Regina Spektor is a hottie
Really good song: Dance Anthem of the 80s.
Really friggin' fun.
In other news, I'm reading Ender's Game, which happens to be sickeningly good. Like, so good, it makes me ill. He's very good at drawing me in. Card has a really good trick he plays. These kids are all geniuses, so he can have them all have complex adult characters capable of understanding to a T each of the other characters. That way, he only needs to do minor things in the way of characterization and his "geniuses" do the rest.
The other cool trick good sci-fi writers seem to have is to have action scenes that make very little sense because they're in space or on alien planets or something something, and yet make them compelling. Even though you have no idea what the hell is going on, you're riveted.
It's something that...whatever the guy's name is, the Neuromancer, couldn't do. He made up all these words and devices without actually giving any explanation whatsoever. The result was a completely incomprehensible mess. The proper balance, it seems, is between complete nonsense and detailed explanation. I think that's something I need work on, I tend to explain TOO much, and things get bogged down, when I should just be making some vague statements about what's going on and concentrate on making the shit go down.
I'm really enjoying writing the Xenotone. The new voice is much better, it allows me to break things up, make the Xenotone what it is to me now. It's over-the-top, the characters are kind of wacky and it's a kind of crazy space opera thing. Explosions and inexplicably sexy ladies and inexplicably powerful weaponry. I think when I was a kid I was writing slightly trashy action novels and now I've gotten old enough to understand how trashy they are and just run with that shit.
I ended both those paragraphs with a curse. I'm fucking on this.
Really friggin' fun.
In other news, I'm reading Ender's Game, which happens to be sickeningly good. Like, so good, it makes me ill. He's very good at drawing me in. Card has a really good trick he plays. These kids are all geniuses, so he can have them all have complex adult characters capable of understanding to a T each of the other characters. That way, he only needs to do minor things in the way of characterization and his "geniuses" do the rest.
The other cool trick good sci-fi writers seem to have is to have action scenes that make very little sense because they're in space or on alien planets or something something, and yet make them compelling. Even though you have no idea what the hell is going on, you're riveted.
It's something that...whatever the guy's name is, the Neuromancer, couldn't do. He made up all these words and devices without actually giving any explanation whatsoever. The result was a completely incomprehensible mess. The proper balance, it seems, is between complete nonsense and detailed explanation. I think that's something I need work on, I tend to explain TOO much, and things get bogged down, when I should just be making some vague statements about what's going on and concentrate on making the shit go down.
I'm really enjoying writing the Xenotone. The new voice is much better, it allows me to break things up, make the Xenotone what it is to me now. It's over-the-top, the characters are kind of wacky and it's a kind of crazy space opera thing. Explosions and inexplicably sexy ladies and inexplicably powerful weaponry. I think when I was a kid I was writing slightly trashy action novels and now I've gotten old enough to understand how trashy they are and just run with that shit.
I ended both those paragraphs with a curse. I'm fucking on this.