Chuck Wendig: Terribleminds

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News, Things, Stuff And Other Items Of (Un)Import

OH SO VERY MUCH GOING ON.

So much that the above sentence demanded caps lock.

First: I was at Worldcon. I did a recap. I’m told my books sold out there. YAY PANCAKES AND LIQUOR.

Second: Holy crapstacks! I’m rocking the cover of Foursquare Magazine this month?!

Then: Hey! Look! Mary Robinette Kowal was kind enough to host a silly doof like me over at her site where I discuss My Favorite Bit of Mockingbird. (Hint: it’s about how authors scare themselves.)

And: I was the featured author at LitStack! In this interview, I talk about things like: sperm! angels! bears riding panthers! death! minions! time travel! Also: learn the truth about Hiram’s Fibertangle!

Also: Tor.com calls Mockingbird a “shocking, twisting beast of a book!”

And: Waiting for Fairies calls it a “twisty mind-fuck of a tale!”

Leah Rhyne says of the book: “Wendig offers a master class in writing suspense and horror.”

The Eloquent Page says: “I think we may have to start collectively fearing this author. I mean, I can only assume that Mr. Wendig has made some sort of Faustian deal with the Dark Gods. Perhaps his books, and their addictive crack-like quality, are only the first step in some far more diabolical scheme? It appears that the dark side doesn’t only offer cookies, they also have Chuck Wendig. Mockingbird is a darker-than-dark adult flavored urban fantasy that will mess with your head in the best of ways.”

Notes from the Belfry adds: “A sequel that’s as good as the first, possibly better, Mockingbird also significantly ups both character development and the creep-factor, with Miriam facing a truly insidious and deeply disturbing adversary.” And then they kindly slap it with a five out of five.

Of Blackbirds, the Murder by the Book blog says: “Miriam Black is the most troubled, sexiest, spookiest clarivoyant you’d ever hope to meet in a novel.” Also: “This author can flat out write.” Woo!

Oh, and finally:

THE FAN-ART CONTEST!

We’ve had an ocarina.

We had kick-ass art (and art, and art, and art)

We had a rad photo (and photoset).

And also, an image of a crow CARRYING AWAY MY SEVERED HEAD.

But, for a winner, I gotta go with:

JD SAVAGE! (AKA Jeff Davis?)

Because this image tickles my nethers:

Thanks, JD! You nailed the “batshit highway witch” aspect nicely.

Email me at terribleminds at gmail dot com.

And thanks to all the rest of you: Amber Love, Ashley Neuhaus, David Grigg, Alan Smithee, Angie Mansfield, Tonia Brown, LeeAnna Holt, and, uhh, anybody my Swiss Cheese brain is forgetting.

Readers Are The Victims Of Bad Author Behavior

We’re all familiar with the recent spate of bad behavior by authors, right? Writers paying for false five-star reviews. Authors creating fake sock-puppet accounts (or “dick-puppets” as Blackmoore calls ’em) which they then use to pump up their own work, denigrate the work of others, and act as fake mouthpieces online. Then you have the response, where authors see that bad behavior and respond with their own, leaving one-star reviews as some kind of “Internet country justice.” We’re all clued in, I’m sure, by now.

My initial reaction to all of this was that it’s a bit inside baseball. It’s authors being dicky and tap-dancing on dubious ethical ground and waggling their penmonkey genitals about in an unpleasant display.

Except then I was online at Amazon (which already is notoriously assy in terms of filter and discoverability) and I was reading reviews and was suddenly struck by the horrifying notion —

I don’t know if these are real.

Suddenly I’m reading reviews with the same level of doubt and suspicion I reserve for reality television (we all realize that ‘House Hunters’ is a big lie, right?). It’s the same vibe I get when I go looking for reviews of restaurants. Locally we had a restaurant where the owner was caught leaving good reviews for himself, bad ones for his competition, and was also getting on forums as a sock-puppet and shouting down folks who said his food had dropped in quality (as it used to be great and isn’t anymore). Shitty behavior, right?

I read reviews for a toaster, my cynical mind flares up like a hot rash: “I’m sure the positive reviews are all left by employees of Big Toaster, and all the negative ones are left by proponents of some Anti-Toaster Coalition.” Casts all reviews in these areas as suspect. Which makes them beyond useless.

Now I’m feeling that way about books.

Maybe I should’ve been all along. Maybe I was naive.

It doesn’t change the fact that this isn’t good for anybody.

I once thought that the bad author behavior displayed here was bad for authors. And it is. Bad for authors, publishers, Amazon, B&N, etc. But, now I’m thinking they’re not the real victims here.

The real victims are the readers.

Readers, who want honest feedback. And who want to give honest feedback amongst equal honesty.

Readers, who love books, and who don’t want to get caught in bullshit author headgames.

Readers, who want to trust their authors outside the story (as you should never trust the author inside the story) and who are now confronted with the idea that the fiction that should’ve been contained to the books themselves has bled out of the pages and infected the relative purity of the author-reader contract.

So, let’s be clear here — if you’re buying up a bunch of bullshit reviews, if you’re out there putting on a series of Halloween masks and pretending you’re Joe Dicknose from Topeka and Betty Lou Buttplug from Albany just so you can boost your own reviews while hurting the reviews of others, you’re not only a scat-gobbling poop-fingered liar-face, you’re also actively punishing readers. You know, readers? The people who want to read all our books? The people who help us pay our mortgages? Readers, the ones who matter more than the authors because they’re the ones who allow us to be who we are?

Dicking around with the livelihood of other authors is dirty pool and you should be crotch-punched.

Dicking around with readers is like you dumping medical waste in the watering hole. We all drink from that water. You’re poisoning the relationship. You’re harming readers.

And that sucks, big-time.

So, stop doing it. Come clean or don’t.

But embrace shame and just stop.

You human canker sores, you.

Flash Fiction Challenge: A Game Of Aspects

Last week’s challenge: Sci-Fi/ Fantasy Open Swim.

A couple days ago I said something hasty and insane about “killing genre,” and in there I hit on something I really quite liked — giving fiction aspects or elements instead of genres. So, instead of searching for “epic fantasy,” you can search for stories that have “fantasy” and “politics” together. Or “jetpacks.” Or “detective / mythology / death in the family.” Whatever.

So, that’s (er, kinda) what I’m doing here, today.

I’m going to give you three columns.

You have to pick one from each column.

And from that, write a 1000-word story.

In addition, I’ll pick three random winners from this pile of participants and give away some free e-books. I don’t know what, yet, so let’s just say it’ll be a surprise. Kay? Kay.

As always, the details remain the same. You’ve got one week (due by noon EST, Friday the 14th). Post at your blog, and link back here so we can all swing by and have a look-see.

(If you really want to get crazy, roll a d10 or pick random number between 1 and 10 from this Random Number Generator. In other words, let fate pick your choices in each category!)

The three columns (pick one from each) are:

One (Subgenre)

Noir

Erotica

Dystopian

Steampunk

Mythology

Detective

Sword & Sorcery

“Weird”

Body Horror

Romantic Comedy

Two (Element To Include)

Dinosaurs

Serial Killer

Gladiators

Insects

Climate Change

Hotel Bar

Geology

Graveyard

Surgery

Terrorism

Three (Theme / Motif / Conflict)

Love Triangle

Revenge

Divorce

Childbirth

On The Run

Fated To Die

Man Versus Himself

Addiction

Imprisoned

Ticking Clock

“Pillar Of Fire,” By Dan O’Shea

Greetings Terriblemindites. Or is it Terribleminders? Just Wendigos? I dunno. Chuck, you wanna help me out on the salutation here? No, huh? Own my own I guess.

Anyway, I got this book deal from Exhibit A. That’s the crime imprint at Angry Robot, the folks who delivered your pal Chucky’s Blackbirds and Mockingbirds bloody and screaming into an unsuspecting world, so you know they have impeccable taste. They’ll be publishing my first two novels, Penance and Mammon. Penance is set to hit in April of 2013, Mammon a year or so later.

Both thrillers are set in Chicago, and both draw on its politics, history and culture of corruption, but with a national, sometimes even international, flavor. You can learn more at the Penance page on my blog, or at my author or book page over at Exhibit A.

As devoted Terribleminds readers, you all know that writers have to do more than write. We have to be part storyteller, part carnival barker, part pimp, part shameless whore.  Books ain’t gonna sell themselves, and the halcyon days when publishers loaded authors onto chartered jets full of free booze and book groupies for well-oiled national tours, those days are deader than Strom Thurmond’s nutsack. (It’s a requirement for any Terribleminds guest blogger to use at least one previously unpublished profanity. Sorry, that’s the best I could do.)

So, to gin up a little interest in my forthcoming debut, I’ve written a series of short stories delving into the earlier lives of the characters from my novels. See, most of these guys, they ain’t kids. They’ve been around some funny-shaped blocks, most of them in questionable neighborhoods. Penance may be my first novel, but it’s not their first or only story. I figure I’ll salt the interwebs with these stories and, if folks like them, well then maybe they’ll pony up come book time. (There are a couple stories out there already – The Old Rules, in Shots Crime & Thriller e-zine over across the pond, and A Wonderful Country at Shotgun Honey, right here in the good old US of A.)

That’s the plan, anyway.

So here you go, your very own Penance preview story. Hope you like it. And if you have any questions, comments, whatever, I’ll be checking Chuckie’s comment box and I’ll be sure to chime in.

Thanks for reading.

* * *

Pillar of Fire

A Lynch family story from the world of Penance

By Dan O’Shea

 

April 5, 1968, The Austin neighborhood, Chicago, the day after Martin Luther King was assassinated.

Chicago was in flames.

“All this over some nigger trouble maker who got what he deserved,” eight-year-old John Lynch said at dinner, just him and his mother, his Dad out, Lynch trying to sound tough, trying to sound like the man of the house, the man his father had charged him to be.

Nigger trouble maker who got what he deserved. That’s what he’d heard from Mrs. Carney that afternoon when he’d gone across the hall to play with Mike, the Carney’s being the only place his mom would let him go right now, wouldn’t let him leave the building. Mr. Carney was a fireman. He was out, too. Something soothing in Mrs. Carney’s anger, in her dismissive contempt, a sense that the evil had been identified, contained, that everyone knew what had to be done.

Lynch’s father was a cop. He’d been out since the trouble began, home only once that morning for less than an hour, just time to shower and change, not even eating, just taking a sandwich with him. Lynch had run to hug him when he walked in the door. His father had smelled of smoke and his face and clothes were smudged with soot. He had blood on his shirt. He coughed, spit a blackened wad into the kitchen sink, ran the water, washed it down the drain, took Lynch by the shoulders.  “You take care of your mother, Johnny. I need a man in the house.” Then a weak smile as he stripped off his suit coat, the shirt almost black underneath. His father disappeared into the bathroom.

When John Lynch spoke, his mother’s head shuddered, she blinked, looked up from her plate, her eyes angry, then her right hand flashed out, slapping Lynch hard across the cheek.

“Do we say nigger in this house?”

“No,” Lynch said, rubbing his face, almost tearing up, holding that back. “But Mrs. Carney said – ”

“Is that who you want to be? A parrot for someone else’s tongue, somebody with no backbone, with no right or wrong in you?”

“No.”

“What about Lucy?  Are you going to call her a nigger?”

Lucy was the colored lady who helped with the cleaning once a week.  Miss Lucy to Lynch.  She always smiled, would sing sometimes while she scrubbed floors. But she always seemed sad somehow, sad and thin and tired.

“No.”  Lynch scared a little. His dad would go upside his head, but his mom never did.

She let out a long sigh, then she reached out, rubbed Lynch’s cheek where she had struck him.

“I’m sorry, Johnny.  I shouldn’t have done that.  But I can’t bear to hear my own son talk like that, not in my house, not right now, not with all this going on, with your father out there  because of it.”  She started to cry, stopped, standing, putting her hands to her face, her head shaking back and forth, and excused herself, locking the bathroom door.

Through the door, Lynch could hear her sobs.

 

*

 

Detective Sergeant Declan Lynch, wiped absently at his shirt, and then shook his head at the futility of it. What wasn’t black was gray, and none of it would ever be white again. The suit, too, he was sure, was ruined, soaked though with smoke and sweat and filth. Wondered about the chances he could put in for the cost of the suit.

Everybody was out, the uniforms with their usual teams, detectives getting assigned what was left. They’d given Lynch a mess of kids just out of the academy, half of them ready to piss themselves, the other half itching to shoot anything that moved. Heard more glass breaking from up around the corner.

“Anderson, Miller and O’Leary, head up around the corner. Got anybody up there, chase them into the alley. You other two, come with me, we’ll block the back. And Miller?”

Miller was holding his .38 along his leg.

“Yeah Sarge?”

“Keep your gun in your fuckin’ holster unless somebody starts shooting.”

“You want me to go easy on these niggers?”

Sure, Lynch thought to himself, that attitude, that’s going to help. “I don’t want you shooting down any alleys that I’m standing at the other end of, dickhead.”

Miller holstered the revolver.

Lynch and two of the newbies rounded the back of the building to where the alley let out just as the first of four Negro kids, this one running full tilt, approached, the kid juking right, then trying to cut left between Lynch and the wall. Lynch dropped his shoulder and drove off his toes, tackling the kid into the brick wall, the kid dropping, rolling on the ground, holding his left arm.

Two of the other kids pulled up, stopping, but the fourth kid shot past one of the rookies, fast little bastard, angling across the parking lot across the street. Miller stepped up next to Lynch, his gun out again, raising it to take a shot. Lynch jerked Miller’s arm down, yanked the .38 out of his hand, jabbed Miller hard in the guy with a finger.

“What I tell you about your damn gun?” Lynch growled.

“He’s getting away!”

“Yeah, and you’re gonna shoot him why exactly?”

“Fleeing, resisting –”

“What you see him doing that gave you cause to stop him, besides running down the alley?”

“We got looters all over the place out here.”

“You see him looting? See any of these guys carrying anything? That guy you’re gonna shoot, think he’s making that kind of time carrying a TV or something?”

“Hey, you heard the mayor. Shoot to kill, shoot to maim.”

Lynch shook his head. “I got news for you, Miller, big mess like this, once we get the genie back in the bottle, we’re gonna have lawyers crawling all over everything. Gonna have reporters looking for stories. And it won’t be Hurley’s slug they dig out of that kid’s back. Won’t be Hurley up on charges. It’ll be you. Every civil rights type on earth screaming for your neck. Riots’ll be all calmed down, Hurley not needing to be a hard ass anymore, so he’ll start in on how Chicago police are held to the highest standards. How, if there’s a bad apple, then we gotta have it out. And you’ll find your ass down in Joliet, doin’ a nice stretch with some of the same guys we’re locking up this week.”

“Hey,” Miller puffing up, “they’re breaking the curfew.”

Lynch grabbed the front of Miller’s uniform shirt, pulling him close. “Listen, asshole. You end up downstate showing your ass to every brother in the joint, I don’t give a shit. But you’re under my command right now, you little fuck. I tell you to do something, that’s a goddamn order. Disobey another one, I’m going to hurt you bad. We clear?”

Miller swallowed. “We’re clear Sarge.”

Another one of the rookies, kid named Starshak, was squatted down next to the kid Lynch had bounced off the wall, checking on him. Starshak helped the kid to his feet, the kid holding his left arm tight to his side. Shoulder probably, might have separated that.

“You make it home with the arm?” Lynch said to the kid. The kid nodded. Lynch turned to the other two. “You dumb fucks get your friend home. I see you hanging around again, I’ll shoot you myself.”  The three kids took off at a trot, best they could manage with the one guy holding is arm to his side.

Lynch felt a little burn on his left hand, looked down. He’d ripped the knuckles open on his left hand taking the kid into the wall. He wiped the hand absently across the front of his shirt, leaving a smear of blood in the ash and soot.

It was getting dark. The streetlights were out, all the power in the area out now, the only light coming from the fire gutting the building across Madison at the north end of the alley. The firelight guttered across the soot-streaked white faces of the five young cops, making them look like savages.

A gunshot to the east, maybe a block away.  Lynch handed the revolver back to Miller.

“I have to take that away from you again, I’m gonna crack your skull with it.”

Miller just nodded.

“OK, we’re heading up to the north end of the alley, gonna take a peek, see what the shooting is. Probably one of ours, so keep your pants zipped. Stick close to the walls, stay out of the light. I’ve got point.”

Lynch got in front, led the cops up the alley. Walking point, Jesus. Hadn’t walked point since he crossed the Rhine in ’45.

This was going to get worse before it got better.

 

*

 

He was not in danger. John Lynch clung to the thought like an article of faith as he peered out his bedroom window, looking east toward the lake.

The fires seemed to burn all the way to the horizon, the flames throbbing out of the shattered walls and broken windows of a hundred buildings, two hundred buildings, the fire lighting the bottoms of the low clouds, like both the earth and sky were on fire, like they would burn forever. Pulsing blue and red and white lights from fire trucks and police cars strobed in every street, sometimes bright and clear, sometimes flashing inside a bank of smoke like neon lightning inside a cloud. Even through the window, Lynch could smell soot, ash. Even through the window, he could hear the sirens, hundreds of sirens, could hear gunshots, even hear shouts sometimes. It was horror beyond young Lynch’s imagining.

Monsignor Connor, when he got worked up during a sermon, would warn about the lake of fire, and now it seemed like the lake of fire was lapping at Lynch’s doorstep, like hell had broken its bounds and flooded the earth and heaven had lost all dominion.

Lynch knew his father was out there. Out among the flames and the sirens and the gunshots.

Lynch was safe because his father was out there, that he could believe the way he believed that the dry wafer he received on his tongue every Sunday was truly the body of his savior. Believe because he was told to believe, had always been told to believe, and because he had never questioned.

But he could not believe his father was safe, no matter what his mother said. He knew the cost of the flesh in the wafer, knew that salvation was always paid for with innocent blood.

He heard voices from the living room of the apartment, heard a man’s voice, his father’s voice.

Lynch bolted from his bed, ran down the hall, stopped dead in the archway that lead into the living room. Not his father, his Uncle Rusty.

“There he is, the man of the house himself,” the big man said, brushing a wave of red hair from his forehead. “I was just telling your mother it’s been too long since we had a proper visit. So grab some things quick. I’m gonna take you up to my place for a couple days.”

Lynch looking to his mother, his mother nodding, smiling, her face different in a way Lynch had never seen. He had seen her worried, seen her angry. But never this. Never false and fragile and hollow.

“Mom, are you coming too?”

She smiled wider, but there was no smile wide enough to hide this lie. His mother didn’t even like Rusty, didn’t like his foul language, his drinking, his varied lady friends. “You men don’t need a woman around spoiling your fun.”

“But I have school.”

Rusty let out a low laugh. “The sisters can get by without you for a day or two.”

So they had closed the schools. No way his mother would let him skip school. That made the fires seem even more sinister, like they were a force of nature, like the blizzard last January that dumped two feet of snow on the city, the only other time the nuns had closed the school. First ice, now fire.

“Your father will need a good meal when he gets home,” his mother said. “You go on with Uncle Rusty. Have a holiday.”

A holiday.

“But I want to see Dad.”

Uncle Rusty rubbed his head roughly, taking his shoulder to turn him toward his room, to get his things.

“And you will soon enough boy. Soon enough.”

 

*

 

“I’m trying to scare you, Johnny, and I hope you’re old enough, but I want you to see this. I want you to remember this.”  Two days later,  Lynch’s father, driving a blue-and-white Chicago police cruiser east down Roosevelt, cutting over to Madison, driving away from their apartment and toward downtown, through the haze of smoke that was finally thinning after hanging black and angry on the horizon for the last three days.

Everything Lynch remembered about the neighborhood was gone. Building after building burned out, some scorched to empty shells, some just charred rubble. The signs were torn off most of the buildings, the windows where the names of each establishment had been carefully stenciled all broken out, but Lynch could tell where they were by looking at the stuff spilling out of the shattered doors. Where the cardboard box was broken open on the curb, the red and white cans of soup spilling out – that used to be Walt’s Grocery.  A plaid jacket, still on its hanger, dangling upside down, caught on a piece of metal jutting from a torn-out window frame – that was Schwartz’s Menswear, where his mother would take him every August to buy the navy pants he had to wear for school. The shell of a TV, shards of glass ringing the void of its ruined picture tube like the teeth of a hungry thing, smashed on the sidewalk outside Austin Electronics. Lynch and his friends used to stop there after school on May afternoons, September afternoons, stand on the sidewalk, watch through the window, watch the Cubs on WGN on the big console set that was always on display, see what the score was before they headed home. Two blocks ahead, a fire truck angled into the street, hoses out, the fireman pouring water onto a lot filled with smoldering rubble.

At every intersection, soldiers milled around Jeeps with machine guns mounted on the backs.  His Dad’s cruiser was the only car moving on Madison.  Besides cops and soldiers and fireman, there were hardly any people around.  Lynch saw a colored lady holding a small girl by the hand walking one way, and then stopping, and then walking the other, like she didn’t know where to go anymore.

“Seen some places looked like this in Europe, during the war,” his Dad said.  “Towns we’d go through where there’d been fighting.  I never thought I see it again.  Sure as hell never thought I see it here.”

His father seeming to talk to himself, his voice different, saying hell in front of his son, something he’d never done before.

“Are those soldiers?” Lynch asked, pointing toward one of the jeeps.

“National Guard,” said his Dad.  “They’re soldiers that can help us out sometimes.”

Lynch thought of his Dad, and the other cops he’d seen, all giants to him, unafraid, ready for anything. And he tried to imagine a world where they needed help.

“But it’s over, right?” Lynch said.

“Yeah, mostly over.”

“And they’ll fix everything?”

A pause from his father, Lynch hanging on it suspended. He knew his Dad talked different around Uncle Rusty, around the other cops, knew he watched his language around the house, around Lynch, around his mother. But he wasn’t a man to measure his words. What he had to say, he said. Finally this.

“I dunno, Johnny.  I really don’t.”

They drove another few blocks.

“But the people that did this, they were bad, right, right Dad?”

“Some of them were. Some of them were just angry. Some of them just got caught up in it. The race thing, it’s an old evil Johnny, coming to the end of its time. Evil never gives up easy. Evil always dies ugly.”

In June, they moved to the northwest side, as close to the edge of the city as they could get. It was fifteen years before Lynch set foot in the old neighborhood again. They hadn’t fixed everything. They’d barely fixed anything. The fires had long burned out, but heaven had not regained dominion.

Lynch seeing it the same way he had the last time, through the windows of a Chicago PD cruiser, his father long dead now, Lynch behind the wheel.

On Creepy Creepers Who Creepily Creep

Earlier, there was a tweet that I retweeted and it crawled up under some skins —

That tweet was:

‘Always concerned when guys worry if their behavior at cons is “creepy.” When I go to a con, I just don’t do creepy things.’

As it’s Twitter, you have that 140-characters-has-to-carry-an-elephant’s-weight-of-meaning-and-history-and-context-and-time-and-place-and-space-and-inebriation-level.

That said, it’s a tweet I like and a tweet I agree with, but it requires one thing:

An understanding of the word creep, creepy, or creeper.

Those are words that are admittedly shortcode for something else these days — it references that very-bad-behavior by people at cons or in fandom wherein some folks (frequently men) feel it necessary to harass others (frequently women) in a mentally or emotionally or even physically threatening way.

It does not mean: awkward, or socially weird, or whatever. This is fandom. We are all in some way slightly goofy folks and we all have our foibles and of course you’re free to worry about whether or not you’re coming across right with other people. That’s normal! Totally fine! What’s not fine: sexism! Or racism! Or stalking people! Or whipping out your genitals and touching others with them! You might be saying, “Ho, ho, ho, Chuck, you so like to reference genitals in your blog post in a hyberbolic way,” except, no, no, this actually happened at PAX. This is a thing that keeps happening. And I want fandom to be safe! And inclusive! Because when it is, it’s totally rad.

This is not arguing from a place of privilege. Privilege is a wealthy white dude asking why that homeless guy doesn’t just “surf up a job on his iPad.” This is basic human contract stuff. This is Human Interaction 101 — no, you know what? This is entrance exam stuff. This is the test you should have to take before you get let out on the playground with all the other human beings.

Now, you might argue that saying something like, “Don’t be a total rapey-faced skeev-hound” is going to fall on deaf ears. One assumes I don’t have an eager audience of almost-rapists in the wings just waiting to find out which way the wind blows. I get that, and you’re right. Just the same, I wanted us all to be on the same page when we talk about creeps, creeping, and creepers.

It’s way beyond social awkwardness. If social awkwardness were a crime, cons would fail to occur in the first place. Hell, I’m always trying to put on a good impression — which is another way of saying, “I’m worrying about making a bad one.” Who isn’t? We’re all humans. We all worry about how we come across.

So, back to the original tweet:

Stop worrying about being a horrible person and, y’know, actively work on not being a horrible person.

Yay? Yay.

The Death Of Genre: Drifting Toward A Post-Genre Future

*hands you a brick of C4*

It’s time to blow up genre. It’s time to explosively obliterate the very idea of separating our fiction into these neat little categories — these tropes and plots, these shelves and slots.

Genre of late has been a thing largely used to determine a book’s place at the point of sale — a bookstore, quite understandably, only has finite space. (Well, I’m told that the bookstore known as Herman’s Infinite Accumulation in Duluth figured out a way to rend a vent in the fabric of time and space and thus host all the books all the time, but Herman reportedly stole ducats from the Hyperborean Cat Mafia and he and his store ended up being eaten by moon sharks.) A bookstore cannot hold all the books, and so one must apply a meaningful organization to what lurks there. But the Internet has changed all that.

The Internet is, of course, theoretically infinite. Its shelves are fucking endless.

Once, an author had to ask — “Well, where the hell will my book end up?” A bookstore with clearly limited shelf-space was not so keen on buying a book that had no easy place on those limited shelves. So, genre — a thing that affects the point-of-sale retailer — was a necessary concern of the writer long before the point-of-sale. Genre therefore begins to codify the types of fiction we read: it creates pre-defined plots, character arcs, it relies on a series of shared and continued tropes. Genre at the inception of the story and at the point of shelving and sale then becomes a thing that helps to train both reader and writer.

Genre is comfort, after all. You know what you’re writing. You know what you’re reading.

Comfort in codification. But fiction often works best when there exists some measure of discomfort.

And again, there’s that nagging cloud of gnats hovering around all our heads…

The Internet.

We are readers and writers who grew up on multiple genres and multiple formats. We don’t just read deep in a single genre. Our reading tastes are a shotgun spray, not a sniper’s bullet — space opera to superheroes, horror to thriller, splatterpunk and steampunk and cyberpunk and monkeypunk, epic fantasy to urban fantasy, erotica to spec-fic to spy novels to comic books to movies to pornography to cat videos to whatever.

Our heads are full of this crazy shit.

The Internet brings all that together. In one place. And it fosters the power of remix culture — we like to take all the things we’ve absorbed and glom them together to see the pop culture Voltron we create. We’re the ones pouring maple syrup on bacon (to quote Adam Christopher a little), bringing together the sweet and the savory. We like to read and write the intellectual equivalent of fusion cuisine.

But genre is law. And the law doesn’t really make room for that, does it?

You mash-up two or three disparate genres in a single book, where the fuck does your book go? How do you tell an agent what to do with it? How does the agent tell a publisher, and how does a publisher tell a bookstore? (And here the secret is that bookstores are actually the ones doing the dictating, meaning that the power still lies with a dwindling supply chain and distribution system.)

If you’re an author mashing up genres outside a single book — you write one fantasy novel then move to something more toward “literary horror” — the story goes that you run the risk of alienating fans. That they’ll find your book on the shelf and read both and they wanted one thing from you and didn’t get the same thing every time and so they’ll come to your house and cry, “I WILL AUTOGRAPH YOUR DOOM” before plunging a fountain pen in your neck and signing their name on your corpse.

But the bookstore shelves? Not so populous anymore. And even when they do exist, the Internet is always in the background, able to support that theoretical infinite which then backs up the physical shelf-space.

Plus? Readers are growing savvier. And writers want to play in other playgrounds.

That’s a theme I noticed, by the way, at Worldcon — not just in our New Pulp panel, but in discussions with writers throughout. Genre can be a comfortable starting point — but it can be a bit of a prison, too. We want off our leash. We want to write what we want to write, and we trust that the readers will be with us (and whether that’s a naive trust or an earned and confirmed one, I don’t know).

So, I propose, it’s time to make genre go boom.

We assassinate the current codification of genre.

We liberate the writer and the reader.

VIVA LA REVOLUCION.

Or something.

The question now becomes: just what the fuck does this all mean?

More Granularity

Instead of obliterating genre in its entirety, consider the notion of committing to it in a deeper, crazier way — see, right now, genre is not particularly granular. We have a handful of very big boxes (fantasy, sci-fi, literary, whatever), and inside those boxes one set of smaller boxes (epic fantasy, urban fantasy, etc.), but then no more boxes within those. And once you’re in a big box, you very rarely get to have a project that can be slotted into another — “science fantasy” is a thing we talk about, but it’s not really a shelf designation. So, get rid of the boxes. Eradicate large categories.

Instead, dice up the elements of our fiction even more finely — mince those motherfuckers. Think of fiction as having aspects or elements (and those of you who game in the RPG sense will see the value of this) — a piece of fiction might have a “time travel” aspect, a “tragedy” aspect, a “detective” aspect. One novel might be “serial killer / robot / erotic love triangle.” Another might be, “dinosaur / noir / bioethics.”

What this ideally allows for is a greater breadth of what we find “interesting.” At a place like Amazon, filter and discoverability is utter fuckporridge — and this is bad for writers and readers. Think instead of a Pandora-like app that searches your e-book library and uses these very axes and aspects to help you discover new authors and stories. I want that! And I think we need it, too.

Less Granularity

An obvious thing was pointed out to me at Worldcon but I hadn’t really realized it before — Young Adult / Teens is frequently uncategorized. And, likely without coincidence, YA tends to be some of the bravest, weirdest fiction out there right now. You go to the shelf inside the bookstore and it’s just a big mash-up of books and genres. (Okay, B&N actually separates them out a bit — Teens to Teens Paranormal Romance to Teens Fantasy / Adventure.) But often, YA is just YA. An age range without genre limitations.

These teens are going to be the same eventual non-teens (aka “adults,” if such a distinction even matters anymore) — and if they’re not pinned down by genre conventions and they grow up with fewer expectation for genre, isn’t it time to start configuring our shelves for them and not for everyone else?

Author-As-Genre

The “New Pulp” panel at Worldcon was fascinating because it was essentially the three of us (Stephen Blackmoore, Adam Christopher, and some bearded bespectacled shitbird) trying to figure out what the shit we were talking about and why we were even there. At first that seemed terrifying but as we orbited the topic and closed in on an answer it became clear how powerful it was to not have a certain answer to this uncertain question. Through the panel one of the distinctions we seemed to come to was that we, as authors with great heads full of stories from all corners, wanted to write what the fuck we wanted to write.

And so it emerged that “author-as-own-genre” seemed a very lovely thing, indeed. After all, Stephen King writes “horror” only to those who don’t know any better. He writes a bit of everything, all told — fantasy, mystery, sci-fi, literary. He is himself a great big mash-up of influences and possibilities and you don’t go to a Stephen King novel looking so much for horror as you do looking for, well, a Stephen King novel. King’s novels contain all the trappings of King himself — his voice, his auteur aspects, his storytelling hooks.

To me, that’s a win for the author first and foremost — to be able to write not to genre conventions but rather to your own personal conventions is a very good thing. It becomes “double-plus-good” for the readers because we, the writers, are writing work that speaks to and engages us as creators, ideally meaning we’re writing more to our own strengths and thus producing more kick-ass stories.

Okay, Fine, Fine, Genre Isn’t All Bad

Listen, I’m not saying genre distinctions don’t have value. They do. You like X, so you go to X shelf. Sometimes that comfort is a good thing. We want readers to be comfortable.

But we also don’t want endless regurgitative human centipede storytelling. Genre and its rigorous classification is why we have epic fantasy that reads the same every time, or why we have urban fantasy stories and book covers that are so reiterative it starts to feel like a joke. We are not served well in storytelling by saying This is X and That is Y if all that does is give us the samey-samey time and again. Some of the greatest authors — whether we’re talking Gaiman or King or Mister R. R. Martin — exist because they carve open their own portals into different genres.

So, I’m not seriously suggesting that we obliterate genre as a “thing” — first, it’d never work, and second, yes, they have value. But I am encouraging a widening of that definition and a greater look at how a more diverse and deviant genre classification can allow us to deliver a more meaningful class of filter and discoverability for authors and the readers who read ’em. That’s a win for everybody.

Thoughts? Discuss.

Or I’ll Taser you in the mouth.