Category: Literature (Page 5 of 9)

The Question of Simplistic Morals in Epic Fantasy

April 16, 2019 /

What’s one of the key differences between J.R.R. Tolkien’s The Lord of the Rings and George R.R. Martin’s A Song of Ice and Fire?

Nope, I don’t mean the treatment of dragons. I’m not thinking of dwarves. And no, I’m not referring to uses of the word “fucking.” I think the key difference between these two giants of the genre is their treatment of morals.

The Lord of the Rings has clearly defined sides: The Fellowship is good. Sauron is evil. Though some characters switch sides (most notably Saruman), it’s mostly obvious who you should root for and against. A Song of Ice and Fire is far less clear. The series was more or less written in response to LOTR, and one can see how: The characters in this series are morally dynamic, all of them ending up somewhere in the middle.

I’ve heard a lot of readers suggest George R.R. Martin’s approach is the better one. ASOIAF is more realistic, making Tolkien’s LOTR simplistic by comparison.

Yes, I agree. Lord of the Rings’s morals are simplistic. But I don’t think simplistic morals make for a worse story. Quite the opposite, actually.

Listen, I love both of these series. I ranked them in the top two of my fantasy power rankings. But I think there’s something to be said for Tolkien’s clearly-defined good and evil.

First of all, fiction is often about wish fulfillment. One of the most satisfying elements of a story is seeing an event reconcile itself within a truncated timeframe. Oftentimes, these are huge problems which realistically can’t be solved, at least not in the way presented. For example: a character reconciles the death of a loved one. Though this process would likely take years, fiction allows us to view this process within a few hundred pages. Wish granted.

Let’s bring this conversation back to Lord of the Rings. The wish fulfilled by the end of the novel is that all evil is vanquished. The One Ring melts into the lava, and boom. World saved. That’s a wish everyone can get behind.

Of course, we’ll likely never see a reality without evil. But fiction need not reflect the possible. Rather, it’s satisfying because it shows the impossible coming to life.

While I love A Song of Ice and Fire, it’s all too often a reminder of the world’s nastiness. If that’s what you’re into, I can see why you love it. I love it, too. But since the world is already a place filled with atrocities and death and violence, sometimes it’s nice to get away from all that in a book, rather than be reminded of it.

Sometimes the very best fiction is transportive rather than reflective. When we step into Middle-Earth, we can’t help but feel that we are elsewhere. We’re in a world where there are good people who fight for justice, where the seemingly insignificant become heroes. We get a little bit of that in Westeros, but mostly we get Red Weddings. Listen, I’m getting married soon. I don’t want to read about Red Weddings right now.

So yes, The Lord of the Rings is kind of simplistic. But sometimes, that’s what we need most.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now.

Announcing Wee Stories: 1,001 One-Word Tales

April 1, 2019 /

You know that second between chewing a Cheez-It and swallowing it? Or the moment it takes to flush a toilet? What about those 10 idle seconds spent waiting for the light to turn green?

For the voracious reader, these moments are opportunities. All you need is a story of the proper length.

With that thought in mind, I’d like to introduce you to my latest book. It’s called Wee Stories: 1,001 One-Word Tales.

Wee Stories Cover

If you maximize your screen by about 200 percent, you might be able to read the text on this cover. This is an intentional artistic decision, one that reflects the minuscule size of the stories within. At one word each, they’re the shortest short stories you’ll ever read. They’re so short, in fact, that I call them microstories.

Novels take months to read. Short stories take hours. Even flash fiction stories take a few minutes. But microstories? They take mere seconds.

Consider this one. I call it Crossing at Dawn. Here it is, in its entirety.

Turtles.

It took me six months to write that piece. I tried to imagine what animal would be most likely to cross a road at dawn. A squirrel felt unremarkable, a chicken too cliche. Finally I settled upon the present form. I’m thrilled with the results.

There are 1,000 more microstories in the book but I’d rather not spoil them for you. Instead, I ask you to purchase Wee Stories when it goes on sale in June.

Until then, I encourage you to think about how many microstories you could’ve read in the time it took to read the blog post. By my count, it should be about 200 or so. Now that’s efficiency!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now.

The Grand “Finish It!” Initiative

March 18, 2019 /

Finish It!

I’ve noticed a trend in my short stories. Many of my drafts have no endings!

Let’s back up a moment. I’m releasing a short story collection in June called Monsters at Dusk (more details coming soon). As part of the collection process, I scoured my hard drive for on-theme stories. I found a bunch. Problem is, many are unfinished.

I doubt I’m the only writer with this issue. When a story’s not working, it’s tempting to abandon it and start fresh with another. Therefore, I’ve assigned myself a new task. I call it “The Grand ‘Finish It!’ Initiative.”

The initiative is simple: I won’t allow myself to move on from a draft unless I’ve completed it first. Here’s why I’m doing it (and why you might want to do it, too).

We Need a Structure

Completed first drafts provide structure for later drafts. They’re ugly, but they’re essential.

I tend to forget this. Midway through the writing process, I sometimes think, This story isn’t that good. Truth is, I’m probably not wrong about that—detail is almost always lacking in a first draft. But first drafts aren’t final drafts. First drafts are structure. We sometimes worry too much about setting, character, and specificity in early drafts when we should focus on the underlying structure. This leads to abandonment.

That’s not to say we should blindly accept everything we write. Some pieces are experiments. Others are educational experiences. We might finish a draft and decide it doesn’t work, and that’s okay. However, it must be a finished draft before we can fairly make that determination. After all, you wouldn’t look at a sketch of a painting and decide the painting’s unworthy of your time. You can’t decide until you see the final product!

We’ll Become More Selective About What We Write

Writers often have more ideas than they’ll ever be able to write. By committing to completing every story, we’ll become more selective about the projects we take on.

This comes down to mindset. Imagine writing with this notion: If it’s not working, I’ll quit on it and move to the next project. What’s the point of being picky? You can explore any old idea just to see where it takes you.

Now imagine this mindset: I’m going to finish what I start. This approach speaks of discipline and careful selection. If we don’t allow ourselves to abandon half-finished projects, we’ll prioritize our best ideas. Doing so focuses our work and ensures we use our limited time in the best way.

Of course, there’s always room for experimentation. Furthermore, for some writers it’s impossible to tell which ideas have the greatest potential without writing them first. However, the point remains: Focus your efforts on your most powerful ideas. They’re the ones you’ll be happiest to complete.

We Need to Practice the Entire Form

Finishing a draft from start to finish allows us to practice the entire process. If we proceed to the next project without finishing the present one, we’re not getting enough practice on endings.

I consider this in terms of sports. Let’s take basketball as an example. Between dribbling, rebounding, shooting, passing, defending, and more, there are numerous skills a basketball player needs. Depending on their position, a player might excel at one skill or another. However, in order to play at a high level, a basketball player needs competency at every skill. Shaq was a bad shooter, but he at least knew the proper technique.

Likewise, an author must practice every step of a story. Sure, some authors might excel at establishing a world or surprising readers with second act twists. But if we don’t finish our work, we’ll never develop our ending skills. That’s like a modern basketball player shooting with two hands.

For an example from the literary world, look no further than fantasy author Brandon Sanderson. He wrote somewhere around 10 complete novel manuscripts before he published his first. Those 10 were full practices. If he’d decided to move on to the next before finishing the last, he might never have developed a talent for writing entire books.

Conclusion

As part of the Grand Finish-It Initiative, I’ll do my best to never proceed from a project until I’ve finished my current one. I hope you do the same!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

5 Best Fantasy Book Series

February 4, 2019 /

I love fantasy books. I read them, I write them, and on days like today, I blog about them. I think the title of this post says all it needs to, so let’s get into it.

5. The First Law by Joe Abercrombie

Image from Wikipedia

Of all the series on this list, The First Law might be the one you’re least familiar with. A brief synopsis: Logen Ninefingers, a barbarian of the frozen North, teams up with cheery torturer Sand dan Glokta and arrogant nobleman Jazal dan Luthar to serve the great wizard Bayaz. Thing is, Bayaz might not be exactly what any of them are expecting.

This series intentionally subverts about as many common fantasy tropes as possible. Abercrombie especially enjoys drawing murky lines between the good guys and the bad. What results is a series populated with oodles of complex, compelling characters.

Also, this series is actually pretty darn funny (in a Fargo sort of way). For example, in Glokta’s first chapter, he’s constantly interrupted by various parties while trying to torture a dude. He’s even scolded by the head of his department for recklessness, which might remind folks of classic bureaucratic nonsense that accompanies many jobs. This dark humor is a refreshing addition to a genre that can at times take itself too seriously.

4. Harry Potter by J.K. Rowling

Image from Book Haven

There’s a reason everyone loves this series, and it’s not just because of Alan Rickman. Harry Potter has an astounding cast of interesting characters, sharp plotting, and a satisfying series arc.

One of the series’s greatest strengths is its academic setting. Since many readers are currently or have been enrolled in school themselves, it’s easy to relate to Harry. Sure, maybe you haven’t competed in a life-threatening Triwizard Tournament. But you’ve likely gotten pretty stressed about an upcoming test (even if it wasn’t to become an Auror).

3. The Dark Tower by Stephen King

Image from Amazon

Some might debate whether or not The Dark Tower is fantasy, but this is my list and you can’t stop me. (Full disclosure: I haven’t actually finished this series; I’m currently on book four. But see above note about this being my list and all.)

Set in a desolate desert landscape, The Dark Tower chronicles the adventures of Roland Deschain, the last living gunslinger from an extinct line. He’s the archetypical man with no name who wanders the land in search of the Dark Tower, the point at which all worlds converge.

This multi-world theme is the coolest aspect of the series. From page one, you’ll notice  many elements of Roland’s world correspond with our own. For example, a saloon piano player plays a song you might know: “Let It Be.” And yet in Roland’s world, it’s just a folk standard—no one’s ever heard of The Beatles.

Another thing: alternate realities. When a particular character dies (no spoilers) the series timeline splits. This creates a paradox in which two realities exist simultaneously. Which kind of drives people nuts. So cool.

For fans of Stephen King, there’s even more to love. That’s because this series is packed with easter eggs from all his other novels. You’ll notice little references to many of his other famous novels, including ‘Salem’s Lot, The Shining, and It.

2. A Song of Ice and Fire by George R.R. Martin

Image from winteriscoming.net

Expecting this at number one? Listen, this ranking thing is tough. Don’t be too hard on me!

I’m sure you’ve seen HBO’s wildly popular adaptation, but I’ll give you a synopsis anyway: The kingdom of Westeros is in turmoil. Royal families all vie for control of the Iron Throne. Lots of sex and bad language.

This series is sick. Martin writes some of the all-time most memorable characters in fantasy, and dare I say, even literature itself. The plot is entirely character driven, and each event is propelled forth with excitement and intrigue. Plus, anyone can die at any moment, which gives the series a very real sense of menace.

Martin’s series has redefined modern fantasy. He’s been hugely successful at eschewing the clear morals and idyllic landscapes of The Lord of the Rings in favor of grittiness and brutality. It can be exceedingly grim at times, but it also leads to some really compelling reading. It’s amazing how Martin seeds events in early volumes which don’t come to fruition until two or even three volumes later. There are literally entire message boards composed of fan theories about what’s happening and what’s going to happen. Amazing stuff. And people wonder why it takes him so long to write these things.

1. The Lord of the Rings by J.R.R. Tolkien

Image from Adazing

Yup, it’s still the GOAT. The Lord of the Rings is the foundational text of modern epic fantasy literature.

As with these other series, The Lord of the Rings features a huge cast of endearing characters. Though they’re not as diverse or distinct as those in say, A Song of Ice and Fire, Tolkien’s creations still stand the test of time. Each has interesting dramatic conflict and each plays an important role in the story. Plus, I’d argue that some of Tolkien’s greatest characters, such as Gandalf, Gollum, and Samwise Gamgee, have entered into literature’s all time greatest.

The setting is also magnificent. Middle-Earth is perhaps one of the most well-realized worlds ever put onto paper. Each structure has history; every location has a story; every other page has a song. Okay, I might be exaggerating with that last one, but still. Whether or not you love the pages and pages of wandering through the setting, it’s difficult to deny the depth of imagination here.

And how about the languages? Countless post-Tolkien fantasy authors have created alternate languages, yet it’s obvious that theirs have little basis in linguistics. Remember, Tolkien himself was a professor of language. In fact, some have speculated that he wrote LOTR more or less as an excuse to create his own languages. Therefore, the words in his works have real depth. There’s a functioning system behind these names—not just someone making up words that sound exotic.

No, The Lord of the Rings is not a perfect series. There’s a glaring shortage of female characters. The treatment of ethnicity and race can be troubling at times. We’re not talking about H.P. Lovecraft here, though I do feel that some elements of the book have not aged well into our modern world. No, it isn’t perfect. But I still believe this trilogy is the foundational text for epic fantasy literature. There’s tons to enjoy and tons to love.

Okay, that’s my list. What do you think? What did I get wrong? What did I forget? What would you leave off entirely? Usually I hate ending blog posts with a call to comment, but really. Comment on this one. I want to hear from you!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

Is Setting the Least Important Element of Fiction?

January 21, 2019 /

Setting

Hey, reader. Check out this Twitter poll:

I work for this company. We’re called ProWritingAid and we make a super-powered editing app that helps writers improve at writing. It’s a great company, and I’m not just saying that because I work there.

Anyway, we run Twitter polls such as these every week or so. I was struck by the results of this one. Sure, we do have a limited sample size here (just 20 votes), but we still see an overwhelming majority. Many writers, it seems, prioritize character and plot over setting.

Based on my own work and the work of others, this sentiment feels accurate. Anecdotally speaking, many writers care most about Who and What—less so about Where.

So does that make setting the least important component of fiction? Maybe. But does that make it inessential? Hardly. Here’s why you can’t allow any interdimensional beings to eat your setting.

Setting Amplifies Character and Plot

In the aforementioned Twitter pole, let’s say you voted for character or plot. Good vote, voter—I probably would’ve done the same. But for most stories, setting has a profound influence on the other two elements.

I experienced this truth first-hand when writing my novel Gerald Barkley Rocks. I initially imagined the story taking place in Los Angeles, California. Julian Strange, whose death ignites the plot, is a washed-up rock-and-roll singer. His neighbor, Carmen Fowler, is a retired actress. And a significant portion of the story concerns themes of fame. Los Angeles seemed like the perfect setting.

Yet in the early drafts, I thought I might experiment with a different city. My wife and I lived in Colorado at the time, so I tried moving my story to Denver. I submitted these new chapters to my writers’ group, and the flaws were obvious: several people thought my book just wasn’t the same if it took place anywhere but Los Angeles. I ended up agreeing. 

Setting supports both characters and plot. My characters are L.A. characters. My plot is an L.A. plot. If an interdimensional being devoured my setting, it wouldn’t be the same story.

Are There Exceptions?

Definitely. For example, I recently read Salman Rushdie’s Two Years, Eight Months and Twenty-Eight Nights. Yes, this book has a setting. But I’d say it takes a backseat to what happens, and who makes it happen.

This isn’t the most scientific analysis, but I must admit, I don’t remember where this story takes place. I think New York City is mentioned and the beginning takes place in the ancient Middle East, but otherwise the setting doesn’t factor into the story much at all.

The same cannot be said of the book’s characters or plot. I vividly remember characters like Ibn Rushid, Dunia, and Jimmy Kapoor. I can recall pretty much everything that happens, too. Again, not scientific, but I think it’s telling. Thin settings can be easily excused by strong characters and conflicts.

Does That Make Setting the Least Important Element of Fiction?

I think we should treat this question more as a thought experiment and less as a serious consideration. Asking which element of fiction is least important is like asking which essential bodily function is least important; if we lose any of them, we lose everything.

Still, I think this pole highlights an important lesson for all writers: don’t undervalue setting. Yes, some writers, like Salman Rushdie, can write great books with fuzzy settings. For the rest of us, setting is just as essential as ever. 

See ya, evil interdimensional being. We’re keeping our setting!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

Is an Author’s Intent Irrelevant?

January 14, 2019 /

Author Intent

“I just thought he was insane.”

This is one reader’s take on the titular protagonist of my novel, Gerald Barkley Rocks. I must admit, it makes sense. After all, my protagonist interacts with a character no one else can see. And, without giving too much away, he has some pretty odd experiences, ones that can’t be confirmed by any other character. So I can see why readers might think it’s all in his head rather than actually happening. The thing is, that wasn’t my intention.

Is this a problem? If readers extract meaning that an author doesn’t intend, has the author messed up? And here’s the central question: Does an author’s intent even matter?

The Writer’s Fear

I’m reading Philip Pullman’s Daemon Voices right now and I think he addresses this topic astutely. In the essay “Intention,” Pullman describes the phenomenon like this:

“What seems to be going on here is the feeling that reading is a sort of test, which the reader passes or fails according to how closely the interpretation matches the one the author intended.”

This works the other way around, too. As writers, sometimes we want our readers interpretations to match our intent. If they differ, we might fear our writing failed a test of clarity. That’s how I felt when I first received the “I thought he was insane” feedback.

Yet Pullman addresses this topic again later in the book.

“Readers may interpret my work in any way they please…Believing as I do in the democracy of reading, I don’t like the sort of totalitarian silence that descends when there is one authoritative reading of any text.”

So is Phil right? Should I celebrate this alternative reading rather than fear it?

Yes, Phil’s Right

An author doesn’t decide what’s true. Rather, truth varies depending on who’s reading it. I didn’t intend for my protagonist to hallucinate anything, but, for any given reader, that doesn’t mean he didn’t.

Plus, unintended results are often some of the best. Take any B-movie as an example. If creator intent was absolute, these would just be bad movies. Yet if audiences choose to interpret them as comedies, they become far more enjoyable.

Take, for example, Troll 2. It’s a film about a family that moves to a small American town called Nilbog, (yes, that’s “goblin” spelled backwards). They’re terrorized by the townsfolk who turn out to be goblins disguised as humans. Yes, that’s right. A film called Troll 2 is actually about goblins.

That’s funny on its own—not that the filmmakers intended it. Rather, they named the film Troll 2 in order to mislead potential moviegoers into thinking the film was a sequel to a different (and unrelated) horror film. And that’s only the beginning. There’s also an omnipotent grandpa, a make-out scene in which popcorn is thrown onto the participants from off camera, and this famously awful line: “You can’t piss on hospitality! I won’t allow it!” All unintentional, and better for it.

I hope Gerald Barkley Rocks isn’t the Troll 2 of books, but you get the idea. All art is evaluated by interpretation. The artist presents the pieces. The reader, viewer, or listener arranges those pieces into whatever shape they like. 

Conclusion

Feel free to read Gerald Barkley Rocks and let me know your interpretation. Because my intent is irrelevant. Thanks, Phil Pullman.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

I Am Your Father: Making Similarities Work in Fiction

January 7, 2019 /
Darth Vader

From Wikipedia

When Darth Vader revealed he was Luke Skywalker’s father in Star Wars Episode V: The Empire Strikes Back, people lost it. It’s widely considered one of the best plot twists in film history, and for good reason. Who would’ve guessed that the protagonist was the antagonist’s son all along?

Of course, George Lucas isn’t the only person ever to use this twist. In fact, Neil Gaiman (my favorite author) uses it in his 2001 novel American Gods (my favorite book). If you haven’t read it or don’t want to be spoiled for the show, turn back now.

Still here? Okay, cool. The book’s bad guy, Mr. Wednesday, is the father of Shadow, the book’s good guy. Boom!

Now here’s my question. How does Neil Gaiman repeat such a classic plot element without having readers roll their eyes? How does he take the “I am your father” moment and make it his own? Let’s investigate.

The Buildup

In Star Wars and American Gods, the identities of Luke and Shadow’s fathers carry differing importance. In Star Wars, for instance, when Obi Wan Kenobi tells Luke that his father was a jedi, it’s a huge contributing factor toward him leaving home. He takes his father’s lightsaber, he joins his father’s order, and it’s implied that he wants to avenge his father’s death. That’s because at this point in the story, he believes Darth Vader killed his father.

In American Gods, Shadow couldn’t care less about the identity of his father. We just know that he never met his dad. That’s it. No hints at who dad was, what he did, or where he went. The man’s identity is so vague that I found myself forgetting his existence entirely. Only near the end does it become relevant.

Here we see how this differing importance sets these plot elements apart from one another. If Shadow revered his dad and accepted his quest to follow in his footsteps, these elements might feel too similar. Since he doesn’t, the respective “I am your father” moments feel distinct.

The Reveal

In Star Wars, the reveal of Darth Vader’s true identity is intensely dramatic. It’s enough to make Luke sob and then hurl himself down a space shaft. And for audiences everywhere, it’s a shock that’s still remembered today. Just check out the memes that are still being created:

In American Gods, the revelation of the antagonist being the protagonist’s father is far more understated. When he has a vision of his mother dancing with his father, his reaction to dad’s true identity isn’t nearly so dramatic as Luke’s. Here’s the passage:

“Shadow found that he was completely unsurprised when he recognized the man who dances with [his mother]. He had not changed that much in thirty-three years.”

To a certain extent, this is just Shadow. Due to his time in prison, he’s learned to suppress his emotion. Yet this muted response also differentiates the revelation from that of Star Wars. Shadow doesn’t deny the truth. Instead, he accepts it. In fact, he already suspected it.

The Payoff

Once we know who these characters’ fathers really are, the ramifications on the subsequent story are much different. At the end of Empire Strikes Back, for instance, Luke is in disbelief over what he’s learned. Then, in the following film, his goal is no longer to defeat Vader. Instead, he seeks to redeem him.

In American Gods, Shadow’s father’s identity is more thematic than anything else. Shadow finds out who Mr. Wednesday is roughly around the same time he discovers Wednesday’s plot to sacrifice a bunch of gods to himself, thereby resurrecting himself.  (Simple plan, right?) There’s no moment of, “Gee, I’d better redeem my dad.” In fact, Wednesday’s true identity doesn’t change Shadow’s plan in any way. He still stops the other gods from going to war, which thwarts dear dad’s plan. So unlike Luke Skywalker, Shadow wants to defeat his father even after discovering his true identity.

In Conclusion

Writers tend to avoid using twists they’ve seen in other works. Sometimes we fear that unless our plots are unique, we won’t be taken seriously as artists. That’s not the case! Rather, it’s perfectly fine to reuse a plot element, so long as we make it our own. I think the above example illustrates that point perfectly.

Now get out there and write!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

My Favorite Books of 2018

December 31, 2018 /

Well, it’s officially the last day of 2018. There’s no better time than now to recap some of our favorite parts of the year that was. In this post, I’ll share my five favorite books of the year. Maybe you’ll like them, too! (If you’d like to read 2017’s post, click here.)

Without further ado, let’s see 2018’s picks.

Watchmen by Alan Moore and Dave Gibbons

Watchmen

Source: Goodreads

Watchmen is considered by many to be the greatest graphic novel of all time. Now I understand why.

Full disclosure: I don’t read many graphic novels. Therefore, I might not be qualified to call this one the best. Then again, you need not watch every NBA player to know Jordan is the greatest.

Whatever. Ranking concerns aside, Watchmen is a masterwork.

Watchmen is set in an alternate universe wherein superheroes exist. These aren’t like Thor or Superman though. Rather, the heroes of Watchmen begin as vigilantes during the 1940s and continue to operate into the 80s. They’re imperfect, dark, often bitter. Each has a personal agenda but no superpowers. When one of their own is murdered, a band of retired heroes must find the truth.

I saw the 2009 film version of way back when it came out (actually, it was the first R-rated film I ever saw in theaters). Whether or not you liked the film, I promise you’ll like the graphic novel even more. It’s packed with deep characters, nuanced philosophical ideas, and a compelling plot. Plus, the graphic novel contains added worldbuilding depth, such as an excerpt from the autobiography of one  hero and a magazine interview with another. Oh, and the visual design for each character is brilliant.

If you love graphic novels, you’ve probably already read this one. If you’ve never read one, start here.

A Visit from the Goon Squad by Jennifer Egan

A Visit from the Goon Squad

Source: Amazon

People still can’t agree on whether this is a collection of interconnected short stories or a novel. Whatever you call it, it’s an outstanding work of art.

Jennifer Egan’s A Visit from the Goon Squad is a book about music, connection, and the ways in which our lives interlock. Each chapter tells a different story though they’re all connected by the theme of time. Also, many characters reappear as older or younger versions of themselves, or as acquaintances of others. For example, record producer Bennie Salazar recalls discovering a band featuring a guitarist named Bosco, an event which kicked off his record producing career. Later, we encounter an older version of Bosco, who’s trying to reignite his career. And later, we meet a younger version of Bosco while he’s just on the rise.

My favorite part of this book is the penultimate chapter entitled “Great Rock and Roll Pauses by Alison Blake.” It’s a story told entirely through PowerPoint slides. I know, it kind of sounds like a gimmick. It’s not. This chapter is innovative, smart, and above all, an excellent bit of storytelling. You’ll have to read it to understand why.

M is for Magic by Neil Gaiman

M is for Magic

Source: Goodreads

Neil Gaiman is my favorite author, so it’s probably no surprise to anyone that one of his books made my list.

This short story collection features his signature wit and creativity. For example, in “The Case of Four and Twenty Blackbirds,” (one of the best this collection has to offer), Gaiman turns the story of Humpty Dumpty into a hard-boiled detective yarn. There’s also “Chivalry,” a story about a geriatric British woman who purchases the Holy Grail at her town’s antique shop. Also “The Witch’s Headstone,” one part of his outstanding children’s novel The Graveyard Book. And also “How to Talk to Girls at Parties,” a bizarre story about two guys who accidentally crash a party with girls from another planet.

Oddly, this collection is marketed as stories for children. These are not stories for children. Sexual content and creepiness aside, the reading level just doesn’t feel right for kids (with the exception of “The Witch’s Headstone,” I’d say). Anyway, read it. You’ll like it (whether or not you’re a kid).

Plot & Structure by James Scott Bell

Plot & Structure

Source: Goodreads

The first nonfiction book of the bunch, James Scott Bell’s Plot and Structure contains a myriad of practical tips for fiction writers.

I like the way Bell presents his opinions on the subjects in this book. Rather than saying something to the effect of, This is the way to do it, his approach is similar to Stephen King’s in On Writing. It’s more of this: These techniques have worked for me, so maybe they’ll work for you, too. For example, he lays out the structure of most commercially successful stories and recommends starting there. He acknowledges that no, not every popular story fits into that structure. But if you want to be commercially viable, it’s a good place to start.

In addition to the titular subjects, Bell also hits topics such as dialogue, character, and series arc. If you like writing and you want to get better at it, I recommend this book.

Her Body and Other Parties by Carmen Maria Machado

Her Body and Other Parties

Source: Goodreads

This short story collection is unified by themes of femininity, sex, and introversion. Plus, it features some really cool speculative elements, including supernatural Law & Order: SVU plots and a list of sexual encounters with the world’s end happening in the background.

The SVU story is my favorite in the collection. It’s entitled “Especially Heinous,” and it’s pure brilliance. It’s a story told with the characters from the long-running TV series, except the episodes feature supernatural (and oftentimes creepy elements) such as doppelgangers, ghosts with bells for eyes, and cults. I love when writers push the boundaries of their craft. That’s what Machado does with this story—and the entire collection.

Until Next Year…

Can’t wait to read even more outstanding book in the new year. Have a fantastic 2019, readers!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

6 Telltale Signs You’re Reading an Epic Fantasy Novel

September 4, 2018 /

Fantasy is a fantastic genre. And thanks to the brilliance of series like The Lord of the Rings and A Song of Ice and Fire, epic fantasy has become one of the most popular flavors of fantasy. How do you know you’re reading epic fantasy? These six signs should point you in the right direction:

1. There’s a Prologue

I’m starting to think literally no other genre has prologues. Though, to be fair, many epic fantasy novels probably don’t need them, anyway. Prologues are supposed to set the stage for the book, but often they just add a few pounds to an already hefty volume.

2. It’s Part One of a Ten Volume Series

Fantasy authors have a definite obsession with the multi-volume epic. For example: “This is part one of the first trilogy of three interconnected trilogies, all set in the same world.” Even Tolkien would be giving you the stink eye right now.

3. There’s a Map

I think it’s safe to say we can blame J.R.R. for this one, too. They’re not necessary to the story as it is, but whatever—they give authors an excuse to make up names for cities their characters never end up visiting.

4. Quotes Begin Every Chapter

These tend to be passages from books within the book or quotes from people with silly names. Either way, you don’t feel too guilty for skipping them.

5. Peasants

No fantasy story is complete without illiterate peasants, presumably speaking with cockney accents.

6. Every Character is a History Buff

In many epic fantasy novels, characters possess an encyclopedic knowledge of the world—even the peasants. Which is funny, because most people in the real world probably can’t even tell you who the 30th president of the United States was (I definitely cannot). And in fantasy novels, they don’t even have Google.

Okay, that’s all I can think of for now. What did I miss? Let me know in the comments!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

Be Concise

August 20, 2018 /

Ever heard the phrase “brevity is the soul of wit”? Though William Shakespeare coined it four centuries ago, this proverb remains essential for writers.

Here’s a less fancy way of saying it: one can often do more by saying less. Here are some ways to do that with your writing.

Cut Redundant Actions

I tend to overpack my sentences with actions that don’t contribute much. For example, here’s an excerpt from a piece I’m working on now:

“‘Oh, yeah, absolutely.’ Watson smiled, nodded, and flashed her a thumbs up. ‘You’re the boss.'”

In this sentence, Watson performs three actions that express one idea: He approves of the plan. Three verbs make the sentence a tad jagged, not to mention longer than necessary. Let’s revise this to one action:

“‘Oh, yeah, absolutely.’ Watson smiled. ‘You’re the boss.'”

It’s a minor edit, but it makes a big difference.

Limit “Verb to Verb” Sentence Constructions

How many times have you heard a sentence like this: “She started to rise from the couch”? Or, “He began to collect all fifty two discarded cards”?

I’ve noticed this sentence structure in other people’s writing, as well as my own. It’s fine for emails, but otherwise clunky. But this mistake, like the last, has a simple solution: cut “started to” and “began to.” Get ’em outta here!

Of course, things get trickier when specifying timing. For example: “She started to rise from the couch when she heard a noise from the other room.” If it’s imperative to describe that timing, go for it. I’d just remember that such sentences are distracting and should be streamlined whenever possible.

Excise Adverbs!

Adverbs are words that modify verbs, usually ending in -ly. Quickly, widely, really, strongly, quietly, strangely. We all use them. While they shouldn’t be completely avoided (there’s one right there!), they’re best kept to a minimum.

Adverbs are like fat on a steak; They add weight to the cut, but they don’t have much nutritional value by themselves. Overusing adverbs slows a reader’s progress without adding anything nutritional.

For example, try this sentence, “Soley happily leapt after the bee as it carelessly flew on the softly-blowing breeze.”

This is one fatty sentence. Let’s trim it down a bit.

“Soley sprang after the bee as it glided on the summer breeze.”

The second sentence works far better than the first. The verb “sprang” hints at the happiness we mentioned in the original version, but here we get the same meaning from one word. The verb “glided” conjures up ease and grace. The summer breeze adds context to the scene while also providing subtle sensory details. This sentence now reads much more smoothly (whoops, sorry).

Like fat, adverbs are acceptable and even healthy in moderation. If you feel a particular sentence requires an adverb, use it. (Using them ironically is also encouraged.)

Since brevity is the theme of this post, I’ll keep my conclusion short. Let’s all write less!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

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