Writing dense descriptions and generative rhetoric.

Aside from “What’s best in life?” there are two sentences from the Conan stories that are more or less widely known, even outside REH fans. The most likely winner would be

“Barbarism is the natural state of mankind,” the borderer said, still staring somberly at the Cimmerian. “Civilization is unnatural. It is a whim of circumstance.”

But I’d say the second is this from the introduction in The Phoenix on the Sword:

“Hither came Conan, The Cimmerian, black-haired, sullen-eyes, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet.”

That is just a sentence, but it’s hard to imagine a more apt and densely-packed description of Conan. It is also widely different from the usual way of writing descriptions (or writing, in general.)

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The Butcher of Greystone – A Short Story now available.

My short story is live on Amazon for the awesome price of $1 (or something quite close to that,) a price so low you’d think I’ve suffered brain damage!

It’s a horror story, but following the epistolary genre of Gothic novels, mixing a bit of dark fantasy and weirdness in there. Most of the text is a single “letter” (a confession actually) written by Martin Goddard, a man dubbed by the populace as The Butcher of Greystone for his mass-killing of everybody in said castle. He’s on death row, in the final hours before his execution, and he writes this confession/short autobiography to set the record straight and explain his side of the story. However, there’s maybe more at play than even he knows. Click on the link and read the sample available to see if you like it.

My goal is to see if it’s viable to self-publish short stories. It may not be very profitable, and the royalties for that price range are awful, but let’s see where the whole thing leads. I have more short stories ready, so I’ll probably upload more in the coming weeks.

If you are curious about the awesome cover art, it’s from an old XIX century Spanish book, and the picture was uploaded under a Creative Commons license. I simply turned up the contrast and made a few changes to make it darker and more brooding.

As always, comments, reviews, and the like are appreciated. And if someone wants a copy review, ask away.

 

 

 

The Seven Quests/Motivations and why we can’t have nice things

Among all the lists that tell you exactly how many “types of story” exist, I like this one about the Seven Quests. No, I don’t mean the famous The Seven Basic Plots but this one in this more obscure, plain, and unsourced website: Love, Money, Power, Glory, Revenge, Survival, and Self. I don’t know the source behind it, and I don’t think it’s an exhaustive list —I can think of two other important motivations— but it’s useful, simple, and surprisingly powerful.

What I like about that list is that it actually focuses on human emotions and motivations, not abstract Jungian narratives like “Killing the Monster.” After all, what does that even mean? Killing it, sure,… but for what? Because you want to loot his treasure, revenge, or simple survival? It changes the story quite a lot whether the motivation of our hero is one or the other, and it also highlights the pitfalls of each motivation, its dark side if you will (Love -> Jealousy, Money -> Greed, Power/Glory -> Arrogance & Wrath, Revenge -> Obsession & Moral downfall, Survival ->? (this one is morally neutral as I will explain later.)

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“Lit Bait” and preferences/discrimination in genre literature.

Reading this piece by Jon Del Arroz about alleged anti-male bias in SF&F made me think about two events of my life which bear on this issue. Jon’s point –and the numbers he presents seem to support his claim– is that there is an anti-male bias in some parts of the short story market (and probably also in others.) I think that’s plausible, and there are some obvious examples like Tor.com or Uncanny. However, the problem goes deeper than that, and the alleged anti-maleness may be just an unfortunate consequence of an even more indelible bias than merely avoiding stories by testosterone-poisoned individuals. Let me tell you about two things that happened when I was young, so you get an idea of what I’m talking about.

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‘Dangerous Gamers’ paperback version available.

After a long struggle, the paperback version of my book, “Dangerous Gamers,” is available. Now you can read my ramblings critique of the new over-bloated class of cultural commentators and their latest controversies concerning allegedly violent, sexist, and racist media, including entertainment and (video) games.

Continue reading “‘Dangerous Gamers’ paperback version available.”

Update: final version of my book. Paperback incoming.

The final version (1.2) of my book, Dangerous Gamers, is available. Typos and some odd grammar constructions have been fixed. To ease reading, the formatting of the e-book is now as close as possible to how it is going to look in the paperback version. If everything goes well, that should be available next week. I have already bought one proof copy to see how it looks. There shouldn’t be any problem, but there may be some complications with the stupid cover (curse you, KDP and CreateSpace!) which is why the book isn’t available yet.

I also have added a few extra “mini-chapters.” This is stuff that, for one reason or another, I failed to add to the original version. It’s not essential material, but it’s stuff that helps to get the point across:

-A few paragraphs about the influence of globalization and foreign (i.e., non-American) markets in the content and criticism of mass culture. That’s something that’s actually very important since the business of politicizing culture is, well, a business in the English-speaking world, but it’s also inextricably linked to marketing and consumption, which nowadays is global.  I added this at the end of Chapter 1, starting at “The questions and issues  I talk about in this book cannot be…

-The inevitable suckiness of “political” or “message” fiction, explained by pointing out at their extremely short and shallow range of emotional expression, meaning that the protagonists and characters are humans in name only. Unlike other chapters, where my point is mostly about unnecessary or misplaced content and readings (“this shouldn’t belong in entertainment and games”) here I explicitly mention that the narratives of politicized storytelling are false since they are a gross mutilation of human nature.

I added this part at the end of chapter 12, starting at “The problem with so-called “political” stories is not…” and it may be one of the best parts of the book.

-A few paragraphs about the importance of “nicotine” and “poisoning” metaphors when talking about media effects. Those appear at the beginning of chapter 20 (or Part 2, Chapter 4 in the paperback version)


 

Unless I come across another minor issue (probably a typo or some annoying comma that refuses to stay where it should be,) I won’t make any more updates until (and if) I make a second edition.

Now you can buy the final version of the best book out there about the politicized commentators of games and entertainment and our contemporary moral panics. Why the best? Well, because I say so and, besides, it’s the only one.

 

My book is available: “Dangerous Gamers.”

My DRM-free ebook, “Dangerous Gamers: The Commentariat and its war against video games, imagination, and fun,” is available on Amazon. Currently, it’s only in ebook format, but I intend to upload a paperback version as soon as possible (Amazon is giving me problems with the formatting of the Table of Contents and a few footnotes, and I need a new and better cover.)

Edit: The book has been updated (grammar, typos, etc.,) be sure that your version (in the “copyright” page) is at least version 1.1. 1.2 If it isn’t, turn the autoupdates on.

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Gygax on post-70s fiction.

There is something missing in the big conversation about the current and future state of sff. Well, I’m sure there are many things, but I will focus on one.

Some of the people I read and follow claim that what is needed is to go back to the more pulpish roots of the genre, with AD&D’ Appendix N (not exactly pulp, but still, close enough) being a great starting point to know more about those now-forgotten or ignored classics. Some even read the editorials and interviews from old magazines to better understand the cultural zeitgeist of that era. Now, Appendix N may very well be a fundamental document of a bygone age, but it’s not like its author (Gary Gygax) died, struck down by a malignant curse in the prime of his life, just after penning his sacred doctrine.

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Post-apoc settings as a prerequisite of Sword & Sorcery.

What the title says.

There is no great sword & sorcery adventure without exploration and discovery. Exploration requires wilderness, and wilderness implies a negation of the World-Building (“everything needs to be mapped and known”) ethos in sff. Adventures require tension, and tension is impossible if everything is mapped, if civilization is dominant, or if the protagonist can go back to their HQ to resupply and rest. Hence, a vast blank space on the map and danger from wich you cannot escape are required: dungeons, caves, ruins, or being trapped inside a magician’s tower. The hero, if he wants to survive, has no other option but to keep going down.

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“But you ‘get’ a pulp story,” an interview with Hugh B. Cave.

Because the word “pulp” references the material on which those stories were published (compared to the “slicks,” for example) and not any specific genre or style (beyond the fact that all the stories attempted to be exciting -not a minor trait-) it is sometimes difficult to write about them without misrepresenting the whole phenomenon of the pulps, which was huge and encompassed at least three generations of authors. There is also the problem that most of the writers died many decades before our current literary and cultural controversies (or died too young,) or left the field once they could start writing in more prestigious circles.

Continue reading ““But you ‘get’ a pulp story,” an interview with Hugh B. Cave.”