Category: Hameji Cycle

Trope Tuesday: Mexican Standoff

rsz_standoff_9776In a typical standoff, such as a hostage situation, two characters face off without immediately shooting at each other.  One or both of them may be using a human shield, or be reluctant to shoot first for fear that the other will take them with him.  A Mexican standoff, however, takes that up to a whole new level.

Perhaps the best explanation is the one from Wikipedia:

A Mexican standoff is most precisely a confrontation among three opponents. The tactics for such a confrontation are substantially different than for a duel, where the first to shoot has the advantage. In a confrontation among three mutually hostile participants, the first to shoot is at a tactical disadvantage. If opponent A shoots opponent B, then while so occupied, opponent C can shoot A, thus winning the conflict. Since it is the second opponent to shoot that has the advantage, no one wants to go first.

Basically, it’s Mutually Assured Destruction (MAD) on the level of individuals rather than nations.  The classic example is the finale from The Good, the Bad, and the Ugly.  Clint Eastwood’s character rigged it, though, so the outcome was never really in dispute.  Elsewhere, things rarely end so cleanly.

If the Cavalry doesn’t show up to save the day, these situations tend to lead to a messy free for all.  Heck, that may happen even if someone from the outside comes to save the hero.

If the resulting fight has a little more thought and strategy to it, though, you’ll get a Mêlée à Trois.  This happens in The Hobbit with the Battle of Five Armies, and in Downbelow Station with the stationers, merchanters, and Captain Mallory.  It also tends to happen a lot in A Song of Ice and Fire, with the various factions in that world.  Heck, it happened in real life during the Lebanese civil war, and is probably happening right now between the Christians, Sunnis, Shia, and Alawites of Syria.

When the fight has room for a little more scheming, you’ll often see things like a gambit pileup or a kingmaker scenario.  This is where things get really tricky, and the intrigue becomes positively delicious.  It isn’t enough just to have two parties duking it out–you’ve got to have lots of characters and factions, each with their own agenda.  That way, even the weakest party can win if they can convince everyone else to fight each other.

All of that happens after the Mexican standoff, though.  The standoff itself is the moment of tension and uncertainty before the crap hits the fan.  When done well, it’s an awesome moment of tension that can really boost the suspense.  When done poorly (or just for laughs), it’s over-the-top crazy, like Duke Nukem meets Scooby Doo.

I haven’t played around with this trope too much yet.  Stars of Blood and Glory has a little more intrigue than some of my other works, but I can’t think of a specific Mexican standoff moment in the book.  The situation near the end of Desert Stars is kind of like this, but with relationships and marriage alliances rather than guns.  I’m sure that’s a different trope, but I’m not sure which one.

Yet another reason to keep trawling tvtropes…

Trope Tuesday? Oh yeah, about that…

I’ve been so hard at work on the edits and book teaser for Stars of Blood and Glory that I completely forgot about Trope Tuesday.  In addition, I’m working a two week job that runs 8 to 5, with a half hour lunch break.  Sorry for those of you who enjoy this feature, but it looks like Trope Tuesday will be on hold for a week or two.

I haven’t forgotten about it, though.  If there’s any particular trope you’d like me to cover, I’m open to requests.  Just mention them in the comments below.

In the meantime, here’s a good example of the cannon fodder trope.  After watching this video, no explanation should be necessary.

Take care!

Book teasers are HARD…

…but I think I’m on to something with this one.  What do you think?

THE ONLY HOPE FOR THE LAST FREE STARS NOW LIES ON THE PATH OF BLOOD AND GLORY.

The princess of Shinihon could not have picked a worse time to run away. The galaxy is at war, and the massive Hameji battle fleets threaten to overrun the last of the free stars. Only the boy emperor Katsuichi dares to stand against them, but with his sister gone missing, the burden of command may be too much for him to bear.

The job falls on Captain Danica Nova and her band of mercenaries to bring the princess safely home. Among them, Master Sergeant Roman is one of the few still old enough to remember the homeworld. But he’s an old cyborg, and his humanity is fading. Death is a mercy he doesn’t expect to find on this mission.

They aren’t the only ones after the princess, however. Sholpan’s son Abaqa is eager to win honor and glory by making the girl his slave. Though only a boy, he’ll stop at nothing to prove himself to his Hameji brethren.

With the Federation in disarray, the bloody end of the war may come too soon for some of them. But one thing is certain—not all of them will live to see it.

This is, of course, for my upcoming novel Stars of Blood and Glory.  I just got back the first round of edits from my editor, and it looks pretty good.  There’s just one scene we agree needs some extra work, and that shouldn’t take longer than a week.  The cover art might take a little longer, but if the book’s not published this month it definitely will be in the next.

But first, I’ve got to really nail the teaser.  So what do you guys think?

LTUE 2013

Man, LTUE 2013 was this weekend, and it was AWESOME.  One of the best conventions I’ve ever attended.  I spoke on my first panel, attended my first book signing event as an author, and got to meet up with some old friends, as well as some amazing new people.

Since I live tweeted most of the panels I attended, I thought it might be interesting to repost a few of those here, with some additional thoughts.  So…here goes!

THURSDAY

I believe this was Scott Parkin from the “What Do You Write?” panel. Good advice. Megan Whalen Turner also had some very interesting things to say on the subject of genre, which I have since forgotten. But I recorded it, and the recording will eventually be made publicly available in the LTUE conference archives, or so I’ve been told.

This one was from the “What Is ‘Punk’ Literature and Its Many Genres?” panel. David Butler and Larry Correia were HILARIOUS. Nearly got into a wrestling match right in front of us.

And when the esteemed Mr. Butler began to describe his book, I swear, a choir of steampunk angel Moronis somewhere began to sing a heavenly chorus. I mean, he had me with Edgar Allen Poe faking his death to become a secret agent, but Orson Pratt’s phlogiston guns? Eliza R. Snow as chief counterintelligence officer for the Kingdom of Deseret? I will definitely be checking out this book, City of the Saints (which is apparently a finalist for the 2013 Whitney Award).

David Butler is also a way cool guy. I hung out with him a bit in the dealer’s room, chatting about Mormon history, Lyman Wight (“shoot and be damned!”), Sir Richard Francis Burton’s expedition to Salt Lake City, and all sorts of other crazy zany stuff. And the whole time, he was playing a guitar. So yeah, definitely a way cool guy.

This discovery CHANGED MY LIFE. Also, it helped me to save immensely on lunch money, as well as join in on some way cool conversations with other panelists as they desperately tried to escape their fans. Okay, not really, but the green room was AWESOME.

Howard Taylor’s presentation on teasers was tremendously insightful. In a nutshell, he said that a teaser (aka book description on Amazon / back cover) should have or at least point to the following things:

  1. The inciting incident
  2. Character action
  3. Conflict
  4. Hook

We then went over a few examples, including some good ones that broke these rules, and finished up by doctoring a couple of teasers volunteered from the audience. Howard Taylor admitted to me later that he wasn’t entirely satisfied with the way he presented it, but I get the impression that he’s never entirely satisfied with anything less than perfection. It was a great workshop.

From “Engaging the Reader.” Great panel. Lisa Mangum described the planning / drafting / revising process for each of her first three novels, and they were all wildly different. With seven novels under my belt so far, I can definitely relate. Some, like Genesis Earth and Stars of Blood and Glory, practically write themselves. Others are like having a c-section with a hacksaw. And others…yeah, I’m not going to go there.

FRIDAY

Okay, maybe I said one useful thing: when there’s a language barrier, little things become big obstacles. One of the other panelists, Anna Del C. Dye, also had a bunch of stories about adapting to a foreign language and culture (in her case, the United States).

Overall, the panel was really, really fun! I also had some cards out for Star Wanderers: Outworlder, and a bunch of people came up afterward to get them. Guess I must have said something interesting. I hope you guys enjoy the book!

 

From “Current Trends in SF.” Great panel–it totally wasn’t just another over-hyped discussion about what’s hot right now. I asked how the panelists think the trend cycle will change in the age of self-published ebooks, and they had some very interesting things to say. They all agreed that speed to market, while it may give some advantages, isn’t a make-or-break game changer, or even really a good strategy (unless you really love the trend you’re writing to). Some things change, others remain the same. It will be interesting to give this one a re-listen.

 

 

From “Creators in the Community.” Probably one of the best panels of the entire convention. Tracy Hickman is really on top of the changes in the publishing world, and had a lot of interesting things to say about it in all of his panels. As for the subject of writerly communities, much wisdom and insight was shared by all of the panelists. Definitely look for this one.

Man, I’d forgotten how cool the guys at Dungeon Crawlers Radio are! They interviewed me back in 2011, when I was just getting ready to publish Genesis Earth. This time, we talked about space opera, sci-fi romance, language barriers in marriage and all the crazy things I have to look forward to, and a bunch of other stuff. I also shared some of my thoughts and opinions on self-publishing myths, especially regarding the “tsunami of crap.” We coined a new word, “nerdaissance,” to describe all the awesome new stuff that’s coming out now, thanks to the ease of self-publishing.

So yeah, it was a great interview! I’ll definitely be cross-linking once it goes live.

From “Effective Book Covers.” Great panel with some very good artists and cover designers, including Isaac Stewart who does all the maps for Brandon Sanderson. Although some parts were geared toward illustrators, most of the advice was for writers (especially self-pubbing writers) who are looking to design their own covers. Lots of great and insightful perspectives from the visual arts side of things.

FRIDAY NIGHT BOOK SIGNING

Okay, I’ve got to be honest: when I went into the mass signing with my cardboard box of CreateSpace POD novels, I didn’t expect to sell anything. I figured that was just my ticket to get a seat at a table and hand out cards for Star Wanderers: Outworlder to some of the casual book browsers.

Well, I was pleasantly surprised! An uncle of one of my old mission companions was impressed enough to buy a couple of copies. I think he’s one of these guys who likes to buy things from new authors to help encourage them. It’s great to see people like that. He told me to keep writing, and I told him I definitely would!

Lots of people snagged the card for Outworlder, and I came up with a pretty decent pitch: “it’s about a starship pilot who accidentally marries a girl who doesn’t speak his language.” That raised a lot of eyebrows! A lot of people were really happy to see a science fiction story, especially a space adventure. I get the impression that there’s a craving for this kind of stuff in the market that isn’t currently being satisfied. So yeah, that was very encouraging!

After things wound down a bit, I wandered around the signing checking out some of the other books. Saw a couple that I recognized from the Kindle Boards, which was interesting. Chatted with them, as well as a bunch of geeky guys about chain mail, Halo, Frank Herbert, and all sorts of awesome stuff. Man, the best part about sci-fi/fantasy conventions is the chance to just talk with people! So much interesting stuff. It was great.

SATURDAY

 

 

From “Write For the Market or Write What You Know?” Another great panel. Definitely will be re-listening to that one.

From the main address with Megan Whalen Turner. She talked about book censorship and the need to teach children how to make their own reading choices, rather than keeping them sheltered and making the choice for them. She pointed out how every time a New York Times article comes out bemoaning some YA book for inappropriate content, it’s kind of hypocritical because there are so many other books they miss. The Golden Compass, for example, didn’t even pop up on their radar until the movie came out. Kids don’t magically become mature, well-adjusted adults when they turn 18–we have to teach them to make these choices (and mistakes) for themselves.

From “How Does Your Story Mean?” Great discussion on the writing process. Saw a lot of other good live-tweets during this one.

Okay, I take back what I said about the best panel of the convention. THIS was definitely the best. “The Engines of Exploration,” with Howard Taylor, Megan Whalen Turner, Roger White, James Owen, Kevin Evans, and Charles Stanford–the panel was packed. It basically turned into a round-robin discussion of which commodities are most essential to modern civilization, which ones will be the most valuable in the event of a societal collapse, and which ones will take us to the stars. The eventual consensus on each of these eventually came down to goats. Seriously. GOATS!

 

From “Writing Romance Without Erotica.” Lots of delicious awkwardness, as well as some really interesting thoughts and perspectives on the subject of romance. One of the panelists talked about the importance of “character penetration” without realizing about halfway through the panel how hilarious that phrase sounded in this context. But yeah, there was also a lot of wisdom in there as well. There are a lot of strong opinions about sex and romance floating around in this part of the world, so it was a very spirited and interesting panel.

 

 

The last panel of the convention (technically, symposium, but whatever) was “eBook Publishing” with some highly successful indies like Michaelbrent Collings. As you can tell from the tweets, it was a bit controversial, but very, very interesting. Questions were flying all over the place, on subjects ranging from formatting to building an audience. The biggest shock to me was that none of the panelists (none of them!) are on Smashwords. It’s a wild, wild west out here in indie-land. Makes me wonder, maybe I should publish to iTunes through another venue? Hmmmm…

So yeah, that was pretty much the whole convention/symposium. I finished it out by playing Alhambra with a bunch of friends from Kindal Debenham’s writing group who came down from Seattle and Idaho. Good, good times–it was actually kind of sad to say goodbye. Definitely worth coming 11 time zones to attend.

All I can say is that I am STOKED for Conduit!

Trope Tuesday: Planetville (aka Adventure Planets)

swmapsmall

Adventure towns…IN SPAAACE!!!

Seriously, that’s the best way to describe it.  In Westerns and TV serials, the heroes travel from town to town, with a new adventure in each place.  Well, in science fiction, we don’t hop towns, we hop planets.  Why?  Because we can.

Unfortunately, since planets and towns are actually pretty different kinds of places, there’s a lot of room to do things poorly and turn this trope into a cliche.  Any story that doesn’t consider (or at least lampshade) the implications of space travel and planetary colonization is in danger of becoming over-the-top campy–although, to be fair, there is an audience for that.

That doesn’t mean there isn’t room for this trope in fiction that takes itself a little more seriously.  In fact, I take issue with some of the descriptions on the Planetville page.  From tvtropes:

Unfortunately, because Sci-Fi Writers Have No Sense of Scale, stories about Planetville make no sense. Nobody seems to realize how BIG a planet is — everything in Planetville takes the same amount of time as stories set in towns or countries. In the updated Wild West story, the outlaws are “exiled from the planet” just like they’d be exiled from Dodge City, and have to quietly leave… instead of flat out challenging the authorities to find them when they have an entire planet in which to hide. When the space Nazis invade, they seem to need the same number of soldiers and time as the Earth Nazis needed to invade Europe. And when the crew of the Cool Starship finds the cure for the alien plague, the logistical issues of distributing it to an entire planet rarely get mentioned at all. These considerations are minimized or left out entirely in many stories.

To address these criticisms point by point:

1) Scale is relative to technology and the predominant modes of transportation.  When my ancestors crossed the plains to settle in modern-day Utah, they had to walk.  It took them months to get here and many of their family members died along the way.  Today, I can make the same trip by car in a day or two.  As technology changes, so does the sense of scale.

2) Unlike what some tropes would have you believe, not all planets are Earth-like.  In fact, it appears that most planets outside our solar system are wildly different.  In practical story terms, this means that any part of the world that’s remotely habitable is probably going to be immediately around the colony. Consequently, the local authorities probably will have the power to exile trouble makers from an entire planet, since exile from the colony would mean de facto exile from the planet as well.

3) Anyone venturing outside of the dome would have to carry just about everything necessary for life, including air, water, food, etc.  You might as well try to hide in Antarctica as hide on an alien planet.  It can be done, of course, but to do all that and stay hidden, that’s going to be tough.  You might as well set up a rival colony for all the effort–but at that point, the story is about a lot more than just hiding from the authorities.

4) If your planetary colonies are only as populous as an average WWII era city/town, then yeah, you’ll only need as many soldiers as it took to conquer them.  The biggest difference is that they’ll fly a really cool starship.

5) Again, if the planet isn’t habitable and the population is contained within a handful of relatively small colonies, then distribution shouldn’t be too much of a problem.

However, the tvtropes page does make this valid point:

A side effect of this is that the characters never realize that things can happen in parts of planets. You will never see aliens trying to capture a planet’s equator, or its polar caps — it’s the whole planet or bust.

In the end, I think the key to doing this trope well is to know your setting well enough to fit the story to it.  Tropes are tools, and when done well, this trope can accomplish everything it sets out to do while making perfect sense within the context of the story.

In my own work, this trope is most prevalent in the Star Wanderers series.  Every novella takes place at a different planet or space station, sometimes multiple planets per station.  Because most of the stars in this universe have only recently been settled, the colonies are small and terraforming is quite limited.  In Desert Stars, I used a similar concept, except with large domed areas of a single planet, instead of multiple planets (Adventure towns…UNDER THE DOME!!!).  In cases where the planets are Earth-like, however, or where travel between planets is costly and difficult, this trope doesn’t really ever come into play.

Productivity? Yeah, about that…

So, for the past week, I’ve kind of been between projects.  I finished the revisions for Stars of Blood and Glory last Saturday, after a week or two of light revisions, but since then it’s been a bit of a struggle. I’m still working on Star Wanderers: Benefactor, and progress on Lifewalker had been coming along, but haven’t managed to really immerse myself in either those stories yet.  As a result, I don’t really have much to show for this past week, other than a scene or two in Benefactor and a new first chapter for Lifewalker.

One of the problems, I think, is that I haven’t really been able to turn off my internal editor.  Even with my blog posts, I’m constantly going back and rewriting the previous sentence.  This sucks, because it slows down the writing, makes the process tedious and painful, and doesn’t necessarily improve the quality of my writing either (at least, not beyond a certain degree).

What I really need to do is run with a project until I hit my stride, and then do all I can just to keep a steady pace.  So that’s what I’m going to do with Lifewalker this next week: force myself to write without really caring too much about whether the stuff on the page is pretty good.  Because usually, when I don’t angst about it too much, it actually turns out pretty well.  Sure, I might write myself into a hole I can’t get out of (at least, not without breaking the story), but if that’s the case I can always toss out a couple of chapters and redo things.

So far, Lifewalker has surprised me quite a bit.  I have a general direction I want the story to go, and a vague idea of where the main character is going to go up, but when it comes to a particular scene, things will pop up out of nowhere that takes the story in all sorts of interesting directions.

For example, my main character is currently wandering a post-apocalyptic Utah with just a handful of possessions.  One of them is a copy of Brandon Sanderson’s Mistborn: The Final Empire.  At one point, he spends a night among the people living in the ruins of Santaquin (“Sannakin”).  Out of nowhere, I decided to have him read them a chapter or two from the novel, which of course confuses the heck out of them.  So then they start asking him questions, like whether the world before the apocalypse was covered in ash like in the novel, which leads them to all sorts of wild and ridiculous speculations.  The aside only lasts a couple of paragraphs, but it takes things in a whole direction that I hadn’t planned it to–one that really fleshes out the world.

This is my first time writing post-apocalyptic fiction, and while it seems a bit daunting, when I actually sit down and focus on putting out new words, wild and interesting things happen.  The research is a bit daunting, but the story takes place two hundred years after the apocalypse event, so there’s actually a fair amount of leeway.  As long as I’ve got Google Earth running in the background, with ready access to Wikipedia when I need it, I should be all right.

As for Benefactor, don’t worry, that one’s coming along as well.  When I’ve had too much of the post-apocalyptic world, it’s actually quite refreshing to come back to the familiar universe of the Star Wanderers series.  Bouncing between the two stories should be a good way to avoid burnout–though at my current pace, that’s the least of my worries.

Next week is going to be fairly eventful.  I’ve got a job on Monday that will take up most of the day, and LTUE will keep me occupied all Thursday, Friday, and Saturday.  Still, I should be able to get in at least a chapter or two in both stories.  We’ll see how it goes.

That’s about all for now.  It’s getting late, so I’d better turn in.  Night!

Trope Tuesday: Arcadia

Happy_Arcadia_by_Konstantin_Makovsky

What happens when you cross the Ghibli Hills with the Call to Agriculture?  You get Arcadia, a simple, uncomplicated utopia where people keep to the good old ways and live in harmony with nature.  As home sweet home for the farm boy and the country mouse, it’s often the starting point for the hero’s journey, though you’ll also see an occasional retired badass or old master take up residence after their adventuring days are over.  Then again, it might just be a ten minute retirement before they’re back in harm’s way.

This is NOT a town with a dark secret or any other kind of twisted dystopia.  There are no knights templar who believe that Arcadia justifies the means.  If there is any sort of moral or message behind this place, it’s a green Aesop.  If there’s anyone who fights to defend this place, it’s usually the good shepherd.

Because of the Rule of Drama, it seems almost paradoxical that a place as peaceful as Arcadia would exist in any story.  However, sometimes it’s good to have the contrast.  It also helps to raise the stakes by giving the hero a home like this to fight for.  By keeping this in the back of their minds, it can be an effective way to keep them from crossing the despair event horizon.

The hero can visit Arcadia at any point in the story, but it tends to fulfill different roles depending on when they go there.

If the hero starts out in Arcadia, it’s usually the known, familiar world which he leaves behind after getting the call to adventure.  He may or may not be able to go back once the adventure is over, depending on how much he’s changed and whether he can adjust to a boring, peaceful life after so much adventure.  A good example of this is The Shire from The Hobbit and Lord of the Rings.

If the hero ends in Arcadia, then it’s usually a way to show that everyone lived happily ever after (more or less).  Tolstoy was a big fan of this one, though he was also sure to show that living in Arcadia can be hard work–but in his view, the work is part of the reward.  In Lord of the Rings, Samwise Gamgee ended in Arcadia on this note.  Frodo didn’t.

If the hero visits Arcadia during the middle of the story, it’s usually part of an Arcadian Interlude.  The down time may give him a chance to rest and recuperate, as with Medwyn’s realm in The Chronicles of Prydain, Resembool in Full Metal Alchemist, or Tom Bombadil in Lord of the Rings.  Alternately, it may be a leave your quest test–because really, who wouldn’t want a nice, peaceful life when faced with the hardships of adventure?

While the idyllic rural setting of Arcadia seems great to us now, this wasn’t always the case.  In all the old stories, when characters strayed into the country, they tended to find themselves in the Lost Woods.  And while Vice City is normally considered the exact opposite of Arcadia, the Shadowland, which may or may not be rural, also qualifies.

In the end, the thing that makes Arcadia great isn’t just the rural, agricultural setting, or the simple way of life, or the lack of poverty (or extravagant wealth, for that matter), it’s the combination of all three, combined with a sense that the place is truly incorruptible.  It may be full of simple-minded, naive little people who have no idea what’s going on in the rest of the world, but it’s a place where you can feel safe.

In my own work, Terra 4 Dome from Desert Stars probably qualifies as this.  Even though it’s an archipelago of small islands rather than the rolling farmlands most often associated with Arcadia, it fulfills the same role more or less.  I don’t think I played with this trope at all in Bringing Stella Home, though in Stars of Blood and Glory, there are a couple of places that qualify.  And in Star Wanderers, various examples pop up from time to time, some more relevant than others.

As someone who dreams of settling down in a real-life version of Arcadia at some point, you can definitely expect to see me play with this trope in the future.

New publication and first con panel!

Sorry, no Trope Tuesday this week.  This day ended up being a lot more packed than I thought it was going to be.  Not too productive from a writing point of view, but Stars of Blood and Glory is coming along and should be out on schedule.

I do have a couple of quick announcements, though.

LE63

First, issue 63 of Leading Edge is now out, and I’ve got a publication in it!  For this issue, they ran a first novel chapter contest, and Stars of Blood and Glory was one of the stories that placed.  If you want to pick up a copy, you can do so here.  Print copies are $7.95, PDF copies are $3.00.

ltue

Second, the schedule for this year’s LTUE symposium is out, and I’m on one of the panels!  It’s Friday morning at 9:00, and the theme is “Raising the Language Barrier.”

This will be my first convention panel EVER.  I’m kind of nervous about it, but I do have some authority on the subject after living overseas for a year, so it should be a good experience.  The other panelists include Dene Low, one of my English professors from back in college.  That should be interesting. 🙂

That’s just about it for now.  Back to writing!

Slow, but still making progress

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!

Trope Tuesday: Honor Before Reason

nedstarkIf you can’t do something smart, what do you do? Something right–at least, when this trope is played straight.

Characters who place honor before reason tend to be idealists, starry-eyed or otherwise.  It’s not that they’re stupid–at least, not always–but they do tend to be vulnerable to flaw exploitation.  If the Fettered can’t take a third option, this is how he often gets trapped.

On the other hand, without this trope, we wouldn’t have as many heroic sacrifices or men of their word. In the dark, everyone would turn out to be a jerkass, and the world would be a terrible place to live.

Since the best stories often have some sort of moral dilemma at their core, there’s something about this trope that speaks to us, even (or perhaps especially) in the face of sadistic choices and necessary evils.  It appeals to the more innocent part of us that still wants to believe in incorruptibility.  On the other hand, characters who follow this path don’t tend to think creatively enough to actually solve the problem–or at least, solve the problem without committing the ultimate sacrifice.

Not surprisingly, this trope is a very good indicator of where a story stands on the Sliding Scale of Idealism vs. Cynicism.  In idealistic stories, characters who place honor before reason are often vindicated, such as Bilbo in The Hobbit or Luke Skywalker in Star Wars.  In more cynical stories, the honorable characters not only get eaten alive, their noble idealism actually makes the problem worse.  The classic example of this is Ned Stark from A Game of Thrones, as the cartoon above suggests.

The opposite of this trope, reason before honor, is shoot the dog.  Interestingly enough, in the first scene in which Ned Stark appears, he commits an act that arguably fulfills both tropes at the same time (executing a man who is most likely innocent but has been found guilty by the law).  Lawful stupid doesn’t necessarily come into play, but it often overlaps.  Again, it all goes back to the scale.

This trope pops from time to time in my own writing, though I’m not nearly as cynical about it as George R.R. Martin.  Jalil from Desert Stars generally fits this trope, though Tiera is just as honorable and definitely not stupid about it.  Stella from Bringing Stella Home fits this trope at first, though her choices are vindicated later on.  In Stars of Blood and Glory, though, there’s a character who fits this trope perfectly, and I’m not sure whether he gets vindicated or not.  It will be interesting to see what the readers have to say about that.