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bear by san

March 2017

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phil ochs troubador

ask harder questions, dammit

This summer Vernor Vinge said something to me about the mixed emotions engendered by somebody else--a friend, at worst--having a really kick-ass book come out in a year when one thinks one has done all right for one's self, for a change. He was talking about Glasshouse, IIRC.

I am in total sympathy.

You may have noticed that there's a book Charlie Stross and I and a few other people lucky enough to have gotten ARCs have been wetting our pants over for months.

The book is Blindsight by Peter Watts.

It's out. And now other people are wetting their pants over it too.

Seriously. Every so often a book comes along that changes things. Think Neuromancer.

I think this is one of those books.

Read it, or risk being caught flat-footed.



leahbobet and stillsostrange and jmeadows have informed me that it is my sacred duty to blog meaningfully today. And since I just slushed (I read slush for Ideomancer. FWIW, I really recommend reading slush as a great way to learn why one is really not as clever as one thinks one is.) I was thinking about one of the most common reasons why, if the writing and narrative are good enough to hold me to the end, a story doesn't work for me.

And it's because the story fails to ask the interesting questions, and then pay off on them.

See, here's the dirty secret. Yer average slush reader is jaded like a jaded thing. I just rejected seventeen stories in about three hours, while eating sushi and drinking beer with the other hand, and hanging out in IM with other slush readers. (We believe that pain shared is pain lessened.) I've been reading slush since 2002, first for Abyss & Apex and then for Ideomancer, with a stint as a contest judge for Chizine along the way.

And when I look at short stories, I am looking for something special. I'm looking for the story that will make me sit back at the end and go "oh." And if you can make me cry, you've got me.

What I'm saying is that a perfectly functional short story is not enough.

I need a story that does more. It needs competent writing and a strong arc and narrative tension and characters I can care about--and "care about" can mean hate, by the way--but more than that, it needs some thematic resonance, some oomph, some bomp-de-bomp.

But it also needs to ask harder questions. To keep asking "why" and 'what happens then?" To develop the question. To get down in there and dig, and dig, and dig. To call up its writer friends and go "hey, here's my scenario, here are the things I thought of that could happen. How can I make this more challenging? How can I find a third (forth, fifth, sixth) path to take the story down?"

To pick an example not entirely at random, the story I was working on this week--when I got to the ending, I had two paths I could go down. I could have the protagonist sacrifice himself to save his people, or I could have him find some wiggle room and get out of it.

Both of those felt like trite endings. Both of them were trite endings.

And after talking to my crit partners, I found another solution. One where there's some wiggle room... and the solution entails an even more terrible sacrifice, partially shifted onto the shoulders of an innocent.

Better story, better ending, more thematic and moral complexity.

Keep asking questions.




jmeadows wanted me to blog about line of direction. And I dunno anything about line of direction; I suck at it. I'm always having to go back and fix it in chunks. cpolk is the line of direction girl.

On the other hand, maybe that qualifies me to talk about it.

Line of direction, in cinema, refers to the ways in which the director, er, directs the audience's attention to the significant aspects of a scene, and does it in an order that the audience can process. For example, we see the protagonists face, and then a closeup of his eyes--narrowing? steely?--and then a shot of whatever it is he's just noticed that made his buttocks clench.

Like that.

Anyway, we need to do this in fiction, too. You have to lead the reader through the narrative in something resembling a linear fashion (unless you are being all experimental and jagged, which is stunt writing, and requires extra care and expertise) to slide him through the story so he does not lose too much information. So you feed him information in a logical series, to aid him in assessing it.

Think of it like proofs in geometry. Or like a film editor splicing a scene.

It's the art of directing the audience's attention where it needs to be.

Comments

Is reading the Starfish novels a necessary pre-req to reading Blindsight?
No.
No, but read them anyway.
Blindsight is indeed excellent, though I'm finding that I need a re-read before I can really review it in any depth. I'm a bit worried that it seems to be slogging out into brick and mortar stores so very slowly.

Incidentally, it was actually the link information (to elizabethbear.com) Watts has on his web page that got me to read the Jenny trilogy, and from there, to lurk around here.
*g* I am pleased to have bamboozled Peter into thinking I'm a halfway decent writer. Because really, I'm just about fit to carry his golf clubs.
Yeah, but his cell phone is WEAK.
This? Is true.
Thanks -- you've given two things on writing which I think I'll find useful.

welcome!
Yanno, I didn't really feel the Blindsight love. I was really pretty meh about it--which was disappointing, because I'd heard such good things about it. I suspect that it just wasn't My Kind Of Book.
Yeah, I imagine there are ways in which that book is not for everyone.

Didn't you dislike The Left Hand of Darkness, too, or do I have you confused with another comnmenter?
You've got me confused with someone else--although it is actually much the same. I liked The Left Hand of Darkness, but after reading it, I knew it wasn't a reread sort of book. I feel much the same about Neuromancer, in fact.
Helpful. Thanks!

By the way, how did you get to be a slush reader for those mags? Do you need a specific degree/to be an American resident to do that? Because it sounds like a fascinating job, and I'd love to do it.
All of those things, and to be around when the managing editor is whining that the slush readers just quit, and not look down fast enough.
Aha. I was trying to track down where I'd read the glowing review of Blindsight that made me pick it up in Borderlands yesterday. :)

I haven't had time to start it. I was finishing Truepenny's Melusine last night, and then getting back to Pyramids--but hopefully I'll get to it soon.