karen joy fowler

I’ve been following Jeff’s posts about this book, which is a very VanderMeerian approach to writing theory, for a while, and so I danced around a bit when this arrived in yesterday’s mail.

If you haven’t heard of it, here is the description from the Amazon listing:

This all-new definitive guide to writing imaginative fiction takes a completely novel approach and fully exploits the visual nature of fantasy through original drawings, maps, renderings, and exercises to create a spectacularly beautiful and inspiring object. Employing an accessible, example-rich approach, Wonderbook energizes and motivates while also providing practical, nuts-and-bolts information needed to improve as a writer. Aimed at aspiring and intermediate-level writers, Wonderbook includes helpful sidebars and essays from some of the biggest names in fantasy today, such as George R. R. Martin, Lev Grossman, Neil Gaiman, Michael Moorcock, Catherynne M. Valente, and Karen Joy Fowler, to name a few.

It’s a freaking GORGEOUS book (to the point where I’m surprised by the relatively low price, given how glossy it is). I spent some of last night flipping through and being delighted. I’m looking forward to a more careful read. Highly recommended.

It’s snowy out, the sort of snow I grew up with in Northern Indiana. A clumpy snow, a little wet, so it clings to branches in inch thick lines, making some more snow than branch. Last night I watched it drifting past the light in the parking lot, which illuminated a sphere of falling snow, like an open-air snow globe, the good kind without sparkles or glitter, just evocative white bits that make us think of quiet nights, growing quieter as the snow muffles sound.

Sometimes writers need to stop and look and figure out what makes a scene real, what distinguishes it from one of the many movie backdrops in our heads, so that when we recreate it or take a piece from it or somehow incorporate it into a piece of writing, we can convey that quality. Karen Joy Fowler mentioned that often the most unique detail of a landscape is one of the most transitory: a busker, the shape of a cloud, the noise of the rock concert next door. Right now it’s snow for me. So, I ask you – what’s the most evocative detail of your current landscape?

In an earlier post I mentioned establishing the story’s conflict as something that is often best done in the story’s first three paragraphs. In order to expand on that, I’ve drawn examples from one of my favorite speculative fiction writers, James Tiptree Jr. aka Alice Sheldon, all of which are available in the collection Her Smoke Rose Up Forever.

One of Tiptree’s classic stories, “The Women Men Don’t See” may be one of her most celebrated, leading to responses from other writers like Karen Joy Fowler’s “What I Didn’t See” (Kindle version) and my own “Clockwork Fairies” (Kindle version). Tiptree uses her titles to maximum effect and you’ll notice that each of these beginnings interacts in a significant way with the title preceding it.