It's amazing how many existential story questions arise from this view.

It’s amazing how many stories suddenly stop making sense from this point of view.

You know that moment after the end of the show, when the credits are rolling and the glory of that crowning moment of awesome is just beginning to fade?  When you go to the fridge to get something to eat, and all of a sudden that gaping plot hole or internal consistency problem with the story hits you?  Yeah, that’s fridge logic.

The key, though, is that it’s not something you normally question while you’re reading the book or watching the show.  While you’re in the story itself, the narrative is so compelling that you just don’t question it–that, or rule of cool is in play.  It’s only after the story is over that those questions start to arise.

It doesn’t have to come from bad writing.  Sometimes, it’s a result of values dissonance, especially for stories written in a different time or culture (although by no means is this phenomenon immune to bad writing).  Sometimes, it’s a result of a tomato surprise, where a reveal of something the characters have known all along completely changes the audience’s understanding of the story (though certainly, this isn’t immune to bad writing either).

Not all fridge logic is bad.  Fridge horror happens when a story becomes even more terrifying the more you think about it.  Some of the scariest horror stories have done this to me, as well as some that weren’t really intended to finish on downer endings but kinda sorta did.  Cracked.com did an interesting article on six movies that went that way.

But the best is when a story turns around and gives you fridge brilliance–that moment when you realize that that thing that bothered you actually changes the nature of the story in a way that suddenly makes it your favorite.

My favorite novel of all time, The Neverending Story, totally did this to me.  When I first read it in fourth grade, there were so many things that made the story awesome: the Temple of a Thousand Doors, the test of the three gates, the old man who is the exact opposite of the Childlike Empress in every way, and of course the signature phrase “but that is another story and shall be told another time.” But when I reread it in college, I realized that the real story–the underlying story that brings everything together–isn’t about a loser kid having all sorts of adventures in a fantastic world, but about the power of storytelling itself, and how it can fill the world with love.

Another moment of fridge brilliance came to me when I learned the story behind the writing of Legend, my favorite novel by David Gemmell, my favorite fantasy writer.  The book is about a hopeless battle that everyone knows cannot be won, and the people who decide to go and fight it anyway.  That’s all well and good, except that David Gemmell wrote it immediately after he was diagnosed with terminal cancer.  The story of the battle itself was a metaphor for his own life, and his struggle with his own impending death.  Lucky for all of us, after he finished writing it the doctor came back and told him that the first test was a false positive–that he was going to live after all.  He then went on to write almost thirty more books, all of them off-the-charts awesome.

So yeah, there you have it.  These are more reader tropes than writer tropes, but as a writer it’s good to keep them in mind.  Don’t be lazy, otherwise your fans will pick your stories apart (or if you have to leave a hole, be sure to hang a lampshade on it).  And if you find yourself smacking your forehead over something you’ve already written and published, see if you can’t revisit it in later books in the series and turn it into fridge brilliance.

druss_chroniclesBefore Dros Delnoch, before Skeln Pass, before the Legend there was a seventeen year old woodsman and his young bride Rowena.  They lived a happy, simple life until slavers attacked their village and carried her away.

But Druss would stop at nothing to save her.  With the demon-cursed blade Snaga, he crossed oceans and continents, fighting corsairs, brigands, armies, empires, even chaos beasts to find her.  And with each battle, the legend grew.

But the greatest challenge Druss would face was not a warrior or a monster, but an old family curse from beyond the land of the living.

Oh man, it’s been far, far too long since I’ve read a David Gemmell book.  Far too long.  And this one was perfect.  It had everything you could possibly ask for in a book by David Gemmell: honor, glory, blood, war, mystics and evil sorcerers, monsters from beyond the grave, great empires and epic sieges, and even a good deal of romance.  And Druss himself is such an awesome character, an unassuming, simple hero who may be brash and may have a temper, but is never completely corrupted by evil.

That said, this is a brutal, brutal book.  The pithiest way I can describe it is Taken meets Lord of the Rings.  People get killed.  Women get raped.  In fact, I think most of the women in the book get raped.  Certainly, more than 50% of the characters die, most of them in a grisly, violent way.  And not everyone is redeemed.  In fact, some of the noblest characters fall.

But man, this is a good book.  Where other fantasy books start off with the lore of the world, painting an exquisitely detailed picture of the world and the magic and the history, Gemmell just throws you right in and grabs you with the story.  Things happen, and they happen quickly.  From the beginning, he snags his hooks in you.

But more than anything, the story means something.  Not in the sense that there’s some kind of underlying moral, or the characters are all black and white.  They aren’t.  People do good things for the wrong reasons, and bad things for the right reasons.  Some of the most despicable characters rise up to do heroic things, while some of the noblest and most honorable characters end up fighting for evil through no fault of their own.  But through it all, there’s so much truth, so much insight, that you can’t help but come away feeling like you’ve been through life and death, and seen the best that both have to offer.

I’m gushing, I know.  This book is INCREDIBLE.  Definitely on par with Gemmell’s best.  I wish he could have written a hundred novels just like it.  I would have read them all.

This is the second to last book in the Drenai series that I’ve read.  The only one that I haven’t gotten to yet is The Legend of Deathwalker, and I plan to get to that one right away.  After that, I’ll probably move on to the John Shannow novels, and then the Rigante series.  In three years, I wouldn’t be surprised if I’ve read every book that David Gemmell has ever written.  He’s just that kind of an author to me.  And if he were still alive, you can bet I’d be ravenously devouring every new book that comes out…

Sadly, the number of David Gemmell books in the world is finite.  But still, there’s quite a few left before I read them all.  And one day, somewhere in the far-off future, I hope to write books as incredible as his.  To one day surpass him would be an impossible dream…but as the Ventrians say, may all your dreams come true save one, for what is life without a dream?

Awesome, awesome book.  If you’re a fantasy reader and brutal stuff like rape doesn’t trigger you, you definitely need to give the Drenai Series a try.  Start with Legend, but get to this one shortly thereafter.  It’s an amazing, incredible read.

Sorry for neglecting the blog this week.  I took a temp job to earn some cash, and that’s been sucking up most of my time lately.  Fortunately, it should be over sometime next week.

In the meantime, I found a place to live for the next few months.  I’m in the basement of an old house, rooming with a former classmate from Brandon Sanderson’s English 318 class.  So far, it’s actually been pretty awesome.  The rent is dirt cheap and you get what you pay for, but there aren’t any rats and the heater works fine.  It should be a good place to spend the winter.

Progress on Stars of Blood and Glory has slowed down somewhat, mostly due to the temp work, but it’s still coming along steadily.  If all goes well, I’ll have it polished and sent out to my editor by the end of next week, which leaves only the cover art to figure out.  I’m going all out for this one, just like I did with Desert Stars and Bringing Stella Home.

Also, I just (re)started Lifewalker, a post-apocalyptic novel previously titled The Chronicles of Lifewalker.  I know, I should be putting more time into getting Stars of Blood and Glory ready for publication, but this project has been begging to be written since 2011.  I wrote a first chapter two years ago, but the narrative voice wasn’t working too well.  Basically, I was trying too hard to imitate 19th century prose without having read enough to know how to do it well.  Instead, I decided to toss all that stuff out and write the dang story without being overly restrictive.  I think it’s going to turn out well.

Blah blah blah oh did I mention that I checked out a couple of David Gemmell books from the Provo Library?  Well, I did.  They are the last two books in the Drenai series that I haven’t read, and I am soooo excited to sink my teeth into them.  Just started The First Chronicles of Druss the Legend last night, and it is AMAZING.  Expect to see a review here soon.

Speaking of which, I should probably reread Wool and review it sometime.  Hugh Howey really took the publishing world by storm last year, and he’s doing some truly amazing things for indie writers.  His books are great, too–definitely worth picking one up.

That’s just about all right now.  I’ll probably put in another hour of writing/revising, then turn in for the night.  Later!

I’m back from vacation, but I’m going to take a break from the Hero’s Journey trope posts to talk about something that I really feel passionate about.  I hope you’ll forgive me if this turns into a rant, but I think this is an important issue that has some very dangerous implications that need to be explored.

In modern fiction, there’s a very prominent trope that a man is not a virgin.  The basic idea is this: if the protagonist is an adult male and he hasn’t yet had sex with a woman, there’s something fundamentally wrong with him.  Of course, because of his adventurous lifestyle, he can’t be tied down in a committed relationship–that would spoil the story.  But he can’t be holding himself back, either, lest his manhood come into question.  And most of the time, he doesn’t really want to, anyway.

This trope has a whole host of unfortunate implications, though, all of which serve to reinforce constrictive gender roles, disempower both men and women, drive a gulf of misunderstanding between the sexes, and emasculate true manhood and its role in our society.

To demonstrate this, let’s take this trope to the logical conclusions that our society seems to have come to.

If a man is not a virgin, then sex is a rite of passage, and it isn’t rape if it’s female on male.

In fiction, the sex as rite of passage trope is often seen in stories about angsty teenagers trying desperately to get laid. These are not typically stories about love–they are stories about peer pressure, objectification, and power.  By equating sex as a rite of passage in this way, it actually divorces sex from any concept of love or commitment, and turns any form of physical intimacy into a caricature of itself.

It doesn’t stop there, though.  If sex is a rite of passage, then it’s only reasonable that the young novice should have an older mentor to help him through the initiation process.  Thus we get the professional sex-ed trope, where the boy’s mentors or guardians help guide him through his first sexual encounter.  The implications for pedophilia and underage sex are more than a little disturbing.

We can see this trope in action in the way we treat female sex offenders.  If a 30-something male teacher has sex with one of his female students, he gets a lengthy prison sentence and spends the rest of his life stigmatized as a predator.  If a 30-something female teacher has sex with one of her male students, she gets a slap on the wrist and TV spot.  She’s not a sexual predator–she’s just having a personal crisis.

Needless to say, this double standard is extremely destructive for the victims of such abuse.

If a man is not a virginthen men cannot help themselves.  Therefore, all men are perverts.

If a true man is not a virgin, then a true man doesn’t say no to sex.  Even if he can say no, he won’t because that’s just not what men do.  Therefore, being a man is functionally synonymous with being a pervert.

The danger here is that it reduces men to their basic animal urges.  If being a man means finding a warm, inviting place for your penis each night, then you might as well go out to the pasture and eat grass.  Whatever happened to self control and delayed gratification?  Do you think anything meaningful would ever have come out of our civilization if we couldn’t keep our pants on?

And yet, both men and women seem perfectly willing to believe that it’s not only unmanly for a man to control his animal urges, it’s impossible.  On the Kindle Boards forum about a month ago, there was a thread on erotica and marriage and one of the members posted this:

I used to work as a forums admin on a large women’s forum (over 100,000 members) and the relationships forum had a lot of heated discussions on this topic. I won’t of course refer to any specific threads, but the discussions went a lot like this:

One woman concerned that her husband was spending too much time watching porn
A massive amount of women telling her that it’s ok, that ‘all men watch porn’
A small amount of women saying either they don’t agree with it or that their men don’t view it
A percentage of women saying their men are addicted to porn and would rather watch it than go to bed with a willing wife
A percentage of women saying it’s not the porn itself that concerns them, but the type of porn their husbands watch
Another group of women saying they either watch it themselves, or watch it with their husbands
Yet another small group of women who either were or are prostitutes/strippers/involved in amateur porn (who are either for or against based on their experiences)
A very vocal percentage of women saying that if your man says he doesn’t watch it, he’s a liar
A heated discussion ensuing….

How does it possibly empower men to tell them that they cannot control their own sexual impulses?  It’s a self-fulfilling prophecy, which harms not only men but women as well.  If all men are perverts, then women can’t afford to wait for a decent man and should settle instead for a deadbeat porn addict.

But that’s not even the worst of it:

…and if all men are perverts and all women are prudes, then men and women are two entirely different species that are completely incapable of understanding one another.

This one really gets to me.  I hear it everywhere, even from people who don’t consciously buy into the logic behind it.  I used to buy into it myself.  It’s the idea that women are so complicated that they are impossible to understand, whereas men are as simple as an on/off switch.

In my experience, men and woman are both human.  Both of them are equally complex and equally emotional.  Yes, they are different, but in such a way that it’s equally difficult (or equally easy) for the one to understand the other.  Generally, women tend to externalize their complexity, whereas men tend to internalize it.  At least,  that’s what I’ve found.

Our society takes this to the next level, however, and teaches men that they should just swallow their emotions.  If they don’t, they risk being seen as weak or effeminate (never mind that equating weakness with femininity is a whole other can of worms in itself).  And after a lifetime of living this way, it can be hard not to believe that that’s just the way men are.

But this is perhaps the most insidious danger of all.  It’s the falsehood that real men don’t cry, or show emotion, or have any capacity for compassion or tenderness.  It’s the fallacy of equating strength with violence.  It’s the destructive belief that men will never rise above the lowest common denominator of their hormones, and should never even try.  And because men are so obviously different from women in this regard, any attempt to understand them would be futile.

But how can you have a committed relationship with someone you can’t understand?  How can you possibly hope to make the necessary sacrifices for each other to make the thing work out?  And if you can’t reach the understanding necessary for a committed, loving relationship, how can you ever hope to raise a family together?

So yeah, sorry for the rant, but this trope REALLY gets under my skin.  It doesn’t help that one of my favorite authors, David Gemmell, is a big fan of it.  I tried to get into his Rigante series, but this trope was so strong that I couldn’t finish the first book.

I should also clarify that the thing that irks me isn’t just the trope, but how much our society has bought into it.  By themselves, tropes are neither good nor bad, but when something like this becomes so prevalent that it defines the entire operating system on which our society is based, that’s when someone needs to speak out.

And for the record, I am a 28 year old single male who is not ashamed to say that he is still saving himself for marriage.  Am I gay?  No.  Has it been difficult?  Yes.  Am I anything less than a man because of it?  Hell, no.  In fact, I would argue that the wait has made me more of a man than I otherwise would have been, and I’m sure that my future wife will agree.

Real men aren’t defined by their hormones or their sexual history.  They’re defined by the way they treat the people around them, especially the ones who are most important in their lives.

I recently read an amazing blog post by Shannon Hale titled “Why boys don’t read girls (sometimes).” In it, she makes a number of excellent points about how our society stigmatizes boys who read “girlie books,” and why that’s harmful.

Perhaps the most moving part of the post was at the end, where she described an experience at one of her book signings where she saw a boy hanging back and asked him if he would like her to sign one of his books.  The boy’s mother jumped in and said “yeah, Isaac, would you like her to put your name in a girl book?” The boy’s sisters all laughed at him, shaming him for reading anything that ran against their strictly defined gender roles.

In direct contrast to Shannon Hale, Dave Farland released a “daily kick” newsletter a couple of days ago where he advises writers to never let their characters cry.  In it,  he states:

Whatever problem [the character has]—whether terminal disease or sociopathic neighbor or anything else—the problem must be faced with courage. This means that your character can’t cry about it, no matter what the source of pain…Any time that a character breaks down, we as an audience may cast judgment upon that character.

Now, I have nothing but respect for Dave Farland.  I’ve been following his “daily kick” emails for years, attended dozens of his convention panels, and even interviewed him once for an online magazine.  He’s been a very influential writer to me personally, and his advice has had a huge impact on my writing.

But on this issue, I think he’s dead wrong.

Even if you don’t have any problem with the idea that men should never cry–a disturbing belief that harms men by forcing them to hide their true feelings, and harms women by teaching men that compassion and empathy are signs of weakness–even if you’re comfortable living in a culture that accepts this belief, there are still instances where having a man cry in your story can be both moving and poignant.

Cross his woman, and he’ll blow your brains out–quoting scripture while he does it.

The best example of this that I can think of comes from David Gemmell’s The Jerusalem Man.  No one–and I mean no one–writes manlier heroes than David Gemmell.  And among his characters, Jon Shannow ranks as one of the manliest.

In The Jerusalem Man, Jon Shannow is a lone gunman roving the post-apocalyptic wastelands of Earth on a spiritual quest for the city of Jerusalem.  Near the beginning of the book, he comes across a frontier woman under attack from bandits.  He stops to defend her homestead, and she shows her gratitude by inviting him into her bed.

Jon Shannow is a middle aged man, but because of the post-apocalyptic setting, this is his first sexual experience, and it moves him to tears.  For me, that was one of the most poignant moments of the book.  It didn’t take away anything from his masculinity throughout the rest of the story–indeed, it added significantly to it when the woman got kidnapped and he determined to rescue her.

I’m sure there are other examples that you can think of.  Certainly in real life, this notion that men should never show their feelings is both harmful and outdated.  To say that in fiction, no characters should ever cry–female characters as well as male characters–that’s just so wrong it’s infuriating.  If crying is so taboo that it’s even forbidden in the pages of a book, then something is wrong with the culture, not the story.

In 2008, I attended a fascinating panel at LTUE in which Tracy Hickman and a number of romance and fantasy writers discussed how to write romance in science fiction and fantasy.  Tracy explained that in all the novels he writes with Margaret Weis, she does the fight scenes and he does the romantic ones.

He then went on to talk about how there’s a whole side of life that our culture has shut men off from–a feminine side which is present in all of us, men as well as women.  The way he explained it, romance is not just the “kissy bits,” but a vital and enriching way to see the world–a paradigm that infuses everything with feeling and passion.

It makes me think of The Princess Bride, where even the action scenes with Inigo Montoya have a certain romantic flair to them.  In the old days, the term “romance” described not only love stories, but action & adventure stories as well.  In modern times, we seem to have forgotten all the old qualities like honor, love, sacrifice, loyalty, heroism, and compassion–even though they still make for the best stories.

Of course, our characters need to have courage.  But courage is not the absence of fear–it’s pressing on in spite of it.  And crying is not always a sign of weakness–it can actually be a sign of great emotional strength.  And if it’s true that the best literature helps us to see our world in a new light, giving us a greater understanding and appreciation for the human condition, how is it “courage” for anyone to hide their true feelings?

So do the characters in my stories cry?  Hell, yeah!  I don’t have them hide their feelings just because some readers might look askance.  Some of them cry more than others, and many of them don’t hardly cry at all, but those who do cry do so because the story demands it.

Even though I write science fiction, I do my best to infuse my stories with romance–not just the “kissy bits,” but that depth of feeling and passion for life that made me fall in love with books and reading in the first place.  Star Wanderers is a great example of that, and so is Desert Stars.

And yes, in case you’re wondering, I’ve read a lot of “girlie books.” They’re some of my all-time favorites.

Look, I ain't in this for your revolution, and I'm not in it for you, Princess. I expect to be well paid--I'm in it for the money.

If you’ve ever read a space adventure with smugglers and pirates, or a sword & sorcery with rogue thieves and master-less swordsmen, or a western with gritty outlaws and mountain men, you know this character alignment.  If you’re a fan of any of these genres, chances are you love him, too.

The Chaotic Neutral‘s one consistent rule is to always look out for #1.  Beyond that, he’s a free spirit who believes in individuality and resists anyone or anything that tries to control him.  Rebellious spirits and lovable rogues tend to fall into this alignment, but so do tricksters and wild cards.  Their resistance to any form of personal restriction makes them unreliable allies, despite what Jack Sparrow says.

From the easydamus alignment page:

A chaotic neutral character follows his whims. He is an individualist first and last. He values his own liberty but doesn’t strive to protect others’ freedom. He avoids authority, resents restrictions, and challenges traditions.

A lot of characters start out as this but tend to shift as the story progresses.  Han Solo, for example, shifts from Chaotic Neutral to Chaotic Good as he becomes more and more involved with the Rebellion.  The Jägers from Girl Genius are Chaotic Neutral until they have a Heterodyne to lead them.  But in other stories, such as Pirates of the Caribbean and Schlock Mercenary, the Chaotic Neutral serves as an anchor.

My favorite Chaotic Neutral is probably Waylander from David Gemmell’s Drenai series.  The Jerusalem Man is another good one–in fact, just about every one of his books has a Chaotic Neutral that I love.  Haruhi Suzumiya is an excellent example of a female Chaotic Neutral–in fact, she’s probably the queen of this particular character alignment.

In my own work, the best example of a Chaotic Neutral would probably be Tamu from Bringing Stella Home / Sholpan.  Even though she’s technically a slave, she doesn’t really mind it because she has everything she wants and doesn’t have to be beholden to anybody (not even Qasar, really, since she’s his favorite).  Amina from Desert Stars is also Chaotic Neutral, in contrast with Surayya, who is more of a Lawful Neutral, though sometimes it’s hard to tell.  And in Genesis Earth, Terra is definitely a Chaotic Neutral at the beginning, though she shifts a little somewhere around the middle.

I’m hesitant to admit this, but when I took the character alignment test for myself, I tested out as a Chaotic Neutral.  As to what that means, exactly…I’m not going to say. o.0

You know the drill.  The clock is ticking down to zero, the evil hordes are swarming through the gates, the virgins are about to be sacrificed and the damsel in distress is about to be lost forever–and then the  heroes show up in all their glory to save the day.

This happens all the freaking time, which means that if you want to make a living telling stories, this is not a trope that you should ignore.  And with good reason.  Not only does it give the writer ample opportunity to play with suspense and action, but it arguably lies at the very core of what makes a hero a hero:

David Gemmell, according to this interview with Ian Graham, defined a hero simply as “someone who does heroic things.” They might not always take the right side, or they might not even care about doing what is right, but when the universe conspires to bring them to a moment of decision, they make the choice that all of us would like to think that we would take and do something extraordinary.

I like this definition of a hero.  It strikes me as a lot more honest than the perpetual do-gooder whose only motivation is Truth, Justice and the American Way (though those characters can–and do–have Big Damn Hero moments of their own).  Also, it means that true heroism is not contingent upon actually winning.  History may be written by the victors, but that doesn’t cheapen the experience of those who actually lived it.

Of course, if the heroes don’t save the day, it’s pretty hard to pull off a crowning moment of awesome without bringing in the Bolivian Army.  Either the heroes find out that they’re too late, or they make things worse, or (as is so common with Othar Tryggvasson of Girl Genius) they just prove that their ego is too big for its own good.  When taken to the extreme, the heroes may even be in danger of turning to the dark side.

The biggest danger with this trope is turning it into a Deus Ex Machina.  The thing that makes Big Damn Heroes so incredibly satisfying is the sense of climax when they show up to save the day.  Thus, proper foreshadowing is key.  Yes, the rule of cool still applies, but if that’s all you rely on, you’re not going to be able to pull it off to maximum effect.

One of my favorite examples of this trope is Liam Neeson in Taken.  Plenty of action movies are more violent, but few are more satisfying.  It’s the perfect pick-me-up after a long crappy day at the office–not that I work in an office anymore.  I wonder why…

In any case, this is a great trope to look out for, and definitely one to master, especially if you’re writing any sort of action-adventure story.

Just like a story, every year has a beginning and an end.  For this reason, New Years has become a time to celebrate change, renewal, and the setting of impossible goals which we will all probably break by March.  Over time, this tradition has become so ingrained in our culture that it’s only natural for it to pop up in our fiction.

Most stories that feature a New Year subplot are episodic, such as cartoons, comics, anime/manga, and television shows.  They usually reflect real-world holiday traditions, such as the practice of setting New Year’s resolutions.  Because all stories need conflict (but also because fiction sometimes reflects reality), the characters in these stories are often just setting themselves up for failure in some hilarious way.

At first glance, this might seem depressing.  After all, if most of us will never reach our goals, why do we even bother setting them?  Why torture ourselves with guilt when, in all likelihood, we’re just setting ourselves up for failure?

In some ways, I think it comes down to this quote from David Gemmell:

May all your dreams come true save one; for what is life without a dream?

One of the things that makes us human is that we all need to have some impossible dream to strive for, some sense of hope for the future.  Through our New Year’s resolutions, we tap into that sense that anything is possible, and that we can change who we are and become better people.

For some of us, those resolutions are an effective tool to turn their lives around.  For those of us who lack that kind of will or self-discipline, the act of setting resolutions still helps us reflect on our lives and change in ways that perhaps we don’t immediately perceive.  After all, the truest measure of success isn’t whether you’ve accomplished all your goals, but how much you’ve changed through striving to meet them.

That’s my take on it, anyway.  In any case, a New Year’s story is a great way to give your characters some time for reflection, since it’s probably the most introspective holiday in our Western culture.  It’s a time for beginnings, endings, and chasing impossible dreams.

Happy New Year!