An author of Speculative Fiction, speculates about fiction.

YA

Book Review: The Graveyard Book by Neil Gaiman

I’m going to warn you, this review is seriously biased. I already love Neil Gaiman’s work. Neverwhere is one of my personal favs and I think I’ve read his short story collections Smoke and Mirrors and Fragile Things have been read and re-read until the ink’s worn off the page by the passage of my gaze. BUT I’m not a fan of American Gods, don’t judge. And so, The Graveyard Book could still go either way.

To start iff with, the book is about a kid growing up in a graveyard, the first few pages are about a seriously creepy murderer called Jack, and by the ned of the first chapter, a small child has escaped on wobbly feet and been taken in by ghosts. I don’t think there are any real spoilers there, but I just wanted to highlight how much great work is crammed into each and every chapter of The Graveyard book. Gaiman’s signature villains are in there with their odd names and overly-polite dialogue (a la Mr croup and Mr Vandemar from Neverwhere) which always give me a case of the willies. And the individual adventures of Bod (short for Nobody) and his undead friends are never formulaic or boring. In fact, they’re downright quirky. Good old Gaiman, you can always count on him for a bit of quirk.

What I really liked (and again this is bias on my part) is how the novel is split up into seperate stories, often a year or two appart, so that you get to see Bod grow up and learn his lessons. In that way, you really get a feel for the character and I seriously hope that there’ll be a sequel from his latter years. But more than that (here comes the bias) it let me know that it’s ok to write a book with this format. Which is good, because my WIP, The Adventures of Alan Shaw uses the same approach to show the protagonist growing up and having his adventures. And, to be honest, I’ve been worrying that it was a bad idea.

But back to the book. It was another one that I inhaled in the course of a day or so. It’s so easy to read, since it’s aimed at a younger audience, but it’s in no way patronising or dumbed down for the kids. The perfect mixture! Kids thrive on mystery and wierdness and they’re sharp enough to figure out what’s going on without a great big neon sign. YA authors, take note! Do it like Neil does (in my head, we’re on first name terms). Basically, an all-round good book, a satisfying read and intriguing hope-for-a-sequel premise. Good times.

And so, Mister Gaiman, not only thank you for a great read, but thank you for saving my literary ass at the same time. Seriously folks, how good is this guy?

Thanks for reading.


Research is your friend

It strikes me that I don’t talk about my writing process very much and, contrary to popular belief, I do have one. While I do most of my plotting in my head, only setting it down in notes when it’s exceptionally vivid to me, the rest of the idea-to-page process is pretty normal. One of the things I think are incredibly important, possibly beyond all others and especially for writers of Speculative Fiction in all its glorious forms, is research.

If you’re going to make your story/novel/flash fiction/novella as realistic as it can be (and by realistic, I mean believable despite the wierdness) then research is where it’s at. As an example let’s use my current WIP, The Adventures of Alan Shaw. This is a very different beast to Greaveburn. Alan Shaw is an Alternate History/Steampunk novel based in the very real Victorian era of England, albeit with some technological flights of fancy. But in order to make my Neo-Victorian elements work, I had to understand what the victorian era was really like. If I had a motto, it’d be:

Learn the rules before you break them.

And so I do research. A lot. Of course, the internet is your friend. There are sites or wikis on every subject known to humankind somewhere in the unending virtual vaults. But call me old fashioned, I still like my books now and again.

Here's what I used for Alan Shaw so far.

As you can see, there’s quite a mix in there. Let’s break down what I think is important about researchas the groundwork for your writing:

1. Know your genre

When writing Greavburn, I had no idea that I was actually working on a Steampunk novel. I was aware of the Gothic literature sub-genre and loved its aesthetic. Gormenghast by Mervyn Peake is one of my favourite books, and that was the kind of grand darkness I wanted to instill in Greaveburn. But Steampunk wasn’t even on my radar. And so, when I discovered that it existed, and that Greaveburn fit the bill, I panicked. What if someone had already done what I had? How restrictive to Greaveburn’s reception would that be?

I learnt my lesson for working on Alan Shaw. I’ve read James Blaylock’s Homunculus, J.W. Jeter’s Infenal Devices and pretty much memorised The Steampunk Bible by Jeff Vandermeer and co. And now I can confidently say that I know what to do and what not to do, what’s old hat and what’s relatively new (hey, that rhymes. I should write that down). Knowing your genre makes sure that you hit your demographic while avoiding any “it’s all been done” style comments.

2. Go simple

Finding reference books that are quick to read, while still being representative of the subject you’re researching, can be a real struggle. People love to bash on about their expert subject to the point of mind-numbing boredom. But you dont need a huge tome, reaching 3000 pages across four volumes about Victorian London by Lord Cyril Fanthorpe the 3rd esp. to know your stuff. In order to make your story realistic, all you need are the little touches. Those little details make the difference between just some woman in a dress and a young governess wearing a crinoline pinofore. You never have to mention it again, but that’s the kind of period detail that shows you’ve put the effort in.

But as I was saying, there’s an easy way to find those things out. Go for children’s books. They’re brilliant! They have pictures to help get the right feel in your prose, they hit only the important topics and give you great overview of any subject. The Eyewitness series is brilliant for historical stuff, if you’re interested in that stuff.

3. Get your facts right

If you’re writing about a certain place, be it a city or town or foreign country, get your facts right. Never forget that your readers know their stuff. Don’t think you can flim-flam them with sweeping references to places. With Alan Shaw, I have to evoke an image of Victorian London that rings true to someone who’s never been to London and someone who walks its streets every day. Google Maps can take you anywhere you need to go, and even tell you the quickest way for your character to walk/drive around their environment. You dont have to give an itemised list of corners turned between your Detective’s home and the mortuary, but it helps if you know how long it would take and what’s in between so you can describe it if need be.

While Google Maps is great for the present day, historical settings pose a little more of a problem. And so I got myself some maps:

Victorian London, imprisoned in plastic.

They came in four pieces, originally, but with a little industrious folding and one of those frameless plastic frames (contradictory, I know) I now have an easily accessible map of Victorian London. What’s better than that, with the plastic covering, if you get some dry-wipe markers, you can plot routes, circle areas or points of interest to your heart’s content without ruining the source material for later use! (This is an Art Attack!)

My doodles marking Covent Garden Market, and routes for Alan to take around London.

 4. The Counter-argument

 

Just remember: There’s another side to research. Don’t get too bogged down with it. Learn what you need and move on. It’s a tool to help you write, it’s not words on the page.

Well, folks, that’s it for now. I hope this post has been as useful to you as my researching endeavours have been to me. If you have any researching tips of your own, then feel free to share. I’m always looking for new ways to do what we do.

 

Thanks for reading!


What is YA?

Since hitting the internet hard with the unwanted presence like a stinking corpse on the windshield, I’ve come across hundreds and hundreds of ‘YA authors’. Twitter is especially packed with them:

‘Jenny Bloggs – I love my cats, my crochet class and I’m a YA author’

‘Jeremy Snaggleforth the Third – YA author and nuclear physicist.’

They’re everywhere. What baffled me at first, is what YA is all about. It’s all about demographic: Young Adult. These writers aim their work at readers between the ages of 14 to 18 (with differing reports swinging a couple of years in either direction). There’s always been this niche in the market. Philip Pullman and Terry Pratchett are a couple who spring to mind as potential jet-setters. And then, of course, came J.K. Rowling with the Harry Potter novels (mentioning that should generate a few hits mwahahaha). And the YA ‘genre’ exploded. It seems to me that anyone who’s anyone trying to be an author is tuning into the YA bandwidth and cranking the volume.

Now, in case I’m about to sound like a grouch, I want to state that I love it when a new sub-genre comes along, if only because of the nifty names people come up with. I have a weakness for Steampunk, as previous readers may already know. Then there’s Splatterpunk, Bizarro, Supernatural Romance (Bloody Twilight!) and even Cybergoth which I only found out about while researchign this post. The word Cybergoth conjures quite the nightmare image doesn’t it? Terminator meets Gormenghast? What a combo! Anyways, there are hundreds of little subgenres floating around in the briny sea of fiction like plankton.

What bothers me is that YA isn’t a genre, or a subgenre. Despite stating its demographic (useful if you’re submitting to Literary Agents), it’s astoundingly vague. So far, I’ve come across ‘YA authors’ that write sci-fi, romance, fantasy, and a host of other major genres. It’d be impossible to have a YA section in a bookshop. Maybe an entire YA Waterstones would be better. So what’s the point? Well, it’s this: Is YA a bandwagon? Does its vagueness make the term itself defunct? Like saying ‘milk’ out loud a hundred times, does it simply become a sound with no meaning? Apart from generating hits on Twitter, does the term ‘YA’ serve any function at all?

And, since we’re pondering the purpose of things. What’s the point of this post?

I’ll tell you, because I can see you’re fused to your seat in anticipation….

It’s a friendly warning. Coming from a fellow ‘writer’ such as myself, I certainly hope no one is assuming that writing for this age group is easier than any other. It’s harder! Young adults are sharp, insiteful and have the attention span of a goldfish with a traumatic brain injury. For aspiring authors, restricting yourself to a demographic could be a dangerous approach. Think of it this way: No author calls themselves a ‘fantasy’ author or a ‘horror’ author. Those tags are applied by other people. People who own shelves and catalogues. Just write your story. Enjoy writing it. And, if you please, pitch it to the YA audience. But don’t label yourself. Others will be quick enough to do that for you.

Thanks for reading.