Tag: Fantasy

Write Tip: Stepping Outside The Box –Thoughts on Race, Class, Gender and Sexuality In Worldbuilding

Published on by Bryan1 Comment

We all live in a box. You may not be aware of yours, but you should trust me, when I tell you: it exists. It’s hard to see it when you’re inside of it, too. It’s only by stepping outside of it where, in essence, the control and comfort it automatically provides are gone that one becomes aware of its existence. It’s vital to be aware of this when creating characters and building worlds, because it can be such a valuable tool in that process. So much of our own cultural identity, understandings of race, class, gender and sexuality result from that box. It’s the lens through which we view ourselves, our world, and everyone around us. We’re all biased, even though we often hate to admit it. It’s not fun to think about, but it’s very much the truth.

A person who grows up poor and black in a ghetto and only meets white people as authority figures (cops, teachers, government officials, etc.) who treat them as lower class and tell them how to act, who control their income or access to various opportunities and goods and services, will inevitably regard white people differently than a black person who grew up in a middle class neighborhood where people of all mixed races lived, intermarried, etc. To the poor, ghetto kid, white people may be either hate or envied or both. For the middle class kid, they more likely are neighbors, playmates, friends, at least until one comes along who treats them badly for racial reasons or they step outside their box and encounter attitudes about separation of race. Because those attitudes may not be as apparent in the middle class box. I am generalizing, so let’s not debate specifics. I am aware the real world gets far more chaotic in such divisions but these are just examples, after all.

Growing up in Midwest, I had only a few friends of color (i.e. non-white skin: black, yellow, etc.). I used this term for anyone non-white to keep it simple, so pardon any offense inherent in the term. My grandparents and great uncles and aunts had often grown up in generations where segregation existed. I was born in 1969, after all. The Civil Rights movement was fresh on everyone’s mind. Places still existed with old signs about separate sections in restaurants, separate sections on public transportation, etc. Black and white churches were still quite the normal, with only a few mixed congregations. We happened to attend one, actually. Racial jokes weren’t all that out of fashion in public yet. You didn’t tell them in front of anyone non-white usually, of course. Unless they were the one telling the joke, which happened. But the older generation, in particular, had a stockpile of the jokes. As a kid, you don’t really get what’s wrong with them, because jokes aren’t something you tend to think about with much depth. It’s only later in life, when you’ve unpacked the issues surrounding race, that the obvious issues with such humor become readily apparent and you start to wonder if grandpa’s racist or Uncle Joe has issues. I never saw any mistreatment of people of other races by anyone in my family. They were invited to events and gatherings whenever appropriate like anyone else. No one made them use separate facilities or eat at different tables. No one treated them like servants or separated them in other ways. But they did have these jokes, and growing up in that environment,  one’s attitudes about class, race, gender, etc. are affected, right or wrong. I never looked at anyone by race, class or gender as less than myself. Never have and never will. But what it did do is create a sense of numbness about the pain such jokes could cause. It created a sense of ignorance about how passionately some people felt about this issues and divisions and attitudes and how strong they had to fight daily against them in other places.

When I went to college, I met people who had grown up solely in urban areas. They interacted daily from birth with people of all races. Nothing stood out to them about anyone different. And it was so normal, they hardly noticed. They didn’t like the same kinds of jokes. It wasn’t just frowned upon, it was wrong and insulting and just not allowed. They didn’t understand why anyone would tell them, and to them, it’s just a sign of deep pure hatred. How could anyone see these normal people around them as anything but equal? Who cared about skin color? It was like hairstyle and clothing–a factor of diverse humanness, not an indication of worth, value, status, etc.

Then as a volunteer I went to Ghana, and I witnessed another attitude that’s also stayed with me forever since. There are African-Americans who come to Africa with a certain attitude. You may have heard it expressed on TV: “I’m going to the motherland. I’m retracing my roots. I’m going home.” It never really occurred to me that anyone in Africa, outside of South Africa (which for part of my life had major racial discrimination in Apartheid), would take issue with this. Certainly no one black. But then I saw my Ghanaian friends get irritated with a couple African-American tourists with this attitude. “You’re not African,” they mumbled. “My people bought and sold your people a long time ago.” Suffice it to say, I was pretty shocked. These were Ghanaians who had travelled widely. Some had Ph.Ds. They lived in European-style houses in nicer areas and neighborhoods. They were not tribal villagers or particularly poor by their cultural standards.

Ironically, I later saw a similar attitude amongst some poor. And it was not every Ghanaian, but it was not uncommon either. I later talked with them about this and they said: “You’re more African than those people. You’ve taken the time to study our clothing, our history, our language, our culture. You’ve eaten our food, been to our homes, learned our customs. Those people have no identification with our ways–our culture, our traditions, our history–what makes us Ghanaian. It’s offensive for them to suggest otherwise.” Now I asked Nigerian-born author Nnedi Okorafor about this and she took great offense. She feels it’s a very pedantic and insulting attitude. So not every African or African culture may reflect this. But I bring it up because in these stories, we have several different ways people look at their world and make determinations about who belongs and who doesn’t based on race, birth, gender, etc. The Ghanaian attitude frequently extended to things like foreign adoption. White or black, they didn’t want African babies adopted by foreigners because “they would not grow up African. They won’t know who they are.” It shocked me that if a child had a shot at a much better life, they’d object to that, but they were fairly adamant that “African children belong with African parents.”

In regards to sexuality, if you grew up in the church and never met anyone who had a civil marriage or dated the same-sex, your attitude upon encountering the issue of gay marriage or gay couples will be a lot different from someone who grew up with gay classmates and had people who were civilly married. Let me be clear, I am not equating gay relationships and civil marriage as exclusively related. I am pointing out that many times, if people see marriage as strictly a sacred church right between a man and a woman, it really pushes them outside their understandings to discover some get married on the courthouse steps and that some who want to marry are same-sex.  They have so long equated marriage as a sacred act that the possibility of it being non-religious is hard to fathom and may have never occurred to them.

Due to length, I won’t get into gender here, but I hope you can see how attitudes and experiences with gender roles can also be similarly impacted by environment, history and experience.

I don’t bring any of this up to debate its validity. And I would ask you to refrain from doing so in comments, because I don’t intend to engage in such dialogue. Instead, what I want to unpack is its value for us in building realistic worlds and characters. How your characters and their neighbors regard each other and others with whom they come into contact as belonging or not belonging to their group can say a great deal about the characters themselves and their culture. In cosmopolitan areas, you can create people with a variety of such attitudes, affected by their personal background and history. For example, India has the complicated class system which involves various levels, including ‘untouchables.’ And there is no sense of moving from one class to another. You can be a wealthy ‘untouchable’ and still be ‘untouchable’ just the same. Other societies allow much more fluidity based on wealth, education, jobs, etc. One can move into various levels of the socioeconomic spectrum based on where one stands in any one of more of those factors. Quality of life can be determined merely by the respectability of job class or ability to send children and yourselves to higher class schools, eat in high-class restaurants, own transportation, etc.

If you grew up knowing people of diverse race, gender, etc., you are far more likely to be accepting of that in adulthood than someone who was never exposed. Yes, there are people who are sometimes naturally accepting for various reasons. But that doesn’t make them colorblind. Those so used to diversity often don’t even notice consciously the differences anymore. Those less familiar with it will find it tends to be more often recognized and mentally noted when they encounter it. Thus, they may be more likely to make accommodations in obvious ways with obvious effort, whereas those who are colorblind just go about life as if no divisions exist and never have to make an effort to accommodate.

I hope you can see what I’m getting at here. These are all attitudes, conscious or unconscious, subtle or obvious, which can be employed to define your characters and their relationships with other characters and the world around them. Subtly interwoven into your world building, they can create rich tapestries with which readers will immediately connect and which make the world much more vivid and realistic in reading your words. They can be woven into the dynamics of world and character relationships in many ways. They can create subtleties to be exploited in building character and conflict in your storytelling which can be quite powerful and useful.

On the other hand, sometimes, they can be employed to create a world so foreign its hard to grasp. In some ways, Joe Haldeman did this by making heterosexuality forbidden in Forever War, for example. There have been alien races which had solely same-sex mating customs, etc. Mike Resnick, in his books Paradise, Purgatory and Inferno, and his Kiranyaga stories, posits futures involving aliens and even African colonists and looks at how relationships exist between them and their cultures, classes and other beings. It’s so powerful and yet subtle, and actually resulted in him oddly predicting real historical events in Africa before they happened.

In my own Davi Rhii novels, I have employed a lot of alien races and class divisions. Everything from religion to skin color to education plays a part, some more subtly than others, in societal attitudes and roles. The biggest divisions are ideological and species (i.e. aliens vs. human) but others are touched upon as well. For me, it creates a more interesting tapestry for building my world and characters and their relationships. It also affects the story itself, adding many dynamics which sometimes were unintentional or which I had to go back an exploit in later drafts for best affect.

How do you think about and employ these factors in your world building? How have you seen them handled both well and badly in books you’ve read? I’d be interested to hear your thoughts on ways to explore these aspects of world and character creation. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, andThe Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines.  He edited the new anthology Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, headlined by Mike Resnick. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

The Importance Of Reaching Beyond Female Stereotypes

Published on by Bryan18 Comments

My friend and fellow editor Kat Heckenbach asked an interesting question on Facebook today which really got me thinking about stereotypes: Are authors obligated to make characters fall into certain stereotypes because readers expect it? (For example, most people think of Goths as angry, snarly, dark, and Poe-obsessed. But when referring to a little kid, they can and do use the word cute–but if a Goth character in a book said that, would it just throw you right out?)

Stereotypes are common in literature, there’s no doubt, and in Science Fiction and Fantasy this can be particularly the case, especially with female characters. Damsels in distress are a mainstay of our genres, both inside the stories/books and on the covers. Most of us have seen Jim C. Hines’ posts about the silliness of the way women are posed versus men in such art. These images feed the stereotypes. Yes, they are an attempt by publishers to sell books using sex, which has worked forever as a means of moving product, not just books. But what message do they send culturally to women, young women and, almost more importantly, men, about the roles women have to play in our society? Are they just objects for lustful stares and wet dreams? Do these images leave open  the possibility for far more substance below the surface? How silly do male characters look when dressed and posed like female characters typically are? Take a look at this imagining or Avengers with such poses.

Think I’m kidding? Take a look at two cover examples below. One is an older example, the other more recent. Do artists and publishers actually think anyone could fight dressed this way or would? It kind of questions the character’s intelligence, doesn’t it? To make it worse, in the case of Ringo’s book, the publisher site describes the character as “soccer mom and demon fighter.” Wow. A soccer mom who walked around in that outfit would be accused of indecency, wouldn’t she? Not to mention being shunned by fellow soccer moms.

For me there’s no question that bucking stereotypes is far more interesting and adds nuances. If you start out with the typical housewife who raises kids while the hubby works but then turns out to be a zombie fighting badass, how much more interesting did she just get? I think, in particular, with women characters, fantasy struggles with this. The traditional epic fantasy has strong, sweaty fighting men protecting their helpless women, but is it really that interesting anymore? And can’t we change our views of women enough to include more possibilities? Even history would demonstrate that women have played far more diverse roles than the stereotypes a male-dominated society describes them with. There has been at least one female Pope, for example, whose gender was only discovered after she became pregnant. That was hundreds of years ago and she had to conceal her identity. But this is a different age. Why should women have to hide their true selves? I’d like to think we’re more enlightened than that, but I know not all of us are.

I grew up with strong women around me. From my Mom, who was the stay at home housewife, a woman who retired from nursing to raise her three kids, to my twin sister, cousins, aunts, and grandmothers, the women I grew up with were not stereotypical. They had common traits we might associate with women, of course. They were often more emotional than men and could talk about it more freely. Most of them were better at cooking and laundry, etc. than we men. But this was not because we were incapable of it, rather it was because that was the role they were expected to take on. They took it on gladly, too, but my Mom sat me down at fourteen with a stern warning. “You’re going to learn to cook, clean, do laundry, basic sewing, and anything else I think you need so your wife can’t send you back some day and tell me you’re not finished.” And so I did learn, and those skills have been invaluable to me. In fact, when I got married, my wife didn’t know how to sew, so I was the one who fixed buttons, dog toys, etc. in our house. I also helped with cleaning. In fact, there were some tasks I really don’t enjoy which are typically associated with men—lawn work, for example—which my wife enjoyed and did while I helped with so-called “women’s work.”

There’s a ridiculous term if I’ve ever heard one: “women’s work.” The work typically grouped under that heading is the work necessary to daily living. If you’re a bachelor, unless you’re rich, you’re going to have to do laundry, find a way to cook and eat, etc. It doesn’t make you suddenly sprout breasts and start generating estrogen. “Women’s work” is an insulting term because its origins come from a sense of superiority by men that the “important work” is not for women. Because, of course, raising good, responsible citizens while the men are at the office working sixty hour weeks is unimportant. Keeping a nice home so the man can come home and actually relax during down time is menial. We’d all survive without those things, right? Yep, without “women’s work” we’d still be the greatest country on Earth.

Hardly. Some of the most meaningful character-building times in my life were working with my mother and grandmothers on the very tasks typically called “women’s work”—learning to cook, fold clothes, sew, etc. I’m a creative after all, and cooking and sewing, in particular, very much stimulate my creative impulses. Add to that the fact that walking around naked outside of performance art has tended to be frowned upon, especially if your ribs are showing like a starving African kid, and, well, they really did me a service teaching me to care for clothes and feed myself. I’m just saying…

And look at this cover for Raven 3: The Frozen God. Seriously. A woman dressed like that fighting monsters on an ice field? Oh yeah, that’s realistic. Yeah, this warrior woman is so badass, she doesn’t even freeze. Yep. The only time women in my life ever dressed this way was to go swimming, at Halloween of costume parties, or in changing rooms at the store. In fact, other than my wife, none of the women mentioned from my life in this post ever dressed this skimpily. It’s not even appropriate for the task. Unless, as my editor suggested, the only way to kill this monster is to get it aroused. Doubtful.

You just can’t stereotype women any more than you can men these days. The fact is that we are all individuals and just when you meet a women whom you think embodies all the “typical female traits,” five minutes later she’ll surprise you with aspects you never would have imagined. It used to be “men’s work” to get an education and write, for example, and where would our genres be without Ursula LeGuin, Connie Willis, Kristine Kathryn Rusch, A.C. Crispin, Leigh Brackett, C.L. Moore, and numerous others? How much would be have missed out on if the Cat Valentes, Kij Johnsons, Nnedi Okorafors, and N.K. Jemisons had never put pen to paper? Seriously. What about Ellen Datlow and Paula Guran, Beth Meacham and Liz Gorinsky, Anne Vandermeer and Sheila Williams? They buy stories from men as well as women and all are amongst the top editors in this business.

I get the whole male instinct to want to protect their women. But it’s not like those instincts don’t also exist in women. Think I’m wrong? Go to a playground and act weird around some woman’s kid. Be sure and take a picture of that black eye and get a copy of the mug shot, too, okay?

I think it’s incumbent upon all writers, male and female, to carefully consider the roles they give to characters. Yes, with minor roles, sometimes stereotypes can be expedient. And sometimes they get the job done, but push yourself to make sure that for every stereotype you employ ten characters who buck such narrow definitions. Not only will your plots and themes and work expand in scope and meaning as a necessary result, but it will resonate more profoundly with modern readers and even help erase stereotypes as functions of our culture. I can think of no greater goal and contribution Science Fiction and Fantasy writers could make, can you?

The world needs more ninjas posing as suburban housewives who save the world. It needs more mothers who don’t wait for their husbands to save the day but draw their sword or blaster and take on the kidnappers themselves, kicking ass to free their kids. Our modern world has plenty of room for men in the kitchen and sewing, too. After all, think of Top Chef and other cooking shows: Emeril Lagasse, Wolfgang Puck, Curtis Stone,  Gordon Ramsey, Calvin Klein, Bob Mackie, and Guccio Gucci—should these men be considered abnormal for the excellence they’ve worked hard to create? Hardly.

As much as I applaud them for having this panel, it’s 2012. Should we really still desperately need panels like this:

(PR) Kicking ass in high heels: These days women can kick ass, save the world, and still have time to fall in love.
But why are they still doing it in hot pants and high heels? Can heroines be a size 18 and still be beautiful?

Unfortunately, we do need them, and it’s because of the perpetuation of stereotypes. Think of the other issues we could be putting our time into if we just put aside these silly limitations and moved on?

One of the worst insults I got in a review was a review which said I had “shockingly outdated female roles.” This was for a story where I have female political leaders, female starfighter pilots, female warriors, female military leaders, and so on. I thought I was trying hard to break the molds, and yet here comes a reviewer to tell me I hadn’t done enough. I still think they’re wrong, but, at the same time, it pushes me to strive harder, to ask more questions, and to do everything I can to prove them wrong so I never hear such a disappointing criticism again. After all,  my Mom reads my books. I don’t want her thinking I didn’t learn a thing from all her efforts. But more than that, I don’t want my daughters and other girls who read my books to ever think I’m telling them they can’t be anything they want to be.

The world may set limits, but in the worlds of your fiction, possibilities are limitless. Don’t let yourself write within the familiar box of the world in which you live. Instead, tear down the walls and shoot for something no one’s seen but should be seeing. Push the boundaries and see where it takes you, your characters and your story. Let no one accuse us of writing the same old fantasy or space opera. Instead, let us together launch a new age and work to redefine what “same old” is. To my mind, we owe it to our wives, mothers, sisters and daughters to open the world’s doors. After all, making the world a better place is a responsibility for all of us, not just a “chosen male few.” We live in an age when the distinction between what women can do for careers and what men can do is fading to almost nothing. How can our fiction represent our times and a bright future if it doesn’t reflect that?

For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, andThe Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines.  He edited the new anthology Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, headlined by Mike Resnick. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

Happy International Fiction Day! Free Fiction: Amelie’s Guardian (Fantasy)

Published on by Bryan3 Comments

Well, since it’s International Fiction Day, and it’s also about a year since my first short story was published in an anthology, I thought I’d share something fictional with you. This is my first sold fantasy short story. It’s written like a modern fairy tale and focuses around a dragon’s friendship with a young girl. The story was inspired by an open call for submissions of stories about dragons, cats, or both. My friend Dana Bell edited the anthology and it also features Andre Norton and many other talented writers and poets. So I hope you enjoy this tale. It’s named after my dog, Amelie, yes. And Glendon is from my mom’s name, Glenda. And Ramon is my father’s name. Just a little trivia. I have fun tuckerizing. Anyway, I hope you enjoy:

Amelie’s Guardian

by Bryan Thomas Schmidt

© copyright 2011 by Bryan Thomas Schmidt. All Rights Reserved. Duplication without permission except under fair use prohibited.

Published April 2011 in “Of Fur And Fire,” an anthology from DreamZion Publications, Denver, CO.

L

ong ago in a land known as Glendon, there lived a young girl, whose name was Amélie. Her mother was a seamstress and her father was a soldier, a Captain in the Kingdom Guard, who’d been seven moons at war. They lived in a small village on the banks of the mighty River Rhi, surrounded by woods. They led  a quiet life of farming and simple trades, far from the capitol.

Her mother’s name was Mara, and her father’s name was Ramon. Mara and Amélie had huddled together as Ramon and his men rode out one fate-ful day, straight down the main street, amidst the straw roofed cottages. Their horses whinnied with excitement as the villagers felt the vibration of their pounding hooves, and choking clouds of dust rose up, carried on the Autumn breeze.

Amélie buried her face in her mother’s well-worn apron, her shoulder rising and falling to the rhythm of her sobs. Her mother kept a brave face, but Amélie knew she was worried, too. Late at night, as she lay restless, Amélie heard her mother’s own sobs through the thin walls of their cottage.

The village itself, Tallerive, had not known conflict in many years and the surrounding woods were known to be safe and quiet.  To keep her daughter occupied and avoid her sitting around worrying, Mara sent Amélie out each morning on a daily quest. One day might be to gather berries in the near-by woods, another to pick up freshly fallen apples. Amélie delivered eggs to the inn and gathered cloth from the weaver’s. All the while Mara stayed home to feed the chickens, work on her sewing, and kept the cottage clean.

On one of these quests I met Amélie. I’d been watching her for a long while and found her intriguing. Her blonde curls bounced as she walked which was a kind of rhythmic loping with a bounce in her steps. Her demeanor was one of curiosity and playfulness, yet I detected a sadness beneath it, echoed in her brown eyes. It touched me. She looked lonely, and that was something I understood well.

For years, I had occupied a mountain-top near the village, but because I nev-er bothered the village, the humans never came to trouble me. I rarely ap-proached humans because of their reaction. Adult humans would scream and hurl rocks or spears when I got too close.

But Amélie was a wee child, and ex-cept for worry about her father, she seemed quite fearless. My heart ached for her on the times I glimpsed her sobbing beneath the apple trees. Other times she talked or sang to herself as she gathered the fruit.  Her lilting voice was a delight to my ears.

I chose to meet her one day atop a hill beside the apple trees. I went early, for Amélie always came mid-morning, and I wanted time to prepare so I could present myself well. I heard her singing first as she approached. The gentle wind seemed to amplify it somehow through the woods.  I could make out every syllable long before I heard her feet rustling in the fallen leaves and brush.

In a few moments, she bounced into view. I saw her golden locks first, then her silky white skin and red cheeks. She began gathering the apples lying at the base of the trees. She seemed in better spirits than I’d seen her previously.

As she worked her way through the trees, I considered again how best to make my presence known. My kind are not known for their subtlety, of course, but at the same time, startling her didn’t seem wise. So, as she continued singing and gathering, I decided to join her song. I’d heard her repeat the refrain several times already, so I waited until she finished the verse she was on, cleared my throat as softly as I could, and joined her on the refrain.

My voice, I’ll admit, was rough from disuse. I lived alone atop a mountain, after all. Nonetheless, it wasn’t the to-tal disaster I’d feared. It took a few moments for her to realize she was no longer singing alone. As soon as she did, she stopped and whirled around, her eyes searching, until finally they found their way to the top of the hill.

Finishing the refrain’s last line alone, I curved my lips into smile, taking care not show my sharp teeth lest I frighten her. I didn’t speak, wanting to be sure I said the right thing.  I feared she would run away, but her eyes never showed the fear which was most hu-man’s normal reaction. Instead, her head tilted slightly as her eyes took me in, and she set down her basket, She stepped closer to get a better view.

“You’re a dragon, aren’t you?”

I nodded, the smile frozen on my long narrow snout.

“Are you going to eat me?”

I shook my large head. “No.”

“In my uncle’s stories, dragons either eat you or burn you,” Amélie said, her face twisting in a quizzical way as she thought. “You don’t look so scary to me.”

I laughed, relieved. I couldn’t help my-self, but the sheer volume made her step back toward the woods, looking as if she might run. “No, I won’t eat you, I promise. I came here to meet you.”

“Meet me?” She stepped forward again, clearly intrigued. “Why?”

“I’ve been watching you for some time now. You’re quite fascinating.”

She shook her head, an amused smile crossing her face. “I’m just a little girl.”

“Yes, and I’m just an old dragon, but still, I find you interesting.”

Amélie laughed, a charming high pitched sound which warmed my heart. The sound was filled with joy and a sense of freedom I longed to know, as if she had not a care in the world. Oh to know such freedom! I was rapt with fascination.

“What’s your name?” Amélie started slowly climbing the grassy hillside toward me.

“My name is hard to translate into human,” I told her, trying to come up with something she could understand. “You can call me whatever you’d like,” I finally said.

She smiled as she stopped beside me, then moved slowly around, examining me without fear. “You’re very green, you know. And very big, too.” She crinkled her nose. “You smell funny, too.”

“I smell like all dragons, I suppose.” I tried not to be offended, reminding myself she meant no harm. Besides, she smelled odd to me, too.

“Perhaps I should name you some-thing grand.” She put a finger on her mouth thinking.

I smiled, liking the sound of it. I was-n’t familiar with human names, but I hoped it was grand. “I like that.”

Amélie giggled. Her face took on a serious look. “I think I shall name you Johannes. Okay? ”

“Johannes?” I thought it over, trying it on for size. It did sound somewhat re-gal to me, very formal and proper it seemed. “Okay, Johannes it is.”

She nodded with approval and smiled again. “My name is Amélie. I’m from Tallerive. Do you know it?”

I nodded and smiled back. “Indeed. I live atop the Mount to the East.”

“Shadow Mount?”

So that’s what the humans called it! As I considered the meaning  I remem-bered it did cast shadows over their village in late morning, before the sun rose to its afternoon peak and started its descent. “Shadow Mount, yes.” I nodded.

“Is it scary? Father and Mother told me stories of large creatures and people who disappeared there long ago.” She shuddered at the memory of them.

My mind raced to find words I could tell her which wouldn’t make her fear me. Dangerous creatures dwelled there—direwolves and bats and trolls—and the few human adventurers who’d tried to climb it usually died at the hands of one or the other. Only one had made it to the top and confronted me but that had been long in the past. I’d meant to spare him but he came at me with a sword, and I’d had to defend myself. The stench of burning flesh haunted my memory causing me to cringe. I’d always tried to live in peace with the world around me. It gave me no pleasure watching him die.

“It’s been my home for many gener-ations,” I explained. “It’s not scary to me, but there are creatures about who might do harm to someone like you.”

Her lower lip curled up over its com-panion a moment, then she shook her head and spread her legs in a defiant stance. “I’m not afraid. My daddy would protect me.” She paused, her eyes turning sad and looked at her feet. “If he were here.”

My heart melted at seeing her pain. I wanted to reach out and comfort her, but one of my hands was twice her size and I feared crushing her by accident, so I sat where I was.

“He’s gone to war,” she told me, not knowing I already knew. Sadness dark-ened her face like a shadow. “But he’s coming back to visit soon. My Mother got a letter today.” At the mention of it, her smile returned and she did a little dance, sending her brown skirt fluttering around her long, skinny legs.

I laughed as I watched her. Such a delightful sight to behold. “You miss him a lot.”

She nodded, glancing back at her apples. “I have to go back soon. My Mother will worry. She’s waiting to make fresh apple pie.” Her tongue slid quickly across her lips at the mention of it .From her face I could see it was something delicious. “But I enjoyed meeting you, Johannes.”

“I enjoyed meeting you, too, Amélie.”

“Will I see you again?”

“I hope so,” I said as I watched her turn and bounce back down the hill the way she’d come. She went straight to her basket and picked it up, glanc-ing back at me with a smile before re-turning to her gathering.

We visited daily from then on. I land-ed in a glen near the berry bushes or a brook near the path to the weaver’s; somewhere close to wherever she was headed for the day. I made sure to avoid other villagers or their animals. Drawing too much attention would put an end to our visits, and Amélie appeared to enjoy them as much as I did. In fact, since we’d met, I hadn’t seen her sob in the woods once. It was as if somehow my companionship made her feel less alone. I know my time with her had that effect on me. Both of us enjoyed each other’s com-pany, the only difficulty being the times she begged me to take her for a flight.

“What’s it like to fly?”

“It’s freeing.” It was all I could think of.

“I wish I could fly.” She looked up toward the puffy white clouds with a dreamy look. “It must be wonderful.”

“It is until…” I stopped. Perhaps she was too young to know the dark truth of her people’s relations with my kind.

“Until what?” Her eyes held the sense of wonder common to all younglings. Wide and brown, they looked at me as if I were the core of wisdom. It was im-possible to resist them, as much as I tried.

“Sometimes people see me and they become afraid.” I watched her for a re-action. “They try and attack me.”

Her eyes watered and she ran toward me, wrapping her arms around my lower arm. It was so large her out-stretched arms could only stretch part way around. “Why would anyone want to hurt you? You’re so kind.”

I closed my eyes at the warmth of her body pressed against mine. She softly stroked my scales.

“Your scales are soft,” she said in won-der. “They look so hard.”

I smiled. “They’re my protection a-gainst enemies. They hold up very well when I need them, but they’re like my skin, Amélie.”

She smiled as she caressed them. “I like them.” She stepped back so our eyes met. “Take me flying with you, Johannes!”

Fearing she might fall, I politely re-fused her. “I’m sorry. I can’t.”

“I’ll be careful, I promise. Just a little flight. Not even very high. I want to know what it’s like.”

Each time I refused from then on, she had the same sad eyed expression she’d had whenever she spoke of her father. After several tries, she turned away and looked back down the hill to-ward her village. “Friends do things for each other,” she half accused.

My heart ached to fulfill her wish, but how would she hold on? I couldn’t risk it. I didn’t know what to say, and, after a few heartbeats, she simply started her bouncing lope down the hill, not looking back at me, as she usually did when we parted.

The next day, she returned to her old self, running to hug me when she saw me in the glen near the berries. She chased me as I hopped and skipped just out of reach, using my wings for short bursts of flight, making her laugh and laugh as she kept trying to out-smart me. In the end, I let her catch me, and the joy on her face gave me a happiness I had never known. My life as a dragon had been so lonely. Amélie was the first true friend I’d had since I was a youngling, and had other drag-ons as my companions. I thought of her like family, although I tried to guard my heart.

As the day approached for her father’s expected arrival, the energy radiating from Amélie grew more and more joyful. It felt as if all her cares had suddenly vanished. She spoke often of her father—how he used to tell her stories as he tucked her in at night, stories of knights and castles and princesses and battles. She knew her daddy was as brave as the men in those stories. She spoke of him as gentle and kind and wise and honorable. Hearing her describe him, I wished I could meet him, but then I remembered my previous encounters with human adults Which hadn’t turned out well.

It made me sad to only share a small part of her world. I’d grown quite fond of her and she of me. But Amélie her-self seemed to enjoy our secret friendship. It was something of her own she didn’t have to share with anyone, she said once. She called me her best friend, her guardian, making me promise I would look out for her until her father came home. I always promised when she said it, although I started worrying her father’s arrival might bring an end to our encounters.

Finally the week came for her father’s homecoming. I watched from the woods as she and her mother waited anxiously outside their cottage. Smoke rose from the chimney and I smelled the scent of fresh baked bread, a smell I always associated with the village.

Her mother kept busy sweeping and doing laundry, but Amélie sat patiently on a wooden bench, watching the road, her eyes anxious and excited. I sniffed the wind, searching for a scent of human sweat and approaching horses. For several daylight hours I kept vigil with her. But no one came.

Her mother’s face grew more and more concerned, her eyes darkening with worry as her face dropped into a frown. She went behind the house twice, wiping tears on her stained apron where Amélie couldn’t see her. And finally, as the sun arced overhead, preparing to start its descent in the west, she called Amélie to her, handed her a basket and motioned toward the woods.

I found her near the apple trees, land-ing on the hill where we’d first met. She paid me no attention, sniffling as she gathered apples, her shoulders drooping, her eyes fixed on the ground near her feet. I ached with all my heart to reach out and comfort her, but the trees kept me from drawing near, and it seemed obvious she wanted to be left alone.

As she returned to the village, the basket half-full, I made a decision and launched myself with a running start. I soared high amongst the clouds, following the road leading from the village, the route she’d told me her fa-ther would come. The wind caressed me as soared, a pleasant feeling I al-ways enjoyed. I flew what seemed like a long time, but, from the sun’s lack of movement, I could tell little had passed. I heard them before I saw them—the sharp clash of swords, the high screams of horses. I could smell their sweat and hear their shouting. I knew the sounds of battle and willed my wings to move more swiftly.

I found them at a crossroads, fighting face to face, dozens of companions dy-ing all around. Her father looked tired and older than I remembered him. I knew then their fighting had been long and terrible. He and one of his soldiers stood outnumbered by the en-emy, who had three archers on horse-back firing at them from a rise, while five others surrounded them with swords.

One of the enemies, who appeared to the leader, raised his arm and his men stopped waiting. “If you surrender now, your lives will be spared,” the leader shouted.

“If we surrender now, our lives are worthless,” Amélie’s father answered. “Honor and glory to the King!” He raised his sword and his companion did likewise.

The enemy soldiers laughed. “Your honor will be your end,” the enemy leader responded. He lowered his arm and his men moved in.

Swords clanged and men grunted. I could see Amélie’s father was ex-hausted and could barely lift his sword. His companion took a sword through the stomach and fell to his knees, his life’s blood watering the parched dirt.

They needed me! Swooping down from behind, I blasted the archers with fire from my mouth. They shrieked  as their clothes caught fire and uselessly tried to escape into the woods. I con-tinued down toward the others. Spot-ting me, the enemy soldiers yelled and swung their swords over their heads in desperation, ducking as I flew past. I turned my head and blasted two of the enemies with flames. I then swung back up to circle around.

As I came in the second time, I saw some of the enemy mounting their horses. Apparently they’d done the damage they intended and had no desire to stick around and fight a dragon as well. Amélie’s father collapsed in a heap, as if his legs could no longer hold him. I dropped down and landed nearby. He turned his head toward me, his face showing resignation to whatever fate might bring.

“I have no strength left to fight you dragon,” he said. “I’m at your mercy.”

I looked him over, trying to decide what to do. Then I took a running start, reaching down to grab him with my talons  I arched back up into the clouds, returning the way I’d come toward Tallerive where my sweet friend would be waiting. He relaxed in my grip, hanging there as if he’d fallen asleep, but I glanced down once and saw his eyes examining me.

As I flew, my mind raced, trying to decide how I could return him to Tallerive without raising alarms. If I left him in the woods, Amélie and her mother wouldn’t know to find him there. But if I took him to the village, the men might attack me on sight. In the end, I knew I had no choice, so I flew over the village once, before I  came in for landing on the main road near his family’s cottage.

Two women removing clothes from a line screamed and ran as they saw me, calling for their husbands. I set Amélie’s father gently on the dirt and prepared to take off again as Amélie and her mother appeared in their doorway. Her mother’s face filled with fear as she saw me standing over her husband, but Amélie brightened, her face lighting up with a smile as she ran toward me. Her mother and father both called for her to stop, but she didn’t listen.  She embraced her fallen father.

His arms wrapped around her. I heard men shouting as they came up the road. I had only moments before they’d arrive to engage me, so I smiled at Amélie as she hugged her father.

She looked up at me, tears streaming down her face. “Thank you, Johannes. I love you.”

I choked back my own tears as I nod-ded and ran up the road, launching myself into the air. I heard her father ask: “Who’s Johannes?” behind me as I disappeared over the trees into the woods, heading for my mountain home.

For the next week, I saw Amélie only from a distance. She did her usual chores, but I kept my distance for fear the adults might be nearby to protect her from me. It was always the same, in every town, with every race of hu-mans. Dragons were feared and hated—the enemy. No matter how she explained it, they’d never understand. I had to prepare myself for the loss of her companionship. I hoped I was wrong, but I had to be ready.

∞

“Johannes! Where are you?”

Her voice echoed through the trees and cut through my fears like a sword through flesh. I circled down in an arc toward the glen near the berries. It sounded like her voice had come from there and my nose detected the scent of humans. I peered through the trees trying to spot those golden locks, but with the first snowfall, the canopy was layered in white, covering the gaps in the trees.

Setting aside my worry, I swung down and landed in the glen near my usual spot. As I turned toward the now bare trees, Amélie came racing toward me, a thick shawl wrapped around her shoulders. Her curls bounced as bounded toward me and smiled with delight.

She swung her arms around my neck as she reached me, caressing my scales. “I missed you, Johannes!”

“I missed you, too.” And then I saw them. Her parents stepped out from behind the thick trunks to watch us cautiously.

Sensing my concern, Amélie stepped back to look me in the eye. “It’s all right. They came here to meet you. I told them all about us.” She patted my neck. “Don’t be afraid.”

As she waved at them, her parents approached with trepidation. “You save my life, dragon,” her father said as he drew near.

I nodded. “You family needs you.”

“We’re so grateful,” Amélie’s mother wiped moisture from her eyes.

“It is I who am grateful. For the friend-ship of your daughter.”

Her father smiled. “Dragons and humans are not known to be friends.”

“Johannes is a good dragon,” Amélie said. “He’s my guardian.” She smiled at us, as if dragons and humans should always have been friends

The adults and I laughed.

“We know that, dear.” Her mother tousled Amélie’s hair as she placed an arm around her shoulders.

“But he never let me fly with him.” Amélie frowned.

“It’s quite amazing,” her father teased.

“No fair!”

Her parents and I shared a laugh again. “I don’t want you to fall and my talons might crush you.”

“I have an idea about that,” her father said. “Meet us here tomorrow.”

The next day, they returned with a leather horse harness her father had modified. It fit Amélie securely and had a handle where I could clasp on with my talons and carry her safely.

Their confidence amazed me. “You would trust me with her life?”

“You proved trustworthy with mine.” Her father nodded as he finished helping Amélie into the harness. Lov-ingly, he snapped the last fitting and made sure her shawl was secure around  her. “Everything is fine,” he reassured Mara, who stood nearby, looking slightly worried.

Amélie smiled, then hurried over beside me, waving. “Come on! I’m ready!”

“As you wish, little one.”

And with that I lifted off, hovering just above the ground as her father rushed in, ducked underneath and held the harness handle up so I could grasp it. My talons closed tightly around it and I tugged gently. It moved with me.

With a nod from her father and wave from her mother, I took off, carrying Amélie into the clouds. She laughed with delight, pointing at the village as she saw it beneath us. She pointed at the mountain I called home, at the river, and the hill where we’d met. I told her stories about all of them, recollections from the hundreds of years I’d lived here. When she drew quiet, I guessed perhaps she was overwhelmed. I flew in silence, letting her ponder at what she’d heard and seen.

I returned her safely after a daylight hour to where her parents waited in the glen. Our daily visits resumed after that, and although she occasionally brought her parents, mostly she came alone.

∞

Long ago in a land known as Glendon, there lived a girl, whose name was Amélie. Her mother was a seamstress and her father was a soldier, and her best friend was a dragon.

She came to see him every day, intro-ducing him to her husband before they married, and bringing her child-ren to play with him. As she grew, their relationship transitioned from mere companionship to a sort of mentoring.

The loneliness which had once haunt-ed the dragon was never known again. Even the villagers welcomed him with open arms, calling him “Amélie’s Guardian.” Their friendship became legendary. He became part of the family, and he protected the girl and her village for all of his days.

THE END

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, and The Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines.  He edited the new anthology Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, headlined by Mike Resnick. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

Write Tip: Outlining From A Finished Draft For Pantsers (How I Do It)

Published on by Bryan9 Comments

Okay, if you’re a pantser like me, you may reach a point where you feel like you need to actually get a better handle on organizing your manuscript. You’ve finished a draft or two but there’s character arcs to refine, plot line arcs to refine, motifs to identify & exploit, etc. You’re not an outliner. Organization is a crutch. It might even block your process. But there comes a time when one has to refine and examining the structure is usually key to success in doing that. Since people ask me for advice on this, I’d like to show you how I go about this process. It may not work for everyone, no method does with writing, but at the very least, it might stimulate your creativity and help you create your own approach to accomplish the same thing.

First, I like to do this on paper. One, because staring at things on screen gives you an incomplete image of each page/scene. Two, because I stare at the screen all day when writing and editing and need a break. Three, because I can do it anywhere without electricity needed and thus find energy by moving around or even have the manuscript with me on errands if I wind up having to wait, etc. (Although please don’t do it while driving. This has been a public service message from bryanthomasschmidt.net.) Four, because it helps you stay focused on the goal without getting distracted tweaking your manuscript and then never getting back to this task. (Don’t lie, you know it happens.)

 

Second, there are three phases to this:

 

Phase One, make a list of your plots and subplots and assign each a number or letter. For example:

A Assassins are killing Vertullians and Davi and friends must investigate

B Davi and Tela’s relationship hits some road blocks

C Aron has joined the Council and must adjust to life as a leader working amongst his former enemies

etc.

 

Phase Two, you reread the document which you should have not touched for at least 2-3 weeks, preferably a month, so you can be objective and fresh. As you go through, you make notes.  You will label each scene with the letters of the plotline it relates to: A, B or AB if it involves more than one plotline as some scenes can. If you want to focus on the outline, you should also make notes of anything such as character names switched or POV issues or pl0t holes. But keep it short so you can stay focused. You can go back later and wrestle with these. Make notes in margins or keep a separate sheet. You might even do a separate sheet for each plot line. It’s up to you.

 

Phase Three, this is where you go back and take your notes and write a brief description of each scene on a page for each plot line or a master sheet for the whole story with plotline indicators (A, B, C). You might even want to color code it in Excel or with highlighting in Word. This will allow you to read through each plot separately and examine the arc and tension and turning points, etc. to make sure it’s where it needs to be. All you need in scene descriptions is the key dramatic points and which characters and plots are involved. Keep it concise. No need for a whole synopsis of each scene unless you feel compelled. There are no rules. Writing is a journey and a constant process of growing and refining your craft, after all, and that’s what these Write Tips are designed to help with and stimulate. None are intended as end-all rules.

 

That’s it. Three easy phases to an outline AND the bonus is you’ve probably already made notes on some of the issues you need to address. Now it’s easy to go back and move scenes around if you need to, find flaws in plotting or character arcs, or expand motifs. You can also look at pacing, balance and other things.

Now lest any of you pantsers get said pants in a bunch with the “I CAN’T WORK FROM OUTLINES” attitudes, remember that all I am helping you do is make a chart of the outline that already exists in your work. You wrote it by the seat of your pants but you still created a structure in doing so. Now’s the time to fine tune and refine it and I’m merely suggesting a way to do that simply so you can be more effective. If this doesn’t work for you, feel free to take the concepts I suggest and make your own method. In fact, I’d love if, when you do, you’d comment on this post so we can all learn from it.

So there you have it, a simple method for Outling From a Finished Draft. At least, that’s how I do it. What’s your way? We’re waiting with baited breath. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, andThe Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines.  He edited the new anthology Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, headlined by Mike Resnick. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

 

An Alternative To A Song Of Ice And Fire

Published on by Bryan29 Comments

I respect George R.R. Martin as a writer. He’s immensely talented. I’ve met him. He’s a nice guy. I respect the achievement that is regarded as one of the greatest fantasy series of all time. I read the first two books. I enjoyed them for what they are. But I couldn’t finish book 3. A Storm Of Swords just lost me. I have wrestled with that for a couple of weeks now and finally sorted out why.

Why would I want to read a book that deals with heroes like reality does? GRRM takes all the archetypes and knocks them off one by one. Killing any admirable heroes and leaving us with mostly unlikable scum. Oh Jon Snow and Arya and even Tyrion still have likability, despite flaws. But you know, I get this kind of depressing reality on the news daily and the internet, I don’t need it in my fiction.  I read fiction to escape. I read it to hope for a better world. I read it to see possibilities, not realities that are depressing and sad or reminders of that.

Maybe I’m more thoughtful than some people. I’m painfully aware of my frailties, failures and inadequacies. My life’s quest has been to try and conquer them or at least counter them by living a life that makes a difference. From teaching to volunteering to mission  work, I have sought to help and encourage others and myself by seeking to make a better world, at least in the portion that I touch. And when I write, that’s why I write old fashioned heroes where the good guys are good and admirable, despite being flawed, and the bad guys are bad. You know who you want to see win and that’s okay because it’s natural. It doesn’t have to weaken the characters to have them be people who make us want to be better people ourselves; to make us hope people, including ourselves, can rise above our depravity and lead better lives, lives of significance that make a better world.

As my friend and editor Randy Streu states it: “It’s like, somebody decided that ‘nuance’ meant that, to be a real hero meant to be so flawed and depraved that actual heroism was dead. Acts for the greater good are a biproduct of self interest.” I guess some people do probably believe that. But I don’t. I think heroism is alive. I sometimes think the media wish it wasn’t. They go after anyone with character or fame like sharks at a steak cookout, tearing them to shreds, cutting them down to size, poking and probing at every potential weakness or flaw to tear them down. Reality TV thrives on this. It’s a celebration of mediocrity and failure. It’s about taking people we admire and bringing them down a  notch. That’s why it’s so wonderful when someone actually survives the reality TV feeding frenzy and comes out shining. Take Clay Aiken on the current Celebrity Apprentice or even Arsenio Hall. Arsenio lost it once, but then apologized and let it go. And he showed himself to be the class act most of his fans always hoped he was.

But Song Of Ice and Fire as well written as it is, as deep as it can be, just leaves me cold. Are people really this bad? Probably. But why are we celebrating it? Why are we putting that out there as a tale of fantasy when it’s really more a tale of sad reality? Don’t get me wrong, GRRM has a right to write what he wants. I stand up for his freedom of speech. I’m just saying that the alternative to A Song Of Ice and Fire appeals more to a lot of people and that’s not bad or wrong. I wish there were more of it.

I recently interviewed Robert Silverberg about the rerelease of the incredible Majipoor books which changed my life. The hope and excitement they inspired not only in the possibilities of what one man can do but what one writer can do have been formative in my life. Are there bad guys in that? Yes. Is the hero flawed? Yes. But there’s an underlying sense of wonder and optimism which is inspiring and moving. Lots of books used to have that. Less have it today and I wonder why. Is our nihilistic age destroying our ability to hope?  My childhood memories are filled with books which so inspired me: from Winnie The Pooh to Dr. Seuss to Huckleberry Finn and Laura Ingalls Wilder. Some of these books, like Finn and Wilder dabble close to the vest with reality. It’s not that characters don’t face real problems or flaws but that they triumph and grow into better people and the overall theme is hopeful and makes you want to do the same in your life. Is that such a bad thing? Does anyone who has kids really want them reading books with the tone of A Song Of Ice And Fire to set their expectations for the world and their lives?

Again, I am not saying A Song Of Ice and Fire is bad. I am just suggesting that another type of literature has its place and its importance and is still needed and wanted by many readers today and that, perhaps, the focus on moving away from that is misplaced. Rowling’s Harry Potter books are popular for a reason. They celebrate the triumph of flawed heroes over strong forces and great odds. And the protagonistic characters are admirable and likable.

It’s funny to me that so much of Christian literature took it to the opposite extreme. There, heroes are so whitewashed and villains so tame that readers living in the real world quickly grow bored and frustrated. The books don’t engage their reality enough, rather than the opposite of perhaps engaging too much. Instead of lacking heroes, they lack realistic people. The characters are cardboard and perfect and don’t resemble anyone we know and the world is too neat with too many rounded edges and not enough jagged ones. If that makes any sense. Whereas the Bible is filled with powerful heroes who are flawed men and woman fighting to rise above their flaws and facing incredible odds. Those character types still have power and meaning for audiences today. I think that’s why so many classics continue to be reprinted again and again, like the Majipoor series.  I’ll continue trying to write it, and I hope others will as well. I really hope the kids of tomorrow can find books to inspire them like I used to.  And I’ll continue to seek an alternative to A Song Of Ice And Fire.  Not that I refuse to read such things but that I’ll visit them sparingly. They offer me less of what I seek and need and thus don’t satisfy my cravings.  The HBO version has just made me feel stronger about it as they ditch the story and important POV characters like Arya for any scene where they can show more flesh and more gritty sex, violence, etc. They emphasize even more the darkness and they’re losing their way with the story in the process.

Yes, I still believe real heroes exist and the world can be a better place if we do our best to rise above our flaws and make a difference. I still believe story telling even on film doesn’t need to be darkly discouraging and total depravity, that there can be hope in its midst. And I hope I always will. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, andThe Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines.  He edited the new anthology Space Battles: Full Throttle Space Tales #6 for Flying Pen Press, headlined by Mike Resnick. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Journey Through The SFF Classics: A Beginning

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Okay it’s time. For two years now, I have amassed a library of classic SFF books but have not managed so far to tear into reading them. To be fair, I read 52 books a year just for SFFWRTCHT. And I do get requests for other interviews now, so I read another 20-40 for those throughout the year. That’s a lot of reading for a guy who takes about 5 days to go through a 350 page novel. That amount of reading will not change. I am still committed, happily, to that and grateful for the way it has allowed me to read a broad spectrum of SFF contemporary works by a wide variety of authors.

But I have this gap in knowledge that keeps coming back to haunt me, and, as time goes on, I fear it only deepens. As I go to Cons and participate in panels, as I talk with other writers about craft, not being familiar with some of the very classic works everyone so often talks about is a handicap and I must overcome it. So I am challenging myself to a Journey Through The Classics. I’m starting with a few core books and will expand as I can.  I am going to read these, most of them fortunately much shorter as older novels used to be, and then add more to the list, with the hopes that I can start catching up my knowledge of the SFF field through history. I have also acquired a number of older magazines, some pulp, some 20-year-old issues of magazines like F&SF, Analog and Amazing. I am going to work my way through those as well. But first, I need to get going on these books, so here’s my list, most of which I have not yet read, some of which I  may have at some point but don’t remember.

The Dying Earth by Jack Vance
The Skylark Of Space by EE Smith
To Open The Sky by Robert Silverberg
Do Androids Dream Of Electronic Sheep? by Philip K. Dick
The Caves Of Steel by Isaac Asimov
The Listeners by James Edwin Gunn
The Weapon Shops Of Isher by A.E. Van Vogt
Nerves by Lester del Rey
Necromancer by Gordon R. Dickson
The Triumph of Time by James Blish
Swords Against Death by Fritz Leiber
Neuromancer by William Gibson
Starship Troopers by Robert Heinlein
Stranger In A Strange Land by Robert Heinelin
Dune by Frank Herbert
Doc Savage: The Thousand Headed Man by Kenneth Robeson
Stands Of Zanzibar by John Brunner

It should be noted before someone suggests it, I have already read the entirety of Asimov’s Foundation. I realize Van Vogt has more noted books but so far I have not found them so I will read one of the ones I have. The Silverberg and del Rey are personal choices. I have never read del Rey and feel I should since he is an icon. Silverberg is my favorite of all SFF authors and I have not read his early work and want to do that. A friend recommended To Open The Sky as one with faith (not just religious) themes, and since I have done panels on this to great reception I feel it’s time to start reading source material for those so I can only increase their value.

I am also not committing to read these books in any particular order. Honestly, I likely will attempt the shorter ones first, because of my reading time and just to get in a flow. I plan to do reviews/commentary on these as I finish for my own value more than anyone else’s, although I will share that here. These will not be full on reviews but really more my own ponderings and interactions with the texts. They’re classics. What do I have to add that hasn’t been said before by many people? Not much as a reviewer, but as a fan and writer interacting with them, I hope there will be some nuggets of learning and discovery worth sharing.

I certainly reserve the right to update my list at my own discretion. In other words, I will allow you to suggest books but I feel no pressure about which I choose to read and when. I have left A Hitchhiker’s Guide To The Galaxy by Douglas Adams off the list because I read half and didn’t care for it. I do need to read it again but I’ll have to get in the right mood. And before the smart alecs show up, I do have a sense of humor. I love comedic books. I just found this one odd, not all the funny. But I do respect its place and regard amongst fandom and I do feel I should give it another chance at some point so I’d expect it to come on the list at some point during this Journey which may last several years because it takes as long as it takes.

For a good list of some of the books I’ve read in  the past, including many considered classics, I posted my 70 Most Memorable SFF Books I’ve Read here.

I hope some of you will engage with me on this journey and perhaps even join me. Who we are today is very much informed by the past. And often whom we become and the strength, value and character of it is determined by our knowledge of the past. After all, we not only learn from our mistakes but those of our forefathers.

I very much look forward to the education of this journey and to your thoughts and my own along the way. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, and The Returning, the collection The North Star Serial, Part 1, the children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing and editor of the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Resnick. As a freelance editor, he’s edited a novels and nonfiction.  An affiliate SFWA member, he also hosts Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter and is a frequent contributor to Adventures In SF Publishing, Grasping For The Wind and Hugo nominee SFSignal. He can be found online as @BryanThomasS on Twitter or via www.bryanthomasschmidt.net.

 

ConStellation III Report

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Well, we survived it: A Science Fiction Con with no WiFi. Most of us were less than happy about that, and the hotel had a plethora of problems, including a badly leaking roof which forced staff to evacuate the art show to a new location due to the heavy rains and tornado weather. However, the Con was so well run, we all had a great time in spite of this. Even the hotel staff urging us downstairs at one point couldn’t dampen spirits for long.

The dealer’s room was a happy place with a generous group of people supporting each other and steady visits from always helpful staff even as attendees made their way through. I sold 13 books at the Con and had 3 more online sales during the convention, which makes it my most successful Con for book sales so far. Attendance reached 250 this year, a new height for the Con, and I’d say that definitely helped. I also gave out a lot of cards with my website info on it as well. Despite my new ebook cards drawing interest, I didn’t get the first sale on them but that was due in part, I believe, to Sams Dot not having ebooks and thus not wanting to push them, and I didn’t go out of my way either. They were readily in sight for anyone who looked at the table. At ConQuest, when it’s just me at my table, I’ll try a different approach. I must admit, I do prefer selling paper copies, however.

Two of my three panels were well attended. 10 people showed up first thing Saturday morning at 11 for CHARACTER BUILDING. They were attentive, but, perhaps, tired. It took me a bit to work them up to interaction, however, they were all eager to learn. My reading that afternoon had no one present, but I waited there for 15 minutes and then got an influx of people and wound up reading to 6, which was almost double my reading at Conclave last October. And they really seemed to enjoy that as well as the Q&A time following, so I felt good about it. I also know at least two of those people bought books, so I’d call that a success as well.

On Sunday, I did two panels back to back. The first, FAITH IN SFF, drew a dozen very engaged people. I didn’t go to all of the other panels, but I’d say I had as many as the Conan panel before had drawn and these people engaged very  much with the material and me, leading to a great discussion. They even applauded at the end. I had approached this as a discussion of faith in all of its forms: not just faith in Higher Powers, but faith in magic or science or even wealth. I asked everyone to be respectful and stated that our purpose was not to argue validity of beliefs but discuss how they motivate us and how their presence is handled in world building. I read my list of SF classics with religious themes from SF Signal and then added those mentioned in the comments on that post as well as a few others I’d discovered. Attendees added even more. I’ll have an even longer list when I do this panel again at OsFest. In fact, the OsFest chair was present and complimented the panel,  encouraging me to repeat it at their Con. I honestly wasn’t sure we’d get much interest in the topic and that, if we did, it might devolve into incivility. I was so pleasantly surprised. Very enlightening for all of us, I felt. I learned as much as anyone.

My second Sunday panel, GREAT READS, drew only 3 people but they were lively and we had a great discussion on books we’ve loved. I read books from my 2011 Year’s Best Reads List and didn’t even get to my 70 Most Memorable SFF Reads which I also had brought with  me. My list of books people suggested, which I want to read includes:  Starplex by Robert J. Sawyer, Persistence Of Vision by John Varley, Flight of The Dragonfly by Robert Foster, Chung Kuo by David Wingrove, The Leandros series by Rob Thurman and Integral Trees by David Niven.

My own schedule was so busy that I didn’t get to hear Elizabeth Bear’s panels, unfortunately. Between my own panels and reading and then dealer room duties, I missed her activities. I did, however, introduce myself and I’ll see her again soon at Convergence in Bloomington, MN. She also agreed to do an interview by email for SFFWRTCHT soon, so that will be two great chances to learn about her more.

I also sold a series of interviews with short story writers to Sams Dot Publishing for their Aoife’s Kiss zine and booked Jack McDevitt, who turned around my questions so fast, I’d already turned the thing in Monday, well ahead of the May 1 deadline for the June issue. I’ll be looking into Tanith Lee and others for upcoming issues, 1 per month.  This is my first paid interview series. The small press pays a token amount, but it’s regular income of a sort and, added to other sources, is a step in the right direction.

One of the more humorous events of the Con also involves McDevitt, whom I told in my emails I would look forward to meeting at OsFest in Omaha this July. He’s list as Guest Of Honor, only, he said he wouldn’t be there. Too busy. I ran into the Con chairs of that Con at my panels and mentioned that to them, suggesting perhaps emailing Jack soon might be a good idea. To say they were a bit worried would be an understatement, but on Monday, Jack informed me he would indeed be at the Con. He said he’d forgotten to write it down and commented: “I’m beginning to understand why my wife won’t let me out alone at night.”

Altogether, a success and enjoyment. I’d certainly do it again, if asked. I certainly recommend it to other dealers and creatives as well. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, andThe Returning, the collection The North Star Serial, Part 1, and has several short stories featured  in anthologies and magazines. His children’s book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing along with the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Resnick. As  a freelance editor, he’s edited a novels and nonfiction.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SFSignal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Agenda For ConStellation NE This Weekend – Lincoln, NE

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Well, my first Con of the year has finally arrived. I’m attending the third annual ConStellation Con in Lincoln, Nebraska, April 13-15 at Guest House Inn on Cornhusker Highway in North Lincoln. So if you’re in the area, come on out!

Guest of Honor is Elizabeth Bear, a Hugo nominee for the podcast she does with fellow writers called SFSqueecast. She’s also the author of a number of novels and her stories have appeared in Asimov’s, amongst other places. Her latest novel, Range Of Ghosts, just released last month from TOR.

Artist Guest of Honor is W.J. Hodgson and Jim C. Hines and Brandon Sanderson are past GOH authors.

A full programming schedule can be found here. And my agenda is below.

When not involved in panels or readings, I will be hanging in the dealer room with Sam’s Dot Publishing’s Tyree Campbell, who has graciously agreed to stock my books on his table.  The specific events I’ll be doing are 3 panels and a reading as follows:

Character Building – Saturday, 11 a.m., Deneb Room

What makes a good character? How do you name characters? What are the aspects of character one must consider when creating characters for a story? How deep do you go? An examination of character creation and more.


Author Reading- Saturday, 2 p.m., ConSuite

I’ll be reading from Space Battles and The Worker Prince and perhaps even a passage from The Returning which comes out in June.


Faith in Science Fiction and Fantasy-Sunday at 1 p.m., Vega Room

A discussion of the importance of faith as a motivator for humankind. Not a debate about the validity or value or religions, but rather a discussion of how faith drives all of us in some way. What do you put your faith in? What drives you toward your elusive life long goals? Why is faith an indelible, essential element for world building in speculative fiction? We’ll discuss these questions and much more.


Great Reads – Sunday at 2 p.m., Vega Room
What are the best books you’ve read in the past year? How do they compare to ones you’ve read in years past? Which forthcoming books are you most excited about and why? A discussion of books we love and why we love them and our quest for more.

I will have copies of Space Battles: Full Throttle Space Tales #6, my ebook Rivalry On A Sky Course, as well as print and ebooks of The Worker Prince. I also plan to have a few copies of The North Star Serial, Part 1 and Of Fur And Fire, edited by Dana Bell, which features my first published fantasy story, “Amelie’s Guardian.”

Hope to see you there. I look forward to a fun weekend!

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, The Returning (forthcoming), the collection The North Star Serial, Part 1, and the kids book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. he edited the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Resnick and has stories in several anthologies and magazines (some forthcoming). As  a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

My Panel Slate For Constellation in Lincoln, NE

Published on by Bryan

Well, the Con Programming Chair from Constellation in Lincoln, NE, April 13-15 sent me my panel schedule. I’ll be launching Space Battles there as well as promoting my other stuff. More details to follow when I have them. Elizabeth Bear is the GOH. Hope to see some of you there.

Character Building – Saturday, 11 a.m.

What makes a good character? How do you name characters? What are the aspects of character one must consider when creating characters for a story? How deep do you go? An examination of character creation and more.


Author Reading- Saturday, 2 p.m.

I’ll be reading from Space Battles and The Worker Prince and perhaps even a passage from The Returning which comes out in June.


Faith in Science Fiction and Fantasy-Sunday at 1 p.m.

A discussion of the importance of faith as a motivator for humankind. Not a debate about the validity or value or religions, but rather a discussion of how faith drives all of us in some way. What do you put your faith in? What drives you toward your elusive life long goals? Why is faith an indelible, essential element for world building in speculative fiction? We’ll discuss these questions and much more.


Great Reads – Sunday at 2 p.m.
What are the best books you’ve read in the past year? How do they compare to ones you’ve read in years past? Which forthcoming books are you most excited about and why? A discussion of books we love and why we love them and our quest for more.

 

Excited to attend this Con for the first time. 

Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, The Returning (forthcoming), the collection The North Star Serial, Part 1, and the kids book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing. he edited the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Resnick and has stories in several anthologies and magazines (some forthcoming). As  a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Official Table Of Contents: Wandering Weeds-Tales Of Rabid Vegetation (Anthology)

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Well, a long while ago I placed my first comedic noir Science Fiction story in an anthology edited by my friend Jaleta Clegg. The table of contents has finally been announced and publication is this Spring from Hall Brothers Entertainment. So here’s the official scoop:

 

 

 

 

 

Wandering Weeds: Tales of Rabid Vegetation

Edited by
Jaleta Clegg & Frances Pauli

Table Of Contents
Beyond the Fence, Rebecca L. Brown
Colors of Blood, Kevin J. Childs
They Call The Wind Mariah, Jaleta Clegg
Duncan Derring and the Call of the Lady Luck, Bryan Thomas Schmidt
Legends of the Tumbleweeds, Duane Ackerson
Cowchip Charlie and the Tumbleweed Gang, C. H. Lindsay
The Tumbas, M. Pax
Thistle, Terry Alexander
Of Weeds and Wizardry, Berin Stephens
Feral Tumbleweeds, Mo Castles
Earth’s New Masters, Adriane Ceallaigh
Misplaced, Voss Foster
Oh, Dark Tumbleweed, Brian D Mazur
Crispy Fried Pickles at the Mad Scientist Cafe, Katherine Sanger
I Survived the Sargasso Sea, Eric J. Guignard
The Great Tragedy of the Illustrious Empire, Audrey Schaefer
Garden of Legion, David J. West
Tumbleweed, Robert Borski
The Souls of the Wicked, Francis Pauli
Fair Weather, with a Chance of Tumbleweeds, Andrea Tantillo
The Tumbleweed Woman, V. Hynes Johnston
Guardening, Ann Willows
Weeds, James Hartley
Sleeping Beauty, Louise Maskill
Desert Oracles, Katie M John

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012 along with the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Rensick. As  a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books.  He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.