I’ve been trying to catch up on crits I either owe or have promised that have slipped by, because of my sudden lack of available time: I’ve begun to get up at 5am simply to get in an hour + on Harvester the novel. It’s not nearly as much time as I need, nor does it allow me to rewrite and revise the stories waiting for attention – 5 Clarion stories, plus 2 written previously that need editing before submission.

However, I’ve got 22k of the first Harvester book written, 40k of the second (as I’d initially planned those to be a single book), and the 3rd just revealed itself to me the other day. I’ve been wanting a new book for a long time now, and now, diving into it, despite the vast overwhelmingness of the project and my fear of another novel (and trilogy) and all the what-if-this-doesn’t-succeed-again fears, I’m happy to have it, and even happy to get up an hour early for it.

I still need to find the right music for it, too, to listen to while writing. None of my previous soundtracks work, nor does anything new. I need a science fantasy soundtrack, since that’s what this book is. Alternate reality, where serious dark magic exists, as does alchemy that cures cancer.

The real reason for this post is what Elizabeth Bear called “the reader backpack,” which she brought up one day at Clarion and I’m guessing no one in my class has forgotten yet. I consistently see this as in issue in Lightspeed slush – even with some of the really, really impressive stories that we don’t end up taking for whatever reason. And I just read a story from a talented fellow in my writing group that had the same issue, so I thought I would ramble on about it a bit.

So, Bear’s concept in my words: every story comes along with a backpack that the reader puts on when they read. A nice, empty backpack. First line, (with new characters/setting/conflict) a rock gets added. Next unusual revelation/question asked, a second rock. Now here’s where things either get better or worse. The author can lighten the backpack by removing rocks (answer questions), or make it worse by adding – which happens too often. Give the reader a rock with every question introduced, and they’re so bogged down without answers that they’ll stop reading because they cannot stagger down the path of the story any longer.

Bear’s suggestion was 1st question/rock, 2nd question/rock, then answer 1st. Hand out 3rd question/rock, answer 2nd. Move along like that so the reader is constantly intrigued, but you’ve got to remove enough rocks that they won’t get annoyed and throw down the backpack altogether.

While I’m on the bandwagon…

I also see things that don’t work for the story. Too much going on, too many unusual structural choices (which in an of itself are awesome) alongside intense content and you’ve got an indecipherable blob of genius that no reader like me (I’m slow-witted when it comes to stories) can decipher. Every element in the story works to serve the greater purpose of the story, but if you’ve got too many elements doing the same thing, or doing too many things, your gorgeous tech-happy alien story has turned incomprehensible. (And I am so guilty of this, too.)

Just like everything else in life, it’s all about the balance.

Oh, and while I’m here – reading. I’m almost done with Embassytown by Mieville, of which I have mixed reactions. Just some absolutely brilliant things going on there, including his very thought-out alien race. But wow did it get sloggish in the middle; I put it down for almost 4 months, and only picked it back up again because I had bought the hardback and decided I need to at least try and finish it. I slogged through a few more chapters until holy shit the apocalypse and it FLOORED ME for 3 more chapters of breathless reading until I hit expositional apocalyptic summary, to which I’ve slowed up again, although I think its very important I watch what he does because of my own apocalyptic novel. So…yes. So many amazing things, but I prefer a book I inhale consistently.

Also finished Valente’s Deathless. Some absolutely stunning prose, and I found the first half of the book captivating in a way I rarely come across these days, (the Baba Yaga scenes are absolutely priceless). Because of that, truly a must-read. On the technical side, I like books that push forward, driving to the end (even in a subtle fashion), and this one doesn’t do that. While consistently gorgeous and evocative, the motivations dwindled in favor of consistent, evocative imagery, which wasn’t enough to keep me intrigued. As a result, the last third of the book was hard for me to finish as I wasn’t invested in the protag’s journey anymore (which was also my reaction to her Palimpsest). Despite that, I’m certain I’ll go back to this book one day; it’s simply too lovely and original not to.

And I will add again that this James Tiptree, Jr. collection is the most amazing thing I’ve read all year, still (with Caitlín R. Kiernan’s Sirenia Digests‘ second). A must read for every SF reader/writer.

Happy Friday! A movie is in order this weekend, I think.

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