I’m trying not to post an update every time we get something finalized, but things are wrapping up now 🙂 We’re looking at a tentative online release of June 17th provided there are no issues with printing (which I am told is fairly common, so we’ll keep things tentative for now). We’re just wrapping up the tail end stuff: documents to be signed, financial stuff settled, final documents approved and sent to print. It’s not glamorous, but it’s extremely exciting for me!
Just to give an idea of the scale of editing we’ve gone through, I’ll give you the final word count. 115,058! If you’ve been following, you know my original MS was over 146K words. So we were able to trim over 31K words from my first “final” draft, haha. Goes to show exactly how final the editing process is. So, if you’re looking to translate that into actual published pages, you will be interested to learn that The Timkeepers’ War weighs in at 312 pages in Trade Paperback format.
What? That’s not actually that interesting? If you’re a writer, final page count is something you obsess over. I don’t know how many times I’ve picked up a book, checked the page count, and tried to imagine how mine will compare. Too big? Too small? Just right? Don’t tell me you don’t have a page count sweet spot! Some books are too big to hold comfortably for binge reading sessions. Some are flimsy and insubstantial feeling. I think I hit my sweet spot 😉
Anyway. Expect another update in the next week, give or take a few days. And hopefully that update will be “Buy now, at your favorite online bookseller!” Stay tuned 🙂
Editing. I think I’m actually starting to enjoy the process. Although, by the time The Timekeepers’ War is actually released, I’m going to be so sick of it that I will never actually read the final version cover to cover. Well, maybe in a few years. You guys will have to do it for me. And please don’t tell me if you find any errors at this point, because I may do something drastic!
No, I’m not at that point yet.
But I’m continually amazed at how much a manuscript can change and still come out essentially the same story. It is incredible. I barely recognize my first draft anymore. Who is this flighty, overly descriptive show off? It’s embarrassing! At least no one else will have to read that version every again. Unless I post some before and after paragraphs…
The last time I wrote about editing (read the post here) I explained how I had received a sample of the kind of revisions I will be going through with my editor. Having already gone through the process once before (read about that experience here) I expected that this would be a fairly superficial once-over to make sure there were no hidden typos or formatting errors.
Ha! That was just my conceited writer’s brain talking. I don’t know about you, but when my writer’s brain is not telling me how terrible I am and that I will never make it, it’s telling me I’m amazing and can basically sit on my behind and wait for the accolades to come pouring in. It’s a little bi-polar.
Here’s the thing. No matter how many times you edit something, there is more to fix. Always. Part of that is because everyone’s style is different; some people prefer brevity and some detail, some focus on pace and others on world-building. The important thing about working with an editor is to make sure you both have a similar vision for what the end product will look like. Because you can edit a manuscript back and forth indefinitely if you are not working towards a common goal.
Luckily, my editor and I are on the same page. And that she has a much better idea of how to achieve this end goal than I (apparently) do. Amy, my editor, will be going through my manuscript in detail–just like she did with the first three chapters. But first, she had a little project for me…
She did a search for some commonly over-used words. These culprits are (in my case) “then,” “just,” “look,” and “but.” She asked me to go through my manuscript using the Find feature in Microsoft Word, and to look at every instance in which I had used one of these words (which means going through my MS four separate times, focusing on one word at a time) and to delete them when they were unnecessary, and to rework sentences to avoid them when possible.
Not that you should never use them, but I was grossly overusing them. I used the word “then” over 1500 times in a 130,000 word novel. The word “but” was used over 900 times (this number is somewhat inflated, because the count includes words that contain the letters but, like “button” or “butter,” neither of which are words every used in my novel… so I’m not sure why those are my examples, but you get the point). “Look” in it’s various forms (including “looked” and “looking,” etc.) was used over 500 times. And “just” was used about 250 times. And I never noticed, and none of my beta-readers ever noticed. But once she pointed it out it was impossible to ignore.
The thing about these words is that they are largely unnecessary, particularly “then” and “just.” I was able to get my count of “then” down to only 66 legitimate usages. From 1500. That is ridiculous.
The other trims weren’t quite as drastic, but I cut my usage of “look” and “just” by better than half. “Look” now comes in at 216 and “just” at 126. So the fast majority of “then” and “just” I was simply able to delete and the the sentence didn’t miss them. It’s basically the difference between “Then I opened the door” and “I opened the door” or “Just wait a minute!” and “Wait a minute!” These are simplified sentences, obviously, but the idea is the same. I cut every instance of “then” where the sequence of events was not critical, and in most of the places it cropped up in conversations. “Just” usually came up in conversations as well, because we use it often when we speak. But when we are reading a conversation, it usually isn’t necessary to the context.
“Look” I did not often eliminate, but I replaced with synonyms. Look is a very bland, undescriptive word. “I looked at him” does not have the same weight as “I glared at him.” And there are a lot of different ways to “look”: you can glance, peek, peer, glower, regard, survey, scan, etc. I tried to use more appropriate synonyms, which then allowed me to delete qualifying sentences that followed the “look.” There are also the other kinds of looks: expression, mien, air, etc. which I replaced. Not all of them, because sometimes “look” is the most appropriate word. But I really went through and considered if I was saying what I wanted to say in the best way that I could.
I am infinitely more happy with the way it reads right now, and Amy has barely touched it. She’s just guided me. Now she’s got her hands on it, though, and I’m prepared for some serious fat-trimming. Interestingly, I found myself strangely unable to eliminate my usage of the word “but.” So I have left these changes in Amy’s capable hands in hopes that she will guide me further.
Every time I finish a step like this I come out feeling like a better writer. I feel like I’m learning something, and that my novel is evolving into the best writing that I am capable of. It makes me very excited to take what I’ve learned (hopefully I retain some of it) and apply it to the next novel that I write. Much of it will be directly applicable to the sequel to The Timekeepers’ War, Children of Bathora.
So there you have it. Does anyone have similar experiences with their writing? Any weird words that keep popping up without you realizing it? How do you edit? Please share!
Hey everyone! Just a quick note to remind any of you who don’t have an eReader that my novella, Cold Metal War, is also available in paperback!
You can pick up your copy at Amazon.com for only $3.59! Not sure if you want to buy? You can check out an excerpt here if you’re curious. Your support is greatly appreciated! If you like what you’ve read (or even if you don’t) please consider writing a review. Thanks for reading!
Okay people. I need to toot my own horn a bit here. I just got my first Amazon review (it is also on Goodreads) for my novella Cold Metal War. And it’s not even by someone I know! You’ll obviously just have to take my word for that. But I swear it’s true. I’m just going to copy the review here, but please check it out in all it’s glory on Amazon as well. While you’re there, you can pick up your own copy! You’ll make my day, probably my week, if you do. Here it is:
“S. Jensen’s Cold Metal War tells the story of ValCora Mortlocke, Captain of the Extreme Terrain Specialist with the Canadian Armed Forces, who has been reluctantly pulled out of retirement for one final assignment, much to the disappointment of her partner, Len.
I wasn’t sure what I’d be getting when I decided to read this short story—generally, I don’t read short fiction because I don’t find it nearly as easy to get into. Thankfully, Cold Metal War absolutely does not have that problem. Not only was the characterization fantastic, but the story and setting were also perfect. This story had a distinctly Orwellian feel to me, which is definitely a compliment. From the pacing, to the dark nature of the story, to the abbreviated language (which came across as natural and perfectly suited for the world in which this story takes place), everything about this story drew me in and painted a very clear and vivid picture of this near-future world.
The pacing was fantastic and it really kept me reading till the end, but I definitely think the strongest point of this story was the characters—especially Cora. This is the kind of story that reminds me of what great fiction should look like—and highlights what’s lacking with a lot of other stories out there. Cora is strong, capable, and also flawed; the relationship between Cora and Len was poignant and believable—utterly relatable and perfectly plausible. Watching two people fall out of love is something that is hard to get right without seeming preachy or judgy, but this story nails it—and given the nature of the climax, it’s doubly impactful. Overall, the story really captured where these characters come from, what motivates them, and truly how they suffer and survive despite that suffering.
Do I wish it was longer? Yes, absolutely, but that’s only because I wanted to read more into the lives and world of these characters—this story feels and is utterly complete and it’s a testament to S. Jensen’s talent that I was left wanting more, but still feeling wholly satisfied and complete with the story. I honestly was blown away by this, the prose, the dialogue, the characters—everything adds up to a fantastic piece of fiction. If you are looking for a snappy, compelling piece of sci-fi leaning literature, you will love this story. I can’t wait to see what else S. Jensen publishes in the future and I eagerly await her new releases.”
Okay. I finally did it. I’ve ordered a Kindle Paperwhite. Don’t tell me I’ve made the wrong choice; it’s too late now.
I have stubbornly avoided getting on the eBook bandwagon. I covet my moments with real books in my hands. The last thing I need in my life is more “screen time.” I need the soft shush of pages turning, the sweet smell of ink and book-glue and paper (side note: anyone else in love with the smell of used book stores? the older books get, the better they smell). I need the feel of them in my hands to truly enjoy reading.
At least, that’s what I’ve been telling myself. Because that’s how it’s been for me for the last 30 years. Actually, I’m not sure that my owning an eReader is going to change any of that. I will always love paper books. However, I am willing to make some concessions to my ideals for the sake of three things…
1) I would like to be able to view my own books in their electronic form for the sake of proofing, editing, and plain old curiosity. Although I trust my publisher to make my upcoming novel as professional as it can be, I am venturing into the world of self-publishing for some of my novellas, short-stories, etc. and I need to be able to view them as they will be viewed by others.
2) There are so many lovely self-published and small press authors out there whom I would love to support. Many of them only publish eBooks, which is one reason I feel I need an eReader. But even those who offer paperbacks as well, I would like to be able to purchase in eBook format. Not that I wouldn’t love to have a huge library of hardcopy indie books. But eBooks make the difference between me being able to support three or four authors for the same price as one, if I limit myself to paperbacks. I want to share the love a bit 🙂
3) My wallet will (hopefully) thank me. Not only will I be able to spread my dollars around a bit more to show my Indie love, but I will hopefully be able to save some money on traditionally published books as well. There are some books that I am curious about, but just can’t bring myself to spend the money on. If the eBook is significantly cheaper, I may discover authors that I would have otherwise avoided out of uncertainty. I never hold back from buying a book that I know I love, but I’d like to take a few more risks and not feel like I’m breaking the bank.
So there you have it. My rationale… What do you think? Do you have and love your eReader? Are you a stubborn old goat, like me, who clings to paper books like the precious relics they are? Do you have an eBook that you think I might enjoy? Drop me a line, and post links in the comments. I will review sci-fi and fantasy on Cat’s Liminal Space, and others on Goodreads and Amazon.
Following yesterday’s post on paying for reviews, I’d just like to share this discussion from “Indies Unlimited.” The series of posts specifically targets Kirkus Indie Reviews and includes an interview and guest post from Kirkus Indie Editor, Karen Schechner. Having read some of the vehement opinions regarding Kirkus Reviews from the indie author community, I am almost afraid that using one would spell an untimely death for a new author. Good to know 😉 Still, it is a very interesting conversation and one I have only just dipped my toes into. Thank you to Francis Guenette at “Disappearing in Plain Sight” for sharing the link. If you haven’t checked out her blog yet, please do! Guenette offers many invaluable insights into the world of indie publishing.
Another day, another way I realize I don’t know what I’m doing…
One of the (many, I’m sure) perks of signing with a big publishing house is that they have go-to people to write reviews of your novel before it is even released. These reviews can appear on your book jacket and in promotional material months before the first copy is in your hot little hands. It is an aspect of the publishing industry that I completely took for granted as a reader. I often browse the high-sung praises of a book by review agencies, other well-respected authors, magazine/newspaper editors, etc. before I purchase a book. There is no doubt that these reviewers are paid for their time in reading and reviewing the work, and soliciting professional reviews is one of the many jobs that a publisher takes on when they sign an author.
So what is one to do when one chooses to publish through small or independent presses? I knew that signing with a small press publisher would mean that I would be doing a lot of the marketing legwork on my own. But to be honest, I didn’t have a clear plan for what that might actually look like in practice. I was so focused on finding a publisher that I didn’t look too far into the murky future beyond. Now that I’m popping up on the other side I’m beginning to realize that this whole marketing thing is going to be an uphill battle!
One of the concepts that is new to me, but which has been around for decades, is the paid-review. There are companies out there who offer professional review services (here is a good link with some examples), similar to what the big publishing houses have access to, but which are geared towards small press and independent press authors. Now, I’m not talking about the shady business of paying for fake 5 star reviews on amazon.com or Goodreads, though there are certainly those kinds of ethically questionable companies out there. I’m talking about paying for a real objective, balanced review by a professional. Services range from about $150-$500 for a review and various marketing packages.
In theory, it seems like a sound investment, particularly as I am not footing the bill for any publication costs. If I’m going to spend money on my book, it might as well be in advertising, right? But the feedback I’ve come across is inconsistent. Some authors swear by these and similar marketing strategies, and some swear they’re nothing but a waste of money. The advice from my publisher is to avoid the higher priced ones as, in his experience, review services are more expensive than they are effective.
But there is a part of me that wants to believe that, if my book is good enough, a quality professional review or two may make the difference. Is this line of thinking over-simplified and naive? I don’t know. Do any of you have opinions or experiences to share? Please comment! Also, if there are any book bloggers out there who would like to take a stab at The Timekeepers’ War, please email me at sc.jensen[at]outlook[dot]com with a link to your blog. I can’t pay you, but I can promise a free review copy!
I apologize for how negligent I have been with my blog updates; I’ve had a lot going on. Actually a lot. I’m not just making that up.
But in the mean time, magic has happened and I’m super excited to announce that I am going to be published! I am looking at a June/July release date… so start saving those pennies! I hope to have links up soon for e-book and paperback purchases. I am looking for sci-fi reviewers to take a look, so if you’re interested, please message me and I’ll hook you up with a review copy. I plan to write a retrospective on how this came about, for those who have been following since the beginning… I just need a moment to collect my thoughts. Please leave any questions/comments below and I will try to address them in my next post!
I’m giving Undead Reckoning, a debut novel from Canadian author Mike Slabon, 2.5 out of 5 stars. This rating is based on Goodreads’ rating system with 2 meaning “it was ok” and 3 meaning “I liked it!”. Undead Reckoning is a difficult novel to categorize, falling somewhere in between SF and Horror and genre parody of the two, but I can safely say that it’s not a genre I typically read. I’ll try not to let that colour my review too much, though, I promise! Undead Reckoning was better than just okay, and there are parts of it that I really liked which is why I’m sticking with 2.5. But I felt the really good parts were dragged down a bit by areas that could have used a little tighter editing. That being said, Slabon shows definite potential as a developing writer and I will look forward to reading his work in the future.
I should clarify that by “tighter editing” I do not mean proof-reading. I was actually impressed by how few minor punctuation/typo style errors I found in the text. This is a huge challenge for indie press writers who often must rely on beta-readers to catch typographical errors, rather than professional editors (whose services are extremely expensive). I’m referring, rather, to content editing for pacing, clarity, and balance. I’m also going to question a couple of Slabon’s stylistic choices, which could have been used to greater effect with a couple of tweaks.
Tangent/ This review will probably be long. I apologize in advance for that. But I believe that new writers, especially independent writers, need and deserve precise and meaningful feedback in order to hone their craft. As a writer myself, I know how hard it is to come by honest constructive criticism and I hope that some of what I have to say will be helpful to Slabon and any other writers who may be reading. /end tangent.
Okay, let’s begin.
Slabon essentially has two different novels competing against one another in Undead Reckoning, and I feel that each would have been served better had they been given their own space. On one hand, Undead Reckoning is a kind of horror spoof. It’s a parody of the zombie genre, almost a parody of a parody it gets so goofy at times. Which is fine, if that is what it is. And I thought it was, at first. However, the hack and slash zombie slaying is used as a trope to move the subplots along, rather than being the meat of the novel. The subplots themselves are so bizarre and seemingly disconnected that blowing up zombies appears to be the only unifying theme (NOTE: the subplots are one area that could have been aggressively pared down without losing anything of the main plot, but more on this later). The effect is actually quite disorienting at first, and it took me well over 100 pages to get a handle on what was going on.
This is when I began to realize that there was something more to Undead Reckoning than the simple spoof I thought I was reading. There are aspects of the novel which move outside the necessarily simple landscape of a zombie parody and into more serious speculative fiction. The main plot of Undead Reckoning is layered with complexity, and Slabon ultimately does an impressive job of tying his subplots together into a cohesive whole by the end of the novel. But I almost felt that he was afraid to give his main plot, the spec fic novel, the attention and seriousness it deserved. In the end, the underlying parody novel, acted as a defence mechanism to deflect from Slabon’s “real” writing—I actually think Slabon is a better writer than he is giving himself credit for, and the dual-genre does him a disservice in his debut novel.
When we first meet our hero, NFL superstar Eddie Griffin, we land smack-dab in the aftermath of a zombie apocalypse. Griffin is coming to terms with the new world he’s living in as he helps Lieutenant Jim Shrike with a top secret mission investigating Undead activity at a nearby abandoned military base. We jump right into the action with limbs flying and brains exploding in typical zombie annihilating style. Fight scenes are interrupted by the obligatory wise-cracks and expletives, but otherwise make up the majority of the first hundred pages. This brings us to the issue of pacing.
Nothing is worse than reading a novel where nothing happens. It’s boring. I think everyone will agree with me there. So a novel that is full of non-stop action should be super awesome, right? Well, not necessarily. For non-stop action to equal good pacing, a couple of things need to happen. For one, “telling” must be balanced with “showing”. Too much telling, and the action reads more like stage directions in a screenplay than a paragraph (or chapter) in a novel.
Player A enters on right, weapon drawn. Player B turns at the sound and shouts in surprise. Player A shoots Player B between the eyes and exits stage slowly. Curtains drop.
Okay, that’s a bit of an exaggeration, but you get the point. Reading these initial action scenes, and some subsequent ones, was a little like grinding MOBs. Or worse, it was like reading about grinding MOBs—I didn’t even get to level up or loot anything. And with too much “telling” there is little opportunity for the reader to visualize the world and the action for him/herself. Other than knowing that Eddie Griffin was a big guy who used to play football, I had little idea what he looked like. Same with Jim Shrike. This isn’t too much of an issue for secondary characters, but main characters and setting should be clearly defined as soon as possible (I’d say first 20 pages). Putting this off disconnects the reader from the text, and limits empathy for the characters.
So action is great, but too much action is problematic for a couple of reasons: 1) The “big picture” plot gets lost in the grind, and 2) The lack of “showing” limits character development and world building. For example: For the first seventy pages or so, I was picturing Eddie Griffin as a thick, ruddy skinned white boy with a buzz cut and Jim Shrike as a lean, muscular black man who didn’t smile a lot. By the time I realized that Eddie was black and Jim was actually green—my first WTF moment—it was too late. My original pictures stuck with me, and I had to keep reminding myself of what they actually looked like as I read. Which is really too bad, because minority groups are severely under-represented in SF literature.
Tangent/ I think it’s great that Eddie Griffin is a young black man. But I think that it’s especially important to let the reader know that he’s black, specifically because there are so few non-white protagonists in the world of SF and Horror. It’s easy enough to do without rubbing it in the readers’ face. In the first couple of pages, a single sentence such as “My dark skin did little to protect me from the harsh rays of the sun” for example, could have clued us in without being too obvious (the fact that Eddie is a football player wasn’t enough for me—I thought there was a pretty even mix of black/white football players, but I know nothing about football). I know some will argue that the colour of his skin shouldn’t matter, but I disagree. I think it’s important that literary characters are representative of the world we live in: there should be many races, religions, genders and sexualities, and we shouldn’t shy away from defining them as such. Otherwise the tendency is just to assume that all characters are white, heterosexual men because for so long, that’s the way it has been. I had the same problem in my own novel, with identifying my main character as female. I left her gender ambiguous on purpose, but found that too many people were confused when I did finally describe her as “her”. I later ended up identifying her as female early on and then emphasizing her androgyny after that, which was better received. /end tangent.
Another thing that I found detracted from the main plot was that there were too many subplots. Each chapter seemed to have a new villain or conflict which, once resolved, didn’t carry over into the next scene. While some subplots did end up tying in to the main plot in the end, it was impossible to differentiate between the two. Slabon gets extra points for creativity, though. There are some gems hiding in the confusion, lots of good ideas that could have been great if they were working on their own (Juan the spider demon could have been the villain of a Christopher Moore-esqe comdey-horror novel) but just ended up competing with one another for attention. Kind of like a mini-version of the genre competition I mentioned earlier.
This brings us to the two stylistic choices that I felt could have been used differently. One: footnotes. Footnotes are largely unnecessary, and interrupt the flow of the narrative. Unless you’re Terry Pratchett, in which case you have elevated the footnote to an art form in and of itself–rife with sly humour, supplemental story lines, and lessons in magic and/or physics. For the rest of us, 95% of material that could be footnoted could also be worked into the text or simply left up to the reader to figure out. The only exception to this rule would be for language translation if a word or phrase from another language is used without enough context to be understood on its own. Anagrams can be spelled out in full, and then abbreviated later if they’re going to be recurrent in the novel. For example, military anagrams like CFB (Canadian Forces Base) or LAV (Light Armoured Vehicle). Slang, military or otherwise, should only be defined by the context that it is used in not by footnote. I just finished reading Anthony Burgess’ Clockwork Orange, and I never needed to use the glossary once. Language is like that, we’re pretty good at filling in the blanks. Not only slang, but any words that were made up and only exist in the world of your novel should be defined by context or dialogue, not footnotes. Real words should never be footnoted. If you’ve chosen a word that is so obscure you doubt your reader will know it, use a different word. If it’s necessary, have another character be confused by it so that you can explain it in dialogue. Example: thanatology. If your reader doesn’t know what C-4 is, that’s his problem. Let him google that shit and give the rest of us some credit!
Stylistic Choice Two: Sound effects. Less is more when it comes to BANG! SMACK! RATTATATAT! and/or KABOOM! This isn’t a comic book. Again, this is just my opinion. I can see how the onomatopoeia lends itself to the parody genre, but I also preferred the non-parodical stuff, so that’s just my take.
Okay, I hope you’ve stuck with my ramblings this far, because now I’d like to talk about what I really liked about this novel. There are three sections of Undead Reckoning that really stood out to me. The first is in Keek’s lair. Slabon does a great job of describing the underground lair and entrance to Nabisusha. The novel started to feel alive to me at this point. And it is because of this scene that I feel justified in wishing there were more descriptions of characters and settings earlier in the book. Once I realized that Slabon had all this great imagery up his sleeve, I felt extra ripped off when I didn’t get it. The next scene that really stands out is in the Anomalies Amok fantasy that Eddie gets trapped in. Slabon shows real potential for world building here, and I’m curious to see what he would do with a high fantasy novel. Not only this, but the characterization of the AA players trapped in this fantasy are better developed, and the fight scenes better realized than anywhere else in the novel up to this point. Finally, the flashback scene explaining the fate of the Masters and Custodians—much high fantasy and speculative fiction potential is demonstrated in this scene. Again, Slabon is a much better writer than he gives himself credit for, or than he seems to, by hiding behind the goofier aspects of this novel. The complexity of the final plot actually stunned me, and I really wished that this main plot line had been more heavily invested in throughout the novel.
Really, Undead Reckoning had all the elements of a strong SF novel, but they were obscured by the sillier subplots and could have been enhanced by aggressive editing. Slabon could easily have written a spoof novel akin to Night of the Living Dead, a couple of Christopher Moore style comedy/horror novels, and have an SF trilogy started with the material that is in this book. It’s a little much for one novel to bear, but there’s no denying Slabon’s potential as an up and coming writer. I’d like to see him move with confidence into speculative fiction. Or parody, for that matter. But I think we’ll find that his strengths lie in those areas he was reluctant to meet head on in his debut novel—complex plots, intriguing characters, and fascinating worlds—and it’s my opinion that those strengths will be best realized in an SF or fantasy series. Whatever he chooses to do, though, I’ll be reading.
PS This novel and future novels need more ladies! Undead Reckoning was a serious sausage fest. I realize that half the world has been zombified, but shouldn’t half the survivors still be women? Especially with the reveal at the end of the novel about why some people turned and some didn’t. I doubt Slabon intended to make a comment about how fulfilling women’s lives are, and how many of us are essentially “dead already”. But that’s the conclusion I was forced to draw! I want to see chicks with machine guns riding on dire-wolves in the follow up. Make it happen!
Science fiction can be an iffy genre to go exploring willy nilly. I usually like to stick to the beaten path (my own, anyways) rarely abandoning my tried and true authors. Most of my forays into the unknown (unless they’ve come recommended by a reliable source) have been disappointing. Sci-fi shelves seem to be a haven for poorly disguised political/religious allegories, plotless nerdier-than-thou techno-babble, and sagas of sexually liberated space sluts. Often some combination of the three. The trouble is, with such a vast world of possibilities before them, too many science fiction writers indulge in formulaic drivel.
That said, I’m glad I took a chance on Kasia James’ debut novel, The Artemis Effect. I was pleasantly surprised by James’ refreshingly different take on the post-apocalyptic theme (or should I say peri-apocalyptic?). Hers is the only novel I’ve read which actually looks at the breakdown of modern civilization as it’s happening, rather than simply assessing the aftermath. This is an interesting spin, as it allows for some truly interesting and engaging character development (all too neglected in many SF novels), as well as painting an almost intimate portrait of the individual lives that are affected during the crisis.
James’ characters are one of her strongest assets as a writer. She does a wonderful job of bringing Scott, Kimberley, Bryn and their circles of friends/family to life, drawing parallels across the globe as the story progresses in Australia, Wales, and the USA. The dynamics between the main characters and their cohorts are believable, entertaining, and often touching. Conversations actually read like conversations, rather than info dumps and uber-correct robotalk (another skill that many authors never master).
The only glitch for me, as a North American, was in the language used by Kimberley and Ray and the other Americans. James was born in Wales and currently lives in Australia, so I trust her use of idioms, etc. for the characters in these areas. But sometimes the Americans just “talked funny*”. Now, I’m Canadian, so I’m used to a bastardization of British and American English. These errors were very minor (we would never say ‘auto accident’, for example, but ‘car accident’ or ‘car crash’) and didn’t detract from the text at all. But it’s worth mentioning if you’re one of those colloquial-grammar-nazis (if there is such a thing). To be fair, this probably happens all the time with NA writers screwing up localized variants of English across the globe, and I don’t notice because I’m an ignorant North American. Maybe I should just shut up.
*Southern hick voice.
On with the review! The Artemis Effect has a unique and substantial plot to give a solid background for the character development. And I’ve gotta say, I had no idea where James was going with it until the very end, which is awesome! (I’d be curious to know if James is familiar with the novel Ammonite by Nicola Griffith, as one of James’ subplots can be strongly linked to themes in Griffith’s work) I love not being able to predict where a story is going, just being able to enjoy the flow. The pacing was great, there’s lots of action to keep you reading. The tri-part narrative was perfectly balanced so that each section had enough detail to give some insight but not so long that you forgot what was going on with the other characters.
Long story short, I recommend it. You can purchase Kasia James’ novel on Amazon, here. (Do it now!)
Note: I stubbornly refuse to convert to an e-reader and James was kind enough to humour me. She sent me a lovely paperback copy to review, for which I am eternally grateful. I promise, good customer service did not in any way affect my review. But I believe James deserves personal brownie points for being so accommodating. Also, check out her blog, Writer’s Block.