Water Road Wednesday: Strefer Quants

If Antrey Ranbren is the most important person in The Water Road trilogy, Strefer Quants is right behind her and, in truth, might have a case for knocking Antrey off the top. The Water Road itself is largely their two stories, splitting off from each making the same world shattering discovery.

Unlike Antrey, who’s a woman without a country, Strefer comes from the United Guilds of Altreria. As a Guilder, Strefer was raised without a traditional family, including a mother or father. This is reflected in her full name – Strefer Quants of the Guild of Writers. Quants is derived from Quantstown, where she was born. Her Guild affiliation is, just that – it shows to which Guild she owes loyalty.

Although Strefer is a Guilder, she works for a Telebrian in Tolenor. She’s the lesser of two reporters stations in the city for the (Sermont) Daily Register, the newspaper of record for the Telebrian capital. Strefer’s boss, Tevis, gets the plum assignments like covering the sessions of the Grand Council of the Triumvirate and writing about matters of state. Strefer, on the other hand, has a much rougher beat to cover.

Her attitude towards her job is summed up in this blurb from last week’s One Line Wednesday session on Twitter:

 

But it’s a job at which she’s very good, particularly when it comes to getting people to open up to her and talking her way into places where she probably shouldn’t be. She has the typical Guilder worldview that prioritizes doing what works and confronting reality head on, rather than adherence to high ideals of an earlier age.

When The Water Road begins, Strefer is in need of a good story (hence the blurb above). She’s about to find it.

Water Road Wednesdays: Sentinels and Mind Walkers

The Triumvirate is more than just a defensive alliance. By the time The Water Road begins, it’s almost like a nation unto itself. It has its own capital, the island city of Tolenor. It also has something like a military or intelligence wing, a group of highly trained men and women who answer only to the Grand Council of the Triumvirate, not their home nations. They’re called Sentinels.

I think “sentinel” is a term that’s been used in sci-fi and fantasy for years, but it seemed to fit here. In all honesty, it was front of mind when I started writing it because I had just discovered the album of the same name by Scottish proggers Pallas:

the-sentinel-529a826f48b85

How can you look at that and not be inspired?

The main role of the Sentinels is to be gatherers of intelligence. A few of them are stationed in each of the numerous forts the Triumvirate erected on the southern bank of the Water Road following the first Neldathi uprising. There they collect information about the Neldathi and ensure the progress of the Triumvirate’s plan to keep the Neldathi from uniting again and threatening to come north.

Of those Sentinels, there is a small subgroup that provide an invaluable services. In the universe of The Water Road they’re called mind walkers, but you could also call them telepaths. Mind walkers can communicate with each other of long distances, allowing Sentinel agents deep in Neldathi territory to report back to the Sentinels in the forts. Mind walkers also serve as a means of long-distance communication for the military. Only a very small percentage of the Altrerian population has this talent and anyone who manifests it becomes a Sentinel. There are no Neldathi mind walkers.

Beyond the mind walkers and the Sentinels stationed at the forts along the Water Road, another group of Sentinels are stationed in Tolenor. Some serve as trainers and administrators at the Sentinel academy that’s in the Triumvirate complex at the city’s center. Others have a much less glamorous job – law enforcement. Since Tolenor is a city that doesn’t belong to any of the three Triumvirate members, the alliance itself is responsible for keeping the peace.

Sentinels carry a distinctive weapon, a pikti. A pikti is a fighting pike, slightly taller than the average Altrerian, made out of the wood of a particular plant that grows only in one location in Telebria. Through a secret process, the wood becomes hard as steel but much lighter, resulting in a staff that is glimmering black. Due to their rarity and difficulty of use (pikti training is a key aspect of a Sentinel’s time at the academy) it is unheard of to see someone carry a pikti who is not, or was not at some earlier time, a Sentinel.

Water Road Wednesday: Antrey Ranbren

Now that we’ve talked about where The Water Road trilogy takes place, it’s time to shift the focus to the people involved in the story. As you know from earlier WWW entries, nobody in The Water Road trilogy is a “person” in the sense that they’re human beings, but that doesn’t stop me from referring to them as “people” or “persons.”

The most important person in The Water Road trilogy is, without a doubt, Antrey Ranbren. The trilogy’s overall arc is her story, although it folds in a lot of other important characters along the way. Remember the post about how Napoleon’s exile and return sparked the idea that became The Water Road? Well, Antrey is Napoleon (after a fashion).

Antrey is a woman between worlds. In a world divided by species, by nation, and by clan, she has none of them. Antrey is of “mixed heritage” (as they say in more polite circles), product of an Altrerian father and Neldathi mother. Her surname, Ranbren, is a generic one for such offspring. They are generally shunned by both Altrerian and Neldathi societies, often left to fend for themselves in Altrerian brothels (children of mixed heritage cannot have offspring of their own, conveniently enough).

As a result of her parentage, Antrey was exiled from Clan Dost as a youth and made her way to Tolenor, the home of the Triumvirate. There she caught the attention of Alban Ventris, Clerk to the Grand Council of the Triumvirate. Alban took her into his home, taught her to read and write, and made her his assistant. It’s a good life, better than she ever expected, but it doesn’t make her any more a part of regular society:

It wasn’t as if she could blend in with the crowds. The city was jammed full of Altrerians of every shade of green, from the pale northern Telebrians to the dark hued Arborians. With her pale turquoise skin, Antrey was distinctive, a small patch of clear sky on an overcast day. At least she inherited her father’s slight Altrerian frame. It was difficult enough looking different. Having to poke out above the heads of everyone else by a foot or more would have been unbearable. She did her best to try and conceal her otherness. She kept her black hair, from her mother’s side, closely cropped so as to be almost unnoticeable. She did her best to ensure that as little skin was visible to the public as possible. Despite her best efforts, she stood out.

Most importantly, it’s a life that’s put her in a place to learn a secret that will change the whole world, not just hers, forever.

Water Road: Wednesday: The Triumvirate

As I mentioned a few weeks ago, there are a pair of nation-states north of the Water Road, along with a coalition of city states. When The Water Road begins, they’re all joined in an alliance called the Triumvirate. And I don’t mean these guys:

triumvirate

The where and why of the Triumvirate says a lot of what happens all during The Water Road trilogy.

More than a century before The Water Road begins the lay of the Altrerian political landscape is this:

On the west coast was the United Guilds of Altreria, a society organized around trades and vocations. Guilders don’t have families and tend to be very practical and open to new ideas. They were the first to jump on the Great Awakening, a movement during which most people lost belief in the gods.

On the east coast was the Bonded Realms of Greater & Lesser Telebria. As it suggests, the kingdom is a union of two smaller kingdoms, one each north and south of the River Teleb. It has a king (naturally), Ibel IV, but his power has largely been sapped away by parliament. Still, he’s a powerful figurehead and can definitely throw his weight around every now and then. Telebrians tend to be very traditional and stuck in old ways of doing things.

In between was the Arbor, a thickly forested portion of land consisting of lots of disparate cities and villages. Of those, seven are ancient walled cities of the most importance: Tomondala, Kerkondala, Vertidala, Maladondala, Felandala, Nevskondala, Durlandala (“dala” means “great walled city” in the ancient Altrerian tongue). They tend to be fiercely independent and suspicious of outsiders.

Around this time, a Neldathi leader named Sirilo united some of the clans and launched an invasion of Altreria. This was the First Great Neldathi Uprising. The Neldathi army rampaged across the Guildlands and threatened the rest of the continent. The Guilders and the Telebrians got together to form a defense alliance. However, they realized that without the Arbor involved that could provide Sirilo’s army a place to hide out, lick their wounds, and regroup. They went to the seven cities in the Arbor and convinced them to form a loose confederation, which became the Confederated States of the Arbor.

Thus, the Triumvirate was born, an alliance consisting of three equal partners – the Guilds, the Telebrians, and the Confederation. It established a city, Tolenor, on an island in the Bay of Sins on what was, essentially, neutral territory. It also served its purpose – a Triumvirate army chased Sirilo and the Neldathi back south of the Water Road, crushing the Rising at the Battle of the Hogarth Pass.

With the Rising crushed, the Triumvirate carried on, dedicated to keeping the Neldathi from unifying again and threatening the land north of the Water Road. Among other things, it established a string of forts along the southern bank of the river, in Neldathi territory. At the time The Water Road begins it’s been successful. But that’s all about to change.

Water Road: Wednesday: The Neldathi Clans

As I mentioned last week, the Neldathi, who live south of the Water Road in the universe of The Water Road, are physically quite distinct from the Altrerians who live to the north. They’re different species, in fact, although they can produce infertile offspring. When it comes to how their societies work, the differences are even more pronounced.

While the Altrerians are organized into what we might call nation states (or city states, at least in the case of the Arbor), the Neldathi are organized into clans. Each clan is ruled by a thek (or chief), selected in various ways, from based on heredity to something more like democracy (without the coin flips). Some clans are patriarchal, some matriarchal, others more egalitarian. In other words, there’s a good deal of variety to how each clan is set up.

There are several other positions of authority in Neldathi clans aside from theks. Two of the most important are War Leader (which is just what it sounds like) and Master of the Hunt, each of which is responsible for ensuring the clan’s survival. Speakers of Time are individuals who become walking storehouses of knowledge – libraries with legs, essentially – and pass on the clan’s history, traditions, and laws. Finally, kels act as judges, settling disputes between clan members.

The Neldathi are nomads, which is why they don’t have “states” as we (or the Altrerians) think of them. That doesn’t mean they aren’t territorial. Each clan has a Great Circuit, a route along which they regularly move through the year. Each guards its circuit jealously. Three clans have circuits that cover the northernmost ground, near the Water Road itself – the Dost, Kohar, and Haglein. Three more stick toward the southern coast and the Islander cities – the Mughein, Elein, and Sheylan. That leaves five others – the Chellein, Akan, Volakeyn, Uzkaleyn, and Paleyn – who roam the most mountainous ground in the middle.

The Great Circuit’s aren’t defined with great particularity and clans don’t necessarily travel them in regular cycles. As a result, it’s not uncommon for neighboring clans to run into one another, which leads to violence. For example, the Volakeyn and the Akan have circuits that border one another. If they happen to wind up in the same space at the same time, they’ll fight over resources, same as anybody else. Neldathi don’t fight wars of conquest – they’d have no means of securing territory – but they do fight.

In fact, the Neldathi have a history of long-simmering feuds between clans, for several reasons. One is that if clans meet when circuits overlap, that frequently means resources are limited in that area and one side is bound to lash out. Another is that the same clans routinely interact with each other, breeding bad blood. Finally, the Speakers of Time tell stories of glory won in battle and of the evil done to their clans by their enemies. That allows feuds to grow and fester between certain clans.

That last feature, in particular, provides an opening that might be exploited by outsiders.

When Magic Isn’t

I recently got around to reading the first of Brandon Sanderson’s Mistborn series, The Final Empire. It’s pretty good (full Weekly Read coming up later? Perhaps!). One of the distinguishing features of the series is the system of “magic” that it uses. The use of quotes is intentional, because about two-thirds of the way through the book I started to wonder if Sanderson was really dealing in magic at all.

The magic in Mistborn revolves around metals and what people can do with them. Allomancers can ingest small portions of certain metals, “burn” them, and thereby enhance their physical and mental powers. “Mistings” can burn only one particular metal, while “Mistborn” can burn all of them. Mistings are useful. My particular favorites were the “soothers,” who are able to calm or inflame another’s emotions to make them more cooperative. Mistborn, on the other hand, and basically superheroes, able to leap tall keeps in single bounds, possess extraordinary strength, and heal wounds more quickly.

Actually, the better analogy would be to characters in a video game. Indeed, one reviewer knocked Sanderson’s system for “sometimes feel[ing] a little like a video game trick (press X-Y-X-X to burn steel!). And, honestly, once you get past the “this is what this metal does” exposition, the constant references to characters burning this and pulling on that get old. It’s work-a-day, it’s formulaic it’s . . .

Not all that magical.

Which isn’t, inherently, a bad thing. I really like Allomancy (and the related Feruchemy that plays a role, too) – it’s certainly different than casting spells, waving around wands and such. But it does call for different characters wielding it. “Working magic” is my mind conjures someone like the wrinkled, slow, puppet-based Yoda of the first Star Wars trilogy, rather than the CGI-spawned ass kicker of the prequels. It takes some getting used to.

And it can seem kind of out of place for what is, after all, supposed to be fantasy. I’m not one to suggest fantasy has to have magic – far from it! The Water Road trilogy has not a whit of magic in it. But if you are going to build a world with magic, shouldn’t be a bit more magical and mysterious? Indeed, as one commenter put it elsewhere:

I’m inclined to label Sanderson’s Mistborn as hard sci-fi, because of the way he fleshes out the abilities of allomancers. This might seem odd, because the author really makes it look like magic. But the way they invoke their power, the limitations on its usage and strict adherence to the framework of physical laws that we the readers are already familiar with, strike me as less magical, and more of an empirically-discovered science, and thus some form of sci-fi rather than fantasy.

Putting to one side the hard/soft discussion, that sounds about right. Part of what makes magic special is that it’s inherently vague, squishy, and unpredictable. It shouldn’t work all the time, just because you know how to work with the constituent parts. It’s about corralling the elements and playing with the very stuff of existence, after all, not just figuring out how to use the natural world to do things better.

Or not. One of the great things about fantasy is that it’s only bounded by your imagination. I don’t think I’d come up with a system like Sanderson’s, but his works for his world and it’s consistent. It’s hard to ask more than that, even if, maybe, I do.

SpongebobMagic

The Trouble Of Quantifying Art

It’s received wisdom that movies adapted from written material are, to steal a phrase from an excellent album by The Tangent, not as good as the book. I tend to agree with that wisdom, but there are some notable exceptions (Dangerous Liaisons, The Sweet Hereafter, LA Confidential). Is there some way we can tell, with math and numbers and stuff, which ones work better than others?

No. No there isn’t.

That doesn’t keep people from tying. Back when the last part of The Hunger Games film saga came out, stats guru Nate Silver purported to identify the 20 “most extreme cases” of film adaptations that failed to live up to the quality of their book source material. When I clicked the link I was actually hoping Silver might have broken out of his usual routine and embraced the ambiguous in the world.

Alas (footnotes omitted):

there are extreme cases where book-lover rage is justifiable. Which cases? I pulled the Metacritic critic ratings of the top 500 movies on IMDB tagged with the “based on novel” keyword. I then found the average user rating of the source novel for each film on Goodreads, a book rating and review site. In the end, there was complete data for 382 films and source novels.

The results are kind of fun to look at. Remember, Silver’s most interested in the divergence between good books and bad movies, and vice versa, so a great adaptation of a great novel kind of falls through the cracks. Still, who knew that Up in the Air was so much better a film than the novel? But that list points out some of the problems with Silver’s undertaking. Is it completely accurate to call Apocalypse Now an “adaptation” of Heart of Darkness, or is it simply inspired by it? And Dr. Strangelove, while it may have adapted the plot of Red Alert, it turned the ideas of it on their head, playing it as dark satire, rather than serious, suspenseful drama (it got that from Failsafe). The reverse list is a little easier to understand, for the reasons Silver mentions.

But the real problem isn’t in the particular results, it’s in the method. Mainly, Silver is comparing apples and oranges. He somewhat admits this in a footnote, when he admits that there isn’t a critic aggregator for books like there is for films in Rotten Tomatoes. But he falters in then assuming that there isn’t a like to like comparison he can make. IMDB also has user ratings, numbers generated by fans that are more like the Goodreads ratings than Metacritic averages.

The difference is important. Every few years you’ll see a think piece like this one about how film critics don’t appear to have much influence on what movies people go see. They routinely trash the kind of big summer popcorn movies that do billions of dollars in business. It doesn’t suggest that the critics are wrong or right, just that they have a different frame of reference than fans. A critic sometimes sees a dozen movies in a week, whether they appeal to her likes and dislikes or not. The typical movie goer, on the other hand, sees one or two and tends to pick stuff he thinks he’ll enjoy. So comparing book fans to movie fans would have been a baseline for a survey like this.

Another problem, that Silver doesn’t approach at all, is one of scale. Put simply, even really popular books are read by orders of magnitude fewer people than see adaptations of them. Going back to Up in the Air, how many people read that book? Yet it did more than $166 million dollars in box office. My thought is that book fans tend to be more passionate than movie fans, more invested in their favorites. Not to mention, if most of the people who see an adaptation never read the source material, how can they compare one to the other?

Ultimately, that’s all nitpicking. Trying to reduce art to numbers is a fool’s game. Fun to play sometimes, but ultimately like trying to light a cigarette in a hurricane.

UPDATE: Or, as James Poniewozik puts it in a New York Times write up of the best in television for 2015:

Art isn’t math.

Amen.

Back In the Saddle

Hey, everybody! Did you miss me? Now that November’s become December, it’s time to get back to blogging. First us, here’s what I’ve been up to for the past thirty days:

NaNo-2015-Winner-Banner

That’s right, my National Novel Writing Month campaign was a smashing success, with a grand total of 66.744 words written for The Bay of Sins. I got into a groove right away and averaged about 2200 words a day, about 500 more than necessary to meet the 50,000 words in a month goal. Not bad, considering I have a day job and everything.

Actually, this is by far the best year I’ve ever had. I’ve usually struggled across the 50k line on the 29th or 30th. My previous best was when I did the first draft of The Water Road and hit 55,000 in the month. So 66,744 is a hefty improvement.

What made it easier this year? For one thing, The Bay of Sins is the final part of a trilogy, so it’s all downhill. I’m working with characters I know well (for the most part) and in familiar locales, so the learning curve that usually goes with a new story is pretty much gone. For another, this is the first thing of this length I’ve sat down to write since releasing stuff out into the world this year. That makes it easier, believe it or not.

Having said that, there’s much more to go before The Bay of Sins is finished. Hopefully, I’ll knock out the rest of this draft before Christmas.

Look for way more info about The Water Road – the entire series – with Water Road Wednesdays, coming in 2016!

The Incredible Shrinking Second Draft

I have a weird way of handling second drafts, maybe a unique way.

It grew out of my day job, in which I sometimes have to synthesize argument originally made by other lawyers into a final brief. I quickly decided that just dumping someone else’s words into a brief and doing a quick edit wouldn’t work – we all have a different voice, after all. Just dumping was inelegant at best and headache inducing at worst.

Instead, I take the section provided by someone else and rewrite it in my own voice. The final product includes the same information, the same argument. But it sounds of a piece with what came before and what comes after. That’s the theory, at least.

I imported that system into my fiction writing. I take the first draft, print it out (usually as a PDF these days), then work my way back through it, rewriting from word one. That allows me to do a couple of things. Most importantly, it allows me to focus on the words themselves, the really bottom level grunt work of writing. That’s because I already know what happens to whom and where, so I don’t have to worry about plot stuff.

The other thing it does is it lets me fill in gaps that occurred in the first draft. Sometimes they’re gaps I didn’t realize at the time but that, as I go through it again at a brisker pace, make themselves known. Other times it’s because I was stuck on the first draft and didn’t want things to grind to a halt completely and I left myself a note to add something or expand something.

Either way, the usual has been for the manuscript to grow in the second draft. Moore Hollow was just over 50,000 words in the first graft, but grew to about 65,000 in the end. The Water Road, the first volume of the trilogy I have schedule for next year, grew from about 110,000 words to 135,000 in the end.

Which is what makes my experience with The Endless Hills kind of odd. This is the second book of The Water Road trilogy, and it wound up with about 127,000 words in the first draft. But after the second draft (which I finished last weekend), it’s actually dipped a bit, to 123,000. And that’s including a couple of new scenes or chapters that I had left behind in the first draft.

What the heck happened? A couple of things, both of them good (I hope).

First, I’ve become very sensitive about using dialog tags and trying to clean them out of my writing. For those not in the know, dialog tags are those things like:

“This is a dialog tag,” JD said, to nobody whatsoever.

There’s frequently skirmishes on writers forums about the need for them at all and whether, if you use them, you should just stick to “said” and let that be that. Earlier on I went the John Scalzi route and tried to use “said” exclusively and all the time. I think it goes back to my legal writing where ambiguity about who is speaking could be lethal to a legal argument. But for fiction tags can sometimes get in the way, particularly if you’ve only got a two-way conversation going on. So I took a lot of that stuff out on the second draft.

Second, I’ve also been trying to pare down my writing as a I go forward. Trying to do more with less, I guess you’d say. I’ve never been the most verbose of writers, but I’m not exactly Hemmingway brief, either. I think I’m getting better about tightening things up without sacrificing what’s important.

One of the things more experienced writers will tell you (if you listen) is that writing is as much craft as art. Becoming a better writer is partly down to learning how to do things better, from a mechanical point of view. Sitting down and writing something ten years after you started writing completely should be easier and be a better product when it’s finished.

At least that’s what I’m hoping!

Chasing the Dragon (After a Fashion)

There’s a thing long distance runners experience, a euphoria that comes over when they are almost completely exhausted, when they push through “the wall.” It’s called a runner’s high. It’s something I’ve heard about but never experienced – long distance anything, much less running, isn’t really my thing. But I think writers go through something similar.

I first noticed this in my day job. Doing appellate work for criminal defendants takes a certain kind of mindset. You’re representing people who have already been convicted (in most cases pleaded guilty) and been sentenced. The entire criminal justice system is now designed to keep those results in place – only about three percent of criminal cases in my circuit are reversed in appeal in some fashion.

Sitting down to work on an appeal, then, comes with a lot of negative baggage. Sometimes you don’t have any good issues to raise, but the client wants the appeal and you have to do the best with what you have. Other times you have what you think are good issues, but in the back of your mind know that the chances of success are still between slim and none.

That means when you start writing, you’re mostly thinking “this is shit. It’s pointless and it’s not going to work.” But somewhere along the line, usually a few days out from the deadline when the brief is all you’ve been working on for a couple of days, something happens. You start to believe in what you’re arguing. That argument that seemed hopeless before now seems pretty damned clever. In the push to finish the damned thing you now figure you’ve got a shot at winning.

You don’t, not really, but you think you do. It’s a writer’s high. You get so deep into it that any trace of doubt you once had is gone. It’s a pretty good buzz (and it usually wears off by the time you drive home).

Writing fiction can work in the same way.

I’ve been working on the second draft of the second volume of The Water Road, trilogy, The Endless Hills. It can be a slog. A few paragraphs here, a couple of pages there. If I get an hour or so on a weekend or day off I can maybe make it through a chapter and it feels like real progress. But because I’m focusing on more mechanical things sometimes the actual story seems obscure. Throw in breaks to get Moore Hollow published and promoted and I wonder if I’m doing anything worthwhile.

A couple of weekends ago, a bunch of things coalesced to give me lots of time to write. For one thing I didn’t have any other functions that weekend. For another, it was grey and rainy most of the weekend, so there was hardly a desire to go out (or, even worse, a need to do yard work). So I cloistered myself away in my studio and got to work.

Over several hours, spread across two days, I cranked through more than fifty pages of manuscript, about 8000 words. It’s not a huge chunk of the book (the first draft was 127,000 words), but it was enough – it covered several chapters – to get me back into the story a bit. It helped that I was working through the climax of the book, a bloody engagement between two armies called the Battle of Tivol Market. The rubber, so to speak was meeting the road.

Around mid afternoon on Sunday I had about reached my limit. I had other things I wanted to do (the pull of the PS3 and a room full of synths can be strong), but I also knew I needed to keep going. But powered by interesting electronic burbles from Bandcamp, I pushed on. After too long, the writer’s high started to kick in.

Not only did the actual writing get easier, like I had crested a rise and started to run downhill, but it seemed better. Connections between characters, the flow of the action (spread across four different POVs), and the endgame all came into focus. Just like when I reach this point in a brief and I think I might win, I started to think this was pretty good!

Maybe it isn’t (more editing is needed, of course). But it feels good, regardless, to suddenly have something flowing from your fingers that seems to be working! It gives you confidence to keep going, to keep plugging away, word after word, even when it seems like drudgery.

That’s my dragon to chase. Gotta get back at it.