A Practical Guide to Evil, most of the way through

A Practical Guide to Evil is a YA-ish fantasy web serial set in a world with capitalized Good and Evil. The gods (which definitely exist) created this world to settle a wager about whether Good or Evil would triumph, but it is up to the world’s occupants to determine which way the contest will go. Of course, not every person is equal in this contest.

By a combination of exertion, will, strife, and trauma people can take on the mantle of a Name (an archetypal role) on either side of the conflict. Those Names are bound to tropes (varying by the person’s side in the conflict) which can entrap or empower. Some Names (Black Knight) are clearly on one side of the conflict (Evil), but others (Apprentice) can arise on either side. No two people can hold the full power of one name at a time; where there are multiple pretenders to a Name, those pretenders must settle whose vision of the Name and its purpose will win (Evil tends to do this with violence, Good rarely has multiple contenders).

I love all of that. This wholehearted embrace of archetypal story as a narrative toy and tool for a larger fantasy series is great. It’s what convinced me to read it in the first place.

Better yet, people in the series are aware of these Names and tropes. They embrace the study of Name-lore, learning the ways in which a Name may be caught by trope and pattern and story. They try to use that knowledge to their advantage. That’s a delight.

But it’s not all a bed of roses.

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Real life intrudes, and art by Nate Powell

This week’s post has been delayed by hospital visits. I might have more for you on that topic next week. For now, I wanted to call your attention to About Face, a comic by Nate Powell about symbols, identity, and the normalization of the language of force. It’s an excellent piece, though perhaps not an uplifting one. It does, however, make me wonder whether Nate Powell would be interested in working with me on Ironsides.

Powell also made the March series (book 1, book 2, book 3), creating the art for the late Representative John Lewis‘s nonfiction work about the American civil rights movement. I haven’t yet picked those up, but I’m really looking forward to reading them. I think you might like them too.

The Peripheral, by William Gibson

The Peripheral is a science fiction novel from William Gibson set in an awfully recognizable near future and a slightly less recognizable but still palpable further future—there’s kind-of-time-travel, but not quite. It’s been so long since I last read Gibson. I’d forgotten how wild and weird his books can feel, while also feeling so grounded in our own reality. I wrote a little about this last week. I have more observations now.

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Query Reflections

I had the opportunity to connect with an agent while I was at Arisia, a friend of a friend, and I’ve really appreciated speaking with her since. She was generous enough to share her insight on my query letter for Bury’em Deep. I’m very grateful.

My key takeaway is that my past edits of my query letter have not helped. I created distance from Barry’s emotional throughline. That made it harder for a reader to empathize with Barry, and didn’t convey the emotional intensity of the story itself.

I think I got so caught up in trying to convey the totality of the story, and in trying to make that summary snappy and engaging without being in Barry’s head, that I forgot to give the query letter heart. It doesn’t help that I have been staring at various drafts of this query letter for years at this point. Once I’ve been looking at any collection of words for long enough without clear external feedback, I stop feeling able to judge them usefully. Thus, without any useful feedback from my target audience, judging what was wrong with my query felt like making random stabs in the dark.

With this insight though I feel much better. I feel like I have a target. I might miss that on my first few tries, but at least there’s something I know I can revise towards. In fact, I started redrafting the letter in my head yesterday while I was meditating (I know, that’s not actually good meditation practice). 

That felt like good creative exercise. You know the feeling I’m talking about? There’s a certain feel to that exploration for me—it’s closest to the relaxation of freeform dance, or the undirected play of sketching and coloring, except that I do have a target. My target, as much as possible, is to write a captivating third person version of Bury’em Deep that conveys Barry’s first person emotional journey. Because of the constraints of query letters, that has to be around 250 words. More meditation may be in order.

Anyway. It’s time for yet another rewrite. Wish me luck.

Reading Gibson Again

It’s been a long time since I last read anything by William Gibson. Too long, probably. I’d forgotten his talent for sentence fragments. I suspect I’ve unconsciously emulated him in my fiction.

I’m reading The Peripheral now. I’m nearly halfway through and enjoying it. He doesn’t constantly work in metaphor, but when he does…

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Tristan Strong Punches A Hole In The Sky, by Kwame Mbalia

I love a good middle grade adventure story. That’s precisely what this is. As you might expect from something published under Rick Riordan’s imprint, it’s full of mythology and folk tales and legends. Tristan Strong Punches a Hole in the Sky, by Kwame Mbalia, is all about one young boy’s discovery that the stories he’s grown up with (African-American stories with American folk heroes like John Henry, African trickster figures like Anansi, and those who blur the lines like Brer Rabbit) are all far more real than he ever could have believed. It’s fun, it’s pretty fast, it’s (heh) punchy. This is a good book.

I admit, my appreciation for this book is influenced by my desire for more high quality middle grade adventure stories aimed at boys. There’s a lot more to unpack there, some of which can be better understood by reading Of Boys And Men by Richard V Reeves. Read on for some of those details, as well as my few quibbles with Tristan Strong.

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The Countdown Conspiracy, by Katie Slivensky (2017)

Katie Slivensky’s The Countdown Conspiracy is an upper middle grade adventure story all about six young astronaut candidates preparing for an international mission to Mars. Set on a near-future Earth still recovering from a global war fought over asteroid-mining rights, the story begins with a captivating slow burn and piles of intrigue. The Countdown Conspiracy builds from there to high stakes thrills and a satisfying, ever-escalating race towards the conclusion. I really liked it. A lot.

I’ve fallen off the querying-wagon again, but this book has revived my excitement and renewed my hope. Surely if people enjoy this they’d enjoy Bury’em Deep.

Why do I like this book so much?

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Vicarious Squirmy Awfulness

I used to think I loved adventure stories because I’d grown up on them. The truth, I’ve realized, is a bit stranger. I’d rather watch bloody violence and explosions than sit through those gut-wrenching nail-biting moments of social awkwardness that fill so many romances, dramas, and comedies. Those moments fill me with a vicarious squirmy awfulness—the characters may experience emotional or social anguish, but my response is visceral, often literally painful. 

When I last reflected on this in my review of Trying

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Dandadan (2024)

Dandadan is a lot. Episode one made me nervous. It also caught my attention. I stuck with the show, and now episode seven has made me cry big, heartfelt tears.

This show is not what I expected. It frequently has an extremely middle school-ish feel, yet it has also sent me on an emotional rollercoaster. It’s goofy and weird, with an upbeat and sometimes jarring energy. While it is written about (and presumably for) young teens, it feels less siloed in its gender appeal than many other shows I’ve seen aimed at a similar age range.

This show is definitely not for everyone, but… I really like it. Let me tell you why.

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The Joy of Recommending Books

There’s something magical about recommending books to people.

I think the same magic can be found with recommending TV shows or movies or what have you, but there’s something weirdly distinct about books. Reading books requires us to be active. Unlike with a TV show or movie, and unlike with a comic book, books expect us to provide the vistas ourselves. We have to conjure up our own vision of the story and setting, and every reader will engage just a little (or very) differently with the text. Everyone creates their own version of the book, even more so than with a more visual medium.

Those differences each reader creates for themselves, and the similarities that remain, are where the magic lies.

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