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Category: Just for Fun

Now you can insist on control of your material. You can insist on veto power over everything; down to casting and choice of directors and script approval, you can insist on all those things. J.K. Rowling insisted on all those things. And J.K. Rowling got all those things because there were enough people interested in that. Now if you’re not J.K. Rowling, and you insist on all those things, the studios are not going to be very interested or less studios will be interested in it so you’ll get less money or none at all. Or alternatively, you can not insist on everything and you can just sell them the book and what they do with it is what they do with it and you have to live with it. You no longer have approval over anything, you no longer have…you know what I mean? And those are the two extremes. In between of course there’s a vast area of shades of gray.

— George R. R Martin

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George R. R. Martin on Copyright, Inheritance, and Creative Control

He cares much more about French dynastic history than you do.

He cares much more about French dynastic history than you do.

This is Part 3 of the interview I did with George R. R. Martin in  2007.  For background and part 1, click here.  For Part 2, click here. For the audio file, click here.

HOFFMAN: Yeah, but you just generally right. The trope something that really speaks to folks. I guess maybe that raises a question about your fans generally. You’ve obviously got a huge fan base and I’ve been reading a little bit about them. One question that comes up a bunch of different times is fan fiction and what do you think about fan fiction?

MARTIN: I’m opposed to fan fiction.

HOFFMAN: Why?

MARTIN: Well number one, its copyright infringement and it can potentially endanger my copyrights and my trademarks if I were to allow it. Also, yes maybe it’s a gesture of love that they love your characters and they love your world and all that but it’s not the kind of gesture of love that I really want. And for aspiring writers and some of these people, sure it’s a wide range of fan fiction writers, some who are terrible. Some of them are actually talented writers. I think for the talented writers it’s particularly tragic because they should be doing their own material.

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I’m looking to tell a story here and hopefully an entertaining and engrossing story. I’m not looking to do a study of socioeconomic systems or legal systems or any of these things so the really scholarly works, copious footnotes, and things like that, are less useful to me in some ways.

— George R. R. Martin

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The Law of the Game of Thrones

Game-of-Thrones-game-of-thrones-17629189-1280-720In 2007, I did an interview with GRRM as a part of CoOp’s then vibrant “Law and Hard Fantasy” series.  (Yes, I know I’ve let it drop for half-a-decade, but new interviews are now coming out.)

Given the new-found fame of the Game of Thrones, I decided to have the interview transcribed for those of you who don’t want to listen.  Thanks to Temple’s Danielle Pinol who did the work.  I’m going to provide the transcript in three parts.  Here’s part I, about the roots of sovereign power in Westeros.  Part II talks about lawyers and magic. Part III will talk about fantasy literature more generally.

 

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All fiction to some degree takes place in an invented world, with invented people doing unreal things. In a way the upside down definition may be the most useful - fantasy is books published by fantasy imprints and shelved in the fantasy sections. As far as what content makes a book a fantasy book rather than general fiction, it varies with the reader. I guess you know it when you see it. Although magic swords are often a giveaway.

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Law and Hard Fantasy Interview Series: Joe Abercrombie

joe_abercrombieThis post is a part of our ongoing interview series with fantasy authors who generally write in the burgeoning genre of gritty / hard / dark epic fantasy.   The series began with this book review post, and continued with interviews of George R. R. Martin and Patrick Rothfuss, and Mark Lawrence.

Today, I’m interviewing Joe Abercrombie.  Joe is the author, most famously, of the “First Law” trilogy, and some more recent spin-offs set in that world.  Joe’s writing is characterized by dark (very, very dark) humor, grit (as in dirt), and an unhealthy amount of revenge.  He’s on twitter, he has a blog, and he was nice enough to agree to answer some questions from me about his writing and its relationship to law.

DH: There’s been a lot of talk in recent years about the collapse of the “fantasy” and “fiction” categories. Is there anything useful about the distinction? If so, what are the minimal characteristics of books that would stay on your fantasy shelf?

JA: Any question about definitions and categorisations is always a complicated one, with lots of confusions and blurry areas. All fiction to some degree takes place in an invented world, with invented people doing unreal things. In a way the upside down definition may be the most useful – fantasy is books published by fantasy imprints and shelved in the fantasy sections. As far as what content makes a book a fantasy book rather than general fiction, it varies with the reader. I guess you know it when you see it. Although magic swords are often a giveaway.

DH: One marker of the trend toward harder / darker fantasy is more fulsome world-building and world-planning. But you are well-known as a guy who hates maps (recent books excepted!) Here’s a practical question: do you sit down and think about the rules of the world before you start to write, or do you start writing and work them out as you go along?

JA: I don’t know that I’d necessarily agree with your first assertion, there. I think a marker of the trend towards harder/darker fantasy is a greater focus on character and internal life over setting and world building, certainly I see that as key in what I’m doing. But you want the backdrop to be consistent and coherent. So you have some ideas about the rules of the world. Certainly you have some strong ideas about the effect certain cultures will have on the way the characters think. That’s the kind of world building I’m most interested in, I suppose you could say, the kind that has a direct effect on the behaviour of the characters, rather than the kind that specifies exactly how many thousand years the tower of Zarb had guarded Dragonfire Pass.

DH: What do you have against maps anyway?

JA: I love maps. I have loads of them. But I don’t necessarily want to share them with the reader. I want the reader to see the action in close up, not wide shot. I want them to be with the characters, not thinking so much about the setting.

DH: Is there any civil law in your world? By that, I mean a system by which contractual breaches and torts are enforced outside of blood feuds, deeds are recorded, property disputes disposed of? What does that system look like?

JA: It depends a little on the culture. In the North there has been a relatively primitive tradition of ownership by clans, judgement by elders and chieftains, but it’s broken down during a period of sustained warfare and a new king has tried to impose a new and much more centralised system, with varying success. The Union, by contrast, has a well-established aristocracy and a complex and extensive centralising bureaucracy, although with a weak king on the throne and a lot of pressure from external threats it’s become rather a corrupt system, prone to being carved into personal fiefdoms by powerful and charismatic individuals in the government. Hardly surprising, in a way, since the whole thing has been explicitly designed to allow one man (Bayaz) to maintain control. The whole thing’s further distorted by the conflict between old power and new money, as the Union has spread to include more diverse cultures and the merchant class has gained in influence.

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I’ve heard people say books are getting more ‘gritty’, meaning more violent and less stylised in general. The realism there might be in terms of warrior not shrugging off their wounds and being fine the next day etc. Researched realism and detailed city/country mechanics are not something I was aware of a movement toward. To me nothing is added by, for example, the author working out a grain distribution network. I’m interested in story and character, not mechanics.

— Mark L.

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Law and Hard Fantasy Interview Series: Mark Lawrence

Broken-EmpireI’ve sporadically run an interview series with fantasy authors who generally write in the burgeoning genre of gritty / hard / dark epic fantasy.  (I’m, obviously, a fan.)  The series began with this book review post, and continued with interviews of George R. R. Martin and Patrick Rothfuss.  The series continues today as I interview Mark Lawrence.  Mark is the author of the Broken Empire trilogy, and the forthcoming Red Queen’s War.  His work has been lauded on both sides of the Atlantic (Mark was raised in the U.K., where he works as a research scientist).  He was gracious enough to respond to my email queries, which follow after the jump.

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Some Holiday Music a la Middle Earth

I rather liked the way the trailer (or preview) for the first past of The Hobbit used Misty Mountains Cold. The movie, well, more than enough has been said about that. I looked for the song, as it seemed appropriate for this time of year. It turns out several groups have covered it. And this one to get you started seems to agree that it fits the time of year. It is from the 2012 Holiday Concert at Marine Corps Air Station Miramar.

Consolation for Those who Write Too Much

From an interview with Cynthia Ozick:

[In the early 50s an aspiring novelist] tried out teaching for a while after college—–as a teaching assistant on a stipend—–and then fled homeward to begin the novel. Mine, typically, was immensely ambitious. I thought of it as a “philosophical” novel, and was going to pit the liberal-modernists against the neo-Thomists. I wrote about 300,000 words of it.

Those were the days!

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Aspirations to Write Better

Yes, more from Hemingway. I am reading others as well and may share from those if so moved. For now I will say that few have what he describes here. I will say it can be developed. And I will say I am most grateful to two people who have read my work, shredded it, but did so with love. Love here was the willingness to take the work on its terms and dig and hack and purge. That is why I think the skill can be learned or rediscovered if lost. I will not name them here. I have told them. Anything else is gossip and name-dropping. That would be unseemly and share a personal moment that is for them and me. Still, I thank them. And now for the quote:

A writer without a sense of justice and of injustice would be better off editing the yearbook of a school for exceptional children than writing novels. Another generalization. You see; they are not so difficult when they are sufficiently obvious. The most essential gift for a good writer is a built-in, shockproof, shit detector. This is the writer’s radar and all great writers have had it. Ernest Hemingway, The Art of Fiction, No. 21, Paris Review

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A little weekend song, When You Get to Asheville

I don’t know why banjos, fiddles, and the like move me, but they do. Throw in Edie Brickell’s voice, I’m a goner. Steve Martin and Brickell have a rather fine album (Martin is the listed artist) called Love Has Come For You. This song, When You Get to Asheville, mentions email, but no matter, or maybe to its advantage. As another song told us, You Must Remember This… Listen for the line about the dog. Martin and Brickell capture a similar sentiment that I doubt will ever go away until we fade from this place.

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Sunday Night Monday Morning music

I’m re-reading Gravity’s Rainbow (Pynchon now on Kindle by the way). Finished V. Finished Crying of Lot 49. Tried to pick up Vineland which I loved. Wanted the difficult, mad, beautiful language. Back to Gravity’s Angel. For fans I post a song I knew before I read the book. It is Laurie Anderson’s Gravity’s Angel. Honestly, she’s not for everyone. Maybe not for most. But if you dig experimental music and complex lyrics give it a shot. The album Mister Heartbreak from which the track comes is fun too. Again fun for some. It has William Burroughs on Sharkey’s Night. I quoted it at my Cal graduation. That is below too. Shorter.

Where’s the law? Not sure. As Burroughs intones, “And sharkey says: hey, kemosabe! long time no see. he says: hey sport. you connect the dots. you pick up the pieces.” OK for a bit more, as I have said here before, life beyond the law matters. And it turns out that knowing life beyond the law might make you a better lawyer. That, by the way, is why empathy for a judge is important and a good thing. If you can’t walk in someone else’s shoes, at least read more, listen to more, watch more. Great writing, great communication opens the door to the world beyond yours and mine. At least those are the dots I connect. The pieces I pick up.

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42 minutes 59 seconds + copper wire (and a little more) = bliss

Question: Why 42 minutes 59 seconds? Not 43 minutes. Not 42 minutes, 58 seconds. 42 minutes 59 seconds. Solution: Step One. New receiver. Step Two. Unpack old B&W speakers. Step Three. Strip casing, twist copper. Step Four. Connect all. Step Five. Insert album designed for stereo. Step Six. Hit Play. Step Seven. Bliss.

Answer: Dark Side of the Moon. Forty years old as of March 1, 2013.

I unpacked my speakers and set them up a few weeks back. Headphones are nice. They are portable. They are personal. They may even allow sound to envelop you. But not like speakers. Dark Side of the Moon was the first CD I bought. It is a great way to appreciate music engineered for stereo. I put the disc in years ago. Hit play. The next 42:59 was great. The same was true a few Sundays ago. I had a cup of tea (loose leaf, my mix of lapsong, Assam, and Kenyan). I hit play. 42 minutes and 59 minutes slipped away. That was a good, damn good day.

I recommend getting to a stereo and trying it.

(Even on your computer, check out Money, below, for the stereo fun.)