I don’t review movies here all that much, and the honest reason is it isn’t often that I see a relevant movie when it’s relevant. Movie theaters are too expensive, and by the time a movie gets to Netflix, it’s old news and has to contend with my desire to catch up on Supernatural.
But so many people close to me told me to go see Arrival that it got me out of my apartment on a Friday night with my wife for a romantic evening of food court dining and aliens. And it turned out to be special.
Arrival is a film that works on a simple premise: aliens arrive and park their space ships over 12 seemingly random locations on Earth, and then they just sit there. The tagline poses the question, “why are they here?”
Beyond that, Arrival is a film that works on extremely complex premises. It’s clear that this film was lovingly crafted and resided in the minds of brilliant story-tellers for such a time for them to get it all right. It is thoughtful and thought provoking. It feels authentic. It is, by many metrics, a perfect film, nailing the basics and knocking the most high-level concepts out of the park.
I need to get serious for a minute, and I hope you hear me out, because the world is watching.
I didn’t bring you here to send you elsewhere, so I’m going to call out parts of that post that speak to me.
At long last, the novel that found a home on cold, metal e-retail warehouse racks in 2014 has moved onto the cozy, wooden shelves of your local book store. Yes, it’s exciting, gratifying, satisfying, terrifying, but the one thing that’s undeniable is my little book is all grown up.
So, let’s party.
Over the next week, I’m going to hold a giveaway contest on Facebook and Twitter. Like, share/retweet, and use the hashtag #CarryingCarrier for an opportunity to win signed print copies of the new edition, a $20 Amazon gift card, and an Amazon Kindle Fire. Continue reading
I just wanted to drop by here for a few moments to observe the fact that Carrier will be in brick-and-mortar stores in a week. I could tell you about the new interior design and the higher printing quality. I could tell you how being in stores will hopefully expose the novel to a whole new audience. Instead, I think I’d rather reflect on the book itself.
I know. Blogs can be self-indulgent, and I’ve striven to not have one of those. But hey, it’s an occasion to observe, and you’re in my house right now. Pop a squat, or get out.
This weekend, I got out of my cave for a bit and headed to a local sci-fi and fantasy convention. The digs were modest, the sights and sounds tamer than, say, a ComiCon. Someone described the particular day I attended as “Relaxicon.” At 9 a.m. on a Sunday morning, yeah, it was totally that.
I’m not really awake. Someone pried my eyes open and quickly snapped a picture.
But it was seriously fun, and I met some interesting people. I had the privilege of sitting on two panels with some heavy-hitting authors who have achieved success beyond anything I can even hope for. I made some new friends. And I made some new contacts at a local annual event, so I hope they’ll allow me back next year.
A couple weeks ago, in my summer update, I wrote about how 2016 hadn’t really panned out the way I’d hoped. It hasn’t been a bad year at all. In fact, production-wise, I feel like I’ve written some of the best fiction of my life. And while I haven’t had much to announce this year, some of that production is paying off.
I’m thrilled to announce Gamut, a new literary magazine, has accepted a short story of mine. I can’t stress the previous sentence’s verb enough.
An acceptance from any market is a great thing. It’s acknowledgement for hard work and dedication, not to mention passion for a piece. It says you did something right, but more than that, it says someone else believes in the story as much as you do. And now the story has an avenue to reach other readers.
Concept: Everything from Western fairy tales, fables, and myths is real. The powers of good and evil, light and dark, are locked in an eternal struggle that goes all the way back to the beginning of time. A modern day woman finds herself wrapped up in the war as she discovers she has the power of influence, to command the light and the dark, but the other side of that coin is she has become a target.
Execution: Do nothing that is obvious. Subvert expectations time and again. Build a rich, alluring world that incorporates fantastical elements of old Anglo-Saxon cultures to modern urban contemporaries. Create unique characters based on familiar ideas. Entertain. Stimulate the intellect. Cut the fat and reject nonsense. Tell a simple, powerful story that’s never been told before.
My experience in reading Frightfully Ever After by Nick DeWolf had a recurring theme, which was to be continually impressed by how incredibly imaginative it is. Originality and creativity are planted firmly in the driver’s seat. In trying to analyze the experience, I kept thinking of words like “alluring,” “captivating,” and “immersive.” I’ll no doubt use those words multiple times as I write this.
At the beginning of this year, I teased some big things. I learned a lesson in teasers: It’s not a good idea unless the things you’re teasing are definite. Many of my hopes for 2016 haven’t quite panned out. I finished my second novel, but I’ve struggled to find a home for it. I’ve also finished some solid short stories, but it’s been a mix of rejection and taking a long time to hear back.
I get it. I’m shooting for the stars, and it takes a long time for even light to travel through interstellar space.
However, in the face of a disappointing 2016 (seriously, has anyone had a good 2016?), one of those things I teased (something big regarding Carrier) is definitely happening.
That’s an interior proof. But wait, wasn’t Carrier already published? Yes.
I’m sitting here at my desk, and instead of working on moving my WIPs to the “Ready for Humiliation” folder, I’m staring at my bookshelf. I’m gazing at the spines of Justin Cronin’s The Passage trilogy, and I’m thinking about reading them again.
I recently finished the third book, The City of Mirrors, and it’s one of few trilogies that I can legitimately, honestly say I loved. It has everything (well, many things) I look for in fiction: a fantastical, alluring world; rich mythology; risky storytelling; deep characters; solid writing that is at times literary; complexity in just about everything. In a word: depth.
I loved it, but I’m not thinking about reading it again only because of how I felt about it. You see, The Passage is one of the only trilogies or series I bought into immediately. I can’t recall any others that I picked up before they were all completely written. And Justin Cronin isn’t cranking out a new novel every quarter. He’s putting three or four years of his life into a book, and that’s a lot of time for a reader between books. But it’s part of the reason they are so good.
I’m increasingly of the mind that good fiction cannot be rushed out the door, that authors need to live in their worlds and with their characters to truly grant them the substance they need to create meaning and allow readers to leave and take with them whatever it is they find there in those pages.
Granted, I know plenty of authors who put out really good work annually and semi-annually. Those people are freaks.
I don’t know if this is the book you deserve, but it’s the book you need. (That’s clever, you see, because there are a lot of Batman references in this book… ahem, anyway.)
Blake Twenty-Three by Slade Grayson begins with a message the literary world needs to hear: “Just have fun.” We often forget reading and storytelling is supposed to be something we enjoy. Many of us get so stilted and wooden with our critical analysis and pushing our nerd glasses up on the bridges of our noses that we overlook an integral part of the reading experience: escape. If one-half of storytelling is information conveyance, the other half is signal quality. Maybe “integrity” is the right word there. I don’t know, but what it boils down to is a measure of enjoyment.