Robin Hobb

I recently finished reading the first tree trilogies of Robin Hobb’s Realms of the Elderings world (I have no intention of reading the Rain Wilds Chronicles which follow them, however). I had read the Farseer trilogy, the first of them, a long time ago, and then had to wait in line to read the second trilogy, the Liveship Traders. While waiting for the first book, I moved on and never started reading them again, until about a month ago at the request of one of my brothers. I proceeded to fly through the Liveship Traders and then The Tawny Man trilogies, and now I can put aside that world and move on with my life and past my brother’s nagging.

I have very mixed feelings about Robin Hobb’s writing, and this trilogy of trilogies. The most memorable aspect of every one of the nine books with the characters. Without a doubt, Robin Hobb is a master of character creation and development. Every character was deep, rich, and realistic; you could identify with every single character. At the same time, every single character was also flawed. In the Liveship Traders, I found myself admiring the depth of the characters while simultaneously hating each and every one of them. They were too flawed, and by the end I found I had no sympathy for any of them. While it’s hard to identify with perfect characters, we are also often loathe to associate ourselves with overly imperfect ones, and as a result I spent my time reading the Liveship Traders being infuriated at everyone. However, she wove a very rich tapestry of inter-character relations, in both that trilogy and in the Tawny Man trilogy.

The Tawny Man books were much better than the Liveship Traders. I actually liked almost every single character, and felt that the interplay between them was almost perfect. Interestingly, the narrator of both this trilogy and the first Farseer trilogy, FitzChivalry, evoked two very different responses from me in both sets of books. In the Farseer books, I hated Fitz, and had trouble reading them because I had no sympathy for him. He was whiny and made so many stupid mistakes it frustrated me to no end. In the Tawny Man books, however, I was very sympathetic to him (save for a few cringe-wothy moments), and instead felt as if everyone else was a jerk to him, rather than the other way around.

Her writing style is also magnificent. It flows very well, and she is truly able to immerse the reader in the world she creates. Though the books were often needlessly long, and sometimes nothing of substance happened for whole books (then again, GRRM is even more guilty of this sin), there was never a dull moment, both due to her ability to make the reader want to know what happens to the characters and to her very well-written and flowing prose.

Conversely, she has a bit of trouble with plot and world-creation. The plots were rather simplistic and somewhat predictable, and the world always seemed to me to be only half-imagined. Still, both were good enough to keep me engaged, even if there was a lot of room for improvement.

Would I recommend these books? I’m not sure. While her writing is amazing and characters are deep and real, her pacing can be off and a great deal of her characters are terrible people who I hated. However, she managed to still make me care about most of them (save Kennit at the end of the Liveship Traders, when Robin Hobb slipped into a rape apologist mindset, which infuriated me). I felt for the first two trilogies like I was being dragged along, and I was frustrated by the characters and plot, but at the same time I couldn’t put them down. The last trilogy was much, much better than the previous two, and was worth reading. I’m just not sure if it was good enough to justify the previous two trilogies.

Universe, Plot, Characters, and Inspiration

As I embarked on my newest (new) project, Sundering Stars, I started to think a lot about what got me excited about writing and what inspired me to actually sit down and get things down. One does not need inspiration to write, but it certainly is more fun and often more rewarding when you are writing and feel inspired.

Recently, I haven’t been writing (see my previous post, Excuses, for a semi-coherent rambling on that subject). I have no one to blame but myself, as I kept making excuses for why I wasn’t writing because I never felt inspired to write. What has, of late, gotten me back into writing is actually being truly excited about a new project.

What makes this new project different from my old WIP’s (which I by no means will abandon) is that my source of excitement and inspiration is different. With all of my Juxian tales (save Tal’kan, which is a special case) including The Divine Madness of KIngsZigguratsBeneath, and A Deadly Dance, the inspiration and drive to write the novels was based on their shared universe, the Juxian mythos. My Juxian mythos is insanely detailed and I absolutely love it, but I realized over the past few weeks that I was trying to write these novels based on nothing more than the universe. No matter how detailed or well-thought out a universe is, it is never enough to base an entire novel on (a short story, perhaps). What these Juxian novels needed was something of substance; characters and plot. A universe is, in the end, often little more than the backdrop of the story.

What makes Sundering Stars different is that I was not inspired initially by the universe, as my Juxian stories all are. It was the characters which made me want to write, in particular the “female lead” Maria Holstead, who is in my outlines shaping up to be one of my most interesting characters ever. Following the characters came a vague concept of a plot, and (gasp) literary themes! The universe is something I’m borrowing from a forum game I started writing rules for but never got off the ground (which goes by the same title that the project currently does). Unlike my normal approach, the universe is secondary.

This is all revolutionary to me, and I have spent a while developing the world of Sundering Stars now, but for the first time I am motivated by characters and plot. This has gotten me out of my Juxian rut and started writing again. This leads me to the conclusion (that I am sure you other writers have long realized) that characters and plot are the driving force behind any good work, not the world. My Juxian novels were always about characters exploring the world I had created. Sundering Stars will be more about the world exploring the characters.

Now that I’ve had this epiphany, I hope I can keep up the momentum, and after Sundering Stars I hope to return to Tal’kan, which is a character and plot driven story only partially set against the Juxian mythos. It will take me a while to get used to this new character-focused mindset; I am much more comfortable with universe creation!

What aspect of writing drives your motivation? What aspect inspires you most? Character? Plot? Universe? Llamas?

Excuses

Hello everyone; it’s been a long while. I’d like to say that there was a good reason for my (very) extended leave of absence, but there really isn’t. Over the past year, I’ve mostly had my head down in my undergraduate thesis, and once that finished in May, I spent the summer preparing for my upcoming doctoral program in sociology. I’ve always found it difficult to write when I am stressed or otherwise preoccupied by other things that need doing; it’s my greatest flaw.

So, while I’ve gotten some writing done, it hasn’t been nearly enough, and I began to doubt if I really want to be a writer. After a long period of soul-searching, I decided I still do want to be a writer, but also many other things. A writer is not an all-exclusive thing to be, and I’ve been in the mindset that it should be for a long time, which has been making it hard for me to get the motivation to actually write something. As I worried about and prepared for my doctoral program, I felt like I was betraying myself. Now, however, I have come to terms with my probably future as a writer and a sociologist, and I will do both.

So, I have no excuses for my lack of updates, or my lack of writing. I hope to fix both in the upcoming months, assuming my program will give me the time (and if not, I’ll do my best to make time). I will stop making excuses to not write (oh, I’m too stressed to write well! Oh, I don’t feel like it. Oh, I’m not a real writer so why bother?). I will just start writing again.

Part of my problem with regards to writing of late, other than the excuse-making and stress, has been a lack of inspiration. Inspiration is by no means necessary to start writing, but I’ve been less than inspired by my stories as of late. As such, until I can get fully involved with them again, I am starting a new project that I am very, very excited about. I am leaving the world of the Juxian Mythos – spending so much time in that universe I was beginning to find stifling and was hampering my creativity (though I still love it and will return to it many times) – to instead work on a science fiction novel (or maybe more than one depending on length) tentatively titled Sundering Stars.

The planned novel will deal with themes of genocide, humanity, auto-evolution, alien life, and godhood. It might be a bit ambitious for one such as myself, but I’m going to give it my best! Wish me luck, and I hope to soon be updating both this blog (and EsoTarot eventually) more often, starting with my thoughts on Robin Hobb’s Liveship Traders and more about inspiration and Sundering Stars.

Lynnwood

This post has been long in the making. A month or two ago, I received an offer from a friend of mine – the estimable Thomas Brown of Hell’s Water, and Revive fame – in which I would receive an electronic copy of his new book, Lynnwood, before its release in exchange for my thoughts on it. Naturally, I leapt at the chance, having loved both of his previous novels (and eventually I’ll get around to his short stories, I promise!). Unfortunately, just after having received my copy, my last semester of university hit me like a truck and I was laid low for several weeks, only last week finally having the time to pick the book up and read it properly, after it has been released as an eBook.

And how glad I am I did! It very quickly reminded me of Hell’s Water, in that the book focuses in a very particular sin. Because of that similarity, as well as the presence of a Church in a rather central part of the story, I was expecting Christian theology in the same manner as the previous novel. To my delight, there was almost none of that, and Mr. Brown took off in a completely different, wild direction. Lynnwood was filled with many twists, turns, and surprises, and forced me to read the second half of the book in one sitting!

Lynnwood grabs you starting with its opening line, which, fittingly enough, involves a dead pig. The entire novel is perfectly encapsulated in the very first sentence, in which the corpse of a pig stirs strange feelings within the protagonist, the poor Freya. Freya lives in the titular town, Lynnwood, which slowly goes mad as winter approaches. The descent of the town into madness perfectly mirror Freya’s own descent into madness, so that the two seem like one and the same, which in many ways they are. For a very brief period, Lynnwood seems like a pleasant and wonderful place, in which everyone is happy and contented. The fast pace of the novel soon changes that, however, as everything that the town and the reader holds dear is ripped from them.

Lynnwood showcases Mr. Brown’s greatest strength as a writer, talents which manifested themselves in both Revive and Hell’s Water, but have really blossomed in Lynnwood. Mr. Brown is a master of character development and psychology; he is able to almost literally place the reader inside the heads of the characters, so that you are not reading their thoughts, you’re thinking them. The fast-paced and very accessible writing really help the reader become one with the characters, until it does not feel like you are reading the story, but experiencing it.

Along with this naturally comes a set of well-developed central characters who are extremely believable and seem very real, from their first, sane appearances until their final howls as primal madmen. I felt sympathy for each and every one of the characters, and felt their feelings almost as acutely as my own. Mr. Brown did a superb job of portraying the effects of the horror of Lynnwood on the main characters, and through them made me wonder what effect it would have had on me.

Mr. Brown also makes a sparse and very effective use of poetry and diary entries to add to the effect, and makes the world come even more to life. Even more impressive, however, was his command of epicurean language. His subtle descriptions of every item of food consume add a sense of horror and revulsion throughout the entire novel, and through them he manages to evoke the very hunger he writes about in his readers. The food becomes an unnoticed yet absolutely essential part of the story, and serves to demonstrate Mr. Brown’s mastery of the language.

My one, sole criticism of the novel is its lack of explanation. By no means does horror need to be explained, and in many – if not most – cases a lack of explanation enhances the fear. However, in this case, I was left slightly unsatisfied with the ending, as very little was explained. These explanations are by no means critical, and the story works very well without them, but I think it could have been more effective if the horror itself – the primal madness of the Forest – had been explored more, in addition to its effects on the characters.

But that minor point in no way takes away from the brilliance of Lynnwood. It is superbly written, superbly paced, and deeply unsettling. It is a very quick read, and thoroughly enjoyable. I very highly recommend it to any fan of horror. Visit Thomas Brown’s website here and then go buy yourself a copy of Lynnwood from one of the many links provided here!

Lexx

I finished watching this very unique and fascinating dark comedy science fiction show a while ago, but haven’t yet had the time to write my thoughts on it. I still don’t exactly know how I feel about it, but I do think it is very overrated. For those of you unfamiliar with the show, it was Farscape‘s major competitor (and I think Farscape was the better show myself), and had a similar set-up: a mismatched motley crew on board a living ship, traveling through space. In the case of Lexx, the crew consisted of a low-ranking security guard (Stanley Tweedle) who inadvertently gains control of the Lexx, the titular ship capable of destroying planets, a mutant love-slave (Zev/Xev), an undead assassin who was once a warrior-poet, and a talking robot head hopelessly in love with Xev (and later Kai).

It was the description of the crew that got me interested in the show, and I absolutely loved the first season, which consisted essentially for four hour and a half-long movies. It was dark, gritty, and absurdly funny at moments, and full of sexual innuendos that didn’t overpower thw show. It was clever and portrayed the absurdity of bureaucracy and totalitarianism, while simultaneously displaying the brutality of humanity and the universe, all set against a fascinating backdrop. The characters were great and I loved every minute of it.

Then we got to the second season, and halfway through it I almost stopped watching. The big bad guy of season one is gone, replaced by a different bad guy bent on destroying the universe, with a rather poorly-explained motivation. He didn’t click for me. Furthermore, the first season had a general continuous storyline, and the second one didn’t so much, and the episodes were either hit-or-miss, depending on the writer that week. Most of them were misses. A twitter response to my thoughts about leaving the Lexx ship prompted me to keep going, and I reluctantly powered my way through season 2, and I am glad I did.

Season three was by far my favorite, essentially taking place in Heaven and Hell, and exploring the war between the two. It introduced one of my favorite villains of all time, and doesn’t even try to explain his motivations outside of “I was created evil and so I will be evil and enjoy it.” They were honest about this, which was why he – Prince – worked so well as a villain. The third season I also found clever, and the “city of the week” set-up, in which the crew visited different cities on Hell (Fire) and Heaven (Water) every episode, fun and a good way to examine life.

The fourth season was also enjoyable, and took place on what we know as earth. It had its moments of both good and bad, and an unsatisfying ending, but I preferred season 3. Season 4 was definitely the most humorous, however.

Overall, it was a good show, and all but season 2 were worth watching. Season 2 was extremely depressing – which was fine – and completely overtaken by bad sexual innuendos that just got extremely annoying. I found it dull and not at all inventive or clever. Its villains, both minor and major, were two-dimensional and didn’t seem well-thought out; they seemed caricatures more than anything else. So, you can live without season 2, although some of it is important in later seasons, no not critically so. I would definitely recommend seasons 1 and 3 at the very least!

Back in Business!

Hello dear readers, did you think I had forgotten you? Have you spent the past few months escaping from the sorrow and misery that had descended upon you as a result of my absence? Fear not, for I have returned from my journeys!

The last semester at university was riddled with all sorts of stress and work and assorted problems, and as such I got very little writing done (though I did write some!) and haven’t had the time or energy to really put up an effective blog post. Now, however, I have graduated with a B.A. in History and Sociology, and I’m taking this summer largely off. I hope to use it to get seriously back into writing and to establish a schedule! Of course, come fall I will be beginning my doctoral program in Sociology at Brown University, so we’ll see how that affects my writing then. But for now, I have returned!

My first order of business was to make myself promise to stop starting new projects. I will finish all of my WIP’s first! There is quite a lengthy list of WIP’s, but in order of priority (at the moment) they are:

Ziggurats (Juxian Mythos academic expedition gone very wrong)

Beneath (Juxian Mythos induction ceremony gone very wrong)

Tal’kan (Juxian Mythos Techno-space druids!)

The Divine Madness of Kings (Juxian Mythos direct sequel to the Jakken Trilogy)

People of the Storm

…and then everything else. I have largely decided to ignore what I wrote for A Deadly Dance, as I really don’t like how it came out. Similarly, The Divine Madness of Kings will be seriously reworked and expanded upon. I will also continue to work on short stories in between these larger WIP’s; right now I’ve been working on one called “Wings,” based on a prompt a friend gave to me.

I will not go away this time, and will return to EsoTarot soon as well! Ta-ta for now!

Happy Holidays Ever After…

The North Pole was silent and dark. The North Pole was always silent and dark. The North Pole had never been anything but silent.

And dark.

There were no igloos for little elves. There were no reindeer. There were no magical talking snowmen. There was no house with windows aglow, or tinkling lights draped over evergreen boughs.

There was no island of misfit toys. There were no gingerbread houses or freshly-baked cookies. There was not even snow; just a single cold layer of thinning ice.

At magnetic north, encased deep in the ice, a dark shape slept dreaming, its formless mass spread over mile upon mile. Its eldritch mind echoed in the dark recesses of mankind’s subconscious, shaping his thoughts, his feelings, and dreams.

Tiny tots with their eyes all aglow couldn’t sleep for thoughts of the bringer of toys, the jolly old man with cheeks like roses and nose like a cherry. As they one by one drifted off down to the gates of deeper slumber, jolly old St. Nicholas etched his face into their minds, lulling them into a peaceful serenity.

The small children’s parents snuck out in the night, and put out the stockings, flew-flewbers, and tom-tooklers. They ate the cookies left behind for Kris Kringle, and drank all the milk before cuddling back into bed, compelled to enforce their children’s petty holiday whims.

As the last children’s parents drifted back off to sleep, the mass in the ice shifted imperceptibly an inch. A smug sense of contentment oozed out of its pores as it felt the day of its triumph approach. The sun beat down hotter across all of the earth, and the flames bounced around and slowly, but surely, melted down its prison. The ice began cracking and its mind became stronger, and children more firmly clutched onto their teddies,  visions of sugar-plums dancing through their heads.

The world was asleep and content, waiting expectantly for Santa Claus himself to emerge to come bring them joy. The ice cracked again, and water leaked through. The mass shifted once more and tore ice asunder, allowing grasping pseudopods to poke their way up.

All through the world, children lying asleep found themselves dancing with dear old St. Nick, who ho’d and ho’d and ho’d as the black formless spawn burbled out of the ice, spreading with the speed of well-oiled lightning. Night spread south from the north, and the sweet dreams and happy thoughts of children, aged one to ninety-two, made its expansion nigh on unstoppable.

The world was enveloped in eternal night. The Mayans were right, but just four days off.

Happy holidays, all. Enjoy it while it lasts.

Me, Checking In

Hello! It’s been a while since I’ve written here in my own voice. It’s been a busy month, but NaNoWriMo 2012 is finally over, and I managed to pull off a victory after writing 9,000 words in the last 24 hours (one stretch of 5,000 in three hours and then 4,000 in two). A lot of the writing in that particular work, A Deadly Dance, is not up to my desired standard, and it will undergo very extensive revision! I like how it’s shaping up, however, even if it might end up turning into another trilogy. We’ll see what happens!

In other news, I am discontinuing my writing of Goodman’s Diary, because I have lost all will to write it and it became a chore, not to mention I don’t think many people were reading it. Sorry about that!

So then, my plans for the future, you ask? First, I am going to survive this semester. Second, I am devoting a fair bit of time to developing two games: a Lovecraftian board game called Eldritch, and a spaceship tabletop battlegame (that I am working on with an apartment-mate) that currently has no name. On top of that, I’m going to keep working on A Deadly Dance and get back to working on Beneath as well. Finishing those two Works in Progress are my top priority right now.

And after that? More works in progress to finish! I will probably turn back to finishing my Tal’kan duology next, and after that go back to The Divine Madness of Kings. In the extremely likely chance that by next NaNoWriMo I haven’t finished these, I will work on them instead of a new novel.

So, here’s to writing!

Tuesday, November 27, 2012

They’re warming up to al-Kitaabi finally. Nothing else has changed. It’s so boring here. It doesn’t even feel like it’s worth writing in this diary.

They – they being the kelp-people – did introduce a new game to us, possibly to win over Kitaabi. He hasn’t learned their language yet, or even come close. They don’t seem to understand what his pointing at various objects and saying a word mean yet. Their speech is not too dissimilar from that of turkeys; they gobble primarily. It would be funny if it came from the mouth of something smaller and less covered in kelp. As it is, the kelp-men are intimidating.

This new game they have introduced will take a while to figure out, but it involves double-sided rocks – one side painted white and the other black – and a hexagonal gameboard divided into six triangles radiating from the center, and with each triangle divided into three parts by two evenly-spaced lines drawn across the triangles, essentially creating two smaller hexagons inside it. The kelp-men tried to teach us by showing us how it was played, and it was lost on me. Kitaabi might be getting it, though; it involves flipping and moving the stones between sections in a very odd way. The kelp-men play it very quickly, and don’t seem to understand that doing it more slowly might help us. Hopefully Kitaabi can explain it to us soon, once he figures it out. Maybe once that’s done we can figure out some way to really communicate.

Out for now.

Wednesday, November 21, 2012

We’ve been here for a week now, and things are looking up a bit.

After all of the survivors in our group finally woke up, we waited around a for a bit until one of the rock walls in front of us dematerialized. It just faded away and vanished. We had checked all of the walls and made sure they were solid, so it had to have been more than just a holographic image.

Beyond the rock wall was a corridor made from square tiles, which were in turn made from what looked to be some sort of limestone. There were odd, disturbing images carved into every tile in the corridor, but after a few moments of talk, Al-Kitaabi led the way forward into the corridor. I was second, and the rest followed after me. There was no discernible light source, and while the lighting was dim, there was most certainly something giving off light. We ourselves seemed to give off no shadows, so it is possible the light came from all around us.

We walked down that long, straight corridor for about five minutes, until we reached a large door graced with the image of what looked to be a hideous fusion of kraken and sea serpent. The image itself seemed to waver before my eyes, so I didn’t look at it to much.

Then the door opened, sliding into the wall, from the other side, and I believe I may have fainted at the sight that lay beyond it.

When I came to, I was lying in a comfortable bed, in my own, private room, with a window overlooking an enormous, grand, impossible city contained in an enormous cavern beneath the ground. I am still here. The buildings don’t seem to quite make sense, and I have a vague sense of unease if I stare at any one for too long, as they seem to blur the lines between real and unreal. If that makes any sense.

Arches are the predominant form of architecture here; in fact, every single building seems to be an arch, composed of those same tiles that lined that initial corridor. There are big ones and small ones, but all are identical in shape and material. There are windows scattered around all of the arches, and doors at their bases for their inhabitants to leave. The arches near the edge of the enormous cavern we are in are of a different form, as one of their bases ends in the cavern wall itself, while its other base stands firmly on the cavern’s even ground. The cavern floor is similarly covered with the same sort of tile, and there are pools scattered everywhere about it, filled with kelp. Occasionally, the strange inhabitants of this place will emerge from those pools en masse, and head into one of the larger arches so haphazardly placed about the city, and then leave there again after a few hours, returning to their homes, I presume. I have not yet seen any of these beings do down into those pools.

After my awakening, I tried the single door in my sparsely-furnished room, and found it opened into a circular room with more furnishings, including several tables and chairs. The rest of my team was sitting around one of the tables, and waved me over when I emerged.

They explained to me that I had been unconscious for almost a day, and then proceeded to try and explain the wonders of this city. Following my fainting fit, we had all been escorted – and me carried – through a maze of corridors that led eventually to one of those odd arches that stood on the edges of the great cavern. We all descended down that arch and exited onto street level, where we were led to the largest arch of all, in the center of the city, that was topped also with a tower that reached to the roof of the cavern. We had been given this suite as a place for us to stay while we waited for… well, for something. No one was sure what, and we still aren’t, as we can’t communicate with the beings.

They are, for lack of a better word, kelpmen. They possess distinctinctly humanoid shapes, but seem to be made entirely of strands of kelp wound tightly together, with thicker strands on the outside hanging off of them like long hair. They have no discernible faces, but speak with muffled voices through their heads. They are larger than us humans are, and stronger; yesterday I watched a group repair a crumbling arch, each one lifting up what looked to be several tons of tile when the need arose.

We can only assume that these kelpmen – whatever they are – rescued us from our submersible after our accident, for whatever reason, and brought us to live in this arch, which seems to be a palace of sorts. We live near the top of the arch, and have not yet been permitted to leave our suite. We have food brought to us seven times a day, and while the fish and seaweed delicacies are delicious, they are rich and hard to keep down at times. We eat as much as we can, for fear of offending our hosts. Kitaabi has been speaking with the one who gives us food – or trying to – and says he thinks he is slowly beginning to understand their language.

In my capacity as a biologist, I have yet to discover what sort of beast they are. They puzzle me, and I suspect somewhat that perhaps they are not made of kelp, but merely dressed in kelp. I shall keep working on my hypothesis.

It is most boring here now, especially now that the danger seems to have passed. We are far from anything that might hurt us, and are just locked up in this suite all the time. They took my diary after I was knocked out, and they just gave it back to me a few hours ago. I must say I missed this thing. Interestingly, the kelpmen seemed to have activated a chronometer on it, which I didn’t even know it had. I assume it was accidental, but I am grateful to know how long it’s been. It’s been longer than I thought since we began; I think I must have lost some time somewhere… maybe between Hubie crashing and us waking up?

I’ll write again when I find out more. Kitaabi and the others will tell me all that they know as well; this diary is now our sole link to the surface world, assuming it still works.

I hope it does.