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Author: Violette Malan

One More Time(Piece)

One More Time(Piece)

Robinson Kill EditorIn my last post I talked about John D. MacDonald’s The Girl, the Gold Watch and Everything, and today I’d like to take a look at Spider Robinson’s homage to that classic story, Kill the Editor.

I should begin by telling you that Kill the Editor was published separately as a limited edition (1991) but also appears as the first two thirds of his longer Lady Slings the Booze (1992), which is in itself a follow-up (avoiding the dreaded “s” word) to Callahan’s Lady. In Lady Slings Robinson tips his hat to several other mystery/crime writers in his acknowledgements, but it’s MacDonald’s watch that interests me here.

As you’ll recall if you read my last post, Kirby Winter inherited a watch that would stop time for the person holding it. A ton of other people wanted to get his secret from him – most without knowing exactly what the secret was – and defending himself and defeating the bad guys constitutes the plot of that story. (Or the plot of pretty much any story, I suppose.)

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The Girl The Gold Watch And Everything

The Girl The Gold Watch And Everything

MacDonald Gold Watch1John D. MacDonald is one of my favourite crime writers, and he’s probably best known for his Travis McGee series, starting with The Deep Blue Goodbye (1964) and ending with The Lonely Silver Rain (1985). Others, such as Glen Cook,  have used this device after him, but I’m fairly certain that MacDonald’s the first person who identified individual books in his series by giving each one a title colour.

While John D. is well worth looking into for any of his genre or non-genre novels, I’d like to draw your attention in particular to his only SF contribution, The Girl, the Gold Watch, and Everything.

In this story a mild-mannered young man, Kirby Winter, inherits from his uncle a watch that will stop time for everyone except the person holding it. Of course Uncle Omar used the watch to make himself rich, but he also did a lot of good. He tried to keep as low a profile as possible, but unscrupulous types figured out he had something that gave him a edge in the money world, and now they’re after Kirby to get whatever it is for themselves. That’s the essential problem and conflict of the novel, and with the help of Bonnie Lee Beaumont, a young woman who happens to be a good deal quicker off the mark and savvy about the world than Kirby is, the problem gets solved.

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The New Old West

The New Old West

Silver on the Road-smallFor years fantasy writers, and to some extent SF writers, have been looking for new worlds to write about, and wondering what the next big thing is going to be. I don’t mean just “are werewolves the new vampires” or what we can do to make zombies more interesting. Those are, if I can put it this way, single-trope problems.

More complicated is the general feeling that we’ve pretty much exhausted Celtic mythology as the magical/supernatural basis for our stories, and the pseudo-middle-ages as the setting of choice. Not to say that many wonderful stories aren’t still being told using those tropes – and being welcomed enthusiastically by mainstream audiences (even my Spanish cousins are reading/watching Juego de Tronos) but it’s getting more and more difficult to come up with something that feels fresh and innovative.

Of course we’ve already seen successful forays into non-white, non-western mythologies and cultures, but those of us who are white, and western, tend to tread carefully when we borrow from other cultures. No one wants to be guilty of any kind of appropriation.

On the other hand, we’ve also seen successful use of areas of western culture that don’t involve cousins of the Green Man. Dave Duncan’s Alchemist series successfully mines the European Renaissance, for example, while the success of Naomi Novik’s Temeraire series, set in the Napoleonic era, just proves how hungry we are to see dragons in a new light. And let’s not forget the Victorian Steampunk phenomenon, which has fired the imaginations of Fantasy and SF writers alike.

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A Pearl Among Emeralds: The Alhambra Palace

A Pearl Among Emeralds: The Alhambra Palace

Alhambra towerAccording to at least one source, Granada’s Alhambra Palace is the most visited tourist attraction in Spain. I’m sure the people in Barcelona would argue that their Sagrada Familia actually holds that honour, but the fact is that people have been going to visit the Alhambra since it became a Moorish royal palace in 1333. Or at least since Washington Irving wrote his Tales of the Alhambra in 1840.

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Superhero TV: That’s Agent Carter To You

Superhero TV: That’s Agent Carter To You

Carter 1I don’t know how I forgot “superhero” when I wrote about characters and their jobs a couple of weeks ago, but I was powerfully reminded of my lapse – and inspired – by two excellent posts from my friends and fellow BG bloggers, Derek Kunsken (Supergirl) and Marie Bilodeau (The Flash). Today I’d like to put in a word for the Marvel TV universe, where there’s at least one heroine that’s neither an alien, nor a human with superpowers: Peggy Carter of the Strategic Scientific Reserve (SSR) is 100% human.

A number of factors make this show stand out for me. For one, the creators have managed to pull off a series that is a little bit prequel, a tad bit sequel, as well as a sort of spinoff, that doesn’t rely on deep knowledge of either Captain Americ or Agents of Shield – or anything else in the Marvel universe for that matter. Plus, it avoids the drawback of most prequels: you know who isn’t going to die.

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I Need a Job

I Need a Job

Moon PaksHave you noticed how some characters come with their own jobs, and some need to find one? Some of them, like Sherlock Holmes, even invent their own jobs. There was no such thing as a “consulting detective” until Holmes became one. The job is the character, and the character is the job.

Or, to put it another way, sometimes the type of story you want to tell dictates what kind of job your protagonist needs.

And, sometimes, the type of job your character has dictates the story you’re going to tell about them. There are quite a few jobs that can bring a story with them, at least if you’re a genre writer. Detective. Queen. Knight. Wizard. Thief. Soldier. Then there are those whose story potential doesn’t seem quite so obvious. Servant. Miller. Potter. Cook. Farmer.

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You May Be A Writer

You May Be A Writer

MeredithDo you enjoy planning? When you want to give a party, do you start making lists? Thinking about the menu? Who to invite? When there’s a trip coming up, are there lists? Are you usually the first one packed? Or have you at least given considerable thought to your packing?

Is organizing an event almost more fun than the event itself? Then you may be a writer.

Do you think planning’s for squares? Do you decide at 6:00 pm to have a party and let people know via Twitter? Are you rushing through the airport at the last minute with your passport in one hand and a pair of (mismatched) socks in the other?

Are you all about the spontaneity? Seizing the moment? Then you may be a writer.

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Feast Or Famine?

Feast Or Famine?

Tom Jones1Typically my characters don’t spend a lot of their time eating. It’s not because I’m not interested in food, quite the contrary (see my previous BG posts on the subject, here, here, and here.) No, it’s usually because, if I can paraphrase my agent for a moment, I’ve found my characters something more interesting to do. Having your characters sit down and eat is a useful device, however, in that it does give them something to do – even if it doesn’t forward the plot – while they’re talking, which usually does forward the plot. As a general rule, characters need to be doing something while they talk to each other, and if they eat, you can also use the details of the food to help with world-building and setting.

Joyce RedmanStill, even when my characters are eating, they’re not usually attending a banquet. Indeed, banquets and eating scenes in general are usually something we encounter visually, rather than on the page. Who can forget the scene in the Errol Flynn version of The Adventures of Robin Hood, where he walks into Prince John’s supper banquet with a stag on his shoulders?

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The Halt And The Lame

The Halt And The Lame

Heinlein WaldoOne of the details that made Richard Lester’s The Three Musketeers so unusual at the time of its filming (1973) was a level of realism previously unseen in the historical adventure movie, (think Errol Flynn’s The Adventures of Robin Hood). Lester showed us illness, filth, and poverty in  ways we hadn’t really seen in a movie that wasn’t about illness, filth, or poverty.

Aside: Oddly enough, there’s more realism of this kind in comedy than in any other genre, as though it’s okay to present disease and disfigurement in a way that make us laugh. (Disclaimer: the psychological basis of laughter is not the focus of this post)

Blade Runner did a similar kind of thing for SF movies. Maybe it wasn’t the first time we’d been shown a dark future, but it certainly was the first time we’d been shown one that wasn’t clean.  We may argue that George Lucas did it first, in the original Star Wars movie, where Luke was driving what was obviously a used flying car. (And that’s my Star Wars reference for today.)

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