Red Seas Under Red Skies by Scott Lynch

Red Seas Under Red Skies by Scott Lynch

After I read the Lies of Locke Lamora, I knew I wanted to read its sequal… and I just got around to it now 2.5 years later. I’ll share that this is one of those books you don’t need to go back and read the first one so you know what is going on. Why the delay? Because I am a bad supporter of literature and don’t buy a lot of books. But I lent a friend Lies and then he went out and bought Red Seas and lent it to me in turn. Everything works out in the end.

But I’m blathering… I’m struggling to write a review of this book and I know why. I loved reading this book, and SPOILER it did not have a happy ending. It had a “reality sucks” ending. I hate that. To top it off, the third volume of the Gentlemen Bastards Sequence is still forthcoming-November 2011, just in time for my Birthday! So I can’t just go and find out what happens. Damned cliff hanger endings.

But anyway, Lynch did not disappoint in the middle volume of the Gentlemen Bastards. Jean and Locke ran amok and caused trouble, witty and clever as ever, though quite a bit darker in tone than before. I see it as their recovery from the ending of Lies. And in recovery, one must grieve and heal one’s ugly scars.

Through alternating between the present and the recent past, Lynch slowly exposes the Gentlemen in their preparation of their plans leading up to the present. But in his standard form, Lynch doesn’t reveal too much. He leaves out just enough, so we don’t suspect anything (unless we know better), but when the plan comes to fruition it came out of left field. Lynch is adept at this. I envy his tricksy plotting mind. This structure not only added to the suspense and impact of the end, but it also served to keep most of the story in the present, and not have to recap a long period of time--only the bits and pieces needed to lead us by the nose to the end.

Plotwise, Red Seas only has one tie to Lies, and that very tie didn’t get resolved here and will undoubtedly show up in the third volume. That being said, this feels like the kind of story that they will reference in the future, “Hey remember that time in Tal Verrar…” But to say that this 600 some odd page book was just filler content for a 7 volume series doesn’t seem right either, especially knowing Lynch’s plotting style.

As I said before, Jean and Locke were licking their wounds as they faced the tribulations brought to them this time around. We watched them try to distract themselves, and do a fine job of it, yet as they walked though this madness, I could only watch the desire for reprisal set more deeply in the brilliantly strategic mind of Locke. His gears are turning and the longer they turn the scarier the outcome will be down the road.

I admire Lynch’s work for more reasons than just his plotting. The voice, for one, is hilarious and gripping. No matter how dark the situation gets, the characters are sarcastic as ever. Beyond that, Lynch skillfully employs many craft techniques. He describes new places in ways that appeal to the senses via the characters. He uses the “swoop” when introducing something important to set it apart from the characters own experiences. His pacing is break-neck and he never slows it down, though sometimes I wish he would for some moments. Somehow, somehow he can make the plot and characters complex yet keep the story easy to read.

So I will be eagerly awaiting the release of book number three in the Gentlemen Bastards Sequence and the four following it as well.

Currently Reading
Storm Glass - Maria V. Snyder

Submissions out
Flash: 0
Short: 0
Agent: 0

Workshoping:
Beyond the Cemetery
The Tribe that Laughed
The Making

The Cold Knife of Rejection Cuts The Business of Rotting

and it was just in the form of email... Ironically, as I was sitting in the GPS writing session today my phone lets out this horrendous beeeeeeep, which echoes around the corners of the back room of the Scarborough Public library. It interrupted my typing so I pick it up and check it. Lo and behold it's from The Pedestal Magazine. I eagerly check it, cringe then hand off the phone to Jamie so I don't have to speak aloud the dreadful message.

THEY SAID NO! UGH! ok, got that out of my system. They also said...well I'll just paste the damned thing:

Dear Cynthia:

Thank you for submitting your fiction to The Pedestal Magazine. We enjoyed reading it but after careful consideration have decided that we cannot use it at this time.

Please feel free to submit other work to us in the future.

Best,

The Editors

The Pedestal Magazine

They said they enjoyed reading it. And only one of the708 submissions made it. Did they even think of it as a finalist? according to their reading window, they had about two more weeks to get back to me. In my mind, the longer they hang onto it, the better my chances.

My other line of thought asks if this could be a form letter? I see the wording so much, and so few personal remarks that I'm beginning to think that is the norm now. Looking at what happened to Clarkesworld's submission process, I can't imagine other magazines won't start doing that soon too.

This is rejection #4 for this story. I'm shopping it to all the SFWA approved, pro-rate magazines... and I'm starting to run out of relevant venues for this one. I'm almost ready to stick this at the bottom of a drawer somewhere buuut...

If the editors did enjoy it, but couldn't publish it, I'm sure they had their reasons. But, I'd like to get paid for my products, especially if people enjoy it. That's the way this business is supposed to work, am I right?

This story is going to rot my brain...

Currently Reading
Red Seas Under Red Skies by Scott Lynch

Submissions out
Flash: 0
Short:
Agent: 0

Workshoping:
Beyond the Cemetery
The Making
The Tribe Who Laughed

Plugging some friends

WRITING WITH AUTHORITY Online Course for Pennwriters

INSTRUCTORS: Jason Jack Miller and Heidi Ruby Miller

DATE: April 1 – May 2, 2011

LIMITED CLASS SIZE. Enroll now.

COURSE DESCRIPTION:
The easiest way to engage your reader is by using concrete nouns and action verbs. In this one-month online course, Seton Hill University creative writing faculty Jason Jack Miller and Heidi Ruby Miller will show you how to analyze your writing and use easy techniques that will increase the authority of your voice. Participants will:

* Discover how to spot passive voice

* Scrutinize their writing for generic nouns and indefinite pronouns

* Learn to avoid weak verbs and overuse of "be" in all its forms

* Practice using strong synonyms to find the best action verb

* Apply word cloud research to make their plot come alive

FREE BONUS: Course participants will receive a free excerpt (.pdf) from the new writing guide, MANY GENRES, ONE CRAFT: LESSONS IN WRITING POPULAR FICTION (Headline Books, Inc.) edited by Heidi Ruby Miller and Michael A. Arnzen with contributions from Jason Jack Miller et al.



Currently Reading
http://www.amazon.com/Red-Seas-Under-Skies/dp/0553804685

Submissions out
Flash: 0
Short: In the Business of Rotting
Agent: 0

Workshoping:
Beyond the Cemetery
The Making
The Tribe who Laughed

Wizardry and Wild Romance

I always love finding a good critical book about fantasy. I love reading fantasy and I love reading about it. I love hearing what authors and established critics have to say about the genre and its craft. That said, how could I not read Michael Moorcock’s WIZARDRY AND WILD ROMANCE: A STUDY OF EPIC FANTASY? I really had to read this. And I did.

Originally released in 1977, Monkeybrain Books re-released an updated version in 2004. This book did not go on about the forgotten greats of the genre, it commented on the best Epic Fantasy of then and now. It focused on what makes them great, and noted that the things that make books and authors great changes over time. This is a true study of Epic Fantasy.

Moorcock begins explicitly with a warning in his foreword. He is only writing these collected essays from his own opinion and observations of currently available romantic epic fantasy, he is discussing it and not defining it. He was wise to do so. I always get a little leery when anyone, even experts, start spouting about what they think is great without explaining themselves. As much as I want to take their well-learned word for diamonds, sometimes I only see dust.

Moorcock’s discussion is separated into six different categories: origins, landscape, heroes/heroines, humor, children’s books and genre deviations. Perhaps these are the most important craft elements of epic fantasy? In each section, Moorcock highlights the authors and books that represent the best work in each.

Despite being discussed in separate essays, his opinion is the same throughout. He asks for more. More attention to the landscape of a story, more attention to the characters, more consideration of humor. He lauds the authors who do it well, frequently the same people across the categories. And what is more, he provides excerpts! I wish more critical work about fantasy would do this. Moorcock says something is great and then says look at it for yourself so you can see how he formed his opinion of it. Nothing explains the quality of the words better than the words themselves.

While he mostly focuses on the strongest examples of the literature, he frequently reminds that there are hoards of imitators out there, looking to get rich from an easy, formulaic story and diluting the good reads. These are the authors who pay little or no attention to the above categories. He occasionally provides excerpts of these as well, for contrast.

By the end of the book, Moorcock has shown a timeline of the life of the genre within this book. Beginning as riffs on the gothic novels and chivalric romances, squalling through Sword and Sorcery, finding a firm foothold on the Tolkienian other-world stories, and coming into maturity within the walls of urban settings. At each point, Moorcock describes the genre’s historic connection to humanity, be it reactionary to a war or a specific artistic movement.

Where will epic fantasy go after the city? Out to space? Or even further back, to the dinosaurs? One thing is for sure, literary forms frequently change, but good craft will always hold a book together.

this review is cross posted at Greater Portland Scribists


Currently Reading
Fantasy:
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: 0
Agent: 0
Workshoping:
Beyond the Cemetery

I'm not dead

I've just been writing a lot. It does come in waves, I've noticed. Hopefully I'll get more reading done next week.

I've got one story out for submission. I'm getting ready to put another one out next week. I've also got a story up for workshop, I cut it down to 6000 from 7200 last week. That one needed lots of work!

Currently Reading
Fantasy:
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: In The Business of Rotting to The Pedestal Magazine
Agent: 0

Workshoping:
The Making

Low-Residency MFA Resource--Now availible

Shortly after I graduated from Seton Hill University with my MA in writing, I responded to a help a reporter query from Lori A. May who was writing a book about low-residency MFA programs.

I told her how awesome the SHU program was and shared my many wonderful experiences. A few other Alumni and faculty responded as well.

The Low-Residencey MFA Handbook is now availible! If you are looking into going for an MFA in writing, go read it (especially the parts about SHU)!

This entry is cross posted at Greater Portland Scribists

Currently Reading
Fantasy:
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: 0
Agent: 0

Workshoping:
Beyond the Cemetery

A Celebration of Poetry

I am still reveling in the afterglow of Sandra Kasturi’s collection of poems, The Animal Bridegroom.

I have forgotten how much I enjoy poetry, and I think, my roots in poetry along with that. When I was working on my BFA in writing I took a lot of poetry workshops and really developed a likening of the compressed meaning, the careful arrangement of words, and particularly enjambment in good poems. I mostly love the short lined poems with lots of punch. In fact my favorite poems have been but a few lines, poignantly spaced with masterful diction, like The Primer by Christina Davis (which can be found here).

Most of my exposure to poems came when I worked as an Editorial Assistant at Alice James Books. For two years, I was constantly exposed to tons of award winning poetry. But… But, almost none of it focused on the mythology that I loved, the fantastical visions and traditions that were firmly lodged in my mind. When I left that job, I found very little poetry that even caught my interest (I was also in grad school, which might have had something to do with it).

Then, one day when I was checking out ChiZine news I found it pimping The Animal Bridegroom (Sandra is on their staff). So, I like a lot of stuff this magazine/publisher puts out. The cover was intriguing to me. Two colors, sepia with white text and image: a frame of wild flowers and woodland creatures around a bride and groom. The Bride in traditional/folk garb and the groom a wolfman or foxman with a nice tailed-coat. So I clicked on the link to amazon and read some of the poems. I thought they were fantastic. But it cost about $13 so I put it in my favorites list for when I got a gift card or someone looked there for my birthday.

I didn’t have to wait that long. Short after my discovery and longing for these poems, my eyes spied that gorgeous cover at the ChiZine table at Readercon. I made a beeline for it. I was so focused on it; I almost missed the fact that Sandra herself was manning the table at the time.

So to get the embarrassment over quickly, I gushed in fannish glee for about two minutes while she signed my book (which was not $13 bucks at the table).

I kept the book in my to-read stack, which was on my desk and rather close at hand. So, for the last six months or so, I’d periodically thumb through and read a poem or a few lines. I enjoyed that, some quick hits of a good thing. I’d like to note here that it’s not so easy to do that with a novel.

But towards the end of 2010 I thought I should read it cover to cover, net it into my year. So I did.

The Animal Bridegroom is full of everything I love about poetry with all the mythological and folkloric references I could hope for. Short lines pried meaning out of folk archetypes applied to modern day. Old characters exemplified the harsh qualities of modern life. Fantastic images asked questions about humanity. There was even a poem about the gemstone amber, one of my favorite “stones.” One even asked some serious questions about what happened to Hansel and Gretel after they grew up. And others, well, I’d like to be friends with some of those characters.

I am still reveling in the afterglow of Sandra Kasturi’s collection of poems, The Animal Bridegroom.



Currently Reading
Fantasy:
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: 0
Agent: 0

Workshoping:
The Tribe that Laughed

The Etched City

One fantastic book after another! Whatever I read next has some tough shoes to fill...

I finished reading K. J. Bishop’s The Etched City at quarter past eleven on New Year’s Eve. I captured the whole experience in 2010. Truth is I wanted to finish this book and add it to my list for 2010, but in the end, I just couldn’t put it down!

I loved being a fly on the wall in this dark, hungry city--watching the ugly world do its worst and the people do what they could to survive. This is no tale of good versus bad. In fact the good get nothing, and the bad only get worse. The language itself was beautiful; the prose carefully written to fully expose the dark underbelly of a city that I don’t think had a lighter side. Instead of racing through this volume, I read it slow (when I could) to enjoy the images and emotions evoked by the story.

Survival, redemption, faith, ethics, biological experimentation, conscience, the extremes of artistic expression are all explored in a city of corruption. This city is Ashamoil (the word reminds me of toil, which is what its inhabitants do). Yet the city is many worlds between which only few people seem to travel. It is an industrialized factory-driven place with thriving remnants of the old ways. We rarely see the factories, what we do see is a surreal, wonderfully disturbing, yet rich tapestry of life and walking myth and only enough magic used to make it that much more hopeless. The place is what the characters made it, and what they made of it.

Bishop spins this tale from characters who are under a shadow, and who may have never known light: they murder, indulge in all the vices (whores, opium, booze, drugs), steal, slave, etc. For this, the story reveals things of darkness in many shades of gray. There seems to be nothing a “good” person could do in Ashaoil to improve their lives. The few who seek to improve their lot do so by dying or by leaving Ashamoil.

I found an interesting use of Point of View characters in The Etched City. Different main characters were prominent in different parts of the book. Raule, the good-doctor-to-the-poor, was most prominent at the beginning. But, later, Gwynn, the remorseless mobster and gunslinger bore more attention. Going between these two, we got the whole view of the city, gold to gutter. And periodically, we got snippets of the tale through the eyes of others in the middle, who knew some things we needed to know. This is not something I see very much in fiction. Bishop does it well, we knew who all the characters were before we jumped into their heads. Bishop used this method of switching POV to evoke a maximum of suspense, and it worked on me.

The art, and the hunger of this corrupted city charmed me. To put it in perspective, I'll say that a friend loaned it to me, and I’m going to go out and buy it for myself, in paper format.


Currently Reading
Fantasy:
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: 0
Agent: 0

Workshoping:
The Tribe that Laughed

2010 Reading List

Below is the list of books that I read in 2010. I'm fairly certain it's accurate, as I was pretty good about updating this log when I finished a book. I also put links to the reading journal posts where applicable. The last two reviews are coming soon as I just finished them.


The Chronicles of the Black Company - Glenn Cook
The Mabinogi - Patrick K. Ford
Little, Big - John Crowley
The Runelords - David Farland
Spellwright - Blake Charlton
The Magicians - Lev Grossman
Brotherhood of the Wolf - David Farland
Moonwise - Greer Gilman
The Etched City - K.J. Bishop
The Animal Bridegroom, Poems - Sandra Kasturi

So, I only read 10 books in 2010. 10 books in a year is just shameful! Well, I'm not going to shoot for 11 books read in 2011. I'm going to have to aim higher than that.

Rejection

The bad: rejection from Beneath Ceaseless Skies.

The good: personal note and invitation to submit in the future.

It is as I feared (I should really start listening to those voices in my head): the pace is too slow. I need to change the beginning back to the way it was before. I can do that easily because I kept my submission to Flash Fiction Online.

I'm a little happy about this rejection though. Strange right? Right after I submitted it, I found another mag I think this story will really fit well with. So a few little tweaks and I think I'll have it...

Currently Reading
Fantasy: The Etched City - K.J. Bishop
Scholarly: Wizardry & Wild Romance, A Study of Epic Fantasy - Michael Moorcock
Writing:

Submissions out
Flash: 0
Short: 0
Agent: 0
Workshoping:
Beyond the Cemetery