I like to bake cookies and squares. I'm not terribly adventurous or elegant, favouring the old standards like oatmeal cookies, peanut butter cookies, shortbread, and rolled cookies for Christmas. I have a small collection of cookie cookbooks, and occasionally add something from them to the repertoire.
Many years ago (thirty?) while in search of a recipe for butter tarts...
Pause to provide butter tart recipe:
-Melt 1/3 cup butter, remove from heat
-stir in 1/2 cup brown sugar,
1/2 tsp vanilla
pinch salt
1 egg, slightly beaten
1/2 cup or more raisins
-fill tart shells about half full, bake at 400 until brown and bubbling.
I found a little book called Chocolate Cake and Onions (Horizon House 1976). Also in this book was a recipe for
Economy Oatmeal Squares:
-Melt 1/2 cup margarine
-stir in 1 cup brown sugar,
2 cups oatmeal
1/2 teaspoon baking powder
- press into ungreased pan to about 1/4 inch thickness, bake until brown. It will harden as it cools.
Despite the vague baking directions, which I eventually worked out to 350 for 20 to 25 minutes, this became a favourite. (I'll point out that when something consists largely of brown sugar, 'until brown' is not a useful marker.)
The thing that puzzled me, over time, was the purpose of the 1/2 tsp baking powder. There's no flour, so what is it leavening? Also, while I'm no kitchen chemist, didn't baking powder require moisture to work? Most cookie recipes used baking soda, except for oatmeal cookies, which had a tablespoon of milk in the recipe as well as baking powder. I wondered whether Marilynne Foster had left out part of the recipe, or copied it incorrectly.
My mum's cookbooks were among the things (like Christmas decorations) that weren't kept in the move, and which I regretted mightily. When I was able to buy a copy of The Canadian Cook Book (Ryerson 1953) I was quite excited, even though it naturally wouldn't have all the pasted-in soup-tin recipes and so on that my mum's copy had.
I got all nostalgic over the photographs, and 'oh, there's the cake recipe that always turned out kind of chewy because I dawdled over the mixing' 'there's the crepes recipe, mmm'. Then I found
Oatmeal Butter Squares:
-Mix 3 cups rolled oats,
1 cup brown sugar,
1 teaspoon baking powder,
dash of salt.
-pour over 7/8 cup melted butter, mix thoroughly
-pat into ungreased 8x12-inch cake pan
-bake at 275-300 until golden brown, cut into squares while hot.
There it is, recognisably the same in kind, in a for-real published by a major company cookbook, and still with the baking powder and no flour and no milk. Oh, and again the vague baking instructions, though this time with a temperature.
Well, maybe it was a Canadian regional treat, like butter tarts and Nanaimo bars. Maybe Marilynne (or her mother) got her recipe from The Canadian Cook Book and altered the quantities.
But there's the undeniably American Better Homes and Gardens Homemade Cookies Cook Book (Meredith 1976), and its recipe for
Scotch Teas:
-Melt together 1 cup packed brown sugar,
1/2 cup butter or margarine
-stir in 2 cups quick-cooking rolled oats,
1 teaspoon baking powder
1/1 teaspoon salt
-turn into 8x8x2 inch greased baking pan
-bake at 350 for 20 to 25 minutes, cookies will harden upon cooling. Cut into bars.
I will mention that my dad's family was Scots, and I'd never heard of 'Scotch Teas' (insert joke about drinking tea with Scotch here). Anyway, here it was again, in another for-real, major-publishing book, with baking powder and no flour.
Another Scotch Teas recipe, slightly different proportions but same ingredients, was reportedly a prize winning recipe at the 1976 Texas State Fair. Googling brings up another from the C&H Sugar Kitchen, requiring you to use C&H Brown Sugar, and of course, baking powder (brand left to your discretion). Doubtless there are more, perhaps under different names. But all that I've found have no flour and no moisture (unless melted fat counts as moisture?) but do have the baking powder of no apparent function.
Is it totemic? Apotropaic? The remnants of a long-forgotten ritual to hold back chaos?
If I leave it out, the next time I bake ... what will become of us all?
Tuesday, June 17, 2008
Friday, June 13, 2008
public service announcement: writer specific
For the what, three? readers of this blog who weren't at VPX or XI, the deadline for applying to the Viable Paradise Writers' Workshop is the end of this month. That's right, you need to get your application in by June 30, in order to seize the opportunity to:
have your work read and critiqued by professional editors and writers like Patrick Nielsen Hayden and Elizabeth Bear!
learn the secrets of the writing trade from the pros!
FIND your tribe!
SEE Phosphorescent Jellyfish!
CHANGE your life!
You need to put together 8,000 words or less of work you want critiqued, whether novel opening or short story, (including synopsis or outline if it's a novel), and stuff it in an envelope with a cover letter and $25, as detailed here, and place the rest in the lap of the gods.
Do it. It's worth it.
Monday, June 9, 2008
other people's books
Becoming a writer--or maybe I should say, becoming a conscious writer--is supposed to screw up your reading. You become very conscious of what the writer is doing, whether you'd do it the same way, worse or better. You groan when they break the 'rules' and may be bitterly envious that these other damn writers can get away with it, why can't you? You feel smug at spotting the foreshadowing. And so on. It becomes very difficult to read as a reader, and not as a writer.
It may be that I was somewhat inoculated against that, by having been taught to be a conscious reader from early on. When your father teaches English, and loves to teach, you get taught. And hey, I was Daddy's Girl--my brother was the Boy, who would Carry on the Name, but I was the one who loved words and language. (The funny thing about this is that I kept the Name, and my brother changed his.) So my bonding with my dad was very much about taking stories apart and seeing how they worked, taking words apart and finding their roots and branches.
I've probably said this before, but this early practice made it difficult for me to take lit-crit quite seriously, because I was introduced to it as a child's game. Spot the symbol, name that allegory!
In other words, my reading experience was already compromised, but I didn't mind.
The best approximation I have of the shift from unconscious to conscious reader is what I experienced as I taught myself to paint, by copying Giotto and other early Ren painters. I'd had a vague idea of balance and composition, probably from reading the Childcraft volume on art, but I had to learn how to model, how to use highlight and shading to make flat paint imitate 3-dimensional form.
So I went from 'ooh, pretty picture' to 'hm, that drapery' and 'wow, trompe l'oeil shouldn't be that simple', and learned how to break down the illusion into simple pieces. I began to be understand what watercolours could do that oils couldn't, and vice-versa, even though I only worked with acrylics (and yolk, glair and size for medieval painting, but that's another topic). I started seeing how effects were achieved, even though I didn't have the mastery to achieve them myself.
But I didn't feel that this screwed up the way I looked at paintings. It made me a better viewer, a more active and responsive one. ('better' here means 'better than I was', not 'better than some other person like you', by the way)
Between revision sessions, and in that weird lethargic hiatus while I was coughing up phlegm, I managed to read a few books, though the TBR pile(s) still loom(s) over Mark's side of the bed.
A Telling of Stars, by Caitlin Sweet.
I picked this up at Munro's, because the title sounded cool. The cover art is by Martin Springett, who was the Artist GoH at VCon last year. My copy is signed, though I didn't realise that until I began reading it, because there was no Signed Copy sticker on the cover. This story is gorgeous. I mean that quite literally--the writing is lush and lovely and jeweled, like Dunsany, or Clark Ashton Smith, or Patricia McKillip when she's in the lovely-mode. The world of the story is full of prodigal invention, without being overwhelming or confusing.
The plot is very nearly anti-fantasy. Jaele is the daughter of a fisher family, enraptured by stories of the warrior queen Galha, who defeated and banished the Sea Raiders. When a party of Raiders murder her family, she takes her father's dagger and goes for vengeance, trailing the outcast Raider who cut her mother's throat. Along the way, she meets strange peoples and strange people. She tells them of her quest, and they feed her, sympathise, bind her wounds, tell her their own stories, befriend her and sometimes fall in love with her, but none of them join her quest or follow her banner. When she finally confronts the man who's been her target and (in a way) her companion all along, it doesn't go as expected, and that isn't where the story ends, either. The resolution isn't about her revenge, and it isn't about her falling in love (though she does both).
Not everyone will enjoy Telling (gosh, as if there's any book that everyone enjoys). Some readers will find it frustrating, and Jaele isn't easy to like, in her single-minded absorption. It's beautifully written, it's thoroughly imagined, and it messes with the reader's expectations. So much will depend on your tolerance for being messed with.
Firecracker, by Sean Stewart.
I have the UK edition, by Orion Books. The US edition is titled Perfect Circle, and Evil Editor has an author chat with Stewart. This book is awful damn good, is what. Not in the remotest way something I'd be able to write, which makes it quite comfortable to read (so I do read as a writer in some ways).
William 'Dead' Kennedy can see and talk to ghosts. In fact, he seems to be better at understanding ghosts than he does with live people, like his ex-wife and his daughter. While the seeing dead people trope has been heavily worked in the last while, the working-poor characters and setting take it to unexpected places. I have a personal loathing for books where poor people end up losing everything or are portrayed as hopeless aimless losers in the name of 'realism' (The Pearl, by Steinbeck is the former, but that's another rant entirely). Firecracker's characters may be poor, and may make bad decisions, but they're not fools and they're not pitiable. And it starts with a ghost and an explosion--you can't go wrong with that.
Love Walked In, by Marisa de los Santos.
Occasionally, yes, I do read non-genre books. I'm something of a sucker for adult books with child pov characters, always have been since I was a child myself. (I'm also a sucker for books that start with an episode of the characters as children.) Partly it was curiosity at how adults portrayed children in books for each other, which was quite different from the way they portrayed children in books for children. So, what I liked very much about Love was the character Clare, an 11 year old whose mother has a breakdown, and whose estranged father isn't paying attention. Clare's story alternates by chapter with the story of Cornelia, her father's girlfriend, who takes charge of her after her mother disappears.
Clare isn't totally believable as an 11 year old. I'd buy her as 12 or 13, but then she'd be getting close to puberty, and some aspects of the story wouldn't work--her crush on Teo would be less innocent, for instance. But I liked her a lot anyways, as a bright and vulnerable child trying to cope with adults who weren't doing their part. The story woke right up when she came into it.
Cornelia's half, not so much. Cornelia angsted a lot about how she wasn't amounting to anything, but everyone loved her, even Clare went into ecstacies over how Cornelia decorated her apartment, for instance. And she worked at a coffee shop with every regular so quirky and cute they must have come from Central Casting. Gah. All A Bit Much, Really. But quite readable, in a popcorn way, and I didn't pay full price for it.
By the way, what is it with the trend of book covers showing photographs of little girl's legs and feet? Time Traveler's Wife did it, and now it seems to be everywhere.
It may be that I was somewhat inoculated against that, by having been taught to be a conscious reader from early on. When your father teaches English, and loves to teach, you get taught. And hey, I was Daddy's Girl--my brother was the Boy, who would Carry on the Name, but I was the one who loved words and language. (The funny thing about this is that I kept the Name, and my brother changed his.) So my bonding with my dad was very much about taking stories apart and seeing how they worked, taking words apart and finding their roots and branches.
I've probably said this before, but this early practice made it difficult for me to take lit-crit quite seriously, because I was introduced to it as a child's game. Spot the symbol, name that allegory!
In other words, my reading experience was already compromised, but I didn't mind.
The best approximation I have of the shift from unconscious to conscious reader is what I experienced as I taught myself to paint, by copying Giotto and other early Ren painters. I'd had a vague idea of balance and composition, probably from reading the Childcraft volume on art, but I had to learn how to model, how to use highlight and shading to make flat paint imitate 3-dimensional form.
So I went from 'ooh, pretty picture' to 'hm, that drapery' and 'wow, trompe l'oeil shouldn't be that simple', and learned how to break down the illusion into simple pieces. I began to be understand what watercolours could do that oils couldn't, and vice-versa, even though I only worked with acrylics (and yolk, glair and size for medieval painting, but that's another topic). I started seeing how effects were achieved, even though I didn't have the mastery to achieve them myself.
But I didn't feel that this screwed up the way I looked at paintings. It made me a better viewer, a more active and responsive one. ('better' here means 'better than I was', not 'better than some other person like you', by the way)
Between revision sessions, and in that weird lethargic hiatus while I was coughing up phlegm, I managed to read a few books, though the TBR pile(s) still loom(s) over Mark's side of the bed.
A Telling of Stars, by Caitlin Sweet.
I picked this up at Munro's, because the title sounded cool. The cover art is by Martin Springett, who was the Artist GoH at VCon last year. My copy is signed, though I didn't realise that until I began reading it, because there was no Signed Copy sticker on the cover. This story is gorgeous. I mean that quite literally--the writing is lush and lovely and jeweled, like Dunsany, or Clark Ashton Smith, or Patricia McKillip when she's in the lovely-mode. The world of the story is full of prodigal invention, without being overwhelming or confusing.
The plot is very nearly anti-fantasy. Jaele is the daughter of a fisher family, enraptured by stories of the warrior queen Galha, who defeated and banished the Sea Raiders. When a party of Raiders murder her family, she takes her father's dagger and goes for vengeance, trailing the outcast Raider who cut her mother's throat. Along the way, she meets strange peoples and strange people. She tells them of her quest, and they feed her, sympathise, bind her wounds, tell her their own stories, befriend her and sometimes fall in love with her, but none of them join her quest or follow her banner. When she finally confronts the man who's been her target and (in a way) her companion all along, it doesn't go as expected, and that isn't where the story ends, either. The resolution isn't about her revenge, and it isn't about her falling in love (though she does both).
Not everyone will enjoy Telling (gosh, as if there's any book that everyone enjoys). Some readers will find it frustrating, and Jaele isn't easy to like, in her single-minded absorption. It's beautifully written, it's thoroughly imagined, and it messes with the reader's expectations. So much will depend on your tolerance for being messed with.
Firecracker, by Sean Stewart.
I have the UK edition, by Orion Books. The US edition is titled Perfect Circle, and Evil Editor has an author chat with Stewart. This book is awful damn good, is what. Not in the remotest way something I'd be able to write, which makes it quite comfortable to read (so I do read as a writer in some ways).
William 'Dead' Kennedy can see and talk to ghosts. In fact, he seems to be better at understanding ghosts than he does with live people, like his ex-wife and his daughter. While the seeing dead people trope has been heavily worked in the last while, the working-poor characters and setting take it to unexpected places. I have a personal loathing for books where poor people end up losing everything or are portrayed as hopeless aimless losers in the name of 'realism' (The Pearl, by Steinbeck is the former, but that's another rant entirely). Firecracker's characters may be poor, and may make bad decisions, but they're not fools and they're not pitiable. And it starts with a ghost and an explosion--you can't go wrong with that.
Love Walked In, by Marisa de los Santos.
Occasionally, yes, I do read non-genre books. I'm something of a sucker for adult books with child pov characters, always have been since I was a child myself. (I'm also a sucker for books that start with an episode of the characters as children.) Partly it was curiosity at how adults portrayed children in books for each other, which was quite different from the way they portrayed children in books for children. So, what I liked very much about Love was the character Clare, an 11 year old whose mother has a breakdown, and whose estranged father isn't paying attention. Clare's story alternates by chapter with the story of Cornelia, her father's girlfriend, who takes charge of her after her mother disappears.
Clare isn't totally believable as an 11 year old. I'd buy her as 12 or 13, but then she'd be getting close to puberty, and some aspects of the story wouldn't work--her crush on Teo would be less innocent, for instance. But I liked her a lot anyways, as a bright and vulnerable child trying to cope with adults who weren't doing their part. The story woke right up when she came into it.
Cornelia's half, not so much. Cornelia angsted a lot about how she wasn't amounting to anything, but everyone loved her, even Clare went into ecstacies over how Cornelia decorated her apartment, for instance. And she worked at a coffee shop with every regular so quirky and cute they must have come from Central Casting. Gah. All A Bit Much, Really. But quite readable, in a popcorn way, and I didn't pay full price for it.
By the way, what is it with the trend of book covers showing photographs of little girl's legs and feet? Time Traveler's Wife did it, and now it seems to be everywhere.
Sunday, June 8, 2008
sheathe machete, take out hammer
I have cut just under 26k from a 129.5k manuscript. I'm torn between a euphoric sense of accomplishment, and grinding guilt that I let anybody--still less anybody I hold in affection--read 26 thousand unnecessary words.
I am so sorry. Really. I will never do it again. The gratitude part just makes me feel worse about it.
The next step is to re-enter at the first chapter and go through, pausing at the angle brackets to hammer home various elements that were scanted.
Clarifying the material culture of Nomency and environs--I hadn't considered that the default tech level for a fantasy is, say, 13th-15th c. Western Europe. Willow Knot, being a Grimm fairy tale (Grimm 11, Brother and Sister), is set in late 1700s Europe, roughly during Kleinstaaterei, something before the time the Grimms were collecting stories. This won't automatically occur to most readers, so I need to drop more clues about the material culture, earlier on.
Establishing that religion exists, without making religion a big honking issue. I've changed 'the Dear' to 'the Dear Lord' throughout, and hopefully that will do most of it. I can't count on an audience who know all the words to I Know Where I'm Going.* I'm still worried that US readers (okay, humour me briefly in the delusion that I will have readers I don't already know personally) see evangelical Protestantism as the model of religion good or bad, and will be bemused or unconvinced by any faith less insistent. But there is nothing I can do about that. For sure I can't write an equivalent to 1700s German states without religion. It would be like writing the European Middle Ages without religion--that gives you the Society for Creative Anachronism.
That was a joke, but never mind.
Clarifying why Myl is paranoid about being indebted. First to another person, because of Midame reminding her how grateful she should be, and how she owed her aunt obedience and affection--which is part of what messes up her relationship with Alard. Then to any creature in the Maerchenwald, because the stories are pretty clear that if you take without asking, or take without paying, the thing you took is going to bring you down. I can't assume that level of folktale knowledge in a reader, so it needs to be reiterated beyond the once or twice.
Laying in the clues of Midame's 'rescue' of the unborn child, via what Myl witnessed and partially remembers, which is also how she learned to hear spells running in water--this will be a tough series to complete without being either too obscure or clunkily obvious. If I can do it, it will wrap things up very tidily.
Establishing that Alard and Myl do not marry for love, and maybe clarifying that no one of their class and time would expect to.
Alard marries her out of guilt, in an attempt to set things right, to close the question of alliance with Lusantia, to get an heir, and to use her supposed gift for unsealing. He doesn't explain any of this to her, so establishing it is going to be more than a little difficult, working from her pov.
Myl marries him in hope of freeing Tyl from enchantment, to restore her family's estate, and because refusing the king is usually a bad idea.
I sure hope nobody reads this looking for a tale of True Love and Soulmates. They do love each other by the end, but--.
Laying in the groundwork for the plot against Alard, the example of the duke of Valdosa in his extravagance and how he finances it, and the resentment of Fadric and others that they can't use his method because Alard forbids it.
Concentrating the exiles subplot on Lusantia, with Valdosa being the impulse for the regicide subplot. It may still be too complicated, but I guess I'll find out.
Building Truda's manipulation of the ladies in waiting, which will be tricky because it happens out of Mylla's sight. I laid some clues in Donvina's outburst, but probably not strongly enough.
I've made it more obvious that Truda is the one who tells Alard about the sweetmeats--did anyone wonder why she was so quick on the spot after Alard told Myl off and went off in a huff? And why Mylla went into labour so soon after Truda's posset? Nobody commented on it, but maybe that means it was perfectly clear.
Simplifying Baldolf's aims. I was still working out what he wanted in the second draft, and by the end of it I knew, but if I'd gone back to trim out the false leads, I would have started rewriting the whole damn thing and it was time to step back.
Resolution: never let anyone see anything earlier than the 3d draft ever again.
Doubtless there's more - oh, the scene where Lina warns of the witchcraft rumours will be revised from a simple meeting in the garden to a full-out fight between two of the ladies-in-waiting, over one encouraging the extravagance mentioned above. I've realised that I will have two 'shower scenes' and a catfight, and an unplanned pregnancy. Exploitation fairy tale!
Anyway, Willow Knot draft 3 sits at 103.6k, and I figure I can go up to 110k while filling holes and polishing. Ideally I'll finish that process before our pre-technological Living History Week at Fort Rodd Hill. That's the end of this month. Excuse me while I gird my loins.
*'I know where I'm going,
I know who's going with me.
I know who I love,
But the Dear knows who I'll marry'
I am so sorry. Really. I will never do it again. The gratitude part just makes me feel worse about it.
The next step is to re-enter at the first chapter and go through, pausing at the angle brackets to hammer home various elements that were scanted.
Clarifying the material culture of Nomency and environs--I hadn't considered that the default tech level for a fantasy is, say, 13th-15th c. Western Europe. Willow Knot, being a Grimm fairy tale (Grimm 11, Brother and Sister), is set in late 1700s Europe, roughly during Kleinstaaterei, something before the time the Grimms were collecting stories. This won't automatically occur to most readers, so I need to drop more clues about the material culture, earlier on.
Establishing that religion exists, without making religion a big honking issue. I've changed 'the Dear' to 'the Dear Lord' throughout, and hopefully that will do most of it. I can't count on an audience who know all the words to I Know Where I'm Going.* I'm still worried that US readers (okay, humour me briefly in the delusion that I will have readers I don't already know personally) see evangelical Protestantism as the model of religion good or bad, and will be bemused or unconvinced by any faith less insistent. But there is nothing I can do about that. For sure I can't write an equivalent to 1700s German states without religion. It would be like writing the European Middle Ages without religion--that gives you the Society for Creative Anachronism.
That was a joke, but never mind.
Clarifying why Myl is paranoid about being indebted. First to another person, because of Midame reminding her how grateful she should be, and how she owed her aunt obedience and affection--which is part of what messes up her relationship with Alard. Then to any creature in the Maerchenwald, because the stories are pretty clear that if you take without asking, or take without paying, the thing you took is going to bring you down. I can't assume that level of folktale knowledge in a reader, so it needs to be reiterated beyond the once or twice.
Laying in the clues of Midame's 'rescue' of the unborn child, via what Myl witnessed and partially remembers, which is also how she learned to hear spells running in water--this will be a tough series to complete without being either too obscure or clunkily obvious. If I can do it, it will wrap things up very tidily.
Establishing that Alard and Myl do not marry for love, and maybe clarifying that no one of their class and time would expect to.
Alard marries her out of guilt, in an attempt to set things right, to close the question of alliance with Lusantia, to get an heir, and to use her supposed gift for unsealing. He doesn't explain any of this to her, so establishing it is going to be more than a little difficult, working from her pov.
Myl marries him in hope of freeing Tyl from enchantment, to restore her family's estate, and because refusing the king is usually a bad idea.
I sure hope nobody reads this looking for a tale of True Love and Soulmates. They do love each other by the end, but--.
Laying in the groundwork for the plot against Alard, the example of the duke of Valdosa in his extravagance and how he finances it, and the resentment of Fadric and others that they can't use his method because Alard forbids it.
Concentrating the exiles subplot on Lusantia, with Valdosa being the impulse for the regicide subplot. It may still be too complicated, but I guess I'll find out.
Building Truda's manipulation of the ladies in waiting, which will be tricky because it happens out of Mylla's sight. I laid some clues in Donvina's outburst, but probably not strongly enough.
I've made it more obvious that Truda is the one who tells Alard about the sweetmeats--did anyone wonder why she was so quick on the spot after Alard told Myl off and went off in a huff? And why Mylla went into labour so soon after Truda's posset? Nobody commented on it, but maybe that means it was perfectly clear.
Simplifying Baldolf's aims. I was still working out what he wanted in the second draft, and by the end of it I knew, but if I'd gone back to trim out the false leads, I would have started rewriting the whole damn thing and it was time to step back.
Resolution: never let anyone see anything earlier than the 3d draft ever again.
Doubtless there's more - oh, the scene where Lina warns of the witchcraft rumours will be revised from a simple meeting in the garden to a full-out fight between two of the ladies-in-waiting, over one encouraging the extravagance mentioned above. I've realised that I will have two 'shower scenes' and a catfight, and an unplanned pregnancy. Exploitation fairy tale!
Anyway, Willow Knot draft 3 sits at 103.6k, and I figure I can go up to 110k while filling holes and polishing. Ideally I'll finish that process before our pre-technological Living History Week at Fort Rodd Hill. That's the end of this month. Excuse me while I gird my loins.
*'I know where I'm going,
I know who's going with me.
I know who I love,
But the Dear knows who I'll marry'
Wednesday, May 28, 2008
The machete unsheathed
Finally revising: I spent a week house-sitting for friends in Vancouver (it was originally to be house- and cat-sitting, but the cat was boarded at the vet's instead, since I'm not qualified to give injections to any living thing) and finally, finally, I got stuck into the revision of Willow Knot.
Apparently I'm still recovering from the cold I brought back from the UK, since I was hacking up phlegm randomly through the day, and falling asleep between 7pm and 9pm each night.
Still and all, I got at least 5 hours of steady pruning in each day, and cut at least 10k wordage. Plus doing a little tidying and dusting to earn my keep.
What I removed: restatements of previously established material, which I think is a workshop habit resulting from posting chapter-by-chapter; notes to myself describing places and plot points (cleverly disguised as narrative, but not necessary to the reader); groundwork for plot or motivation that didn't end up happening.
The unicorn is gone, gone, pretty though it was. The babes in the wood remain, because I believe they're thematically important: not all tales end well. Some incidents are intensified, like the encounter with the head groom in chapter one, which is now nastier and introduces the 'traitor' point.
The first part is still a survival narrative, like Hatchet, or My Side of the Mountain, or half of Canadian literature, depending which critics you read. That's what drew me to the story in the beginning, the question of how the little sister manages in the forest by herself, and since she knows her brother is enchanted, how does it affect her actions and decisions?
FutureBarb notes: about 17k has presently been removed, but some of it will have to come back as the holes are filled.
I made sure to go for a walk each day, and the house is in a pleasant part of Vancouver, with quirky little shops and restaurants, second-hand bookshops and (oh no!) dollar stores.
I'd brought books from my To-Be-Read pile, and still ended up buying books, at Book Warehouse and at two of the used-book places. I also bought (doom! doom!) notebooks. What could I do? There were at least three dollar stores within an easy walk, with notebooks and stationery decorated with oddly translated English or strange images:
The icecream snowmen are just creepy. I love them. You can find more of Menji's notebooks here. I also found new Barunson notebooks, and a Young Art pocketbook that says 'I Love Coffee'.
I did read books, filing it under 'research', though most of it was reacquainting myself with the subgenre of fairy-tale retellings. I finally read The Door in the Hedge, but wasn't as taken by it as I'd hoped after Deerskin and Beauty. I finished A Telling of Stars, and got started with Winter Rose and A College of Magics.
But it's late, here, so I'll comment on them later.
Apparently I'm still recovering from the cold I brought back from the UK, since I was hacking up phlegm randomly through the day, and falling asleep between 7pm and 9pm each night.
Still and all, I got at least 5 hours of steady pruning in each day, and cut at least 10k wordage. Plus doing a little tidying and dusting to earn my keep.
What I removed: restatements of previously established material, which I think is a workshop habit resulting from posting chapter-by-chapter; notes to myself describing places and plot points (cleverly disguised as narrative, but not necessary to the reader); groundwork for plot or motivation that didn't end up happening.
The unicorn is gone, gone, pretty though it was. The babes in the wood remain, because I believe they're thematically important: not all tales end well. Some incidents are intensified, like the encounter with the head groom in chapter one, which is now nastier and introduces the 'traitor' point.
The first part is still a survival narrative, like Hatchet, or My Side of the Mountain, or half of Canadian literature, depending which critics you read. That's what drew me to the story in the beginning, the question of how the little sister manages in the forest by herself, and since she knows her brother is enchanted, how does it affect her actions and decisions?
FutureBarb notes: about 17k has presently been removed, but some of it will have to come back as the holes are filled.
I made sure to go for a walk each day, and the house is in a pleasant part of Vancouver, with quirky little shops and restaurants, second-hand bookshops and (oh no!) dollar stores.
I'd brought books from my To-Be-Read pile, and still ended up buying books, at Book Warehouse and at two of the used-book places. I also bought (doom! doom!) notebooks. What could I do? There were at least three dollar stores within an easy walk, with notebooks and stationery decorated with oddly translated English or strange images:
The icecream snowmen are just creepy. I love them. You can find more of Menji's notebooks here. I also found new Barunson notebooks, and a Young Art pocketbook that says 'I Love Coffee'.
I did read books, filing it under 'research', though most of it was reacquainting myself with the subgenre of fairy-tale retellings. I finally read The Door in the Hedge, but wasn't as taken by it as I'd hoped after Deerskin and Beauty. I finished A Telling of Stars, and got started with Winter Rose and A College of Magics.
But it's late, here, so I'll comment on them later.
Saturday, May 10, 2008
you should buy these books
I've mentioned books by friends from time to time, but perhaps a pulling-them-all-together post is due. I wanted to call this 'pimping my friends' books' but pimping seems to have altered its meaning to 'refurbishing and decorating to an extreme' rather than 'touting the attractive points of', over the last few years. Oh, and my Illustrated Oxford informs me that pimping as an adjective means 'small, mean, sickly', which amuses me.
But on to touting the virtues of recently-published books by people I know.
Zoe Marriott, light of the Furtive Scribblers and ABE Books forum, has two books out in the UK, by Walker Books. The Swan Kingdom, her first, is a retelling of the Swan Brothers folktale that deepens the emotion and complexity of the characters while keeping the enchantment of the original story. It's been out in England for over a year, and is finally available in North America from Candlewick, in hardcover, with paperback coming next year (according to Munro's Books in Victoria). Both the UK and US covers are lovely, and the writing matches them.
The third image is her second book, also from Walker: Daughter of the Flames. Aren't these gorgeous covers? Every bookshop clerk I've shown them to has exclaimed over how gorgeous they are. Daughter of the Flames also centres on a young woman who must discover who and what she is during a time of turmoil and danger, but the setting here isn't green Celtic fields and forests, it's a harsh desert torn by ethnic hatreds. Zahira is a scarred, orphaned warrior, where Alexandra was a gentle healer, but both discover that even those who love them best have kept the truth from them, and they must make their own decisions, however great the risk for them and for others.
Which sounds awfully portentous. Both books are darned good reads--Zoe writes a kickass action sequence--and I'd recommend them, particularly if you're looking for fantasies with strong female characters. (It's just a little frustrating how long it's taking for them to be available in North America.)
Rachael de Vienne's Pixie Warrior is available from e-publisher Drollerie. I read the first chapters when we were both members of the Online Writing Workshop, and had the good fortune to read an earlier draft of the book. I was intrigued right away with the mix of strong historical setting in the Pacific Northwest, and the unusual fantasy slant of a pixie woman loving a mortal man, plus the distinctive and cheeky voice of the narrator--their daughter.
Strong female characters, humour, action, and an unusual story. Oh, and another nice cover, showing Sha'el peeking out of her father's pocket.
Jennifer Pelland, Viable Paradise alumna and staff, is a quite different writer. Her collection of short stories, Unwelcome Bodies, is out from Apex. I bought my copy at Potlatch. I haven't read them all yet, because I discovered that after reading each story I needed recovery time, the same way I did when I first read Harlan Ellison (his stories from the 60s, before he disappeared up his own enfant terrible legend), because however fantastic or futuristic the settings, the people and emotions are true and the stories cut deep. I read "Big Sister/Little Sister" in the evening, and it seriously interfered with my sleep, so consider yourself warned. On the other hand, there are pieces like "When Science Fiction Cliches Go Bad" which are just plain fun, almost guaranteed to leave you unscarred.
Even though they're far from needing whatever puny push I could add, Doyle & Macdonald's latest book Land of Mist and Snow, is a fine fast-moving tale of magic and adventure at sea, a dandy addition to the still small library of historical fantasy. It's personal taste, but the story took off for me with William Sharps' entry, rather than at the opening with John Nevis, so I was happy indeed with the Sharps story in F&SF's February issue.
Of additional interest is the log that Doyle & Macdonald kept of the writing of Land of Mist and Snow, with insights into the process from research through revision to receiving the ARCs.
But on to touting the virtues of recently-published books by people I know.
Zoe Marriott, light of the Furtive Scribblers and ABE Books forum, has two books out in the UK, by Walker Books. The Swan Kingdom, her first, is a retelling of the Swan Brothers folktale that deepens the emotion and complexity of the characters while keeping the enchantment of the original story. It's been out in England for over a year, and is finally available in North America from Candlewick, in hardcover, with paperback coming next year (according to Munro's Books in Victoria). Both the UK and US covers are lovely, and the writing matches them.
The third image is her second book, also from Walker: Daughter of the Flames. Aren't these gorgeous covers? Every bookshop clerk I've shown them to has exclaimed over how gorgeous they are. Daughter of the Flames also centres on a young woman who must discover who and what she is during a time of turmoil and danger, but the setting here isn't green Celtic fields and forests, it's a harsh desert torn by ethnic hatreds. Zahira is a scarred, orphaned warrior, where Alexandra was a gentle healer, but both discover that even those who love them best have kept the truth from them, and they must make their own decisions, however great the risk for them and for others.
Which sounds awfully portentous. Both books are darned good reads--Zoe writes a kickass action sequence--and I'd recommend them, particularly if you're looking for fantasies with strong female characters. (It's just a little frustrating how long it's taking for them to be available in North America.)
Rachael de Vienne's Pixie Warrior is available from e-publisher Drollerie. I read the first chapters when we were both members of the Online Writing Workshop, and had the good fortune to read an earlier draft of the book. I was intrigued right away with the mix of strong historical setting in the Pacific Northwest, and the unusual fantasy slant of a pixie woman loving a mortal man, plus the distinctive and cheeky voice of the narrator--their daughter.
Strong female characters, humour, action, and an unusual story. Oh, and another nice cover, showing Sha'el peeking out of her father's pocket.
Jennifer Pelland, Viable Paradise alumna and staff, is a quite different writer. Her collection of short stories, Unwelcome Bodies, is out from Apex. I bought my copy at Potlatch. I haven't read them all yet, because I discovered that after reading each story I needed recovery time, the same way I did when I first read Harlan Ellison (his stories from the 60s, before he disappeared up his own enfant terrible legend), because however fantastic or futuristic the settings, the people and emotions are true and the stories cut deep. I read "Big Sister/Little Sister" in the evening, and it seriously interfered with my sleep, so consider yourself warned. On the other hand, there are pieces like "When Science Fiction Cliches Go Bad" which are just plain fun, almost guaranteed to leave you unscarred.
Even though they're far from needing whatever puny push I could add, Doyle & Macdonald's latest book Land of Mist and Snow, is a fine fast-moving tale of magic and adventure at sea, a dandy addition to the still small library of historical fantasy. It's personal taste, but the story took off for me with William Sharps' entry, rather than at the opening with John Nevis, so I was happy indeed with the Sharps story in F&SF's February issue.
Of additional interest is the log that Doyle & Macdonald kept of the writing of Land of Mist and Snow, with insights into the process from research through revision to receiving the ARCs.
Monday, May 5, 2008
Happy bank holiday!
I am back from the UK, as of April 30th, and it was a fine trip in many ways. Unfortunately, airplane travel doesn't go well with a semi-suppressed immune system, and presently I have a disgusting catarrh and sore throat, along with a need to sleep for two or three hours in the afternoon.
Details of the trip will thus be posted in days to follow.
Details of the trip will thus be posted in days to follow.
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