bite me: the week in bite-sized chunks

Tor: Amanda Rutter (Floor to ceiling books) did a blog post called ‘We are the main stream’ that received some contention on Twitter, particularly from Tor Editorial Director, Julie Crisp. To sum, Amanda’s post stated that as SFF already has a surfeit of awards, the Man Booker Prize don’t need to recognise the genre for it to be considered mainstream, that it already has seen enough success – The Lord of the Rings, Harry Potter, Twilight – for it to be the mainstream now. Julie Crisp’s point against this was that literary fiction awards like the Man Booker are exclusive when it comes to SFF and it would be advantageous to be recognised by them: ‘Because like it or not, prizes sell books, raise brand recognition, get great PR and attract mainstream readers’. This is why I’m writing my dissertation on the topic of SFF, stigma, and the genres gaining mainstream recognition. Why is there a divide between literary fiction and Science Fiction and Fantasy? Do we quit moaning about it and accept that SFF can no more be awarded a Man Booker than literary fiction could win a Hugo? Or do we look at Attwood’s The Blind Assassin and, as part of it is a Science Fiction novel, claim it as our own?

Voyager: Science Fiction author and blogger Cory Doctorow (Little Brother, For the Win), was interviewed by the BBC this week in the business section for his ‘How free translates to business survival’ philosophy when it comes to DRM. In order to survive in this digital age, he advises that content should be given away free, to benefit both the customer and the author. DRM prevents purchasers from sharing and easily moving content between platforms and individuals are going to pirate anyway, so why not get in there first and generate some positive publicity from it? Doctorow practises what he preaches: his eBooks are available free of charge. Because, ‘By making my books available for free pass-along, I make it easy for people who love them to help other people love them.’ But what about the publisher? Doctorow states the hope is that giving his content away free will encourage people to buy the paperback version because at least they now know he exists. This is an interesting concept, however, although the paperback sales might increase, his titles won’t feature in the eBook market, or, tragically, Amazon’s Kindle recommends or on iTunes’ bestseller list.

Orbit: feel the Jim Butcher love. Orbit had a competition a while back (that I missed) for fans to wax lyrical about their love for Jim and they’ve posted a selection of their favourite responses. Not that I have beef with this (what does that saying mean?), but their, albeit randomly selected winner, had this to say: ‘I devoured them over the space of three weeks! I cannot get enough of them.’ Like I said, no beef here. I just thought I’d share that particular winning gem. Still, it’s got to be better than the embarrasingly excitable: ‘One of the few series I’ve stayed loyal to.’ OK, I admit it. There is a smidgeon of beef. More interesting to you, they’re offering chapter one of upcoming Ghost Story free to read. I always refuse to do this as I want every single word to be new when I’ve waited so long for it (it has also not escaped my notice that Ghost Story is now due out in August. Cry.)

Bookshelf porn: seriously, this is hot stuff. Just check out these utterly beautiful (although perhaps not errotically so) book shelves and collections. I want the one with the bike on it. If this is porn, my book collection, currently occupying most of the wardrobe, drawers, under-the-bed space and floor, is the equivalent of the slightly sticky bargain bin that even the perverts avoid.

World Book Night oversight? Stephen Hunt thinks so

Like many people, I’ve been avidly watching the Jamie Byng-organised World Book Night saga through to its inevitably successful conclusion (despite what the critics might have said). But you might have noticed that that old umbrella term, Speculative Fiction, wasn’t well represented in the giveaways. OK so Philip ‘mechanism of fantasy’ Pullman featured with Northern Lights, and David Mitchell with Cloud Atlas, which are both fantasy, but they are that type of book that straddle the tenuous literary fiction divide. Usually because they’ve reached a mystical level of success.

HarperVoyager author Stephen Hunt, Steampunk connoisseur of Court of the Air, is – and it’s a term I don’t get to use nearly often enough – outraged at BBC coverage of World Book Night because of the lack of Science Fiction and Fantasy on show. To quote:

I can forgive the committee of World Book Night itself, whose selection of twenty five titles to give one millions free copies away was made by a board which clearly apes the views of the Booker panel – which is that fantasy, horror and sci-fi, much like hardcore porn, has no place in any respectable fiction list, but the BBC?

I do wonder if it would have seemed like the BBC were making a point (heaven forbid) if they had broadcast an entire discussion in the middle of their WBN coverage about books that categorically were not on the list, but I support anyone standing up for speculative fiction who is eloquent about it (and useful to my dissertation).

I particularly enjoyed the image he created to accompany his post. I’ll have that. If you find yourself similarly outraged after reading his rant, you can ‘like’ the Facebook page he’s created to make his stand: ‘A community to educate the BBC and World Book Day that Fantasy, Science Fiction and Horror is not a corrupting foreign influence.’ I like it. You should too.

bite me: the week in bite-sized chunks

Tor: What is it about cake and books? Atom did it (I’ve just looked at my blog post about that and realised that sometimes I am a total nerd. And not one of those cool nerds, either), and now Tor UK have had an event to celebrate the reissuing of China Miéville’s backlist covers by putting them onto cakes. And they’re right to – designed by Crushed, these new covers are gorgeous, and delicious. They remind me of Neil Gaiman’s now not-so-new covers, with the black background and delicate illustrations embossed with coloured foil. Well, sort of.

Voyager: contain yourselves, epic fantasy fans; George RR Martin’s A Dance with Dragons is going to be published by Voyager on 12 July 2011. Believe that date, it’s actually real this time. It’s book five in A Song of Ice and Fire, a series so excellently executed and horrifically detailed that if, like me, you have a memory that quails at the thought of recalling more than one thing at once, you have four months to re-read the previous books. Or watch the upcoming HBO series Game of Thrones for a reminder sesh; it does have Sean Bean in it. I hear his contracts now state that, should there be a death scene, it must be at least 15 minutes in length. True story. Except for the lies.

Orbit/A Dribble of Ink: Aiden Moher over at A Dribble of Ink interviewed Orbit author Daniel Abraham (The Dragon’s Path, The Long Price Quartet) and the interview treaded close to my dissertation topic. Namely, the accessibility of the genre to people who aren’t necessarily SFF fans (differentiating this, but not altogether separating it, from the commercialisation of the genre). It also brought out Abraham’s irritation for people who want to look sophisticated through their bookshelf, whether they’re reading what’s on it or not (a personal pet hate). Abraham encourages the kind of SFF people might prefer to read via the anonymity of their eReader: ‘There is something at the base of genre – and it’s commercial and accessible and low-class and embarrassing – that brings people to what we do, and I think writers turn away from that at our peril.’ Abraham dubs this – and he’s not alone in this definition – as ‘guilty pleasures’ reading. He encourages writers to write ‘what people are ashamed to love’. Perhaps this is the value of eBooks to SFF. And its more adventurous readers. Perhaps Erotic Fantasy will get its (discrete) moment.

Gollancz: Orion publicity assistant Louise Court has given an interview on her role with Orion and Gollancz on the Book Chick City blog. This is just a lovely insight into her role and her first love, the written word. She also gets in a few plugs for their Urban Fantasy list – well, she is a publicity assistant, after all.

Arther C Clarke Award: the shortlist was announced on March 4 and is as follows:

Zoo City by Lauren Beukes (Angry Robot)
Monsters of Men by Patrick Ness (Walker)
The Dervish House by Ian McDonald (Gollancz)
Generosity by Richard Powers (Atlantic)
Declare by Tim Powers (Corvus)
Lightborn by Tricia Sullivan (Orbit)

I believe I have some reading to do…

bite me: the week in bite-sized chunks

UCLan Publishing – it’s the first time these guys have featured here and, well, OK, I’m part of them and it’s my blog so they’re first billing this week. UCLan (that’s University of Central Lancashire, non-UCLanites) have their own publishing house and as part of our Publishing MA, we’re hosting a Science Fiction and Fantasy writing competition. To sum: Anyone can take part. The word count is 2,000 – 10,000 words. It should be speculative fiction. The winning submission will become an interactive eBook. The winner gets £150 and a sense of pride. Avoid cliché. Deadline is 18th March. Complete stories only. So get writing! Full details are on our Facebook page.

Angry Robot Books: as per a previous post, these guys are doing something freakishly similar to UCLan press, but, you know, with a budget. It's unsolicited submissions month - they're accepting complete submissions only - much like another publisher I may have mentioned (UCLan Publishing).

Scrolls: part of the Geek Syndicate network of podcasts (self-described as: ‘fairly drunken, incredibly sexy’. Beautiful), this podcast is an interview with 7 UK SFF writers about getting into writing, whose time was purloined at the SFX Weekender. The interviewees are speculative fiction golden boy Joe Abercrombie, Scott Andrews, Peter F Hamilton, Jonathan Green, James Lovegrove, Andy Remic, Adrian Tchaikovsky and some Camber Sands seagulls. Topics covered: getting re-commissioned; standard rejection slips; how style can’t be taught; mechanics of language; unflinching read-through crews; writing and editing process and how to know when your book’s ready for agents. I particularly enjoyed the slightly awkward misunderstanding between Hamilton (who does ‘know how to tell the story’ and doesn’t need story editing) and the interviewer. Also enjoyable were the solemn, post-interview add-in announcements of each author’s name. Most interesting point this makes is that agents aren’t always necessary for authors – James Lovegrove has had 35 books published and has been more or less agent-free throughout. That said, persistence should come as standard.

Orbit USA: have commissioned a self-published author. Michael J Sullivan’s Riyria Revelations series will be published in three volumes, the first book of which – Theft of Swords - will be out in November 2011. These have already been making their own merry way in the world in eBook form and print on demand and populating the eBook bestseller lists. Compared with Terry Brooks and Brent Weeks by Senior Editor Devi Pillai, who goes on to describe the series as clichéd (bizarrely) but also adventurously fun. Sullivan has this description on his site (the italics and speech marks suggest it is a quote. I suspect it’s his quote): "There's no prophesy, no innocent boy destined to save the world, no ultimate evil to be slain. Just two guys in the wrong place at the wrong time trying to survive." One fan’s comment on the Orbit blog states: ‘Orbit, I hope you realize the legion of fans who have been reading, raving about, supporting, and sharing this great series since its inception.’ I suspect they probably did know, hence commissioning. I also suspect I will be buying Theft of Swords. It goes to show that eBooks have power. And that hype has power over me.

Other Orbit news: they’ve launched their podcast, which can be downloaded on iTunes. The first episode features the much-publicized Joe Abercrombie, who has emerged from the geekdom sphere and pierced the nirvana bubble of mass literary acceptance.

book tease: Department 19 is the reason you’re alive...

During my brief stint with HarperVoyager there was a certain buzz in the Fiction department about a certain YA action-horror they were about to release. I was lucky enough to have been given a copy. It’s Department 19 by debut author Will Hill (it exists, you know), and it has a bloody, fabulous cover. It’s not out until March 31st so I won’t review it now, but I will say that I really enjoyed it. And that it was one of those books I could have done with as a teenager, having gone from Christopher Pike, Point Horror and R.L. Stine straight to James Herbert (I am still occasionally haunted by the PE teacher and the shears scene), with no safety bridge in-between. This is that gore-soaked bridge.

Here’s a trailer for your enjoyment.


The Book Zone (for boys) blog has a great post about it with some words from the author himself.

I will gift you with the blurb:

In a secret supernatural battle that's been raging for over a century, the stakes have just been raised – and they're not wooden anymore.

When Jamie Carpenter's mother is kidnapped by strange creatures, he finds himself dragged into Department 19, the government's most secret agency. Fortunately for Jamie, Department 19 can provide the tools he needs to find his mother, and to kill the vampires who want him dead. But unfortunately for everyone, something much older is stirring, something even Department 19 can't stand up against…

bite me: the week in bite-sized chunks

Orbit: have posted a response to blogger Leo Grin’s derisive prejudgement of Joe Abercrombie’s new title The Heroes. Grin is tired of modern fantasy and its ‘writers clearly bored with the classic mythic undertones of the genre, and who try to shake things up with what can best be described as postmodern blasphemies against our mythic heritage.’ He then goes on to use Abercrombie as an example of this, likening his First Law trilogy to:

Think of a Lord of the Rings where, after stringing you along for thousands of pages, all of the hobbits end up dying of cancer contracted by their proximity to the Ring, Aragorn is revealed to be a buffoonish puppet-king of no honor and false might, and Gandalf no sooner celebrates the defeat of Sauron than he executes a long-held plot to become the new Dark Lord of Middle-earth, and you have some idea of what to expect should you descend into Abercrombie’s jaded literary sewer.

Maybe it’s because I (whisper it) didn’t actually enjoy Tolkien’s meandering epic – ‘stringing you along for thousands of pages’ is about right - that alternative ending sounds bloody brilliant to me. He doesn’t stop there. Modern fantasy can also be comparable to: ‘artists taking a crucifix and dipping it in urine, covering it in ants, or smearing it with feces’. I bet Tolkien never expected to be in the same group as fecal blasphemy.

Abercrombie’s response is understandably confused and irate. He hasn’t superseded Tolkien and Howard, Grin’s faves (‘I’m reasonably sure Lord of the Rings is still in print’). As Abercrombie aptly puts it in that nihilistic way of his:

In the words of Mr. Pink, “fuck sides, man, what we need is a little solidarity here.” To me, it’s not really about politics, and it’s got nothing to do with sides, just various writers coming at a genre with their own set of unique concerns, influences, interests. Why must it be steak OR chicken? Can I not enjoy both?

Well met. I’ll meet you in the jaded literary sewer.

Angry Robot Books: Editor Lee Harris has been in discussion about the worth of eBooks, which is a worthy topic when a lot of people seem to think that they should be free. The vast majority of people place a helluva lot of worth in the physical copy. Is a book not its content? Would you love a blank page? To sum Harris’ points: Production cost differences between an eBook and a hardback is minimal; it does not spell the death of the publisher (have you read Harry Potter fan fiction?); an eBook (like any book) represents the publisher; it’s the culmination of a shed-load of work between editor/copyeditor/production/designer/marketer etc; it’s the product of investment; it’s priced to make a profit; and it’s worth blood, sweat, profanities and tears to an author.

So, reader, what it’s worth to you, you know, in your heart?

Gollancz: quick one this week – Ben Aaronovitch’s most excellent mash up of ghosts and waterways Rivers of London is in the Sunday Times top ten bestselling hardbacks list. I would link if I could but unfortunately it’s subscription only – a flaw in an otherwise foolproof digital content plan.

book review: Ben Aaronovitch's Rivers of London

Rivers of London by Ben Aaronovitch is published by Gollancz in the UK and Del Ray in the USA (who have bizarrely re-titled it Midnight Riot). I read the UK hardback version, with its utterly glorious cover, complete with luscious London map made of words and a cheeky blood stain.

Peter Grant is a probationary constable faced with spending the rest of his career in the Case Progression Unit to do the paperwork so the ‘real coppers don’t have to’. Fortunately for him, whilst standing watch at the site of a gruesome murder in London’s Covent Garden, he takes a statement from the only witness available; the ghost of Nicholas Wallpenny.

From that moment on Peter’s eyes are open to a brand new world. He joins Chief Inspector Nightingale, the last remaining wizard in England, to become his apprentice and Detective Constable. Together they form a very special unit of the London Metropolitan Police Service, aka ‘the Filth’, that’s kept firmly under wraps. Peter moves into the Folly, Nightingale’s mostly empty mansion (‘mostly’ because there’s a Molly slithering around in there somewhere) to begin his training.

He’s soon learning the basic steps of magic alongside investigating the freakishly similar murders that keep cropping up around the city. Although, it soon becomes apparent that the murderers are as much a victim of the wave of anger and despair that warps their features and drives them, as the bodies they leave strewn all over London.

On top of all that, there are the vampires and the warring god and goddess of the Thames to contend with, not to mention the distractions that the luscious personification of a river, Beverly Brook, and the incredibly perky WPC Lesley May provide Peter with.

This is probably best described as Urban Fantasy, being city-based and about the supernatural, but this particular novel is more centred on police, ghosts and folklore. The policing aspects of it in particular make Rivers of London a credible thriller as well as an Urban Fantasy, especially due to the level of detail involved.

As I possess a peculiarly specific taste in Urban Fantasy (Jim Butcher), which I mentioned in an earlier post, on the surface this novel ticks all the right boxes for me: set in a city, preferably Chicago or London: TICK. The police are involved in investigating supernatural crimes: TICK. And keeping them quiet from the public: TICK. Magic is needed to solve murders: TICK. It involves wizards: TICK. Vampires: TICK. Gods: TICK. And, bonus ticks for the unexpected yet delightful addition of Londoners turning into violent mannequins: TICK. (I feel you may need a reminder of why there's a ticking system.)

That was in theory at least. So I was, of course, delighted to discover it had all of those things it promised to deliver, and more. More because the characters are wonderful. I really got on well with the lead, Peter Grant, who was slightly whiney, but also thoroughly sympathetic, and wonderfully funny (and very ready believe in magic). Almost like Moss in the IT Crowd (who Peter firmly is, in my mind at least). Aaronovitch drip feeds enough of a back story about his character’s upbringing to enable the reader to understand the character’s motivations and worldly view, without it being a sob story.

While through the first person narrative you really came to know and love Peter (important, that), there is always the risk of the one viewpoint leaving other characters in the lurch. It would have been great to have gotten to know some of the other characters further. Beverly Brook, Lesley May and Nightingale all would have benefited from further examining, but this is only the first book of hopefully many, so there is always time for that. The snippets of characterisation you receive through the medium of Peter are enough to satiate you, whilst leaving you wanting a sequel to learn more.

Like all excruciatingly good Urban Fantasies, the city has to be as much of a character as any of the others, and Aaronovitch ensures that London ain’t no bit part. The city heaves off the page in all of her cobbled, crowded, violent glory. The author’s love of this city pours from the pages in the descriptions of the streets, landmarks, rivers (naturally), folklore and its spirit. Despite the reverence, Aaronovitch isn’t afraid to get London’s hands dirty. Whatever nasty is abusing the city is feeding from the spirit of riot and rebellion that’s been breeding in its alleyways for years.

The book has two plots running alongside each other – the main, meatier plot about randomly murderous rages overtaking innocent citizens, and the subplot about the dispute between the self-proclaimed god and goddess of the Thames. While they do neatly weave around each other, at times the subplot seemed to act only as a distraction for the lead from his main case. The two story strands did cross towards the finale, although this had a touch of convenience about it. I did, however, enjoy both of these stories equally on account of them being extremely well written.

Aaronovitch has written for Doctor Who, which always demands a creative mind, and there is certainly one at work here. The personification of lost and current London rivers feels both believable and magical through Aaronovitch’s deft hand. His debut novel is wickedly inventive and, to borrow the cover quote by Charlaine Harris, fresh and original.

The prose is often gently whimsical, but there is also a vividness to his writing. Aaronovitch’s snatches of description when Peter feels a flash of vestigia, magical resonance from a person, animal or place, is written in such a way that the reader feels, smells and sees it too.

Rivers of London is warmly humorous but never shirks from being brutally visceral when it has to be. For the first in a potential series, it’s self-contained with an ending that leaves you at once unsettled and fully satisfied. I thoroughly look forward to its sequel, Moon Over Soho.

8/10