Reading Davin Malasarn in the Waves

All---

While on my trip, I did a lot of reading, and after reading one Davin Malasarn story in Stories for Sendai, since we were still in the land of cell signals, I tweeted that I enjoyed how Davin's writing leaves the reader uncertain what's obvious and what's subtle.

I immediately knew I owed folks a blog post about what I meant.  Let me first offer the essence: Davin Malasarn uses bold language and large characters to reach into the most tiny nuances of human life, and to do so in a gentle, quiet way that you at first think, "Wow, that was subtle," and then when you look at the bold language and the large characters you find yourself thinking, "Or should it have been obvious all along?

The Matterhorn,
photo by GammaCygni

I'm not a Buddhist, and I'm not giving you crystal images to tell you 'bout a brighter day, but there I think this passage from, "There is a Mountain," by Donovan, sort of sums up the Malasarn reading experience:

First there is a mountain

Then there is no mountain

Then there is

This is true in his shorts stories and in his novella Bread, which I have had the privilege of reading.  The first thing that always strikes me is just how strong everything is.  Stark language, with a very striking intentionality about pace of structure.  Characters who are complex, but easily apprehended when they first step onto stage.  Everything he wants you to know, he makes sure you know; he writes in a way that everything is accessible.

And yet, at the same time, as I read, I am struck by the subtle and clever -- even sneaky -- ways in which he uses those strong elements.  While they might be accessible, Davin uses that accessibility to bring the reader into a deeper view of life that the reader even realizes until the very end.  Then, the reader is suddenly breathless, looking back and saying, "Wait, how did that happen?"  We're talking about my own soul?  My own life?  The nature of the people I love?  The strangers I pass?  How did we get there?

But that's not where it stops, because then, when you look at those bold elements you began with, you're left thinking, "Oh, wait, it's right there."  Or, "Hold on, he said everything right at the beginning of the story."  And often he did.  But you didn't catch it, because you didn't understand it yet.  Then, after he's worked his sneaky word magic on your brain, you begin to understand it, and suddenly what was a hidden, subtle shadow in the beginning now seems easy to grasp.

It is the sign of a master writer and a master teacher.

Sitting Seiza,
photo by Tharso

Let me describe the experience in another way, one less explicit but perhaps more instructive.  Davin has talked often of the importance of reading circumstances.  It struck me, as I took my half-read copy of The Wild Grass down to the lakeside, that I was in the perfect opportunity to read Malasarn the only way that makes sense to me.

There were constant, gentle waves in the lake.  Nothing overpowering, but enough to keep the water in motion.  I took The Wild Grass out, and set seiza in the waves.  I read like that.  Embraced by the water in which I feel more at home than I feel on land.  Rocked about, struggling for balance against the same water.  Keeping the precious book elevated enough that it would stay dry.  Searching for the perfect reading angle in the high sun.  Working hard, even as I was perfectly comfortable, at ease and yet constantly engaged.  I could not think of a place I would rather be, and yet it took constant effort to maintain myself.

.Nevets.

Cheers, Mates

All---

Among the many things that have lapsed by the wayside while I've been too busy to keep up with this blog, is the need to congratulate a lot of my writing friends on recent milestones, and to, at the same time, let you readers know about some great new reading opportunities.  In my defense, I also haven't had time to keep up with their blogs, and am still catching up on the news myself.

Here's my best attempt at some highlights.  If I've missed something, please let me know!  I will be happy to edit and modify.  Going in roughly alphabetical order by author's first name (arbitrary -- holla) . . .

Davin Malasarn just published an anthology of short stories entitled, Wild Grass (also available in Kindle format).  If you're not familiar with Domey's writing, he writes literary fiction, though he sometimes wonders why it's called that.  In his case it's clear: the mark of literary fiction is the painful attention to craft that goes into every word, phrase, sentence, and paragraph.  His writing is shot through with sharp details poke and prod the reader until, in the end, all the details fade away into some something more bigger and more true than you realized you were reading.

Jennifer Hillier's news may have me the most excited.  No offense to any of my other writing friends, but the fact that Jennifer's debut thriller Creep (also available in the UK) is about to hit the shelves (July 5th!) from Simon & Schuster has me bouncing up and down.  (In a dark, sinister, introspective kind of way, of course.)  I am so excited for my sister in the shadowy places of American genre fiction.  I can't wait to get my hands on her book, and I look forward to watching it explode onto the scene!  July 5th!  Can you believe it?  I can't!

Michelle Davidson Argyle is just full of writing news.  Her short story, "Signs," was picked up by Suspense Magazine.  ARC's are hitting the street for her September 2011 release Monarch, and the book is now available for pre-order.  Monarch is soft psychological suspense at its best; I cannot recommend this book enough.  As if that weren't enough, her self-published novella Cinders is having a $0.99 celebration event, and has had its best month of sales.  If you like literary fantasy with a dark, character-driven engine, you need to read Cinders.  After you have, we can argue about whether it has a happy ending or not.  (I vote yes.)  On top of all that, of course, she and JC Martin have just edited the Stories for Sendai anthology.

RJ Ellory's A Simple Act of Violence is now available in US markets.  If you're not tied down to US Markets, you should also know that the paperback release of Saints of New York (due in September) is now available for pre-order, as is the hardcover debut of Ellory's newest novel, Bad Signs (due in October).  If you're not familiar with his writing, RJ Ellory writes psychological suspense with an incredibly human voice and a deep investment in the humanity of humanity.  He and I write very differently, and from very different perspectives, but if I ever feel a kindred authorial spirit when reading another author's work in my genre, it's when I read Ellory.  He sets the mark of quality psychological suspense to which I aspire.

Ryan David Jahn's UK award-winning thriller, Acts of Violence is now available in the US, where is has been released as Good Neighbors.  I read the UK release and still, to this day, cannot shake this book from my head.  Told in a voice-rich, intimate third person POV, the brutal physical and emotional violence in this story is not for everyone.  It's worth the read, though, for its unlikely bleakness and its even unlikelier hope.

Tim Stretton, whom you may may remember I consider a master of fantasy world-building, has at long last published The Last Free City, the sequel to The Dog of the North, and it's available on Amazon.com in the US or Amazon.co.UK across the pond.  Shortly before time slipped completely through my fingers, I ordered an early LuLu release of the book.  Rose pounced on, devoured, and enjoyed the read, so even though I haven't had a chance to catch up with my TBR pile yet, she would attest to its quality.

If you have writing news that should be shared with the world, the only reason I haven't done so is that I missed it.  Please, let me know about it, and I'll be happy to update the post with your scoop.

Readers, if you've read any of these releases and would like to chime in about what you thought, please do so!  For that matter, readers, if you know about a new or upcoming release that you think plays well in the Nevets universe, let me know!

.Nevets.

Writing News - Stories for Sendai Anthology

All---

You may have already heard the news, if you're following  the Stories for Sendai blog, or if you keep up with either of the upcoming anthology's authors, JC Martin or Michelle Davidson Argyle.  In case you haven't heard, though, my short story, "Kansai Oniisan" was selected for inclusion in Stories for Sendai.  The anthology will features twenty works of fiction or poetry and is scheduled for publication at the end of June.  It is an incredibly deep, diverse field of writers, and I am truly honored to be included alongside authors such as Domey Malasarn, Phil Loring, Roland Yeomans, Michelle Davidson Argyle, and JC Martin.

There's a lot going on with this story and this publication that make it extra meaningful for me.

Phil Loring is a very good friend of mine from grad school.  Some of our best memories of Alaska are times that my wife and I spent with Phil and his wife.  Some of my own best memories of grad school are the widely-ranging, no-holds-barred intellectual, philosophical, political, anthropological, and speculative conversations held in the grad school bull pen between Phil and myself on everything from real-world concerns to science fiction geekery.  I am very excited to share space with Phil's, "Population 1," in this anthology.

After learning from and being inspired by Michelle Davidson Argyle and Domey Malasarn for a long time, it's also a treat to be published alongside them.  Domey and I write in very different ways, but we have both found interesting parallels and connections in our writing from time to time.  I can't tell you how much I smiled when I say that, like my own, "Kansai Oniisan," his story, "Obaachan," is titled with a Japanese family word packed with all sorts of implications that would have been lost if presented in English.  Michelle is the author of two of my favorite books I read last year: the literary fantasy Cinders, whose main character resonated with me more than virtually any other I've read; and the soft psychological thriller Monarch, set to be released this September by Rhemalda.

The anthology itself is also important.  You should read the entire mission statement, but here is an excerpt summary of the excellent work this anthology is doing, as presented on their blog:

We are compiling an anthology of inspirational short stories loosely themed around the strength of the human spirit. All proceeds will be donated to GlobalGiving in aid of victims of the earthquake and tsunami. GlobalGiving will disburse the funds to relief organisations and emergency services on the ground, including International Medical Corps and Save the Children.  

I am excited to playing even a small part in that relief effort, and I hope you all will help spread the word, too. This anthology is a great way for readers and writers to do something bigger than stories, and to connect in a real and not only figurative way to the broader world.

But, at the end of the day, what's most meaningful to me is my story itself, "Kansai Oniisan."  Like any story, there are things I think I did well, things I wish I'd done better, and things I can't decide whether I like or not.    One of the things I think I accomplished was transporting the reader to a context with which they might be unfamiliar.  When I used to write fantasy and science fiction, that was a big part of what I did.  Now that I write psychological suspense, it's something I go to less frequently.  In, "Saturation Point," I loved the opportunity to transport the reader to the crowded Delhi  markets.  In, "Kansai Oniisan," I really wanted to take the reader to Osaka, Japan.

I've mentioned before that I have a lot of connections of varying depth and seriousness to Japan. It was really important to me that I use this opportunity, not to represent Japan, but to convey some of complex layers of Japanese culture and society which are compelling to me and which make Japan an important and special part of our world.  While that's a very challenge for a short story, I believe that, whatever else I accomplished with, "Kansai Oniisan," I did capture some of the tension and hope which are uniquely Japanese.

Osaka
photo by JKT-c

And, so, with no further ado, the opening to, "Kansai Oniisan," (c) 2011 by C. N. Nevets:


Tanaka Jun popped a takoyaki into his mouth, took the toothpick which had speared it, and flicked it over his shoulder.  As he slowly savored the fried octopus, he set the container of remaining treats on the counter and, to the chef’s confusion, walked slowly away.  The slim young man adjusted his dark sunglasses, pulled down his hat and, even though it was a hot Osaka summer day, he wrapped a knit scarf around his mouth.


In his pocket, the last mail his cellphone had received still shone with a single character: the stark cross-shaped mark that meant 10.




Watch the Stories for Sendai blog for updates on when the anthology will be available, so you can read the rest of this, as well as all the other stories!

.Nevets.

Hobbit Birthday's Eve

All---

As we all know, on their birthdays, Hobbits hand out presents to their party guests.  Tomorrow's my birthday, and so I'm going to hand out presents.  Seriously cool presents.

But, hey, tomorrow is more than my birthday.  It's also the birthday of writing and blogging friend Frances Garrood, author of Dead Earnest and The Birds, The Bees, and Other Secrets.  When we found out we shared a birthday, Frances suggested we throw a blog party -- and we are!  So be sure to stop at Frances' blog and join the fun on the 18th.  Come and your favorite literary character and give us a brief reading!  Join the fun!

Now for the presents!


First of all the winners of the prizes from my Reader Feedback contest!

The winner of an item from the Cafe Press Store is... Summer Ross!  Summer, I know you had mentioned liking the bear once before, so I thought I'd send that you, but if you have an alternate choice, just let me know!  We've e-mailed before, so just drop me a line with a shipping address!

The winner of the Nevetsized Aesop's fable, printed and signed is... Domey Malasarn!  Domey, just let me know know either in comments or e-mail or whatever what Aesop's fable you'd like me to Nevetsize for you!

But what kind of birthday presents would they be if the only presents were prizes from a contest that was already established?  That would be ridiculous.

So there's more!

Way more!

I randomly selected one of my blog followers... The mice were with us.  The number that popped up was Number 42.  I counted back that number of followers, and.... Anthony Pacheco, you've won your choice of items from the Cafe Press Store.  Take a look, see what suits your fancy, and then drop me an e-mail with your choice and a shipping address!

But that's not all either.

Four more prizes!

The quick version:

1) Comment here for a chance at, "I Need This."
2) Comment on author profile stories for increased chances at Notes from Underground.
3) Friend me on Facebook for a chance at Genre Wars.
4) Comment here and at Frances Garrood's blog during the party on the 18th for a chance at The Dog of the North and/or A Razor Wrapped in Silk!

The details:

In honor of the upcoming Notes from Underground anthology, including my story "Terminal Instar" and a whole lot of other, excellent pieces, every one who comments on this post between now until the end of the weekend will be entered in a drawing for a signed, printed copy of "I Need This," the story I wrote which won my inclusion in the anthology.

Anyone who has commented on any of the author profiles in overcoming will be entered to win a copy of the Notes from Underground anthology, signed by me, once it is released in early March.  One entry for every story you've commented on!  In case you've missed any, check out the list:  RJ Ellory, Gary Corby, Marilyn Meredith, RN Morris, Michael Malone, Ryan David Jahn, Deborah Swift, Jennifer Hillier, and Aliyah Whiteley.  You want to have read these anyway!

Trying to catch my breath here.  It's not easy being a Hobbit.

Okay, two more!

Anyone who friends me on Facebook (or is already a friend) by a week from my birthday will be entered to win an electronic copy of Genre Wars, the first Literary Lab presents anthology which included two of my stories, "The Best Medicine" and "Death, Be Not Me."

And finally.

Anyone who comments on this post or joins the birthday at Frances Garood's will be entered to win either electronic or new print copies of  Tim Stretton's Dog of the North or R. N. Morris' A Razor Wrapped in Silk, because I just think it's insane that more of the world doesn't know these books.  Comment in both places and if you win you will win both books!

Quick recap:

1) Comment here for a chance at, "I Need This."
2) Comment on author profile stories for increased chances at Notes from Underground.
3) Friend me on Facebook for a chance at Genre Wars.
4) Comment here and at Frances Garrood's blog during the party on the 18th for a chance at The Dog of the North and/or A Razor Wrapped in Silk!

And now this Hobbit is worn out.  Happy Birthday Eve, everyone!

.Nevets.

Soundtrack for this crazy party has been provided by Metallica, because that's how Hobbits roll.

The Importance of Fit

All---

Bear with me today.  This is one of those posts that is going to spiral a bit, but I think (given the topic) it's important that I write it as it comes naturally to me.  This is neither a whining post, nor an advice post, though it may seem like both.  I would love any feedback, comments, questions, pointers, sarcasm, or anything else you'd like to offer, though.  I love that Nevets.QST has, over the past year, become more interactive.  I love the exchange of ideas and conversation in the comments almost more than I like the posts themselves. So hang in there and then voice back!

Let me start with the part that will, at first, sound like whining.  Like many writers, and indeed like many others in this world, I am working a day job that I don't particular care for.  In fact, as of last Wednesday, I was already sick to my stomach at the thought of returning to my job today (Monday).   I realize how pathetic that is.  I'm not asking for pity, though.  Because here's the thing -- my job isn't that onerous.  I don't do grueling labor, I don't have a monstrous boss, and for the most part I don't have to engage with venomous clients.  The job is no big deal, really.

So why do I struggle with it?

Because it's a poor fit.

Many of you have probably gathered enough about my personality to understand that I'm not geared for a workroom-type job.  When I first took  my present job, there was a large portion of time spent with clients and amidst the urgency of people's immediate needs.  Over time, the job has transformed into one that keeps me in the workroom most of the time and focusing on long-term projects and technology.  I'm good enough at it, and it's not horrible work.

But it's a poor fit.

I thrive in chaos and I get my energy from interaction with other people.  I work in a realm of ideas and emotions.  Long, step-by-step work literally makes me car sick (seriously).  Facts and figures, mechanics and   measurements are a foreign language to me.  (I was a history major who couldn't do names and dates.  Go figure.)

Now here's the part that might sound like advice: the only reason I'm writing about this is because I've realized increasingly just how important this is in writing, too.    It's not enough to be good at what you're writing.  It needs to be a good fit.  It's not enough to write properly and in a productive way.  You need to write in a way that is a good fit.  It's not enough to find an agent who represents books like yours or a publisher that sells books like yours or a blog that posts stories like yours -- it has to be a good fit.

No matter how good the stories are, if they're not really a good fit for you, it's not going to click, and in the end you're going to feel like writing is a burden and a struggle.  You're going to be struggling with all sorts of ancillary questions about genre and voice and tone and structure and marketability.  Sometimes you're struggling with those questions because your subconscious is looking for an excuse to not write that story in the first place.

So here's the kicker, if you want advice: write something that's a good fit for you, and stop worrying about everything and everyone else.


It's not even about about what you like.  I like a lot of things that aren't a good fit for me.  I loved what I was doing when I was doing forensic anthropology.  But it wasn't a good fit.  I loved the wilderness of Alaska, but as a place to live, it wasn't a good fit.  I love this suit that's hanging in my closet, but it doesn't fit.

When it fits, you not only like it, but you excel at it, you're comfortable in it, the challenges feel like opportunities, and the upsides make up for the downsides.  When it doesn't fit some of those may be true, but others may have to be forced, and at the end of the day you're going to be sick to your stomach about it.

And yet so many of my writing friends try to write things that don't fit them.  Because they're afraid of the consequences if they let it all hang out.  Or because they're afraid no one will like it.  Or because they don't think it's up to snuff.  Or because they think a grown-up shouldn't be writing Young Indiana Jones fan fiction.  Or because no one reads Westerns anymore.  Or because everyone in their crit group tells them that they really are a paranormal romance writer at heart.

If it doesn't fit, you must quit.


But I said this was neither about whining or about giving advice.  And it's not.  What's it about then?

It's about the dang struggle.

Because it's all well and good to say fit is important.  But when you have to pay bills in a down economy, you keep the job that doesn't fit.  And when you're writing, you don't always know what's a good fit.  And sometimes, when you do know what fits, the implications are too crazy to deal with.

Writer of that which is-not-but-perhaps-might-be-or-should-be, Tara Maya advised me recently to write for a world of me's, or to write for a Japanese audience, to write the crazy surreal, wu xia-influenced fiction that I like.  And she was pretty much right.  That would be a pretty great fit in a lot of ways.

But, at the end of the day, I face a pretty mercenary question.  As screenwriter and novelist Ryne Pearson put it: do you want to write about peach pie or do you want to sell books?

But (yes, there's another but) that's a trap, because you're not going to write your best books unless you're writing something that's a good fit.  And if you're not writing your best books, you're not as likely to sell them.  (And, in case you're unfamiliar with Pearson's work, I don't think peach pie would be a good fit for him.)

So what does that mean?  For me, I think it means stop screwing around with all the other stuff and just write a good story.  Check out the conversation that Domey Malasarn started in the Literary Lab blog today.  As he suggested in the initial post, a book does not need to be perfect in its individual elements to be a great book.

Domey talked about plot, character, and prose.  The same goes for everything else.  The word perfect means complete.  What makes a story perfect is that it's everything it can be.

That doesn't happen without fit.

Someday I'll take that advice to heart and write something that truly fits.  But in the mean time, I have a novel to finish.

If you're still with me, I appreciate your endurance.  And I would absolutely love to hear from you in the comments.

.Nevets.

Blue October provided the soundtrack for this post.