps one big and one small. What happens in my brain when I'm not explicitly working on a project is very important - and with too many projects the brain gets distracted. Most of my ideas come when I'm out taking a walk or just before sleep or when I'm commuting. And with these, I know my brain has been quietly working on it while my conscious mind has been elsewhere. When I wrote Couch - I wrote five hours a day, every day, for 5-6 months straight.
How much time do you usually spend on the Internet? How has it contributed to your creative expression?
Ack! I've been disrobed! I spend copious amounts of time on the Internet. I'm a web developer, for one. I read a ton of blogs - Google Reader says I subscribe to 216 feeds, which I manage regularly (trimming and adding). This has helped my creative processes - I never imagined it possible to feel so utterly in touch with the rest of the world, with the zeitgeist. And yet... and yet I think really serious work is only done when you shut the world off completely, allow yourself to deeply explore the parts of your mind you're afraid to explore. I enjoy multi-tasking - I find it a kind of high - and yet I don't believe it's good for me. When I wrote Couch I was in a small apartment in Ecuador with no Internet access, and it was a tremendous boon to productivity.
In your opinion, how has the Internet changed or affected the publishing industry?
Hmm - this might be a better question for my publisher, though it's been great fun reading a book, and then finding that author's blog (in some cases) and current posts. For example - Matt Ruff has an incredibly minimalist blog, but I like keeping tabs on him all the same.
What advice do you have for aspiring writers?
Work doggedly. If it feels like it's not working then it probably isn't - trash it and start on something that feels good to write. In my first book I wrote all the parts I was excited about writing first and kept a tally of the parts I thought I needed for the book but dreaded writing - when I came back to the parts I dreaded I realized 1) If they weren't fun to write, they turned out flat 2) I didn't need them after all.
Anything else you want to plug?
It looks like my next big project will be another Operation Peachblow (the 6th) - a sort of caper/treasure hunt/alternate reality game put on by the Black Magic Insurance Agency. It happens in Portland, OR around May 2009. blackmagicinsurance.com And I blog at secret.ideacog.net
Hi! Thanks for agreeing to do the interview. First off, can you tell us more about yourself (anything you're willing to spill)?
Sure - I like stats, and manage to have half a dozen numbers I'm following at any one time. Speaking of numbers, the number 47 is a number that occurs with unusual frequency in my life, I believe, and I'm not the only one: http://www.47.net/47society/
Some day I'm going to write a story about that.
I like to stay busy. Here are a few of my larger projects:
Project Hamad - projecthamad.org
Gumball Poetry - gumballpoetry.com
Black Magic Insurance Agency - blackmagicinsurance.com
Walker Tracker - walkertracker.com
there are a few others on my website ideacog.net. I find I'm happiest while in a project. Other than that - I love to travel - I've lived in Taiwan and Ecuador, and have traveled extensively through Central America and parts of Asia. I live with my partner, Laura Moulton, and our 2 kids in Portland, OR. We have 2 chickens, a cat and an ant problem.
When did you know you wanted to be a writer?
We used to have to write a short story a week in my fifth grade class which we were then required to read out loud. It was terrifying and absolutely thrilling. I think it was then, having just invoked some laughter from a crowd of 5th graders, that I first envisioned the glory of it all. But I didn't become serious about writing until midway through a B.S. in Physics in college when I apparently had some kind of meltdown and took 32 credits straight of playwriting. It's been downhill from there.
What are some of your favorite books or who are some of your favorite writers?
I have a lot - but Haruki Murakami, JRR Tolkien (& also thanks to Peter Jackson), Cervantes, Cormac McCarthy and Rick Moody were inspirations, directly or indirectly, for Couch. Independent People by Halldor Laxness is a book that just blew me away. I can't help but note that none of those are 'humorous' writers, or write books that in any way would be considered 'funny', while most reviews of Couch call it a funny book. I don't know what that means.
Is Couch your first novel? What were some of the difficulties in writing the book?
Couch is my first published novel. I have two other manuscripts that I kick the tires of occasionally to see if they'll run. I may retire them to the junkyard or get back in to drive, it's hard to know. The largest difficulty in writing Couch was when I decided to let it cross genres. I didn't know I was going to do this - I'd not yet heard of Slipstream/Interfiction/New Weird when I was writing Couch - and I had a lot of anxiety about going a different direction than I'd imagined myself as a writer. I think it was a freeing process - doing what I really wanted to do - but at the same time I'm not sure I knew it would end well.
How did Small Beer Press end up publishing your book? Did you have to pitch it to them or did they "stumble" across it?
Apparently mine is the first book they pulled from the slush pile. I queried and they asked to see the full book - and some time later they picked it up. It was not a quick path to writing for me - I started my first book in 1994. Couch was written in 2002. I've had a tremendously good time working with SBP. And, while there's a country that spans between us and it's apparent that in sending emails to them, there's a section of the network between us where all messages must be carried on the backs of stubborn African Hippos with other things on their minds, it's hard to imagine respecting them more as a publisher.
Do you consider yourself a genre writer or more of a fiction writer in general?
I like genre writing - the first 10 gazillion or so books I read were fantasy and science fiction. However at some point the adults in my life ganged up on me and told me to start reading 'serious' books - and so I tore through literary fiction for years. Where would I like my books put in a book store? I think I'd lean toward literary fiction since on average I spend more time in that section to find books I want to read. I think the category of literary fiction is less restrictive and one is much more able to digress from the story line into some interesting corner of the world just for the purposes of exploration, and so for that reason I'd rather be on that shelf. A ton of really great work is being done across multiple genres now, though, and so these labels can be restrictive. When I was seeking a literary agent for Couch - I got the complaint that it 'crossed genres'.
What other avenues of literature are you currently pursuing? Or is it more of marketing your book as of late?
I'm working on another novel and I write some short fiction as well.
I absolute love the book's cover and the aesthetic sense of your site, ideacog. How much control did you have over the book's cover? Do you have a particular design philosophy?
SBP and I talked about the cover a fair amount, though the design is all Andi Watson (www.andiwatson.biz, a graphic novelist in the UK). I very much wanted the cover to show movement and a sense of journey, and I think he did a kickass job with that. I wish I had a design philosophy, that sounds like a fantastic thing to have.
With regards to your site, why the name ideacog?
Ideacog is in some ways a remnant of the past - I registered it in the year 2000 while thinking of a good name for a general purpose web development business. But primarily it's been the home of many, many projects over the years - some small web experiments, some larger-scale activist or art projects. And so in that way the name still fits - I've always liked the image that in any kind of machine there's a cog whose job it is to industriously churn out ideas.
What's the appeal of poetry for you?
When I started the literary journal Gumball Poetry in 1999 I was reading a ton of poetry - at one point I thought that poetry had saved my life (specifically Jim Harrison's "Letters to Yesenin" which I see was recently re-released by Copper Canyon Press!). I found it discouraging that most of my friends didn't avidly read poetry - it seemed to be an art that they thought of as a sort of punishment one endured in high school. And so I wanted to create a distribution format that would make poetry appear in a surprising place - to take it out of its element and make it read again. GBP was a great project and I think we succeeded in a lot of ways. But as with most projects, there comes a time where you want to move on.
What do you consider a good poem?
I love to be surprised. But, as with fiction, a lot of good poetry you just feel in your gut. You don't even know how it really works. You're reading along and suddenly, wham! A line has twisted in a way not thought possible or a situation was set up that opens you to the core.
What were some of the challenges in running Gumball Poetry?
I found the slush pile to be a challenge. We would read thousands of poems for each issue - it's hard work, and it's hard work deciding what you like best, and it's even harder agreeing with the other editors on the best work. Without fail we'd winnow the pile down to 20 poems, get them all set, and then someone would find some absolute gem in the slush pile - sometimes a poem that we'd already rejected! I remember calling up a poet to tell her to ignore the rejection letter we'd sent, we were taking her poem after all. This may have been a problem with our organizational abilities, of which mine are certainly not legend, but it's also hard to read successive poems while keeping a clean palate for each.
Another problem, as with most literary journals, is how it is supported. We derived enough income from GBP to pay the printing costs - but certainly not for our time, interns, marketing, etc. To fold and stuff the poems into the capsules (along with a piece of gum!) we'd throw massive stuffing parties, paying in food and drink. We never positioned it as a way to make money - but in the end, money needs to be made to survive, and from your remaining time you choose the art you want to pursue the most. In our case, we (my wife and I) decided to head back to our own writing.
There's a lot of creative projects on your site. Do you find yourself sticking to only one project at a time or is it a multi-tasking mash-up?
I work best when I do only a single project at a time - or perhaps one big and one small. What happens in my brain when I'm not explicitly working on a project is very important - and with too many projects the brain gets distracted. Most of my ideas come when I'm out taking a walk or just before sleep or when I'm commuting. And with these, I know my brain has been quietly working on it while my conscious mind has been elsewhere. When I wrote Couch - I wrote five hours a day, every day, for 5-6 months straight.
How much time do you usually spend on the Internet? How has it contributed to your creative expression?
Ack! I've been disrobed! I spend copious amounts of time on the Internet. I'm a web developer, for one. I read a ton of blogs - Google Reader says I subscribe to 216 feeds, which I manage regularly (trimming and adding). This has helped my creative processes - I never imagined it possible to feel so utterly in touch with the rest of the world, with the zeitgeist. And yet... and yet I think really serious work is only done when you shut the world off completely, allow yourself to deeply explore the parts of your mind you're afraid to explore. I enjoy multi-tasking - I find it a kind of high - and yet I don't believe it's good for me. When I wrote Couch I was in a small apartment in Ecuador with no Internet access, and it was a tremendous boon to productivity.
In your opinion, how has the Internet changed or affected the publishing industry?
Hmm - this might be a better question for my publisher, though it's been great fun reading a book, and then finding that author's blog (in some cases) and current posts. For example - Matt Ruff has an incredibly minimalist blog, but I like keeping tabs on him all the same.
What advice do you have for aspiring writers?
Work doggedly. If it feels like it's not working then it probably isn't - trash it and start on something that feels good to write. In my first book I wrote all the parts I was excited about writing first and kept a tally of the parts I thought I needed for the book but dreaded writing - when I came back to the parts I dreaded I realized 1) If they weren't fun to write, they turned out flat 2) I didn't need them after all.
Anything else you want to plug?
It looks like my next big project will be another Operation Peachblow (the 6th) - a sort of caper/treasure hunt/alternate reality game put on by the Black Magic Insurance Agency. It happens in Portland, OR around May 2009. blackmagicinsurance.com And I blog at secret.ideacog.net
Monday, February 16, 2009
February 16, 2009 Links and Plugs
I've been in a reading fugue for the past week but I seem to be back now. Oh, and I just want to remind everyone about the Shirley Jackson Awards Lottery.
- You can now register for the Nebula Weekend.
- Check out the latest issue of The King's English.
- Richard Dansky interviews Andrew S. Walsh on Prince of Persia and game writing.
- Marshall Payne interviews Paul Di Filippo.
- Toro Magazine interviews Adrienne Kress. Kress gives us a behind-the-scenes look at what happens in a photo shoot.
- Publisher's Weekly asks several publishers What Are the Publicity Advantages and Disadvantages of Your Company's Size and Position in the Market?
- Darin Bradley on Letters to a Young [Aspiring] Writer.
- Nayad Monroe on Slush Lesson #1: Presentation and First Impressions.
- Odyssey Workshop on Creating a Plot.
- To those who submitted to Realms of Fantasy, here's the status of your stories.
- Victoria Blake on Aliens, Predator, and Licenses.
- Ekaterina Sedia on Geek Chic.
- Graham Sleight on Advocacy and Recognition.
- Sarah Zettel on True Love.
- Bookspot Central's Synergy on The Love (stories) of our Lives?
- Theo On Kick-Ass Female Fighters.
- Diana Rowland on After the Sale: Part One.
- Eric Rosnfield and Matt Cheney on Speculative Fiction in Conversation Part 5.
Book/Magazine Review: Wild Stories 2008: The Best of the Year's Gay Speculative Fiction edited by Steve Berman
Every Monday, I'll be doing spoiler-free, bite-sized book/magazine reviews.
I'm interested in all things speculative fiction and so I eventually got around to reading Wild Stories 2008 which for me is conceptually fascinating. Of course in reviewing the book, there are two stances to take. Either I could read this from a gay fiction perspective--something which I have no experience with since I don't really read gay fiction--or from a speculative fiction perspective, that of a casual fan. I decided to write this review from the latter since it's what I know best and perhaps to show that you don't have to be gay to appreciate such an anthology.
For the most part, I found Wild Stories 2008 to be enjoyable. This is a relatively quick read with eleven stories plus Steve Berman's introduction and there are no bad stories in here, although there were one or two that I found to be simply mediocre. One aspect I liked about this collection is that it breaks the misconception of what gay fiction is about. It's not about men having sex but simply stories about characters. For example, the opening piece, "The Woman in the Window" by Jameson Currier, is a story about a person who is concerned about his family, period. The fact that it has both gay and speculative fiction elements add to it rather than simply being a token detail which was added to cater to a niche. "Acid and Stoned Reindeer" by Rebecca Ore on the other hand is simply wild and slipstream and the fact that it had a gay character was the last thing on my mind.
Again, there's a couple of stories that I liked in this anthology but the ones that really grabbed my attention were towards the latter end of the book. This isn't the first time I encountered "An Apiary of White Bees" by Lee Thomas and it certainly stood out back then. Thomas writes good horror with the gradual build-up and effective use of flashback. The ending shouldn't come as a surprise but the author uses good technique that the climax is savage and brutal as intended.
"The Island of the Pirate Gods" by Hal Duncan on the other hand is an ensemble. For starters, there's the tone which is consistent and funny. Lurking beneath the comedy is a heart-wrenching and action-packed tale that immediately reels you in despite being one of the longest stories in the book. There were numerous scenes that caught my eye as well as lines that are only possible in a melding of two genres such as "...there was more salt on that ship shared between the saucy sailors than there is in the sea herself." Without a doubt this is the best story in the anthology.
"Ever So Much More Than Twenty" by Joshua Lewis probably isn't the best-written story here but it nonetheless has its own charm. You can call it a guilty pleasure but I like its optimistic bent without being too sanitized or completely resolved. Like many of the stories in the anthology, Lewis focuses on character and sympathetic dilemmas such as parenthood or the passing of youth. What I found particularly commendable was the voice of the characters, especially the teenager who did sound like an actual teen.
Personally, Wild Stories 2008 isn't a must-buy, especially when compared to the other "best-of" anthologies, but I do think it occupies a necessary niche and draws stories from sources that the casual speculative fiction fan might overlook. It broadens the scope of what speculative fiction is, and from the perspective of the casual fan, that gay speculative fiction fiction can be fun and entertaining (or that you've been reading it all this time and never noticed).
I'm interested in all things speculative fiction and so I eventually got around to reading Wild Stories 2008 which for me is conceptually fascinating. Of course in reviewing the book, there are two stances to take. Either I could read this from a gay fiction perspective--something which I have no experience with since I don't really read gay fiction--or from a speculative fiction perspective, that of a casual fan. I decided to write this review from the latter since it's what I know best and perhaps to show that you don't have to be gay to appreciate such an anthology.For the most part, I found Wild Stories 2008 to be enjoyable. This is a relatively quick read with eleven stories plus Steve Berman's introduction and there are no bad stories in here, although there were one or two that I found to be simply mediocre. One aspect I liked about this collection is that it breaks the misconception of what gay fiction is about. It's not about men having sex but simply stories about characters. For example, the opening piece, "The Woman in the Window" by Jameson Currier, is a story about a person who is concerned about his family, period. The fact that it has both gay and speculative fiction elements add to it rather than simply being a token detail which was added to cater to a niche. "Acid and Stoned Reindeer" by Rebecca Ore on the other hand is simply wild and slipstream and the fact that it had a gay character was the last thing on my mind.
Again, there's a couple of stories that I liked in this anthology but the ones that really grabbed my attention were towards the latter end of the book. This isn't the first time I encountered "An Apiary of White Bees" by Lee Thomas and it certainly stood out back then. Thomas writes good horror with the gradual build-up and effective use of flashback. The ending shouldn't come as a surprise but the author uses good technique that the climax is savage and brutal as intended.
"The Island of the Pirate Gods" by Hal Duncan on the other hand is an ensemble. For starters, there's the tone which is consistent and funny. Lurking beneath the comedy is a heart-wrenching and action-packed tale that immediately reels you in despite being one of the longest stories in the book. There were numerous scenes that caught my eye as well as lines that are only possible in a melding of two genres such as "...there was more salt on that ship shared between the saucy sailors than there is in the sea herself." Without a doubt this is the best story in the anthology.
"Ever So Much More Than Twenty" by Joshua Lewis probably isn't the best-written story here but it nonetheless has its own charm. You can call it a guilty pleasure but I like its optimistic bent without being too sanitized or completely resolved. Like many of the stories in the anthology, Lewis focuses on character and sympathetic dilemmas such as parenthood or the passing of youth. What I found particularly commendable was the voice of the characters, especially the teenager who did sound like an actual teen.
Personally, Wild Stories 2008 isn't a must-buy, especially when compared to the other "best-of" anthologies, but I do think it occupies a necessary niche and draws stories from sources that the casual speculative fiction fan might overlook. It broadens the scope of what speculative fiction is, and from the perspective of the casual fan, that gay speculative fiction fiction can be fun and entertaining (or that you've been reading it all this time and never noticed).
Book/Magazine Review: Cabinet des Fees Volume One, No. 1
Every Monday, I'll be doing spoiler-free, bite-sized book/magazine reviews.
The subtitle of this publication is "a fairy tale journal" and that pretty much sums it up as this isn't really a fiction anthology in the conventional sense. Instead, what you get is a mix of both fiction and non-fiction accompanied by some appropriate (and gorgeous) artwork. Cabinet des Fees isn't particularly lengthy at a hundred plus pages but I feel it suits the format just fine. It's honestly this weird animal but a refreshing and welcome one, especially when it comes to the content.
I'm honestly partial to the non-fiction and the discussions in this book treat the subject of fairy tales in a serious and scholarly manner, at the same time remaining compelling. I remember that what I loved about Ellen Datlow and Terri Windling's fairy tale-inspired young adult anthologies was the introduction by the latter which was extensive and insightful. Helen Pilinovsky's "The Commodification of the Fairy Tale: An Introduction to the Alternative" holds her own ground as she discusses the evolution of fairy tales over the years, especially the impact of Disney. Other notable pieces include the dissection of The Gardener by Catherynne M. Valente and an evaluation of H.G. Wells's Mr Skelmersdale in Fairyland by Nick Freeman. The discourse is intelligent and comprehensive, admittedly not the most accessible of readings for the casual fan but rewarding (why isn't there a lot of these?) if you're really into the subject matter and want to approach fairy tales with a more methodical and literary approach. Fortunately, I am a geek and these things interest me.
As far as the fiction is concerned, I wouldn't say that there's a story that was truly outstanding although there were a couple that were interesting and fun and I've love to reread. "All For a Rose" by Donna Quattrone for example is a well-written modern reappropriation of "Beauty and the Beast" as it reworks the story's template of "Beauty" falling in love with the "Beast." The strength of Quattrone is her command of characterization and all the characters feel human with sympathetic motivations rather than caricatures. It was definitely a touching piece that made me smile.
"All My Mommies" by Virginia Mohlere is disturbing because we're full aware of the horror even before the narrator realizes it. There's a certain predictability to the piece but I don't think surprise was the intent. Instead, we have this atmospheric tale and again, there's a re-appropriation by the author to make this apt for modern readers.
Overall, I really liked Cabinet des Fees. The agenda isn't something we commonly encounter (how common do we actually pair up "journal" and "fairy tales" together?) and this is a publication that tackles its subject matter seriously. All the stories were competently written and for the most part they were an enjoyable read. Again, the non-fiction for me was terrific and when you combine that entire package, this is a book that's not only original but definitely a keeper.
The subtitle of this publication is "a fairy tale journal" and that pretty much sums it up as this isn't really a fiction anthology in the conventional sense. Instead, what you get is a mix of both fiction and non-fiction accompanied by some appropriate (and gorgeous) artwork. Cabinet des Fees isn't particularly lengthy at a hundred plus pages but I feel it suits the format just fine. It's honestly this weird animal but a refreshing and welcome one, especially when it comes to the content.I'm honestly partial to the non-fiction and the discussions in this book treat the subject of fairy tales in a serious and scholarly manner, at the same time remaining compelling. I remember that what I loved about Ellen Datlow and Terri Windling's fairy tale-inspired young adult anthologies was the introduction by the latter which was extensive and insightful. Helen Pilinovsky's "The Commodification of the Fairy Tale: An Introduction to the Alternative" holds her own ground as she discusses the evolution of fairy tales over the years, especially the impact of Disney. Other notable pieces include the dissection of The Gardener by Catherynne M. Valente and an evaluation of H.G. Wells's Mr Skelmersdale in Fairyland by Nick Freeman. The discourse is intelligent and comprehensive, admittedly not the most accessible of readings for the casual fan but rewarding (why isn't there a lot of these?) if you're really into the subject matter and want to approach fairy tales with a more methodical and literary approach. Fortunately, I am a geek and these things interest me.
As far as the fiction is concerned, I wouldn't say that there's a story that was truly outstanding although there were a couple that were interesting and fun and I've love to reread. "All For a Rose" by Donna Quattrone for example is a well-written modern reappropriation of "Beauty and the Beast" as it reworks the story's template of "Beauty" falling in love with the "Beast." The strength of Quattrone is her command of characterization and all the characters feel human with sympathetic motivations rather than caricatures. It was definitely a touching piece that made me smile.
"All My Mommies" by Virginia Mohlere is disturbing because we're full aware of the horror even before the narrator realizes it. There's a certain predictability to the piece but I don't think surprise was the intent. Instead, we have this atmospheric tale and again, there's a re-appropriation by the author to make this apt for modern readers.
Overall, I really liked Cabinet des Fees. The agenda isn't something we commonly encounter (how common do we actually pair up "journal" and "fairy tales" together?) and this is a publication that tackles its subject matter seriously. All the stories were competently written and for the most part they were an enjoyable read. Again, the non-fiction for me was terrific and when you combine that entire package, this is a book that's not only original but definitely a keeper.
Book/Magazine Review: One for Sorrow by Christopher Barzak
Every Monday, I'll be doing spoiler-free, bite-sized book/magazine reviews.
In certain ways, One for Sorrow could have been one of those books aimed at young adult readers. The protagonist is a teenager finding his place in the world, whether it's discovering friendship, love, or his place in his family. The language supports this form as it's relatively accessible and easy to read, all the while dealing with serious issues and heavy subject matter such as romance and loyalty to family.
A recurring theme of the novel is running and I appreciated how the first few pages of the book not only prepares you for it but presents it in a stylish way. As for the prose, it's rich in detail and Barzak presents a complex and multi-layered world, sometimes to the point of being contradictory (and isn't the real world full of contradictions?). His strength however lies in his characterization and he makes the reader sympathize with the protagonist who is very much convincing as a struggling teenager. His tone is consistent all throughout and combines elements of realism and fantasy seamlessly. Worthy to note are his inclusion of details that while unnecessary, gives the novel that extra layer of credibility, such as the hero's penchant for jotting down his observations when it comes to the dead (and the living).
One for Sorrow was a quick and enjoyable read, tugging at your emotions at appropriate times and the author certainly shows skill in his craft. It's certainly a unique coming of age story that'll appeal to you whether you're young or old. However, while this is a welcome addition to my reading list, it's not what I'd consider one of those essential books that you simply must buy. I like the alternative that it offers and I can't complain about the technical skill of Barzak but overall, it wasn't particularly striking. Did it achieved its goals? Definitely. Did it make a lasting impact? Not as much as I wished it would.
In certain ways, One for Sorrow could have been one of those books aimed at young adult readers. The protagonist is a teenager finding his place in the world, whether it's discovering friendship, love, or his place in his family. The language supports this form as it's relatively accessible and easy to read, all the while dealing with serious issues and heavy subject matter such as romance and loyalty to family.A recurring theme of the novel is running and I appreciated how the first few pages of the book not only prepares you for it but presents it in a stylish way. As for the prose, it's rich in detail and Barzak presents a complex and multi-layered world, sometimes to the point of being contradictory (and isn't the real world full of contradictions?). His strength however lies in his characterization and he makes the reader sympathize with the protagonist who is very much convincing as a struggling teenager. His tone is consistent all throughout and combines elements of realism and fantasy seamlessly. Worthy to note are his inclusion of details that while unnecessary, gives the novel that extra layer of credibility, such as the hero's penchant for jotting down his observations when it comes to the dead (and the living).
One for Sorrow was a quick and enjoyable read, tugging at your emotions at appropriate times and the author certainly shows skill in his craft. It's certainly a unique coming of age story that'll appeal to you whether you're young or old. However, while this is a welcome addition to my reading list, it's not what I'd consider one of those essential books that you simply must buy. I like the alternative that it offers and I can't complain about the technical skill of Barzak but overall, it wasn't particularly striking. Did it achieved its goals? Definitely. Did it make a lasting impact? Not as much as I wished it would.
Friday, February 13, 2009
TABOAN: Philippine International Writers Festival 2009 Day 3 Recordings
I was fatigued by the Fictional Showdown talk today so I missed the 4 pm slots but anyway, it was reported that the Taboan is supposed to have a website up soon which includes photos as well as recordings (and hopefully they're better quality than mine).
As usual, it was great running into people both familiar and new.
PLENARY |MP3|
Hosts: Angelo R. Lacuesta, Festival Coordinator; Joel Toledo, Festival Assistant Coordinator
THE END OF PRINT. |MP3|
Web-based publishing, traditional print publishing, and print-on-demand: the meaning of publication has multiplied so much these days. Has the meaning of quality, or rigor, or intent changed as well? How has this affected today’s writer? Has he (or must he) achieve convergence, or should there be dividing lines?
Panelists: Adam David, Jean Claire Dy, Edgar Samar
Moderator: Dean Francis Alfar
GLOBAL WARMING. |MP3|
A plenary discussion over lunch featuring Asian and Filipino writers who have gone “global.” Our international panelists will discuss the challenges and rewards of writing in their local language and still achieving international recognition and popularity. The panel will also discuss practical tips on international grants, fellowships and exchange programs.
Panelists: Nguyan Bao Chan, Conchitina Cruz, Dinah Roma-Sianturi, Prabda Yoon
Moderator: Angelo R. Lacuesta
FICTIONAL SHOWDOWN. |MP3|
This is a friendly showdown between the realms speculative fiction and “non-speculative” fiction—its advocates, practitioners and its subject matter. Also up for discussion: attempted definitions, blurred boundaries and common goals.
Panelists: Dean Francis Alfar, Adam David, Jonathan J. Siason, Alvin B. Yapan
Moderator: Ian Casocot
As usual, it was great running into people both familiar and new.
PLENARY |MP3|
Hosts: Angelo R. Lacuesta, Festival Coordinator; Joel Toledo, Festival Assistant Coordinator
THE END OF PRINT. |MP3|
Web-based publishing, traditional print publishing, and print-on-demand: the meaning of publication has multiplied so much these days. Has the meaning of quality, or rigor, or intent changed as well? How has this affected today’s writer? Has he (or must he) achieve convergence, or should there be dividing lines?
Panelists: Adam David, Jean Claire Dy, Edgar Samar
Moderator: Dean Francis Alfar
GLOBAL WARMING. |MP3|
A plenary discussion over lunch featuring Asian and Filipino writers who have gone “global.” Our international panelists will discuss the challenges and rewards of writing in their local language and still achieving international recognition and popularity. The panel will also discuss practical tips on international grants, fellowships and exchange programs.
Panelists: Nguyan Bao Chan, Conchitina Cruz, Dinah Roma-Sianturi, Prabda Yoon
Moderator: Angelo R. Lacuesta
FICTIONAL SHOWDOWN. |MP3|
This is a friendly showdown between the realms speculative fiction and “non-speculative” fiction—its advocates, practitioners and its subject matter. Also up for discussion: attempted definitions, blurred boundaries and common goals.
Panelists: Dean Francis Alfar, Adam David, Jonathan J. Siason, Alvin B. Yapan
Moderator: Ian Casocot
February 13, 2009 Links and Plugs
I'm gonna lock myself in my room on Saturday but for the rest, have an advanced Happy Valentines!
- Chuck Lorre is the keynote speaker for the Nebula Awards.
- SF Signal interviews James Morrow.
- Edmun Yeo interviews Quentin S. Crisp.
- Mark Waid on The Job of a Comic Book Editor.
- Jim C. Hines on Writing Kick-Butt Warrior Women.
- Jay Lake warns Possible issue with orphaned REALMS contracts.
- James A. Owen on A Note About Editing.
- John Ottinger III has a recommended reading list to Celebrate Black History Month by Reading SF.
- James A Moore on What's Love Got to Do With It?
RPG Musings: The Number of Players
Every Friday, I'll toss an idea or two with regards to tabletop RPGs.
This isn't limited to RPGs but can be applied to games in general. What's the minimum/maximum players and how does the numbers of players change the group dynamics?
D&D for example assumes there's five players and one GM. Adding or subtracting one player more or less keeps the design goals intact but anything beyond that alters the game significantly (which isn't to say it can't be resolved but there's some tinkering involved). An eight-player game for example might make combats last quite a long time and "group initiative" (the player's turn vs. the GM's turn) becomes a detriment as the 8 characters on one side might gang up on one monster and vice versa (8 monsters ganging up on a single PC). It's also difficult to devote time tackling individual storylines in an eight-player game because it could bog down and leave 7 players waiting for the other person to resolve their plotline.
Some GMs are turned off at running a two-player D&D game (mainly it's a factor of time/effort efficiency--that is the hours of prep rewarding only two players when it could easily have been four or five) and again it's a different party dynamic. When it comes to combat, players have to carefully pick their roles. As for roleplaying, there's room here for the party to "split apart" and delve into more complex storylines as the GM only has to divide his attention to two players.
A better example would be other sorts of games. Mafia/Werewolf for example is a great party game but it's not infinitely scalable. I don't think it's possible to run it for a 30-person group for example. On the other end of the spectrum, it can resolve pretty quickly if you're just running it for five people or so.
When applied to RTS games, the number of players actually changes the type of game you're playing. Let's take my experiences with Warcraft III. One on one is the assumed default and you're faced to changed tactics as it becomes a 1 vs. 1 vs. 1 game. You know for certain one player will eventually have to sit it out as they become the first person eliminated. Launching a full attack on one player also leaves you very vulnerable and the game can slow down as each player carefully plays the cat-and-mouse game, waiting for one player to take action and take advantage of that opportunity. In a 2 vs. 2 game, one player's skill can make up for your partner's lack of talent (and it's possible to win a 2 vs. 1 game if you play your cards right). In a 5 vs. 5 game, I've discovered that the individual player's skill level matters less and cooperation and teamwork plays a bigger role. No matter how good you are, 5 opponents at your front door will lead to a massacre.
One element of RPGs however is that they don't tend to tell you on the cover the minimum/maximum players required for the game. It's a stark contrast to board games which mention it outright in the box. Again, that's not to say RPG games aren't scalable, but I'd like to think the designers have an ideal number in mind when designing such a game. Or at the very least, the number of players changes how one interacts with the rest of the group.
This isn't limited to RPGs but can be applied to games in general. What's the minimum/maximum players and how does the numbers of players change the group dynamics?
D&D for example assumes there's five players and one GM. Adding or subtracting one player more or less keeps the design goals intact but anything beyond that alters the game significantly (which isn't to say it can't be resolved but there's some tinkering involved). An eight-player game for example might make combats last quite a long time and "group initiative" (the player's turn vs. the GM's turn) becomes a detriment as the 8 characters on one side might gang up on one monster and vice versa (8 monsters ganging up on a single PC). It's also difficult to devote time tackling individual storylines in an eight-player game because it could bog down and leave 7 players waiting for the other person to resolve their plotline.
Some GMs are turned off at running a two-player D&D game (mainly it's a factor of time/effort efficiency--that is the hours of prep rewarding only two players when it could easily have been four or five) and again it's a different party dynamic. When it comes to combat, players have to carefully pick their roles. As for roleplaying, there's room here for the party to "split apart" and delve into more complex storylines as the GM only has to divide his attention to two players.
A better example would be other sorts of games. Mafia/Werewolf for example is a great party game but it's not infinitely scalable. I don't think it's possible to run it for a 30-person group for example. On the other end of the spectrum, it can resolve pretty quickly if you're just running it for five people or so.
When applied to RTS games, the number of players actually changes the type of game you're playing. Let's take my experiences with Warcraft III. One on one is the assumed default and you're faced to changed tactics as it becomes a 1 vs. 1 vs. 1 game. You know for certain one player will eventually have to sit it out as they become the first person eliminated. Launching a full attack on one player also leaves you very vulnerable and the game can slow down as each player carefully plays the cat-and-mouse game, waiting for one player to take action and take advantage of that opportunity. In a 2 vs. 2 game, one player's skill can make up for your partner's lack of talent (and it's possible to win a 2 vs. 1 game if you play your cards right). In a 5 vs. 5 game, I've discovered that the individual player's skill level matters less and cooperation and teamwork plays a bigger role. No matter how good you are, 5 opponents at your front door will lead to a massacre.
One element of RPGs however is that they don't tend to tell you on the cover the minimum/maximum players required for the game. It's a stark contrast to board games which mention it outright in the box. Again, that's not to say RPG games aren't scalable, but I'd like to think the designers have an ideal number in mind when designing such a game. Or at the very least, the number of players changes how one interacts with the rest of the group.
Top 10 Best-Sellers as of 2009/2/8
From USA Today's best-seller list (you can find out their basis here):
- The Associate by John Grisham
- New Moon by Stephenie Meyer
- Twilight by Stephenie Meyer
- Eclipse by Stephenie Meyer
- The Yankee Years by Joe Torre and Tom Verducci
- Breaking Dawn by Stephenie Meyer
- Diary of a Wimpy Kid: The Last Straw by Jeff Kinney
- Run for Your Life by James Patterson and Michael Ledwidge
- The Shack by William P. Young
- The Love Dare by Stephen Kendrick and Alex Kendrick
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