It Doesn't Have To Be Right…

… it just has to sound plausible


Leave a comment

Structural engineering for fiction

There are many ways to be innovative in fiction writing, but the method which appeals to me the most is in looking at the different ways in which narratives can be structured – not simply in order to tell a story, but also in order to direct how the reader experiences that story. It’s something I was conscious of while writing the Apollo Quartet.

The most obvious structure, and the most common, is the linear narrative, in which events are ordered chronologically from start to finish, and typically seen from a single viewpoint. Then there is the multi-threaded narrative, in which different viewpoints all offer differing views of the events described by the story. There is also the time-slip narrative, in which two or more narratives running in different time contexts together lead to, or explain, the resolution. In most of these stories, the resolution offered to the reader is the one experienced by the protagonist. While in a multi-threaded or multi-viewpoint narrative, the reader might be possessed of more information than the protagonist, and so have a better understanding of the reasons for, or the nature of, the resolution, the end of the story is still immersive inasmuch as it takes place within the story.

structure-axo-q-theatre

While writing the Apollo Quartet, I decided to play around with the concept of narrative structure. I started out with a variation on common narrative structures, but with each instalment moved the focus of narrative understanding further out of the story and closer to the reader – while still maintaining what appeared to be a typical narrative format.

Corkscrew chronology with double twist
Adrift on the Sea of Rains has two narrative threads, one moving forward in time from the first line of the novella, and the second a series of flashbacks which are presented in reverse chronology. Both feature twist endings – but the twist of the reverse chronology narrative is what kickstarts the forward chronology, in effect forming a closed timelike loop of the entire story.

Delayed reaction external resolution
In The Eye With Which The Universe Beholds Itself, there are still two narratives, and they’re time-slipped, one in 1979 and one in 1999, but I wanted the novella to have two resolutions – one experienced by the protagonist, and one that only the reader understood from clues buried in the narrative and ancillary texts. I structured the novella to give what I called “a B-52 effect”, named for the cocktail not the jet bomber. I’d come across the idea of a coda “hidden” behind a glossary in Iain M Banks’s Matter – although I’m told Tolkein did it in The Lord of The Rings – and I really liked the idea of a short section after the end of the story which redefined everything the reader had read. But I decided to take it one level further and not categorically state what it was that redefined the story. I would include clues, scattered throughout the narrative and glossary, and the coda would be the final piece of the puzzle. In other words, the reader figures out the resolution for themselves outside the story.

Narrative action at a distance
And in Then Will The Great Ocean Wash Deep Above, I chose to put more of a burden on the reader. In part, this was a consequence of the stories I was determined to tell. I wanted a narrative featuring the Mercury 13, I wanted a narrative featuring the bathyscaphe Trieste… but how to connect the two? I considered a number of somewhat obvious solutions before having an epiphany one day while making my way to the pub to meet up with friends. I wouldn’t connect them, I’d let the reader find the connection – but I would give hints to that relationship. And the chief element of that relationship is that actions in one narrative world could turn out to have consequences in the other narrative world, despite there being no actual relationship between the worlds – in fact, their only relationship is that they run side-by-side within the pages of Then Will The Great Ocean Wash Deep Above. The connection between the two is not only completely artificial, it’s an artefact of the nature of reading.

Narrative context mismatch
I’m reluctant to discuss the fourth book of the quartet, All That Outer Space Allows, in too much detail, but I will reveal that it’s structured according to what I call “narrative context mismatch”. Like the preceding three books, the narrative or narratives will on the surface appear to be straightforward, either chronologically linear or time-slip, but there is more going on than initially meets the eye – and it’s both a consequence of the act of reading and the artificial nature of story.

Novellas, I’ve found, are perfect vehicles for this sort of structural engineering or experimentation. Short stories are simply too short, and while there’s nothing preventing any of the above being used in one, the word-length may make them too obtuse for the reader as there’s simply not enough room to provide all the necessary clues. Novels, you would think, would make for more fertile ground – and there are indeed novels which do some very interesting things with their narrative structures, I’m thinking especially of Ash: A Secret History by Mary Gentle and Lord Byron’s Novel: The Evening Land by John Crowley. But novels are also a far more commercial format for fiction, and as a result – particularly in genre – they tend to stick to tried and tested narrative structures. The experimentation, if it does exist, typically occurs in the setting or viewpoint.


Leave a comment

Serendipity strikes again

Sometimes, when you’re working on a piece of fiction, and you’re wondering perhaps if this marvellous plan you have in your head and you’re trying to get down is a) achievable and b) not going to result in ridicule from all those who will read it… Sometimes, when you’re in that space, an artistic decision turns out to be just so right, you can’t help but feel it really is going to work after all. This has happened for all of the Apollo Quartet… and today I had my moment of serendipity for the fourth book, All That Outer Space Allows.

The protagonist of the story – it will be a short novel rather than a novella, around 50,000 to 60,000 words – is a science fiction writer, and she is married to a test pilot who is selected by NASA for the Apollo programme. For one scene, I needed the names of some women sf writers who had had stories published in 1965. One of the names I picked was Josephine Saxton – her debut, ‘The Wall’, appeared in the November 1965 issue of Science Fantasy. I wanted my protagonist to say something about the story after reading it, but I didn’t have a copy. Fortunately, it was collected in The Power of Time and I found a copy of the book on eBay. So I bought it…

sfnov1965

The collection arrived the following day, I read ‘The Wall’… and discovered its central metaphor fitted in perfectly with the general shape of All That Outer Space Allows.

I love it when that happens.

On the other hand… I remember sitting in the Bijoux Bar in the Raddison Edwardian Hotel, Heathrow, the day after the launch of Adrift on the Sea of Rains, and describing to Maureen Kincaid Speller the plot of All That Outer Space Allows. Yes, even back in April 2012, I knew what it was about and what the title would be. But now I’m about a quarter of the way into writing it, and it’s shaping up somewhat differently to that original plan. For a start, it’s proving to more about science fiction, and the history of science fiction, than I had intended. It’s also going to be more of a work of imagination than the preceding three books, chiefly because I can find no direct documentation I can use to help me evoke the time and place. For example, I can tell you the average temperature on 1 April 1966 in Lancaster, California, was 66.8°F, but I’ve found only a handful of photos online of the city taken during that year. And, of course, astronauts wives are not as well documented as the astronauts themselves. I’m having to do my research by reading between the lines…

But if it was easy, I wouldn’t do it. Would I?


Leave a comment

Future fashions…

The September issue of Litro Magazine, #137, is out now, so if you’re in London pick yourself up a copy. Each issue of Litro is themed, and this month’s theme is Future fashions. Hence my story in the issue, ‘The Spaceman and the Moon Girl’, which is about Apollo astronauts and space age fashion designers such as André Courrèges, Pierre Cardin and Emilio Pucci. There’s also fiction and poetry by Ivor W Hartmann, Tosin Coker, Ryan Van Winkle, Walé Oyéjidé and Efe Tokunbo, plus an article on future fashion in cinema by Claire Smith.

litroissue137_futurefashions_single


1 Comment

Sales report

Loncon 3 is now in full swing. I am not there. After spending last weekend in a field in Derbyshire, drinking and watching a number of metal bands perform, I can’t say I’m especially bothered about missing the Worldcon (though I’m sorry I won’t have the chance to meet IRL a few visitors to the UK I know only from online). Bloodstock was good – I think I enjoyed the music more this year than last, even though initially I hadn’t been that keen on the line-up. Highlights were the sets by Obsidian Kingdom and Shining, and the crowd’s performance during Evil Scarecrow’s set. Other good stuff included Orphaned Land (twice), Rotting Christ, Winterfylleth, Old Corpse Road and Voices. The weather behaved – mostly. It hammered down on the Sunday, and everywhere got wet and muddy, but it cleared up by the evening. Security this year was much improved; the toilets were much worse. A good festival, nonetheless.

Meanwhile… these summer months so far have felt spectacularly unproductive, and there have been days when I’ve had trouble working up the enthusiasm to write, edit, or even get started on a book review… Which is not to say I’ve done nothing. It just feels like it. I’m assuming reviews count. I wrote a fair few of those during June and July. Four for SF Mistressworks, in fact: We Who Are About To…, Joanna Russ (here); Busy About the Tree of Life, Pamela Zoline (here); Worlds for the Grabbing, Brenda Pearce (here); and Judgment Night, CL Moore (here). A fifth went up this week – The Revolving Boy, Gertrude Friedberg (here) – and I have another two suitable books I’ve read but I’ve yet to start on the reviews – Aurora: Beyond Equality, edited by Vonda N McIntyre & Susan Janice Anderson; and Second Body, Sue Payer. I also reviewed Extreme Planets, edited by David Conyers, David Kernott & Jeff Harris, for Interzone (the anthology’s publishers really need to sort out its Amazon page); and I have another book sitting on this desk beside my laptop to review for them, which is, er, already late. (I’ll have it done by the end of the week, Jim. Honest.)

Whippleshield Books continues to quietly stumble along. Sales of Adrift on the Sea of Rains have just passed 1100, those of The Eye With Which The Universe Beholds Itself are over 500, and Then Will The Great Ocean Wash Deep Above has to date managed a tardy 200-or-so units sold. I’m determined to get the final book of the Apollo Quartet, All That Outer Space Allows, out before the end of the year, although at present I can’t predict exactly when. (Which reminds me: I need to buy some more ISBNs.) Aphrodite Terra, however, should appear some time next month. (The contributors were paid on acceptance, so any delay is more annoying than anything else.)

shrimpton

Also, next month, I’ll have a story in Litro magazine. The issue has a “future fashion” theme, and my story, ‘The Spaceman and the Moon Girl’, is about astronauts and space age fashion designers. Sort of. Postscripts #32/33: Far Voyager should also be out some time this year, with my story providing its title. And later this year – no date as yet – Tickety Boo Press are publishing an anthology Space: Houston, We Have A Problem, which contains my story ‘Red Desert’.

ETA: I forgot to mention I contributed a couple of Friday Fives to Pornokitsch – one on sf novels about first missions to the Moon titled, with a great deal of imagination, ‘5 Trips to the Moon’; the other about sf movies set at the bottom of the ocean, ‘5 Pieces of Soggy Sci-Fi Cinema‘.

 


11 Comments

Memory jog

The latest issue of Perihelion Online Science Fiction Magazine has appeared, and among its many fine stories is one of mine – ‘Waters of Lethe’. It’s about a bathyscaphe journey to the bottom of Europa’s world-ocean. Sort of. You can read it here.

shinkai-6500

I’ve now written stories which feature Wilfred Owen, Spitfires, the Bell, Apollo astronauts, flying boats, rocket sleds, bathyscaphes… What to do next?


11 Comments

Apollo Quartet review copies

It’s been two years since Adrift on the Sea of Rains was published, and reviews of it continue to appear online. Which is very gratifying. But for some reason books two and three of the Apollo Quartet, The Eye With Which The Universe Beholds Itself and Then Will The Great Ocean Wash Deep Above, published sixteen and six months ago respectively, haven’t been reviewed to the same extent. So this is just a note to say ebook review copies of The Eye With Which The Universe Beholds Itself and Then Will The Great Ocean Wash Deep Above are still available. If you fancy one, either leave a comment or tweet me at @ian_sales. I can do epub, mobi or pdf. At a pinch, I can even do paperback.

Meanwhile, of course, work continues on All That Outer Space Allows. I’m at that stage where I’m reading research materials to get a feel for the period and place and cast, and getting some early words down on paper. The story opens in 1965 at Edwards Air Force Base and ends in Florida on the evening of 16 April 1972. It will be about astronauts and it will be about science fiction.

E-USAF-X-15-2

Here’s the opening paragraph. As you can see, it’s going to be a bit different to the preceding three novellas…

Ginny is at the table on the patio, in slacks and her favourite plaid shirt, hammering away on her Hermes Baby typewriter, a glass of iced tea to one side, a stack of typescript to the other. Something, a sixth sense, she’s developed it during her ten years as an Air Force wife, a presentiment, of what she can’t say, causes her to glance over at the gate to the yard. And there’s Bob, Lieutenant Colonel Robert Lincoln Hollenbeck, cap in hand, his movie-star profile noble with concern. Ginny immediately looks over to her right, across to the Air Force Base and the dry lake. Her hand goes to her mouth. Oh my God my God my God. There’s a line of dark smoke chalked up the endless sky. My God my God my God. She pushes back her chair and lurches to her feet.

The above may change as I get further into the story and things start to come together. But for the time-being at least it gives a good idea of what I have planned.


1 Comment

Title story

PS Publishing have released details of the next Postscripts anthology, Far Voyager Postscripts #32/33. The TOC looks like this:

  • ‘Far Voyager’ — Ian Sales
  • ‘3 A.M. in the Mesozoic Bar’ — Michael Swanwick
  • ‘Dear Miss Monroe’ — Andrew Jury
  • ‘The Case of the Barking Man’ — Mel Waldman
  • ‘One Hundred Thousand Demons and the Cherub of Desire’ — Andrew Drummond
  • ‘An American Story’ — Darrell Schweitzer
  • ‘Irezumi’ — John Langan
  • ‘Sister Free’ — Rio Youers
  • ‘A Little Off the Top’ — Tom Alexander
  • ‘Sweetheart, I Love You’ — Mel Waldman
  • ‘Winter Children’ — Angela Slatter
  • ‘A Girl of Feather and Music’ — Lisa L. Hannett
  • ‘Thirty Three Tears to a Teaspoon’ — Alan Baxter
  • ‘The Rusalka Salon for Girls Who Like to Get Their Hair Wet’ — Angie Rega
  • ‘The Psychometrist’ — Suzanne J. Willis
  • ‘Sea Angels’ — Quentin S. Crisp
  • ‘Plink’ — Kurt Dinan
  • ‘Xaro’ — Darren Speegle
  • ‘We Are Not Alone’ — Richard Calder
  • ‘The Curtain’ — Thana Niveau
  • ‘Playground’ — Gio Clairval
  • ‘What Once Was Bone’ — Gary A. Braunbeck
  • ‘Darkscapes: Three Journeys to the Night Side’ — Mel Waldman
  • ‘Services Rendered’ — Bruce Golden
  • ‘GW in the Afterlife’ — Robert Reed
  • ‘Eskimo’ — Andrew Hook
  • ‘With Friends Like These’ — Gary Fry
  • ‘An Inspector Calls’ — Ian Watson
  • ‘Confessions’ — Mel Waldman
  • ‘A Legion of Echoes’ — Alison Littlewood
  • ‘Talk in Riddles’ — Mark Reece
  • ‘The Mermaid and the Fisherman’ — Paul Park

Yup. My story is the title story. Cool, or what? There’s some good stuff in that TOC too, including a few favourite authors. No publication date as yet, but it’ll be sometime this year, I imagine.

Follow

Get every new post delivered to your Inbox.

Join 1,923 other followers