Cruel to be Kind: Killing Off a Major Character

Occasionally, because I'm not really that smart, I'll put out a call for blog ideas. And sometimes I get one that's so original there's just no way to ignore it. So thanks to Claudia Tucker for asking: "Have you ever been tempted to 'kill' your main characters off and start with a new Hero who might be a an offspring Read more

Interview with Lee Karr, author of The Making of Day of the Dead

In 1986, George A. Romero--one of my heroes--released the third film in his original "Living Dead" trilogy, Day of the Dead (following Night and Dawn). The previous two films were both classics, and popular successes. They were also about as different from each other as two films could be. So I, like every other horror fan, was eager to see Read more

Guest Blog: Melissa Olson on Multiple First-Person Voices

Today my friend, author Melissa Olson, stops by to talk about her new book and the issues of writing more than one first-person series. You can also find Melissa (and me) at her online release party for The Big Keep later today, starting at 5:30 CT. I’d like to thank Alex for hosting me today, especially considering my topic is Read more

7 Questions About My Most Recent Novel

Okay, I was supposed to do this on Monday, but it got away from me. Thanks to Lucy Jane Bledsoe for tagging me in this, and to Melissa Olson and Deborah Blake for agreeing to be tagged for next Monday. Here are seven questions about my most recent book:   1. What is the name of your character? Eddie LaCrosse. 2. When and where Read more

Hans Up, Hans Down: the Villain of Frozen

Warning: SPOILERS pretty much throughout. If you're a parent, particularly of a daughter, then you--like me--have probably seen/heard/experienced Frozen more than you ever thought possible. But this is not a post about the ubiquitous "Let It Go" song, which now even Pearl Jam have referenced. No, this is about the one element of the movie that I just can't make up Read more

Guest blog: Steve McHugh on Changing Times

Posted on by Alex in blog, fantasy literature, guest blog, writers, writing | 1 Comment

My friend novelist Melissa Olson put me on the track of Steve McHugh.  He’s the author of the Hellequin Chronicles series, about an immortal sorcerer who still battles evil in the modern day.  I asked him to talk a bit about how he chooses the flashback scenes for the novels, which jump back and forth through time, much like the film and TV series he mentions as an influence.–A.B. 

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Back in 1986 there was a film called Highlander. For those of you who haven’t seen it, just take my word for the awesomeness that was contained within that 90 mins. Apart from having Queen do the soundtrack and having a Frenchman play a Scotsman and a Scotsman play a Spaniard, the thing that stuck with me the most were the flashbacks. The main character, Connor Macleod (of the Clan Macleod) was a 500 year old Scottish warrior and the story followed his battle against an evil nemesis in 1980s New York. But throughout the story there were flashbacks to previous parts of his life, from the Highlands of Scotland to Nazi Germany.

McHugh_Crimes_Against_Magic_cvr_FINALI found it incredibly interesting that we got to see parts of his life throughout the ages. And then when the Highlander TV show started in ’92 (with Duncan Macleod) they kept the idea of each episode having flashbacks to the main characters 500+ life. So, when it came to write my own books, I knew I was going to use the idea. The main character, Nathan Garrett, is a 1600-year-old sorcerer, so that gave me a huge scope to add the flashback portions of his life into the book. I wanted the flashbacks to have a relevance to the storyline of the current time, be that introducing characters or situations that were still in the modern portion of the book. The hard part was figuring out what setting to use. Less than a quarter of the book would be set in the flashback sequences, but they still had to make sense and tie in with the modern story.

For Crimes Against Magic (the first book in the Hellequin Chronicles) it took me a while to work out the exact date that I wanted to use. I had the idea of setting it during the hundred years war in the 15th it down to the battle of Agincourt in 1415, but I didn’t want to use the battle itself as some would have noticed if there was a sorcerer flinging fire about the place. So after some research (and reading the wonderful Agincourt by Bernard Cornwell, I settled on the 1414 destruction of the city of Soissons. From there the flashback came pretty easily, as did having it sync up with the current story.

McHugh_Born_of_Hatred_cvr_FINALMy second book, Born of Hatred, was a little easier. I wanted to write it in the late 19th century in America. From there I just researched the country, getting closer and closer to the state that worked and eventually settling on Montana. At the time, Montana wasn’t part of the United States, so that gave me a few plot ideas and the managed to set the whole flashback in stone.

Book 3, With Silent Screams, isn’t out until next February, but it was the book that has given me the most trouble with the flashbacks. I originally had it down as being 1970s Wisconsin and even wrote it in that way, but over time it changed to 1970s Maine for various story reasons that just made sense.

I have several more books plotted out in the same series, and have already got ideas for the flashback parts for each one. Sometimes I think I’m just making my life harder for myself, but then I realize that I really do love writing the flashback parts and all the research that goes into making them engaging. Besides when you have a 1600 year old character to write, you might as well make use of his huge life to do things you could never do with a human character.

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Thanks to Steve McHugh for sharing his process.  You can find him at his website, on Facebook and on Twitter.

Genre respect and the NYT

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It’s an ongoing issue that genre fiction–mystery, science fiction, fantasy, romance, horror–is somehow less important than so-called “literary” fiction. That involves forgetting that in many cases the disposable genre fiction of yesterday (Jules Verne, HG Wells, Edgar Allen Poe, HP Lovecraft, Louis L’Amour, Jack London, Dashiell Hammett, Raymond Chandler) has become the acknowledged classics of today.

Still, it’s frustrating to still see this play out right in front of me, as it did last month in the New York Times. I won’t use the authors’ names here, because it’s not important; it’s not hard to figure out if you feel the need, but it’s utterly beside the point. To me, what’s important is how this “corps of impudent snobs who characterize themselves as intellectuals” (props to Spiro Agnew) pronounces and supports its judgment.

Here are two excerpts from the literary novel’s review:

So does the new novel deliver? I’m not so sure…the author seems a bit lost, adrift in unfamiliar waters, and the book feels less like a second novel than it does another try at a first.

There is only so much we can read this way before we are overwhelmed by the desire to drop the pretense.

And here are two from the review of the genre novel:

[The author's] novel has the stylized quality of books by Angela Carter like The Infernal Desire Machines of Doctor Hoffman, and it displays similar pyrotechnics.

Yet in a highwire act of her own, [the author] still raises the novel above the ordinary through her ability to convey the richness of the [characters’] emotional lives, coupled with impressive writing.

Clearly the first review was less than positive, while the second was close to a rave. Now, the kicker: which book got the three-page excerpt also published in the New York Times? That’s right, after their reviewer says “There is only so much we can read this way before we are overwhelmed by the desire to drop the pretense,” the Times decides to put that to the test.

As I said, I mean no disrespect to either writer. I do mean disrespect to this constant shafting of the genre in which I work, in which a lot of people do great work that readers actually want to read. How do I know? You don’t get David Foster Wallace conventions; you do get Terry Pratchett ones.

But perversely I also enjoy this lack of respect. Like Superman and Lex Luthor, or Batman and the Joker, your hero is measured against the strength and cunning of the villain opposing him/her. And when you get right down to it, the Literary Establishment is actually a lot like Lex Luthor: powerful, entrenched, sophisticated, and–most delightfully–fundamentally threatened by those aliens in their brightly colored costumes.

Now if you’ll excuse me, I have to go put on my cape and long underwear.