Hello folks, I have just returned from England's sunny shores and am so jet-lagged my body keeps asking me in a feed back loop, "Should I sleep now? Should I eat now? Should I go out and run about now?..." Taken up in the name of research for the next Half-Continent story (now in its 4th chapter) the trip to the UK has filled my head and soul with so much historical and contextual excellence I scribbled half a notebook's worth of notes and am fit to burst with an expanded sense of the Half-Continent (... once I can tell which end is my head and which is my hind).
I am however compos mentis enough to have found a most excellent short story over at the MBT Forum, penned by a soul who goes by the apt name of Master Come Lately. It is an ingenious passage of prose describing a scene you will recognise (as I did with a steady and wonderful dawning sensation) from MBT/TFT yet seeing it through a novel perspective.
I do not want to spoil it by saying any more than this.
Brilliant.
What is brillianterer still is that the tale has helped me see that much better from this novel perspective!
Well done, Mr Lately - I think I owe you...
Thursday, May 26, 2011
Thursday, May 05, 2011
To geek or not to geek...?
Hello all.
A little while back I heard a fellow of prominently public position speak of a film and its director, saying something along the lines that the director was a self-proclaimed "geek", which the fellow took to mean "prone to making immature decisions."
What do you all reckon?
Is there some truth to this?
A little while back I heard a fellow of prominently public position speak of a film and its director, saying something along the lines that the director was a self-proclaimed "geek", which the fellow took to mean "prone to making immature decisions."
What do you all reckon?
Is there some truth to this?
Tuesday, April 05, 2011
Yet Another Interview...
A small but excellent set of questions answered over at Ouroborusbooks.
Thank you Mitchell Tierney for asking them.
Thursday, March 31, 2011
Shaun Tan you Rock my World!
I just have to acknowledge the stellar and utterly deserved success of a fellow Aussie, a fellow creative and some-time fellow spec fic con panelist, Shaun Tan, who today was announced to have won the Astrid Lindgren Memorial Prize!
WOO-HOO!
And this on the back of an Academy Award [TM] in Animated Short for the Lost Thing.Wonderful, wonderful...
Well done, sir.
Thursday, March 24, 2011
To Caroline Wojo
Well, I just formulated a reply to a certain lady in the USofA only to have the email bounce. So, I thunk to myself, how can I get the response to her. Well, my thunking proceeded, hows about making it a blog post, that way she just might stumble upon it. So here it is...
(apologies to long time Sundergirdians if I repeat myself)
Dear Caroline,
I have indeed read your email and here I am replying (at last!!!) just cause I can and, well, because more importantly you had the goodness to write so a reply is the least I can do.
As to advice about writing, I always find this a perplexing question - I am not a product of some tribe of formal training, it is an intuitive process for me, learning by doing, rather than the application of set rules. I am sure there are rules rolling about in this great intuitive blob but they are not what I am most aware of (argh! I ended a sentence with a preposition!!!)
Probably the best formal "rule" given by another author is: Plot is Character in Action.
As for the writing of fantasy: Avoid All Cliches like they are Swine Flu... ... that said, you might still perpetrate a few, but if your general intent is to avoid them, then you general will, and just might give to the world something that lightens and improves people's lives, not just numbs them with frothy oft-repeated blah.
The best practice I ever had and will ever have I think is reading, and reading well, by which I mean those books acknowledged as "classics" (though I do not find them all so), written with truth and mindful intent by folks with clear skill, not just to cash in on the latest fad. Having said that, it has not been some deliberate intent on my behalf, just that after reading Lord of the Rings I found that the only texts that really hit the same "button", that approached the same delight were not all the pulpy (in the worst way) fantasy fare, but the likes of Steinbeck, Kafka, Fitzgerald, Hesse, Galico. You see, my conviction is that if you're going to write it ought to be as good as you can make it, not just hammering away on the keyboard to get out a product, but show the contents of you soul to others in a way that is both utterly true of you and considerate of them.
I hope I am making sense.
Perhaps the best thing I can do is tell how it is that I have some thing to even write about, a bit from my own life, maybe that will help...? See, the real moment for me where a light bulb clicked and I really wanted to write was the reading of Lord of the Rings when I was 12-13. I immediately pulled out a large sheet of paper and began drawing my own Middle-earth-esque map, begun to write my own story (all 26 foolscap pages of it! - which I thought a lot at the time). Yet barely begun I quickly realised I was not able to really say what I wanted to say, that I was not quite long-lived enough, that I knew in my soul what I wanted to achieve (something even half as life changing as LOTR) but that I had not been on the earth long enough nor yet possessed quite the capacity to do as my hero, Tolkien, had done.
So, I stopped writing.
(Actually, I did at about 15 or so begin a new tale all my own, with my own ideas that after 60 odd pages devolved into teenage angsty blah, but I WAS writing, so that is something)
Yet in me continued to burn a desire to create a work that shifted me as LOTR shifted me. Finally, in second year uni and with and hour and a half bus ride one way I was reading all manner of goodly books, until finally I hit one - Titus Groan - and then pop! The dual inspirations of LOTR and this combined and I began to invent what eventually became the Half-Continent.
That was 20 years ! ago. It has grown little bit by little bit ever since, drawn from all those things around me that delight me, working them into my own distinct whole.
So my intent in this little tale is to say most of all, be patient with yourself, writing is a skill that will only (Lord willing) improve with age and experience, indeed, it is a journey of a lifetime. So keep writing, that the great ideas you are having now will unfold into even greater ones.
Now, as to developing characters: well, I suppose I ask myself how they might react in a given situation, and am a bit tough on myself to make sure that I keep the character true to how they would really be, not just making them go they way I want to plot to go. So we come back to it, Plot is Character in Action. The best advice I can give here is let your characters tell you what they would do next rather than you forcing them against their true selves to go in some predetermined direction. This forcing of a character ALWAYS breaks either them or the integrity of your story. And if you are wondering how they might be, watch people, see how they are for real, and read history and/or biography to see how folks in time have behaved - real life is always odder than pretend. Doing this I reckon will give you a much bigger pallet of reactions and emotions to draw from. Also, I would say the writing of characters is acting on slow motion, that you become that character like an actor might and perform their part (in your head of course, though you might yourself like to be more demonstrative - each to their own).
The writing of detail is a craft my editor will tell you I am still yet to master myself. You must remember in reading my words or those of proper writers is that we have all been edited, all been helped hugely to be the best selves we can be. What I can say is that detail for me is a matter of passion, I really care a whole lot about all the bits and pieces, the lay of a belt, the fold of a cloth, the bend in a road and the lean of a stand of young pines - you know what I mean. Description of details in NOT an Inventory of Stuff - just some long list of objects, it is an expression of my delight in the all the "bits" that make this character, this scene, this (pretend) world tangible, visceral, right here and now. I get the feeling you love details too, so write from that love, that passion, your own delight for all the accoutrement's that matter to you.... And be prepared to edit edit edit it all down to the best of it.
A great adventure (and trials too) stretches out before you... But you don't need me to tell you that, I can tell you already know it.
Phew, and here was me thinking I was just going to give you a quick missive in response to let you know I received you email and was thinking about how to answer... Well I guess I have done that then... :/
DMC
(apologies to long time Sundergirdians if I repeat myself)
Dear Caroline,
I have indeed read your email and here I am replying (at last!!!) just cause I can and, well, because more importantly you had the goodness to write so a reply is the least I can do.
As to advice about writing, I always find this a perplexing question - I am not a product of some tribe of formal training, it is an intuitive process for me, learning by doing, rather than the application of set rules. I am sure there are rules rolling about in this great intuitive blob but they are not what I am most aware of (argh! I ended a sentence with a preposition!!!)
Probably the best formal "rule" given by another author is: Plot is Character in Action.
As for the writing of fantasy: Avoid All Cliches like they are Swine Flu... ... that said, you might still perpetrate a few, but if your general intent is to avoid them, then you general will, and just might give to the world something that lightens and improves people's lives, not just numbs them with frothy oft-repeated blah.
The best practice I ever had and will ever have I think is reading, and reading well, by which I mean those books acknowledged as "classics" (though I do not find them all so), written with truth and mindful intent by folks with clear skill, not just to cash in on the latest fad. Having said that, it has not been some deliberate intent on my behalf, just that after reading Lord of the Rings I found that the only texts that really hit the same "button", that approached the same delight were not all the pulpy (in the worst way) fantasy fare, but the likes of Steinbeck, Kafka, Fitzgerald, Hesse, Galico. You see, my conviction is that if you're going to write it ought to be as good as you can make it, not just hammering away on the keyboard to get out a product, but show the contents of you soul to others in a way that is both utterly true of you and considerate of them.
I hope I am making sense.
Perhaps the best thing I can do is tell how it is that I have some thing to even write about, a bit from my own life, maybe that will help...? See, the real moment for me where a light bulb clicked and I really wanted to write was the reading of Lord of the Rings when I was 12-13. I immediately pulled out a large sheet of paper and began drawing my own Middle-earth-esque map, begun to write my own story (all 26 foolscap pages of it! - which I thought a lot at the time). Yet barely begun I quickly realised I was not able to really say what I wanted to say, that I was not quite long-lived enough, that I knew in my soul what I wanted to achieve (something even half as life changing as LOTR) but that I had not been on the earth long enough nor yet possessed quite the capacity to do as my hero, Tolkien, had done.
So, I stopped writing.
(Actually, I did at about 15 or so begin a new tale all my own, with my own ideas that after 60 odd pages devolved into teenage angsty blah, but I WAS writing, so that is something)
Yet in me continued to burn a desire to create a work that shifted me as LOTR shifted me. Finally, in second year uni and with and hour and a half bus ride one way I was reading all manner of goodly books, until finally I hit one - Titus Groan - and then pop! The dual inspirations of LOTR and this combined and I began to invent what eventually became the Half-Continent.
That was 20 years ! ago. It has grown little bit by little bit ever since, drawn from all those things around me that delight me, working them into my own distinct whole.
So my intent in this little tale is to say most of all, be patient with yourself, writing is a skill that will only (Lord willing) improve with age and experience, indeed, it is a journey of a lifetime. So keep writing, that the great ideas you are having now will unfold into even greater ones.
Now, as to developing characters: well, I suppose I ask myself how they might react in a given situation, and am a bit tough on myself to make sure that I keep the character true to how they would really be, not just making them go they way I want to plot to go. So we come back to it, Plot is Character in Action. The best advice I can give here is let your characters tell you what they would do next rather than you forcing them against their true selves to go in some predetermined direction. This forcing of a character ALWAYS breaks either them or the integrity of your story. And if you are wondering how they might be, watch people, see how they are for real, and read history and/or biography to see how folks in time have behaved - real life is always odder than pretend. Doing this I reckon will give you a much bigger pallet of reactions and emotions to draw from. Also, I would say the writing of characters is acting on slow motion, that you become that character like an actor might and perform their part (in your head of course, though you might yourself like to be more demonstrative - each to their own).
The writing of detail is a craft my editor will tell you I am still yet to master myself. You must remember in reading my words or those of proper writers is that we have all been edited, all been helped hugely to be the best selves we can be. What I can say is that detail for me is a matter of passion, I really care a whole lot about all the bits and pieces, the lay of a belt, the fold of a cloth, the bend in a road and the lean of a stand of young pines - you know what I mean. Description of details in NOT an Inventory of Stuff - just some long list of objects, it is an expression of my delight in the all the "bits" that make this character, this scene, this (pretend) world tangible, visceral, right here and now. I get the feeling you love details too, so write from that love, that passion, your own delight for all the accoutrement's that matter to you.... And be prepared to edit edit edit it all down to the best of it.
A great adventure (and trials too) stretches out before you... But you don't need me to tell you that, I can tell you already know it.
Phew, and here was me thinking I was just going to give you a quick missive in response to let you know I received you email and was thinking about how to answer... Well I guess I have done that then... :/
DMC
Monday, February 28, 2011
What to say...? or I keep changing things!!!
How does one go on after a silence of two months? A strange thing it is to disappear so abruptly - all I can say by way of some manner of compensation is that there has been A LOT of good work going on for the next Half-Continent story (rather than the much anticipated Harlequin romance set in outback Australia... sorry about that folks, I know you were all longing for it so :) - a synopsis written, various passages penned and muchas muchas muchas research and invention going on.
The upshot right now of this is that in going much deeper into the construction and function and crewing of a ram I have discovered that some of the information about gastrines and rams given in MBT is now revised. I must confess myself a tad perplexed: how am I to proceed?
The normal process is to present your world full-formed upon the world, an unshakable rock of continuity and consistency. Yet here I am tweaking and changing and - more properly - refining ideas all the time, as I have always done.
What concerns us here are gastrines and just how it is that they work. Here are the variations:
OLD IDEA AS PRESENTED IN MBT ~
NEW IDEA AS I WORK IT THROUGH MORE ~
My thoughts are that none of this actually varies things too much, that the previous information can be easily incorporated into the revisions and vice versa - well that is what I hope anyway... Is it appropriate to simply alter things as I go and expect you all to just keep up? Is it actually a good thing for the whole process to be evolving right out there in publicland?
Where I will draw a line is at the total reversal of an idea: what I intend is only the kind of fluctuation that will occur as a I think an idea through all the more deeply, and discover some real-world fact that adds to the whole.
So, there, I am back, fretful as ever - if anyone is still reading :/
Most earnest mae culpa for so long a silence.
Oh, and just to speak into any suspense, my current project is (at this stage anyways) a new story with different characters set in HIR 1602 - the very next year after MBT. Events in MBT have an affect on it, are part of its own motion - because, verily, they are events more particularly in the Half-Continent - but it is its own tale.
Thank you for all your - well, "suggestions" is to little a word for the depth and passion of your thoughts but it will have to do... maybe "advice"? - it helps a whole heck of a lot, even if I seem to be going in some other direction, your thoughts and ideas go with me all the same.
Final inkling: I reckon this will be a stand alone story - no multiple volumes...
OK, this one really is the last thoughts: Rossamünd's story does go on, whether a write about it or not, so let your minds run free with that one; & Europe is indeed too "cool" to let go, but I reckon I need time to ponder just how to tell about her next... & I reckon, though I seem to "avoid" or digress for now, that the Half-Continent might indeed be working up to some kind of dissolution, though do not mistake the movements in one small part of the Sundergird (as seen in MBT) to equal a threat to the greater part of it - just see how small an area we cover in the story so far; I reckon folks in Hamlin or Gottingen could not give two hoots what happens in Brandenbrass (bar the impact on trade, I suppose.. hmmm...)
It must be said though that cataclysmic dissolution is a bit of a genre cliche, too, and though I keep finding myself in my inexperience committing them , I am trying not to do so, and all conquering baddies threatening the existence of everything seems an obvious one to avoid. The original premise of the Half-Continent was that the existing relationships were/are enough to generate stories without then needing to break the idea.
Apart from a certain LoTR, the few genre novels i have read always seemed their best at the start with the original concept of the world, before everything gets broken - it was where I wanted to stay, and I haven't and continue to put all this work into figuring just how the H-c works "now" to bust it all up again. That said, I do think there does need to be some manner of larger and obvious conflict... hmmm.
...& Aphrodine, expect to find "rumsibol" in some form in the next book too, if i may, simply brilliant!
The upshot right now of this is that in going much deeper into the construction and function and crewing of a ram I have discovered that some of the information about gastrines and rams given in MBT is now revised. I must confess myself a tad perplexed: how am I to proceed?
The normal process is to present your world full-formed upon the world, an unshakable rock of continuity and consistency. Yet here I am tweaking and changing and - more properly - refining ideas all the time, as I have always done.
What concerns us here are gastrines and just how it is that they work. Here are the variations:
OLD IDEA AS PRESENTED IN MBT ~
- dog box & gears
- 5-20 year life span
- jointed leavers everywhere
- put into the vessel individually
NEW IDEA AS I WORK IT THROUGH MORE ~
- muscles work straight to screw; "gearing" is simply the amount of effort gastrines put in and the number of gastrines put to the screw
- 30-50 year life span - I like the idea of them living as long as a generation of vinegars (& notwithstanding death due to sickness or injury or being eaten whole and entire by a ravening kraulschwimmen)
- straight wooden beams and levers
- grown within the vessel (though this one I am not so sure about)
My thoughts are that none of this actually varies things too much, that the previous information can be easily incorporated into the revisions and vice versa - well that is what I hope anyway... Is it appropriate to simply alter things as I go and expect you all to just keep up? Is it actually a good thing for the whole process to be evolving right out there in publicland?
Where I will draw a line is at the total reversal of an idea: what I intend is only the kind of fluctuation that will occur as a I think an idea through all the more deeply, and discover some real-world fact that adds to the whole.
So, there, I am back, fretful as ever - if anyone is still reading :/
Most earnest mae culpa for so long a silence.
Oh, and just to speak into any suspense, my current project is (at this stage anyways) a new story with different characters set in HIR 1602 - the very next year after MBT. Events in MBT have an affect on it, are part of its own motion - because, verily, they are events more particularly in the Half-Continent - but it is its own tale.
Thank you for all your - well, "suggestions" is to little a word for the depth and passion of your thoughts but it will have to do... maybe "advice"? - it helps a whole heck of a lot, even if I seem to be going in some other direction, your thoughts and ideas go with me all the same.
Final inkling: I reckon this will be a stand alone story - no multiple volumes...
OK, this one really is the last thoughts: Rossamünd's story does go on, whether a write about it or not, so let your minds run free with that one; & Europe is indeed too "cool" to let go, but I reckon I need time to ponder just how to tell about her next... & I reckon, though I seem to "avoid" or digress for now, that the Half-Continent might indeed be working up to some kind of dissolution, though do not mistake the movements in one small part of the Sundergird (as seen in MBT) to equal a threat to the greater part of it - just see how small an area we cover in the story so far; I reckon folks in Hamlin or Gottingen could not give two hoots what happens in Brandenbrass (bar the impact on trade, I suppose.. hmmm...)
It must be said though that cataclysmic dissolution is a bit of a genre cliche, too, and though I keep finding myself in my inexperience committing them , I am trying not to do so, and all conquering baddies threatening the existence of everything seems an obvious one to avoid. The original premise of the Half-Continent was that the existing relationships were/are enough to generate stories without then needing to break the idea.
Apart from a certain LoTR, the few genre novels i have read always seemed their best at the start with the original concept of the world, before everything gets broken - it was where I wanted to stay, and I haven't and continue to put all this work into figuring just how the H-c works "now" to bust it all up again. That said, I do think there does need to be some manner of larger and obvious conflict... hmmm.
...& Aphrodine, expect to find "rumsibol" in some form in the next book too, if i may, simply brilliant!
Monday, December 06, 2010
Revelations from the Forum Roleplay
Been reading the roleplay going on over at the Forum and was delighted to find Wolf Blood's out-of-character comment as the story being told unfolded:
"(My mistake has turned into a plot element :D)"
I had to laugh in happy sympathy here, Welcome to my world! I could not help but thinking.
Such accidents are the stuff of writing.
Oh, and yes, I have a new poll - rather pertinent as momentum slowly gathers in me to begin a new text in the new year.
"(My mistake has turned into a plot element :D)"
I had to laugh in happy sympathy here, Welcome to my world! I could not help but thinking.
Such accidents are the stuff of writing.
Oh, and yes, I have a new poll - rather pertinent as momentum slowly gathers in me to begin a new text in the new year.
Out there some where...
Below is the prepared speech I readied as a member of the Negative for a debate recently, arguing - for the positive - that career success was entirely up to chance. In the end I delivered my part off the cuff and did not use this speech at all. Therefore, I thought I would share it with someone so as to put the work to some kind of use...
I appear before you in the role of writer, the creator of the Monster-Blood Tattoo series, three books – or roughly 350,000 words – published in 18 countries and 13 languages, with hopes and plans to write further stories in a similar vein and a of long career ahead.
Yet I trained as an illustrator – not a writer – at the now vanished Underdale campus of the UniSA.
How on earth did I get here?
By sheer fluke it seems: for after a somewhat successful 9 years in Sydney as an illustrator, when of a sudden, I quit my job, where I lived, upped sticks and with a Great Plan burning in my soul went on an adventure across the seas, New York, London, Paris. Only The Great Plan failed. I found myself crashed landed, broke and broken hearted back here in my old town, Adelaide, without a job and my old bedroom as my only bunk. Gathering myself up from the dust I put folio under arm and went out to rebuild my illustration career. With help from a fellow illustrator friend, I managed to get my work seen by Dyan Blacklock, the publisher of Omnibus Books, and they were impressed enough to give me first a book cover then a picture book.
Now, I need to tell you that ever since my uni days – and after discovering the works of the great Mervyn Peake – I had been filling notebook upon notebook with ideas about a pretend world and just how it worked. So it was that in one of many long conversations with Dyan as we worked together on various illustration projects, she happened quite accidentally upon one of these notebooks (# 23 to be precise). Puzzled at the scratchings and scrawlings it contained, she asked me what it was, and I told her: notes for an entire made up world. She asked me if I written any stories, and somewhat embarrassedly – to me it was very private stuff – I told her, “Not really, some starts but nothing much…”
“Who are some of the characters in this world?” she persisted.
Still feeling awkward, I listed off a couple, finally saying, “And there’s Rossamünd; he’s a boy with a girl’s name…”
To which she promptly ordered, “I want you to put him down in this pretend world and tell us what happens to him.”
And so – a thousand words at a time – I did just that, until, satisfied I could actually write too, Dyan offered me a contract for a 3 book deal.
So here surely we see that by these collection of flukes I was in the right place at the right time and got the right result. Call it chance, fate, destiny – I am myself convinced it is God’s work in my life – whatever you name it, without this great “chance” I would not be here talking as I am.
And so here I am! I have turned coat and seem to be arguing the case of our colleagues opposite for them, yet wait! Hold up! Let us consider a moment. Let us go a little deeper. What looks like blind do-dah happenstance – a lucky break, “ooh, isn’t he lucky…” – is in fact a long string of consequences born of preparation.
If it was not for a certain assignment in the second year of my illustration course, I would have never discovered a certain author who by their inspiration set me off the long and now habitual practice of writing in notebooks, without which – as I have elaborated – I would have had nothing for my publisher to discover. More so, without the preparation of my illustration degree and the preparation of 9 years as practicing illustrator in Sydney-town I would not even have the opportunity to be in that right place, for it was as an experienced illustrator that I gained close access to the Publisher of Omnibus Books. And without all that mass of back material, the writing of the Monster-Blood Tattoo books would have been very hard, indeed may not have even happened.
So here we are, I am no blackguard after all: though my preparations might not have been directly for writing as a career they were preparations none-the-less, and the “lucky break” now is shown to not be quite so “lucky”.
The Roman philosopher Seneca is said to have said that luck – or chance – is when opportunity meets preparation, and I – who once thought himself the least preparatory (indeed I collected my thoughts for this debate in the very last minute) – turned out to be very well prepared indeed for the opportunity presented to me 7 years ago in the publishers office at Omnibus Books, and so for my career.
You may not end up where you intend, but you will get wherever you go on the back of or the lack of your preparations; for fate or destiny or chance will avail you little if you are not prepared for the opportunities it offers.
And surely, in the sum of it all – whatever our “job” might happen to be, our best career will always be to live as a half-decent person and this is something I hope we would not want to leave to chance.
So, this might have been my required response, but I could help but wonder afterwards: is life all about chance or preparation?
I appear before you in the role of writer, the creator of the Monster-Blood Tattoo series, three books – or roughly 350,000 words – published in 18 countries and 13 languages, with hopes and plans to write further stories in a similar vein and a of long career ahead.
Yet I trained as an illustrator – not a writer – at the now vanished Underdale campus of the UniSA.
How on earth did I get here?
By sheer fluke it seems: for after a somewhat successful 9 years in Sydney as an illustrator, when of a sudden, I quit my job, where I lived, upped sticks and with a Great Plan burning in my soul went on an adventure across the seas, New York, London, Paris. Only The Great Plan failed. I found myself crashed landed, broke and broken hearted back here in my old town, Adelaide, without a job and my old bedroom as my only bunk. Gathering myself up from the dust I put folio under arm and went out to rebuild my illustration career. With help from a fellow illustrator friend, I managed to get my work seen by Dyan Blacklock, the publisher of Omnibus Books, and they were impressed enough to give me first a book cover then a picture book.
Now, I need to tell you that ever since my uni days – and after discovering the works of the great Mervyn Peake – I had been filling notebook upon notebook with ideas about a pretend world and just how it worked. So it was that in one of many long conversations with Dyan as we worked together on various illustration projects, she happened quite accidentally upon one of these notebooks (# 23 to be precise). Puzzled at the scratchings and scrawlings it contained, she asked me what it was, and I told her: notes for an entire made up world. She asked me if I written any stories, and somewhat embarrassedly – to me it was very private stuff – I told her, “Not really, some starts but nothing much…”
“Who are some of the characters in this world?” she persisted.
Still feeling awkward, I listed off a couple, finally saying, “And there’s Rossamünd; he’s a boy with a girl’s name…”
To which she promptly ordered, “I want you to put him down in this pretend world and tell us what happens to him.”
And so – a thousand words at a time – I did just that, until, satisfied I could actually write too, Dyan offered me a contract for a 3 book deal.
So here surely we see that by these collection of flukes I was in the right place at the right time and got the right result. Call it chance, fate, destiny – I am myself convinced it is God’s work in my life – whatever you name it, without this great “chance” I would not be here talking as I am.
And so here I am! I have turned coat and seem to be arguing the case of our colleagues opposite for them, yet wait! Hold up! Let us consider a moment. Let us go a little deeper. What looks like blind do-dah happenstance – a lucky break, “ooh, isn’t he lucky…” – is in fact a long string of consequences born of preparation.
If it was not for a certain assignment in the second year of my illustration course, I would have never discovered a certain author who by their inspiration set me off the long and now habitual practice of writing in notebooks, without which – as I have elaborated – I would have had nothing for my publisher to discover. More so, without the preparation of my illustration degree and the preparation of 9 years as practicing illustrator in Sydney-town I would not even have the opportunity to be in that right place, for it was as an experienced illustrator that I gained close access to the Publisher of Omnibus Books. And without all that mass of back material, the writing of the Monster-Blood Tattoo books would have been very hard, indeed may not have even happened.
So here we are, I am no blackguard after all: though my preparations might not have been directly for writing as a career they were preparations none-the-less, and the “lucky break” now is shown to not be quite so “lucky”.
The Roman philosopher Seneca is said to have said that luck – or chance – is when opportunity meets preparation, and I – who once thought himself the least preparatory (indeed I collected my thoughts for this debate in the very last minute) – turned out to be very well prepared indeed for the opportunity presented to me 7 years ago in the publishers office at Omnibus Books, and so for my career.
You may not end up where you intend, but you will get wherever you go on the back of or the lack of your preparations; for fate or destiny or chance will avail you little if you are not prepared for the opportunities it offers.
And surely, in the sum of it all – whatever our “job” might happen to be, our best career will always be to live as a half-decent person and this is something I hope we would not want to leave to chance.
So, this might have been my required response, but I could help but wonder afterwards: is life all about chance or preparation?
Friday, November 19, 2010
Housekeeping
Another interview, this time a transcript of a live recorded interview I did with the wondrous and warm Bec Stafford whilst attending Aussie Con 4/World Con 38 in Melbourne early in September.
(THE FOLLOWING IS AN ANNOUNCEMENT FOR ADELAIDE RESIDENTS ONLY I'M AFRAID, sorry everyone else...)
This Sunday 21st November at Dymocks, Rundle Mall, from about 2:15pm-ish onwards, myself and a collection of South Aussie YA authors & illustrators will be out in public. The attending authorial and draworial types include:
Robyn Opie
Malcolm Walker
Claire Richards
Greg Holdfeld
Rosanne Hawke
Ruth Starke
Jane Jolly
Don Henderson
Janeen Brian
Katrina Germein
Dan McGuinness
Ben Chandler
Allayne Webster
Robert Moore
Elizabeth Hutchins
Sally Heinrich
Sean Williams
Rebecca Burton
Lauren Fuge
Hope to see some Monster Blog locals there... :)
(THE FOLLOWING IS AN ANNOUNCEMENT FOR ADELAIDE RESIDENTS ONLY I'M AFRAID, sorry everyone else...)
This Sunday 21st November at Dymocks, Rundle Mall, from about 2:15pm-ish onwards, myself and a collection of South Aussie YA authors & illustrators will be out in public. The attending authorial and draworial types include:
Robyn Opie
Malcolm Walker
Claire Richards
Greg Holdfeld
Rosanne Hawke
Ruth Starke
Jane Jolly
Don Henderson
Janeen Brian
Katrina Germein
Dan McGuinness
Ben Chandler
Allayne Webster
Robert Moore
Elizabeth Hutchins
Sally Heinrich
Sean Williams
Rebecca Burton
Lauren Fuge
Hope to see some Monster Blog locals there... :)
Thursday, November 11, 2010
On and on I go...
First, I want to point you to an interview (yes, another one!) with Drew Bittner over at SFRevu for your perusal. There is also a glowing review at selfsame site also written by Mister Bittner, (WARNING: this is a little spoilery, so, if you have NOT read Factotum head over there at you own peril.)
Now, the following was caused by but has only some connection with the comments previous about art being work or reaction. On I go...
Dare I admit I actually have very little truck for the whole post-modern, "It's all the the eye of the beholder/ reader interpretation is supreme" thing.
Reader reaction/participation is vital: I write very much to create a particular set of reactions in you all - of brand new vistas, of wonder, of adventure on an adult scale, of (I hope and strive) some small portion of the life-changing wonder I had when first reading LotR as a 12 year old.
As an illustrator it always struck me that the intent of the creator and the reaction they are looking to provoke was/is the primary point. Heck, half the time I was just filling the requirements of a brief, but then would have folks insisting to me all these wondrous "artistic" notions in my work that I never meant, nor knowingly put in.
The counter to this is, obviously, the "Freudian" one, that I could not help put deeper elements into my work. While this may be - and is probably - true, the alchemy of my "stuff" with theirs seems to also bring about an element of fiction within my viewers reaction too, an attributing to me things not necessarily so. Yet who am I to deny such response?! Without the reader/viewer what is the point? What is MBT without your participation? A bunch of ideas rolling about my head. For years I tried to show people H-c stuff, to which the common response was bemusement or boredom. Though i might have been making stuff up for the fun of it - for myself - I was clearly looking for an audience, for participation, reaction, validation.
So I suppose we find ourselves with a synthesis. Creations are made to be participated in, reader/viewer response is vital (unavoidable, indeed, sought after!), yet the creator's intent surely has a place, surely what I wanted to make deserves some respect, some consideration?
Oftentimes I have not (and I quote from Amazon):
"that was the worst book i have ever read. dm cornish is a hack. never read this book. " (the author's punctuation/capitalisation)
OR
"Someone please tell me how anyone (ANYONE!) can get past the truly awful title. And after you achieve that monumental goal, how can you navigate the vinegar seas and bleeble blabble names that are intended to justify this as a truly unique creation and world? I, for one, couldn't manage the feat."
So who is right here?
The post-modern response would go something along the lines of, "well, for these readers that is what MBT is..." i.e. rubbish. But IS MBT rubbish just because they say it is. Again, p-m thought will assert that for these too folk it is. Indeed, my stories are not perfect (despite the flarings of my ego insisting otherwise) and I can understand how they might not be everyone's cup o' tea, but surely my intent in penning rates some contemplation and even merit from even the harshest critic?
So who is right?
There seems to me to be another factor at play here, one very hard to fix down, even dangerous to do so: the notion of something having merit in and of itself regardless of opinion. Yet what/who(!) arbitrates such a reckoning? Are not humans the deciders of such things? Yet - for example - as we see with the Amazon quotes, there are those who revile MBT, though many of you here think it worthy. Who is correct? Is it the majority voice? Is it that if we get enough saying it is "good" then it is, and the few who did/do not like it are free to their opinion? In a way this works, but what if the majority say that something bad is good, as in the citizens of the Haacobin empire holding all monsters as bad? There are only a few who dare to acknowledge otherwise, yet we find that the majority are not in line with what is actually the case, but the minority.
So what happens then?
Our majority model has collapsed.
Who arbitrates what is so here?
The issue maybe, in the end, is that we in this age of pluralism, dare not say another's sentiment or notion is wrong for genuine fear that we ourselves might be subject to such a charge; that in some close held idea, we too might be wrong, and this is intolerable (I sure don't like holding the thought for too long!). So rather than let this dread event occur we say instead everyone is right, formulate theories to maintain the same, and remain in our cocoon of "rightness"...
There seems to me something going on here that is beyond neat theories.
My word I bake my own noodle sometimes... :\
(I have probably made no sense at all... ACK!)
Now, the following was caused by but has only some connection with the comments previous about art being work or reaction. On I go...
Dare I admit I actually have very little truck for the whole post-modern, "It's all the the eye of the beholder/ reader interpretation is supreme" thing.
Reader reaction/participation is vital: I write very much to create a particular set of reactions in you all - of brand new vistas, of wonder, of adventure on an adult scale, of (I hope and strive) some small portion of the life-changing wonder I had when first reading LotR as a 12 year old.
As an illustrator it always struck me that the intent of the creator and the reaction they are looking to provoke was/is the primary point. Heck, half the time I was just filling the requirements of a brief, but then would have folks insisting to me all these wondrous "artistic" notions in my work that I never meant, nor knowingly put in.
The counter to this is, obviously, the "Freudian" one, that I could not help put deeper elements into my work. While this may be - and is probably - true, the alchemy of my "stuff" with theirs seems to also bring about an element of fiction within my viewers reaction too, an attributing to me things not necessarily so. Yet who am I to deny such response?! Without the reader/viewer what is the point? What is MBT without your participation? A bunch of ideas rolling about my head. For years I tried to show people H-c stuff, to which the common response was bemusement or boredom. Though i might have been making stuff up for the fun of it - for myself - I was clearly looking for an audience, for participation, reaction, validation.
So I suppose we find ourselves with a synthesis. Creations are made to be participated in, reader/viewer response is vital (unavoidable, indeed, sought after!), yet the creator's intent surely has a place, surely what I wanted to make deserves some respect, some consideration?
Oftentimes I have not (and I quote from Amazon):
"that was the worst book i have ever read. dm cornish is a hack. never read this book. " (the author's punctuation/capitalisation)
OR
"Someone please tell me how anyone (ANYONE!) can get past the truly awful title. And after you achieve that monumental goal, how can you navigate the vinegar seas and bleeble blabble names that are intended to justify this as a truly unique creation and world? I, for one, couldn't manage the feat."
So who is right here?
The post-modern response would go something along the lines of, "well, for these readers that is what MBT is..." i.e. rubbish. But IS MBT rubbish just because they say it is. Again, p-m thought will assert that for these too folk it is. Indeed, my stories are not perfect (despite the flarings of my ego insisting otherwise) and I can understand how they might not be everyone's cup o' tea, but surely my intent in penning rates some contemplation and even merit from even the harshest critic?
So who is right?
There seems to me to be another factor at play here, one very hard to fix down, even dangerous to do so: the notion of something having merit in and of itself regardless of opinion. Yet what/who(!) arbitrates such a reckoning? Are not humans the deciders of such things? Yet - for example - as we see with the Amazon quotes, there are those who revile MBT, though many of you here think it worthy. Who is correct? Is it the majority voice? Is it that if we get enough saying it is "good" then it is, and the few who did/do not like it are free to their opinion? In a way this works, but what if the majority say that something bad is good, as in the citizens of the Haacobin empire holding all monsters as bad? There are only a few who dare to acknowledge otherwise, yet we find that the majority are not in line with what is actually the case, but the minority.
So what happens then?
Our majority model has collapsed.
Who arbitrates what is so here?
The issue maybe, in the end, is that we in this age of pluralism, dare not say another's sentiment or notion is wrong for genuine fear that we ourselves might be subject to such a charge; that in some close held idea, we too might be wrong, and this is intolerable (I sure don't like holding the thought for too long!). So rather than let this dread event occur we say instead everyone is right, formulate theories to maintain the same, and remain in our cocoon of "rightness"...
There seems to me something going on here that is beyond neat theories.
My word I bake my own noodle sometimes... :\
(I have probably made no sense at all... ACK!)
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