As an author, my mantra is to tell challenging stories and minimize harm. The major failing I see with sexual violence in many media forms is where the point of view and gaze fall. Particularly in western media, that gaze is often heterosexual masculine. That means sexual violence comes from that same perspective, and makes grotesque GoT Sansa scenes where her rape is all about the men (either perpetrator or witness). The violence is there to horrify and titillate the viewer. We should be horrified. We should never be titillated. Respect for the survivor is missing in these situations. I could break down where this failing is in a lot of media, but I don’t think that is the most important conversation to have. I think the more important questions are: 1) should sexual violence be included in stories for shock value, and 2) how can sexual violence be written.
Introducing THE STUMBLING BLOCK Volume 1
I’ve dipped my toes into the zine world only a teeny handful of times, and certainly hadn’t considered making one of my own. But with a newsletter, an ongoing blog, and the twitterverse, it was easy for Gideon Marcus to convince me to do so. All it needed was a name, and that too was something they easily convinced me of.
“You could call it ‘The Stumbling Block’” he said, and while I’m not sure he was being completely serious about it, I honestly can’t think of a better name. I want to point out stumbling blocks in fantasy, both in published works and pre-published drafts. I want this to both create stumbling blocks in authors, and show them how to clear away those blocks. Without further ado, let’s create some discomfort.
Writing Advice: How to Write Death & A Personal Anecdote
Death is messy and inconsistent. If you read any books on death (I recommend Stiff by Mary Roach, and Unnatural Causes by Dr. Richard Shepherd) what you’ll come to learn quickly is that sometimes it’s smelly, sometimes it’s messy, sometimes it’s quick and sometimes it’s excruciatingly slow.
As a fantasy author, death is a recurring theme. I write necromancers, after all, and death comes with the territory. While I don’t believe that every detail in a book must be accurate in fiction, some things should be close to reality. There are many myths and mysteries about death. I think that in the U.S. and Canada in particular, we hide from it too much. It is inevitable, and we should be prepared for it. Fiction can help us do just that.
Scribe's Journey Podcast Launch!
Announcing the Scribe's Journey Podcast Coming June 15th
Diversity: It's About More Than Race and Gender
“Your medical record isn’t proof of your condition.”
I’m paraphrasing and summarizing the response I received after four hours of trying to resurrect a dead “Ask Me Anything” on r/IAMA on Reddit. The AMA had gone fantastically, with plenty of engagement from other people with my condition asking questions that the answers might help them make their days (or in one case, the life of their 4-year-old daughter) a little easier. But then, in one fell swoop, a comment appeared from the mods and the post removed. Why?
Writing Advice: When Do I Hire Professionals?
Guest Blogger Bailey Mikkelson: How I Make Money as a Writer
Personal Anecdote: Imposter Syndrome
The Dying Sun was meant to be the first book in a trilogy. When I completed the manuscript, it was approximately 72 000 words long. It fell right into the “correct length for a new fantasy author” guide. I was reasonably proud of myself for this achievement and handed it off to my beta readers. By the time The Dying Sun was sent to the presses, it was approximately 182 000 words long with a two-part series planned, and at minimum four books per part of that series. Why did it grow? And what does this have to do with Imposter Syndrome?