“A curious blend of epic fantasy, modern techno-thriller and non-stop action-adventure, Flank Hawk is a compelling and original tale of a brave young mercenary pitched in deadly magical combat against the undead techno-armies of the Necromancer King. Whether you like swashbuckling wizardry, fierce dragon battles, modern military hardware or sword-slashing zombie mayhem, Flank Hawk has it all.”
Monday, March 8, 2010
Monday, March 1, 2010
Politics: Looking Back
With the recent hubbub about the "Miss Me Yet?" Billboard, former VP Dick Cheney's recent minor heart attack, the Health Care Reform Summit, especially the jab to Senator McCain by President Obama about the campaign being over, it reminded me of a catchy JibJab political cartoon:
Time for Some Campaignin' (the girl poked at the end is one of my daughters)
I follow politics, and sometimes you just have to laugh. Beyond that, it's interesting to look back and see what was happening then, and the turns that have taken place since.
If nothing else, hope you enjoyed the tune--and it's not caught running again and again in your head.
Saturday, February 27, 2010
An Albert Einstein Quote
"Do not worry about your difficulties in Mathematics. I can assure you mine are still greater."
--physicist, Albert Einstein (1879 - 1955)
--physicist, Albert Einstein (1879 - 1955)
Okay, so why quote a brilliant physicist? I see a parallel between what he said and what is true among writers.
It doesn't matter what level is achieved by a dedicated writer--be it completing the first draft of a manuscript, finding a publisher for a debut novel, or achieving the rank of a seasoned veteran author with a half dozen successful novels published, at each step there are still greater challenges waiting to be tackled.
Saturday, February 20, 2010
One of the Challenges in Writing Fantasy Short Stories
One thing on every writer's mind as they are planning and writing a short story is word count. In almost every instance the shorter the work, the easier it is to find a market for it. It’s a balance of words, quality, and the story to be told.
In any case, there are more markets that accept 5000 word short stories than 7500 word stories, and even those that indicate they will look at a 7500 piece state it has to be really exceptional to be published. Consider in context what is being said, since I believe all publishers
sift their submission pile for what they believe are exceptional stories. The longer the story, the higher the hurdle for it to reach publication.
Now consider writing a fantasy story. The writer has to introduce the reader to the created world, explaining ‘how it works differently’ as compared to the reader’s mundane, everyday world. The world building has to be packed within the context of the story, keeping it moving forward. Tell the readers just enough to make sense, enabling them to understand. Allow the reader fill in some of the blanks where ever possible.
An example to illustrate: A writer doesn’t need to explain how bug spray works (and its limitations) on a cockroach menace. The average reader can see the landlord in his mind’s eye removing the cap, pointing the can and pressing down on the nozzle, while avoiding inhalation of toxin. But a writer of fantasy may have to explain how a net stung with iron beads might be used by the royal gardener to snare the little fairies that have been stealing the blooming royal snapdragons.
In both examples the character is trying to get rid of pests, but the former dealing with the cockroach infestation would require fewer words than the latter dealing with the fairy menace. Maybe it would only require thirty words spread over a few sentences, but that adds up quickly when considering a word count limit of 5000. Why include the episode about the iron affecting magical creatures? Maybe it’s a way of establishing the rules or laws of that world for when a larger, more dangerous magical foe comes into conflict with the protagonist—so that the full explanation isn’t necessary, possibly right in the middle of intense action.
Maybe that’s part of what interests readers of fantasy, the discovery of new worlds and creatures, and how they interact. But there’s more than just how the fantasy world differs from the reader’s everyday experience. The story also has to include characters the readers want to follow through their interactions and adventures. And creating characters and telling the action of the story takes words too—if at all possible everything tucked nicely into the 5000 word (or less) box.
And that’s at least one thing that provides an additional challenge when short fiction with in fantasy setting.
In any case, there are more markets that accept 5000 word short stories than 7500 word stories, and even those that indicate they will look at a 7500 piece state it has to be really exceptional to be published. Consider in context what is being said, since I believe all publishers
sift their submission pile for what they believe are exceptional stories. The longer the story, the higher the hurdle for it to reach publication.Now consider writing a fantasy story. The writer has to introduce the reader to the created world, explaining ‘how it works differently’ as compared to the reader’s mundane, everyday world. The world building has to be packed within the context of the story, keeping it moving forward. Tell the readers just enough to make sense, enabling them to understand. Allow the reader fill in some of the blanks where ever possible.
An example to illustrate: A writer doesn’t need to explain how bug spray works (and its limitations) on a cockroach menace. The average reader can see the landlord in his mind’s eye removing the cap, pointing the can and pressing down on the nozzle, while avoiding inhalation of toxin. But a writer of fantasy may have to explain how a net stung with iron beads might be used by the royal gardener to snare the little fairies that have been stealing the blooming royal snapdragons.
In both examples the character is trying to get rid of pests, but the former dealing with the cockroach infestation would require fewer words than the latter dealing with the fairy menace. Maybe it would only require thirty words spread over a few sentences, but that adds up quickly when considering a word count limit of 5000. Why include the episode about the iron affecting magical creatures? Maybe it’s a way of establishing the rules or laws of that world for when a larger, more dangerous magical foe comes into conflict with the protagonist—so that the full explanation isn’t necessary, possibly right in the middle of intense action.
Maybe that’s part of what interests readers of fantasy, the discovery of new worlds and creatures, and how they interact. But there’s more than just how the fantasy world differs from the reader’s everyday experience. The story also has to include characters the readers want to follow through their interactions and adventures. And creating characters and telling the action of the story takes words too—if at all possible everything tucked nicely into the 5000 word (or less) box.
And that’s at least one thing that provides an additional challenge when short fiction with in fantasy setting.
Saturday, February 13, 2010
Two Articles Discussing Troubles the Publishing Industry Faces
I came across two articles that I found interesting.
The first is a bit long but author Jeaniene Frost really goes into great depth about e-book piracy, including the shaky claims of why those who participate think it's perfectly okay, and the ramifications to authors and publishers. As an author, this issue is one that I follow.
Deadline Dames: E-book Piracy
The second is a NY Times article on a young author whose debut novel was released to wonderful literary acclaim, until it was revealed that she lifted some of her material from other sources. Then she called it 'mixing' and not plagiarism and claimed it's okay. Even a book fair, aware of the plagiarism charges still moved forward to making the work a finalist for one of its awards. I find the claim of 'mixing' not being plagiarism weak and the action of the book fair somewhat disturbing.
NY Times: Author, 17, says It's 'Mixing,' Not Plagiarism
The first is a bit long but author Jeaniene Frost really goes into great depth about e-book piracy, including the shaky claims of why those who participate think it's perfectly okay, and the ramifications to authors and publishers. As an author, this issue is one that I follow.
Deadline Dames: E-book Piracy
The second is a NY Times article on a young author whose debut novel was released to wonderful literary acclaim, until it was revealed that she lifted some of her material from other sources. Then she called it 'mixing' and not plagiarism and claimed it's okay. Even a book fair, aware of the plagiarism charges still moved forward to making the work a finalist for one of its awards. I find the claim of 'mixing' not being plagiarism weak and the action of the book fair somewhat disturbing.
NY Times: Author, 17, says It's 'Mixing,' Not Plagiarism
Wednesday, February 10, 2010
Accuracy: Firearms in Fiction
All too often I’ve come across writers working on a first novel involving a character carrying and using a firearm, and they (both the author and the character) simply refer to it as "a gun" and "my gun. "
Sure, it depends on the context. A steamy romance where the main character comments that she keeps a gun in her desk drawer just in case is different than a hard-boiled mystery where a police detective ventures into inner city neighborhoods every day packing heat.
In the context of some stories, writers don’t even narrow the gun used to a revolver, hunting rifle or shotgun, but they write as if the individual is competent, if not an expert with the firearm they’re using.
Quite often, upon asking a writer whose manuscript I am reviewing what type of firearm the character used in a particular scene, the response often is, “I don’t know.” That is usually followed up by, “I don’t really like guns,” or “I don’t know the first thing about guns.” Then they ask, “Does it really matter?”
I think it matters. The limitations of a firearm based on the caliber or the effective range makes a difference. Can it be carried concealed and if so, where and how will that affect the character’s wardrobe? Failure to incorporate such basic knowledge could annoy, if not turn off, an entire segment of an author's the potential reading audience.
Does the writer have to own or be an expert in firearms to include them in their fiction? Absolutely not. But an author, for example, who researches in great detail the layout of a city where the novel’s action takes place shouldn’t brush aside proper research on the firearms intimately involved in the novel’s action.
Online research is a good place to get the basics. Visiting a local gun store with questions will often net in-depth answers. An uncle that’s hunted whitetail deer every fall since he was twelve could provide enough details about how a shotgun works, its recoil, types of shells, strengths and limitations to enable the prose to be both authentic and accurate. In my experience it’s a rare instance where someone balks at helping an author with content in an area where he or she is experienced and knowledgeable.
Sure, it depends on the context. A steamy romance where the main character comments that she keeps a gun in her desk drawer just in case is different than a hard-boiled mystery where a police detective ventures into inner city neighborhoods every day packing heat.
In the context of some stories, writers don’t even narrow the gun used to a revolver, hunting rifle or shotgun, but they write as if the individual is competent, if not an expert with the firearm they’re using.
Quite often, upon asking a writer whose manuscript I am reviewing what type of firearm the character used in a particular scene, the response often is, “I don’t know.” That is usually followed up by, “I don’t really like guns,” or “I don’t know the first thing about guns.” Then they ask, “Does it really matter?”
I think it matters. The limitations of a firearm based on the caliber or the effective range makes a difference. Can it be carried concealed and if so, where and how will that affect the character’s wardrobe? Failure to incorporate such basic knowledge could annoy, if not turn off, an entire segment of an author's the potential reading audience.
Does the writer have to own or be an expert in firearms to include them in their fiction? Absolutely not. But an author, for example, who researches in great detail the layout of a city where the novel’s action takes place shouldn’t brush aside proper research on the firearms intimately involved in the novel’s action.
Online research is a good place to get the basics. Visiting a local gun store with questions will often net in-depth answers. An uncle that’s hunted whitetail deer every fall since he was twelve could provide enough details about how a shotgun works, its recoil, types of shells, strengths and limitations to enable the prose to be both authentic and accurate. In my experience it’s a rare instance where someone balks at helping an author with content in an area where he or she is experienced and knowledgeable.
A little research effort can pay great dividends in the depth, quality and authenticity of a writer's manuscript.
Sunday, February 7, 2010
Flank Hawk: Preditors & Editors 2009 Readers Poll Results
Readers, thank you for taking the time to vote for Flank Hawk in the Preditors & Editors 2009 Readers Poll.
The results are in for Flank Hawk!
Best Science Fiction/Fantasy Novel: 6th Place
Best Author: 8th Place
Best Cover Art: 11th Place
Congratulations also go out to fellow Gryphonwood Press Authors:
Jim Bernheimer, author of Dead Eye: Pennies for the Ferryman
3rd Place for Best Author and Best Thriller Novel
John E. Bailor, author of Death Dealt the Hand
8th Place for Best Thriller Novel
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